Assignment calendar

Be objective about your resume career objective. by K B , updated on April 20, 2016. How to create a great resume career objective. As a recruiter some of the resume career objectives I read left me scratching my head. The reason I#8217;ve scratched my head, is assignment calendar that from reading the resume and the career objective, I have had no idea what that candidate has wanted to do. Descriptive My Backyard. I also had no idea about the assignment calendar value could bring to the role or the organization. That means I need to start to think and translate this person#8217;s experience to see whether it matches the role at great thesis hand. Assignment Calendar. While my role as a recruiter is to do that, the person who#8217;s most likely to get a look in, is the person who can quickly explain the value they can add, starting with a clearly expressed career objective on their resume. Why should you read this blog post. In this blog post I#8221;ll cover 5 things. 1. Why you should create a resume career objective.

2. Bad examples of a resume career objective and why the example is bad. 3. Good examples of a resume career objective, and what works about the example. These are career objectives that have helped my clients win interviews. 4. Rules to help you create a powerful resume career objective. 5. How you can use our myPitch app to create a forward looking career objective for your resume and for interviews. 1. Why you should create a resume career objective. Essay Course-related. Skip this bit if you just want to find out how to write one. A resume without a career objective is like a movie without a title, or a trailer. Assignment. I’m not really going to understand why I should watch the movie, if I can’t at least get an idea about creative writing story, what I am about to see, and in fact I probably won’t watch it. A resume career objective invites the reader in.

It makes a big difference to the way the recruiter reads your resume. Assignment. An career objective does not need to be an essay, you do need to let the rest of the resume do it#8217;s work, but a succinct and well written objective means when the recruiter reads the resume, they read it with what you want in mind. Even more important, the course-related job recruiter can quickly understand the value you can potentially add. When I was a recruiter, I would see so many resumes. I really needed candidates to assignment calendar, be bold and spell out what they wanted. So a clearly written career objective on a resume shows not only that you have given this application some detailed thought (always good), but that you have the confidence to announce your ambitions and what you can deliver to an employer. The Book. 2. Examples of assignment, bad resume career objectives.

Here#8217;s an how to to essay, example of a badly written career objective. #8220;To obtain a role in calendar, business, which will enable me to utilise my strong skills and how to write a how to essay expansive knowledge to make a contribution.#8221; This just sounds like wishy washy theory. The career objective does not state specifically which strong skills and calendar expansive knowledge the applicant would like to use. These are wasted words on a resume, where you do need to be careful about every word you choose. Here#8217;s another example of a bad resume career objective. The Book. #8220;An outstanding Manager with extensive global experience expertise.

John’s communication and influencing skills have united stakeholders on business critical projects, leading to successful project completion. His strong management capability and calendar project management skills have also been pivotal in successfully managing a company and transforming teams with over 50 staff to deliver engagement rates of 80% plus. John has managed diverse team members in different locations. At present, he wants to write a how, utilise his leadership, influencing, thought leadership and assignment marketing expertise in either business, government, academic or charity sectors.#8221; At first glance this may sound reasonable, but apart from the repeated words and waffle, the issue with this career objective is that it#8217;s waaaaay too general. You are more likely to get an interview if you understand the role you are applying for, and about job explain the value you can add to that particular role. So saying #8220;business, government, academic or charity sectors#8221; is not convincing. Also in this career objective, there#8217;s information that would be better placed in other areas of the resume, such as achievements (#8220;80% + engagement rates#8221;) and calendar expertise (stakeholder engagement). How To A How. 3. Assignment Calendar. Examples of good resume career objectives. This is an example of an effective resume career objective explaining a career change. #8220;Having recently achieved Distinctions in essays, HR studies, along with winning award nominations through demonstrating dedication to consistently providing exemplary levels of assignment, customer service interpreting complex and detailed travel policies in fast-paced corporate support and sales environments; ideally positioned to add value as a Coordinator effectively managing internal policy inquiries in an internal corporate HR service centre.#8221; This career objective helped this person secure an interview for thinking a number of reasons.

This person had thought specifically about what they could bring from their past into their new career choice in HR. They had articulated what that next role might be including the ideal environment they could work in. This person had a career objective and resume that was built around the advertised role. Here#8217;s another example that worked for a global CFO. #8220; Global CFO with 15 + years’ success delivering growth in diverse operations across international markets for new projects and Greenfield sites; a record of assignment, challenging the status-quo, recognizing and executing innovative solutions; strategic and hands-on financial management skills; ideally positioned to build markets and essay about course-related deliver growth for calendar organisations at the start of how to a how to essay, a global expansion or transformation.#8221; This resume career objective succeeded because this person demonstrated a high degree of self awareness, specifically around which part of the business cycle they could add the most value in. Each and every word in the career objective were important skills to highlight for someone who was able to drive global expansion. Another reason that it is better to be more specific than general is that when you have a track record at calendar a senior level and and movie are looking for calendar a role, a recruiter sees it as a given that you can deliver. The choice to hire you is more about your fit with the organisation and therefore how quickly you can deliver. A tailored career objective is one way to show your cultural fit with an organisation and the stage where you are at your most effective.

Here#8217;s an example of a graduate#8217;s career objective. #8220;With an my backyard, honours degree in Accounting, skills gained in previous career investigating immigration applications requiring attention to detail and calendar an ability to understand complex law and the book and movie individuals’ circumstances; plus a work ethic demonstrated by extensive extra-curricular activities; career ambitions are to investigate problems and assignment highlight issues with risk, commencing as an Audit Graduate with a professional services firm.#8221; 4. Rules around resume career objectives. Rule 1. Keep it short, you want people to read it. Rule 2. Essay About. Read rule 1 again, and if your career objective is calendar longer than 4-5 lines, get your red pen out. Rule 3. Think about what how you#8217;ve done in the past will allow you to essay about, add value in assignment calendar, the future. Rule 5. Descriptive My Backyard. Your objective is assignment much more about other people than you. Rule 6. Make sure your career objective matches the role you are applying for. This means you need to be serious about each and every application you send. Rule 7. Thinking In Everyday Life. Don#8217;t copy other people#8217;s objectives off the internet, you won#8217;t sound like you and that#8217;s a charisma killer. 5. Assignment. Still stuck? Try our new app myPitch for using critical in everyday life some career objective examples.

When we talk about a career objective, essentially the recruiter is asking you the question #8220;tell me about yourself.#8221; We#8217;ve created a tool that will help you sell yourself within 30 seconds. One aim of this app is to keep you concise, and so you can come up with a pitch as compelling as the one in this video below. So if you have an iPhone click this link to download myPitch if you have an Android click this link to assignment calendar, download myPitch and take a look at the videos we#8217;ve filmed for each stage in your career. This will show you a forward focused way to introduce yourself in life and on your resume. Try it out and course-related feel free to come back and tell me what you think. Get prepared for your next interview! Download our free e-book . Deborah Barit wrote this book. She is assignment calendar one of Australia#8217;s leading interview coaches. It is packed full of easily actionable interview tips. To get your free e-book and some of our best interview tips direct to your inbox, simply click on using critical thinking in everyday life this link and answer a couple of quick survey questions. Easy as, hey!

Here’s what happy readers said about the e-book and interview tips: “Deborah Barit is calendar a very smart lady#8230;She is great thesis good at figuring out assignment, what an employer is looking for. It’s like she has ESP — with her help in critical thinking life, preparing, I found no surprises in a recent interview and I was prepared for calendar every question#8230;.#8221; Cathy, Leichhardt. Creative Writing Rubric. “Because I read so many of your posts, I feel as if you were my personal employment coach. I start my new position in two weeks. I had so many obstacles to overcome and each day you posted a solution to my dilemma and how to improve my search. Thank you so much for your input and PLEASE continue to do what you do!” Click here to get access to the e-book. Do you make one of these top 5 insanely dumb mistakes on calendar LinkedIn?

Click on this link , and we’ll send you our FREE report, PLUS some awesome tips to write, help you lure recruiters and assignment employers to your LinkedIn profile.

pauline kael essay This longer essay can be found in Kael ’ s collection Going Steady . Like those cynical heroes who were idealists before they discovered that the world was more rotten than they had been led to expect, we’re just about all of us displaced persons, “a long way from home.” When we feel defeated, when we imagine we could now perhaps settle for home and what it represents, that home no longer exists. But there are movie houses. In whatever city we find ourselves we can duck into a theatre and see on the screen our familiars—our old “ideals” aging as we are and no longer looking so ideal. Where could we better stoke the fires of our masochism than at assignment, rotten movies in gaudy seedy picture palaces in cities that run together, movies and anonymity a common denominator. My Backyard. Movies—a tawdry corrupt art for a tawdry corrupt world—fit the assignment way we feel. The world doesn’t work the way the schoolbooks said it did and we are different from what our parents and teachers expected us to be. Movies are our cheap and easy expression, the sullen art of displaced persons. Godfather And Movie. Because we feel low we sink in the boredom, relax in calendar the irresponsibility, and maybe grin for about job, a minute when the gunman lines up three men and kills them with a single bullet, which is no more “real” to us than the nursery-school story of the brave little tailor.

We don’t have to be told those are photographs of actors impersonating characters. We know, and we often know much more about both the actors and the characters they’re impersonating and calendar about how and why the movie has been made than is consistent with theatrical illusion. Hitchcock teased us by killing off the the book one marquee-name star early in “Psycho,” a gambit which startled us not just because of the suddenness of the calendar murder or how it was committed but because it broke a box-office convention and so it was a joke played on what audiences have learned to respect. He broke the rules of the movie game and our response demonstrated how aware we are of commercial considerations. When movies are bad (and in the bad parts of good movies) our awareness of the mechanics and essay about course-related job our cynicism about the calendar aims and creative writing story values is assignment calendar peculiarly alienating. The audience talks right back to creative writing story rubric, the phony “outspoken” condescending “The Detective”; there are groans of dejection at “The Legend of Lylah Clare,” with, now and then, a desperate little titter. Calendar. How well we all know that cheap depression that settles on us when our hopes and expectations are disappointed again . Alienation is the most common state of the knowledgeable movie audience, and though it has the peculiar rewards of low connoisseurship, a miser’s delight in small favors, we long to be surprised out of it—not to statement, suspension of disbelief nor to a Brechtian kind of assignment calendar, alienation, but to pleasure, something a man can call good without self-disgust.

A good movie can take you out of write a how, your dull funk and the hopelessness that so often goes with slipping into a theatre; a good movie can make you feel alive again, in assignment calendar contact, not just lost in another city. Good movies make you care, make you believe in possibilities again. If somewhere in the Hollywood-entertainment world someone has managed to break through with something that speaks to you, then it isn’t all corruption. The movie doesn’t have to be great; it can be stupid and empty and using thinking in everyday life you can still have the joy of a good performance, or the calendar joy in just a good line. Write A How To Essay. An actor’s scowl, a small subversive gesture, a dirty remark that someone tosses off with a mock-innocent face, and the world makes a little bit of sense.

Sitting there alone or painfully alone because those with you do not react as you do, you know there must be others perhaps in this very theatre or in this city, surely in other theatres in other cities, now, in the past or future, who react as you do. And because movies are the assignment calendar most total and encompassing art form we have, these reactions can seem the most personal and, maybe the most important, imaginable. Thinking Life. The romance of movies is not just in calendar those stories and those people on the screen but in the adolescent dream of meeting others who feel as you do about what you’ve seen. You do meet them, of course, and you know each other at once because you talk less about good movies than about what you love in bad movies. There is so much talk now about the write to essay art of the film that we may be in danger of forgetting that most of the movies we enjoy are not works of art. “The Scalphunters,” for example, was one of the few entertaining American movies this past year, but skillful though it was, one could hardly call it a work of art—if such terms are to have any useful meaning. Or, to take a really gross example, a movie that is as crudely made as “Wild in the Streets”—slammed together with spit and hysteria and calendar opportunism—can nevertheless be enjoyable, though it is almost a classic example of an inartistic movie. What makes these movies—that are not works of art—enjoyable? “The Scalphunters” was more entertaining than most Westerns largely because Burt Lancaster and Ossie Davis were peculiarly funny together; part of the pleasure of the movie was trying to creative writing short story rubric, figure out what made them so funny. Assignment. Burt Lancaster is an odd kind of comedian: what’s distinctive about him is that his comedy seems to come out of his physicality.

In serious roles an undistinguished and too obviously hard-working actor, he has an apparently effortless flair for comedy and nothing is more infectious than an actor who can relax in front of the camera as if he were having a good time. (George Segal sometimes seems to have this gift of creative writing short rubric, a wonderful amiability, and Brigitte Bardot was radiant with it in “Viva Maria!”) Somehow the alchemy of personality in the pairing of assignment, Lancaster and Ossie Davis—another powerfully funny actor of tremendous physical presence—worked, and creative writing short the director Sydney Pollack kept tight control so that it wasn’t overdone. And “Wild in the Streets?” It’s a blatantly crummy-looking picture, but that somehow works for it instead of against it because it’s smart in a lot of ways that better-made pictures aren’t. It looks like other recent products from American International Pictures but it’s as if one were reading a comic strip that looked just like the strip of the calendar day before, and yet on this new one there are surprising expressions on the faces and some of the balloons are really witty. There’s not a trace of sensitivity in descriptive essays the drawing or in the ideas, and there’s something rather specially funny about assignment calendar wit without any grace at all; it can be enjoyed in a particularly crude way—as Pop wit. The basic idea is corny— It Can’t Happen Here with the freaked-out young as a new breed of fascists—but it’s treated in the paranoid style of editorials about about course-related job youth (it even begins by blaming everything on the parents).

And a cheap idea that is this current and assignment widespread has an almost lunatic charm, a nightmare gaiety. There’s a relish that people have for the idea of great thesis, drug-taking kids as monsters threatening them—the daily papers merging into “Village of the Damned.” Tapping and exploiting this kind of hysteria for a satirical fantasy, the writer Robert Thom has used what is available and obvious but he’s done it with just enough mockery and style to make it funny. He throws in assignment touches of characterization and occasional lines that are not there just to my backyard, further the plot, and these throwaways make odd connections so that the movie becomes almost frolicsome in its paranoia (and in its delight in its own cleverness). If you went to assignment, “Wild in the Streets” expecting a good movie, you’d probably be appalled because the directing is thesis unskilled and the music is banal and many of the ideas in the script are scarcely even carried out, and almost every detail is assignment calendar messed up (the casting director has used bit players and about job extras who are decades too old for their roles). It’s a paste-up job of calendar, cheap movie-making, but it has genuinely funny performers who seize their opportunities and throw their good lines like boomerangs—Diane Varsi (like an even more zonked-out Geraldine Page) doing a perfectly quietly convincing freak-out as if it were truly a put-on of the whole straight world; Hal Holbrook with his inexpressive actorish face that is Godfather the book and movie opaque and calendar uninteresting in essays my backyard long shot but in close-up reveals tiny little shifts of expression, slight tightenings of the features that are like the movement of thought; and Shelley Winters, of course, and calendar Christopher Jones. It’s not so terrible—it may even be a relief—for a movie to be without the look of descriptive, art; there are much worse things aesthetically than the crude good-natured crumminess, the undisguised reach for a fast buck, of movies without art. From “I Was a Teen-Age Werewolf” through the beach parties to “Wild in the Streets” and “The Savage Seven,” American International Pictures has sold a cheap commodity, which in its lack of artistry and in its blatant and sometimes funny way of delivering action serves to remind us that one of the great appeals of assignment, movies is that we don’t have to take them too seriously. “Wild in using critical thinking life the Streets” is a fluke—a borderline, special case of a movie that is entertaining because some talented people got a chance to assignment calendar, do something at American International that the more respectable companies were too nervous to try.

But though I don’t enjoy a movie so obvious and badly done as the critical in everyday big American International hit, “The Wild Angels,” it’s easy to see why kids do and assignment calendar why many people in other countries do. Their reasons are basically why we all started going to the movies. After a time, we may want more, but audiences who have been forced to wade through the thick middle-class padding of more expensively made movies to get to the action enjoy the nose-thumbing at “good taste” of cheap movies that stick to writing short rubric, the raw materials. At some basic level they like the pictures to be cheaply done, they enjoy the crudeness; it’s a breather, a vacation from proper behavior and calendar good taste and required responses. Patrons of burlesque applaud politely for the graceful erotic dancer but go wild for the lewd lummox who bangs her big hips around. That’s what they go to burlesque for.

Personally, I hope for a reasonable minimum of finesse, and movies like “Planet of the Apes” or “The Scalphunters” or “The Thomas Crown Affair” seem to story rubric, me minimal entertainment for a relaxed evening’s pleasure. These are, to use traditional common-sense language, “good movies” or “good bad movies”—slick, reasonably inventive, well crafted. They are not art. But they are almost the maximum of what we’re now getting from American movies, and assignment calendar not only these but much worse movies are talked about as “art”—and are beginning to descriptive essays, be taken seriously in our schools. It’s preposterously egocentric to call anything we enjoy art—as if we could not be entertained by it if it were not; it’s just as preposterous to let prestigious, expensive advertising snow us into thinking we’re getting art for our money when we haven’t even had a good time.

I did have a good time at assignment, “Wild in the Streets,” which is more than I can say for essay about job, “Petulia” or “2001” or a lot of calendar, other highly praised pictures. “Wild in the Streets” is write a how not a work of art, but then I don’t think “Petulia” or “2001” is assignment calendar either, though “Petulia” has that kaleidoscopic hip look and “2001” that new-techniques look which combined with “swinging” or “serious” ideas often pass for motion picture art. Let’s clear away a few misconceptions. Movies make hash of the schoolmarm’s approach of how well the essay about course-related job artist fulfilled his intentions. Whatever the original intention of the writers and director, it is usually supplanted, as the production gets under way, by the intention to assignment, make money—and the industry judges the film by how well it fulfills that intention. But if you could see the “artist’s intentions” you’d probably wish you couldn’t anyway. Nothing is so deathly to enjoyment as the essays my backyard relentless march of calendar, a movie to fulfill its obvious purpose. This is, indeed, almost a defining characteristic of the hack director, as distinguished from an descriptive my backyard artist. The intention to make money is generally all too obvious. One of the calendar excruciating comedies of our time is attending the new classes in cinema at the high schools where the students may quite shrewdly and Godfather the book accurately interpret the plot developments in a mediocre movie in terms of manipulation for a desired response while the teacher tries to explain everything in terms of the assignment calendar creative artist working out his theme—as if the conditions under which a movie is creative writing rubric made and the market for which it is designed were irrelevant, as if the latest product from calendar, Warners or Universal should be analyzed like a lyric poem. People who are just getting “seriously interested” in film always ask a critic, “Why don’t you talk about technique and ‘the visuals’ more?” The answer is that American movie technique is critical in everyday life generally more like technology and it usually isn’t very interesting. Hollywood movies often have the look of the assignment studio that produced them—they have a studio style.

Many current Warner films are noisy and have a bright look of cheerful ugliness, Universal films the cheap blur of money-saving processes, and so forth. Sometimes there is great statement even a spirit that seems to calendar, belong to the studio. We can speak of the Paramount comedies of the Thirties or the essays my backyard Twentieth-Century Fox family entertainment of the Forties and CinemaScope comedies of the Fifties or the old MGM gloss, pretty much as we speak of assignment, Chevvies or Studebakers. To Essay. These movies look alike, they move the same way, they have just about the same engines because of the studio policies and calendar the kind of material the studio heads bought, the ideas they imposed, the way they had the films written, directed, photographed, and the labs where the prints were processed, and, of course, because of the presence of the studio stable of stars for whom the material was often purchased and using critical in everyday life shaped and who dominated the output of the studio. In some cases, as at Paramount in the Thirties, studio style was plain and rather tacky and the output—those comedies with Mary Boland and Mae West and Alison Skipworth and W. C. Fields—looks the better for assignment, it now. Those economical comedies weren’t slowed down by the book a lot of fancy lighting or the adornments of “production values.” Simply to be enjoyable, movies don’t need a very high level of craftsmanship: wit, imagination, fresh subject matter, skillful performers, a good idea—either alone or in any combination—can more than compensate for lack of technical knowledge or a big budget.

The craftsmanship that Hollywood has always used as a selling point not only assignment, doesn’t have much to do with art—the expressive use of techniques—it probably doesn’t have very much to do with actual box-office appeal, either. A dull movie like Sidney Furie’s “The Naked Runner” is technically competent. The appalling “Half a Sixpence” is technically astonishing. Though the large popular audience has generally been respectful of expenditure (so much so that a critic who wasn’t impressed by the money and creative rubric effort that went into a “Dr. Zhivago” might be sharply reprimanded by readers), people who like “The President’s Analyst” or “The Producers” or “The Odd Couple” don’t seem to be bothered by assignment calendar their technical ineptitude and visual ugliness.

And on the other hand, the expensive slick techniques of ornately empty movies like “A Dandy in Aspic” can actually work against Godfather and movie one’s enjoyment, because such extravagance and waste are morally ugly. Assignment. If one compares movies one likes to movies one doesn’t like, craftsmanship of the big-studio variety is story rubric hardly a decisive factor. And if one compares a movie one likes by a competent director such as John Sturges or Franklin Schaffner or John Frankenheimer to a movie one doesn’t much like by the same director, his technique is probably not the decisive factor. After directing “The Manchurian Candidate” Frankenheimer directed another political thriller, “Seven Days in assignment May,” which, considered just as a piece of direction, was considerably more confident. While seeing it, one could take pleasure in Frankenheimer’s smooth showmanship.

But the how to to essay material (Rod Serling out of Fletcher Knebel and calendar Charles W. Bailey II) was like a straight (i.e., square) version of “The Manchurian Candidate.” I have to chase around the corridors of memory to summon up images from “Seven Days in May”; despite the my backyard brilliant technique, all that is assignment clear to mind is the touchingly, desperately anxious face of Ava Gardner—how when she smiled you couldn’t be sure if you were seeing dimples or tics. But “The Manchurian Candidate,” despite Frankenheimer’s uneven, often barely adequate, staging, is still vivid because of the script. It took off from a political double entendre that everybody had been thinking of (“Why, if Joe McCarthy were working for the Communists, he couldn’t be doing them more good!”) and carried it to startling absurdity, and the extravagances and conceits and conversational non sequiturs (by George Axelrod out of Richard Condon) were ambivalent and funny in a way that was trashy yet liberating. Technique is hardly worth talking about great unless it’s used for something worth doing: that’s why most of the theorizing about the new art of assignment calendar, television commercials is such nonsense. The effects are impersonal—dexterous, sometimes clever, but empty of the book and movie, art. Calendar. It’s because of their emptiness that commercials call so much attention to their camera angles and how to a how quick cutting—which is why people get impressed by calendar “the art” of it. Movies are now often made in terms of what television viewers have learned to settle for. Despite a great deal that is essay about spoken and written about assignment young people responding visually, the influence of TV is to make movies visually less imaginative and complex. Television is a very noisy medium and viewers listen, while getting used to a poor quality of visual reproduction, to the absence of visual detail, to visual obviousness and overemphasis on simple compositions, and to atrociously simplified and distorted color systems. The shifting camera styles, the movement, and the fast cutting of a film like “Finian’s Rainbow”—one of the better big productions—are like the “visuals” of TV commercials, a disguise for creative writing short story, static material, expressive of nothing so much as the need to keep you from getting bored and leaving.

Men are now beginning their careers as directors by calendar working on commercials—which, if one cares to speculate on it, may be almost a one-sentence rsum of the future of American motion pictures. I don’t mean to suggest that there is not such a thing as movie technique or that craftsmanship doesn’t contribute to the book and movie, the pleasures of movies, but simply that most audiences, if they enjoy the acting and calendar the “story” or the theme or the funny lines, don’t notice or care about how well or how badly the movie is made, and because they don’t care, a hit makes a director a “genius” and everybody talks about his brilliant technique (i.e., the technique of thesis, grabbing an audience). In the brief history of movies there has probably never been so astonishingly gifted a large group of calendar, directors as the current Italians, and not just the famous ones—or Pontecorvo (“The Battle of Algiers”) or Francesco Rosi (“The Moment of essay course-related, Truth”) or the young prodigies, Bertolucci and Bellocchio, but dozens of others, men like Elio Petri (“We Still Kill the Old Way”) and Carlo Lizzani (“The Violent Four”). “The Violent Four” shows more understanding of visual movement and more talent for movie-making than anything that’s been made in America this year. Assignment Calendar. But could one tell people who are not crazy, dedicated moviegoers to go see it? I’m not sure, although I enjoyed the the book film enormously, because “The Violent Four” is a gangster genre picture. And it may be a form of aestheticism—losing sight of what people go to movies for, and particularly what they go to foreign movies for—for a critic to say, “His handling of crowds and street scenes is superb,” or, “It has a great semi-documentary chase sequence.” It does, but the movie is basically derived from our old gangster movies, and beautifully made as it is, one would have a hard time convincing educated people to go see a movie that features a stunning performance by assignment calendar Gian Maria Volonte which is based on the book, Paul Muni and assignment calendar James Cagney. Presumably they want something different from creative writing short, movies than a genre picture that offers images of modern urban decay and calendar is smashingly directed. Essay. If a movie is interesting primarily in terms of technique then it isn’t worth talking about assignment except to students who can learn from seeing how a good director works.

And to talk about a movie like “The Graduate” in terms of movie technique is really a bad joke. Technique at Godfather the book and movie, this level is not of any aesthetic importance; it’s not the ability to achieve what you’re after but the assignment skill to find something acceptable. One must talk about essays a film like this in terms of what audiences enjoy it for or one is talking gibberish—and might as well be analyzing the “art” of commercials. And for assignment, the greatest movie artists where there is a unity of technique and and movie subject, one doesn’t need to talk about technique much because it has been subsumed in the art. One doesn’t want to talk about how Tolstoi got his effects but about the work itself. Calendar. One doesn’t want to talk about how Jean Renoir does it; one wants to talk about what he has done. Essay Job. One can try to separate it all out, of course, distinguish form and content for assignment calendar, purposes of analysis. But that is a secondary, analytic function, a scholarly function, and hardly needs to be done explicitly in criticism. Statement. Taking it apart is calendar far less important than trying to see it whole. The critic shouldn’t need to tear a work apart to demonstrate that he knows how it was put together. The important thing is to convey what is new and beautiful in the work, not how it was made—which is more or less implicit.

Just as there are good actors—possibly potentially great actors—who have never become big stars because they’ve just never been lucky enough to thesis, get the roles they needed (Brian Keith is assignment a striking example) there are good directors who never got the scripts and the casts that could make their reputations. The question people ask when they consider going to a movie is not “How’s it made?” but “What’s it about?” and that’s a perfectly legitimate question. (The next question—sometimes the first—is generally, “Who’s in it?” and that’s a good, honest question, too.) When you’re at a movie, you don’t have to great thesis statement, believe in it to calendar, enjoy it but you do have to be interested. (Just as you have to be interested in the human material, too. Why should you go see another picture with James Stewart?) I don’t want to see another samurai epic in exactly the same way I never want to read “Kristin Lavransdatter.” Though it’s conceivable that a truly great movie director could make any subject interesting, there are few such artists working in movies and short rubric if they did work on unpromising subjects I’m not sure we’d really enjoy the results even if we did admire their artistry. (I recognize the calendar greatness of essay about course-related, sequences in several films by Eisenstein but it’s a rather cold admiration.) The many brilliant Italian directors who are working within a commercial framework on assignment, crime and action movies are obviously not going to be of any great interest unless they get a chance to work on a subject we care about. Ironically the Czech successes here (“The Shop on Main Street,” “Loves of a Blonde,” “Closely Watched Trains”) are acclaimed for their techniques, which are fairly simple and rather limited, when it’s obviously their human concern and the basic modesty and decency of their attitudes plus a little barnyard humor which audiences respond to. They may even respond partly because of the thesis statement simplicity of the techniques. When we are children, though there are categories of films we don’t like—documentaries generally (they’re too much like education) and, of course, movies especially designed for children—by the time we can go on our own we have learned to avoid them. Children are often put down by adults when the calendar children say they enjoyed a particular movie; adults who are short on empathy are quick to point out aspects of the plot or theme that the child didn’t understand, and it’s easy to humiliate a child in this way. But it is one of the glories of descriptive essays my backyard, eclectic arts like opera and movies that they include so many possible kinds and combinations of calendar, pleasure. One may be enthralled by Leontyne Price in “La Forza del Destino” even if one hasn’t boned up on the libretto, or entranced by “The Magic Flute” even if one has boned up on the book and movie, the libretto, and a movie may be enjoyed for calendar, many reasons that have little to do with the story or the subtleties (if any) of course-related job, theme or character. Unlike “pure” arts which are often defined in terms of what only they can do, movies are open and unlimited. Probably everything that can be done in calendar movies can be done some other way, but—and this is what’s so miraculous and so expedient about them—they can do almost anything any other art can do (alone or in combination) and they can take on some of the essay about course-related job functions of exploration, of journalism, of assignment calendar, anthropology, of almost any branch of knowledge as well.

We go to the movies for the variety of what they can provide, and for their marvelous ability to give us easily and inexpensively (and usually painlessly) what we can get from other arts also. They are a wonderfully convenient art. Movies are used by cultures where they are foreign films in a much more primitive way than in their own; they may be enjoyed as travelogues or as initiations into how others live or in ways we might not even guess. The sophisticated and knowledge able moviegoer is likely to forget how new and creative short story how amazing the different worlds up there once seemed to him, and to forget how much a child reacts to, how many elements he is taking in, often for the first time. And even adults who have seen many movies may think a movie is “great” if it introduces them to assignment, unfamiliar subject matter; thus many moviegoers react as navely as children to “Portrait of Jason” or “The Queen.” They think they’re wonderful. The oldest plots and corniest comedy bits can be full of wonder for a child, just as the freeway traffic in a grade Z melodrama can be magical to a villager who has never seen a car. A child may enjoy even a movie like “Jules and Jim” for its sense of fun, without comprehending it as his parents do, just as we may enjoy an Italian movie as a sex comedy although in Italy it is considered social criticism or political satire.

Jean-Luc Godard liked the descriptive essays movie of assignment, “Pal Joey,” and I suppose that a miserable American movie musical like “Pal Joey” might look good in how to France because I can’t think of a single good dance number performed by assignment calendar French dancers in a French movie. The Book. The French enjoy what they’re unable to do and we enjoy the French studies of the pangs of adolescent love that would be corny if made in Hollywood. A movie like “The Young Girls of Rochefort” demonstrates how even a gifted Frenchman who adores American musicals misunderstands their conventions. Yet it would be as stupid to say that the director Jacques Demy couldn’t love American musicals because he doesn’t understand their conventions as to tell a child he couldn’t have liked “Planet of the Apes” because he didn’t get the jokey references to the Scopes trial. Every once in a while I see an assignment calendar anthropologist’s report on short story rubric, how some preliterate tribe reacts to movies; they may, for example, be disturbed about where the actor has gone when he leaves the movie frame, or they may respond with enthusiasm to the noise and congestion of big-city life which in the film story are meant to show the depths of depersonalization to which we are sinking, but which they find funny or very jolly indeed. Different cultures have their own ways of enjoying movies. Calendar. A few years ago the new “tribalists” here responded to the gaudy fantasies of “Juliet of the Spirits” by using the movie to turn on. A few had already made a trip of “8Ѕ” but “Juliet,” which was, conveniently and perhaps not entirely accidentally, in electric, psychedelic color, caught on because of it. (The color was awful, like in bad MGM musicals—one may wonder about the quality of the trips.) The new tribalism in the age of the media is my backyard not necessarily the enemy of commercialism; it is a direct outgrowth of commercialism and its ally, perhaps even its instrument. If a movie has enough clout, reviewers and columnists who were bored are likely to give it another chance, until on the second or third viewing, they discover that it affects them “viscerally”—and a big expensive movie is likely to do just that. “2001” is said to calendar, have caught on with youth (which can make it happen); and it’s said that the movie will stone you—which is meant to be a recommendation. Despite a few dissident voices—I’ve heard it said, for example, that “2001” “gives you a bad trip because the visuals don’t go with the music”—the promotion has been remarkably effective with students. “The tribes” tune in great so fast that college students thousands of miles apart “have heard” what a great trip “2001” is before it has even reached their city.

Using movies to calendar, go on a trip has about as much connection with the art of the film as using one of those Doris Day-Rock Hudson jobs for ideas on how to to essay, how to redecorate your home—an earlier way of stoning yourself. But it is relevant to an understanding of movies to try to separate out, for assignment, purposes of discussion at least, how we may personally use a film—to learn how to great thesis, dress or how to speak more elegantly or how to make a grand entrance or even what kind of coffee maker we wish to purchase, or to take off from the movie into a romantic fantasy or a trip—from what makes it a good movie or a poor one, because, of course, we can use poor films as easily as good ones, perhaps more easily for such non-aesthetic purposes as shopping guides or aids to tripping. We generally become interested in movies because we enjoy them and what we enjoy them for has little to calendar, do with what we think of as art. The movies we respond to, even in childhood, don’t have the same values as the official culture supported at school and in the middle-class home. At the movies we get low life and high life, while David Susskind and the moralistic reviewers chastise us for not patronizing what they think we should, “realistic” movies that would be good for us—like “A Raisin in the Sun,” where we could learn the lesson that a Negro family can be as dreary as a white family. Movie audiences will take a lot of garbage, but it’s pretty hard to make us queue up for pedagogy.

At the movies we want a different kind of truth, something that surprises us and great statement registers with us as funny or accurate or maybe amazing, maybe even amazingly beautiful. We get little things even in mediocre and terrible movies—Jos Ferrer sipping his booze through a straw in “Enter Laughing,” Scott Wilson’s hard scary all-American-boy-you-can’t-reach face cutting through the pretensions of “In Cold Blood” with all its fancy bleak cinematography. We got, and still have embedded in memory, Tony Randall’s surprising depth of feeling in calendar “The Seven Faces of Dr. Lao,” Keenan Wynn and thinking in everyday life Moyna Macgill in the lunch-counter sequence of “The Clock,” John W. Bubbles on the dance floor in assignment “Cabin in the Sky,” the inflection Gene Kelly gave to the line, “I’m a rising young man” in “DuBarry Was a Lady,” Tony Curtis saying “avidly” in “Sweet Smell of job, Success.” Though the assignment calendar director may have been responsible for releasing it, it’s the human material we react to most and remember longest. Great. The art of the performers stays fresh for us, their beauty as beautiful as ever. There are so many kinds of things we get—the hangover sequence wittily designed for the CinemaScope screen in calendar “The Tender Trap,” the atmosphere of the newspaper offices in “The Luck of Ginger Coffey,” the automat gone mad in “Easy Living.” Do we need to essay about job, lie and shift things to false terms—like those who have to say Sophia Loren is assignment a great actress as if her acting had made her a star? Wouldn’t we rather watch her than better actresses because she’s so incredibly charming and because she’s probably the greatest model the world has ever known? There are great moments—Angela Lansbury singing “Little Yellow Bird” in “Dorian Gray.” (I don’t think I’ve ever had a friend who didn’t also treasure that girl and that song.) And there are absurdly right little moments—in “Saratoga Trunk” when Curt Bois says to Ingrid Bergman, “You’re very beautiful,” and she says, “Yes, isn’t it lucky?” And those things have closer relationships to art than what the schoolteachers told us was true and beautiful. Not that the works we studied in school weren’t often great (as we discovered later ) but that what the teachers told us to admire them for (and if current texts are any indication, are still telling students to admire them for) was generally so false and prettified and moralistic that what might have been moments of pleasure in them, and what might have been cleansing in write a how them, and subversive, too, had been coated over. Because of the photographic nature of the assignment medium and the cheap admission prices, movies took their impetus not from the desiccated imitation European high culture, but from the peep show, the Wild West show, the write music hall, the comic strip—from what was coarse and common. The early Chaplin two-reelers still look surprisingly lewd, with bathroom jokes and drunkenness and hatred of work and proprieties.

And the Western shoot-’em-ups certainly weren’t the schoolteachers’ notions of art—which in assignment calendar my school days, ran more to didactic poetry and descriptive essays my backyard “perfectly proportioned” statues and which over the years have progressed through nice stories to “good taste” and “excellence”—which may be more poisonous than homilies and dainty figurines because then you had a clearer idea of what you were up against and it was easier to assignment calendar, fight. And this, of course, is Godfather the book and movie what we were running away from when we went to the movies. All week we longed for Saturday afternoon and sanctuary—the anonymity and assignment impersonality of sitting in a theatre, just enjoying ourselves, not having to be responsible, not having to be “good.” Maybe you just want to look at people on my backyard, the screen and know they’re not looking back at you, that they’re not going to turn on you and criticize you. Perhaps the single most intense pleasure of moviegoing is this non-aesthetic one of escaping from the assignment responsibilities of having the proper responses required of us in our official (school) culture. And yet this is probably the best and most common basis for developing an write to essay aesthetic sense because responsibility to pay attention and to assignment, appreciate is creative writing short anti-art, it makes us too anxious for pleasure, too bored for response. Calendar. Far from supervision and official culture, in the darkness at the movies where nothing is asked of us and Godfather and movie we are left alone, the liberation from duty and constraint allows us to develop our own aesthetic responses. Unsupervised enjoyment is probably not the only kind there is but it may feel like the only kind. Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize. Assignment. I don’t like to great thesis, buy “hard tickets” for a “road show” movie because I hate treating a movie as an occasion.

I don’t want to be pinned down days in calendar advance; I enjoy the casualness of moviegoing—of going in when I feel like it, when I’m in the mood for a movie. Story Rubric. It’s the feeling of freedom from respectability we have always enjoyed at calendar, the movies that is carried to an extreme by American International Pictures and the Clint Eastwood Italian Westerns; they are stripped of cultural values. We may want more from movies than this negative virtue but we know the descriptive my backyard feeling from childhood moviegoing when we loved the gamblers and pimps and the cons’ suggestions of calendar, muttered obscenities as the guards walked by. The appeal of movies was in the details of crime and high living and wicked cities and in the language of toughs and course-related urchins; it was in the dirty smile of the city girl who lured the hero away from assignment, Janet Gaynor. Writing Rubric. What draws us to movies in the first place, the opening into other, forbidden or surprising, kinds of calendar, experience, and the vitality and Godfather corruption and irreverence of that experience are so direct and immediate and calendar have so little connection with what we have been taught is art that many people feel more secure, feel that their tastes are becoming more cultivated when they begin to essay job, appreciate foreign films.

One foundation executive told me that he was quite upset that his teen-agers had chosen to go to “Bonnie and Clyde” rather than with him to “Closely Watched Trains.” He took it as a sign of lack of maturity. I think his kids made an honest choice, and not only because “Bonnie and Clyde” is the better movie, but because it is closer to calendar, us, it has some of the qualities of direct involvement that make us care about thinking in everyday life movies. But it’s understandable that it’s easier for us, as Americans, to see art in foreign films than in our own, because of how we, as Americans, think of art. Assignment Calendar. Art is critical thinking in everyday life still what teachers and assignment ladies and thinking foundations believe in, it’s civilized and refined, cultivated and serious, cultural, beautiful, European, Oriental: it’s what America isn’t, and assignment it’s especially what American movies are not. Still, if those kids had chosen “Wild in the Streets” over “Closely Watched Trains” I would think that was a sound and honest choice, too, even though “Wild in the Streets” is in most ways a terrible picture. It connects with their lives in an immediate even if a grossly frivolous way, and if we don’t go to thesis, movies for excitement, if, even as children, we accept the cultural standards of refined adults, if we have so little drive that we accept “good taste,” then we will probably never really begin to care about movies at calendar, all.

We will become like those people who “may go to American movies sometimes to relax” but when they want “a little more” from a movie, are delighted by how colorful and artistic Franco Zeffirelli’s “The Taming of the Shrew” is, just as a couple of decades ago they were impressed by “The Red Shoes,” made by Powell and Pressburger, the Zeffirellis of about, their day. Or, if they like the cozy feeling of uplift to assignment, be had from mildly whimsical movies about the book timid people, there’s generally a “Hot Millions” or something musty and faintly boring from Eastern Europe—one of those movies set in assignment World War II but so remote from our ways of thinking that it seems to statement, be set in World War I. Afterward, the assignment moviegoer can feel as decent and virtuous as if he’d spent an evening visiting a deaf old friend of the family. It’s a way of taking movies back into how to the approved culture of the schoolroom—into gentility—and the voices of schoolteachers and reviewers rise up to ask why America can’t make such movies. Movie art is not the opposite of what we have always enjoyed in movies, it is not to be found in assignment calendar a return to that official high culture, it is about what we have always found good in movies only more so. Assignment Calendar. It’s the how to a how to essay subversive gesture carried further, the assignment calendar moments of excitement sustained longer and extended into new meanings.

At best, the movie is totally informed by the kind of pleasure we have been taking from great thesis statement, bits and pieces of movies. But we are so used to reaching out to assignment calendar, the few good bits in a movie that we don’t need formal perfection to be dazzled. There are so many arts and crafts that go into movies and there are so many things that can go wrong that they’re not an art for purists. We want to experience that elation we feel when a movie (or even a performer in a movie) goes farther than we had expected and makes the leap successfully. Even a film like Godard’s “Les Carabiniers,” hell to watch for in everyday life, the first hour, is exciting to think about after because its one good sequence, the long picture postcard sequence near the end, is assignment so incredible and so brilliantly prolonged. The picture has been crawling and great stumbling along and then it climbs a high wire and walks it and assignment calendar keeps wanting it until we’re almost dizzy from admiration.

The tight rope is rarely stretched so high in movies, but there must be a sense of tension somewhere in the movie, if only in life a bit player’s face, not just mechanical suspense, or the movie is just more hours down the drain. Assignment. It’s the rare movie we really go with, the movie that keeps us tense and attentive. We learn to dread Hollywood “realism” and all that it implies. When, in the dark, we concentrate our attention, we are driven frantic by events on creative writing, the level of calendar, ordinary life that pass at the rhythm of ordinary life. That’s the self-conscious striving for integrity of great thesis, humorless, untalented people. When we go to a play we expect a heightened, stylized language; the dull realism of the streets is unendurably boring, though we may escape from the play to the nearest bar to calendar, listen to creative short story, the same language with relief. Better life than art imitating life. If we go back and think over the movies we’ve enjoyed—even the assignment calendar ones we knew were terrible movies while we enjoyed them—what we enjoyed in them, the little part that was good, had, in some rudimentary way, some freshness, some hint of style, some trace of a how, beauty, some audacity, some craziness. It’s there in calendar the interplay between Burt Lancaster and using Ossie Davis, or, in assignment “Wild in the Streets,” in Diane Varsi rattling her tambourine, in great Hal Holbrook’s faint twitch when he smells trouble, in a few of assignment, Robert Thom’s lines; and they have some relation to art though they don’t look like what we’ve been taught is “quality.” They have the joy of playfulness. Write. In a mediocre or rotten movie, the calendar good things may give the impression that they come out of nowhere; the better the essay about movie, the more they seem to belong to the world of the movie.

Without this kind of playfulness and assignment the pleasure we take from it, art isn’t art at all, it’s something punishing, as it so often is in essay course-related job school where even artists’ little jokes become leaden from explanation. Keeping in calendar mind that simple, good distinction that all art is entertainment but not all entertainment is art, it might be a good idea to keep in mind also that if a movie is said to be a work of art and you don’t enjoy it, the fault may be in you, but it’s probably in the movie. Because of the money and advertising pressures involved, many reviewers discover a fresh masterpiece every week, and there’s that cultural snobbery, that hunger for creative short story, respectability that determines the selection of the calendar even bigger annual masterpieces. In foreign movies what is most often mistaken for “quality” is an imitation of great thesis statement, earlier movie art or a derivation from respectable, approved work in the other arts—like the demented, suffering painter-hero of “Hour of the Wolf” smearing his lipstick in a facsimile of calendar, expressionist anguish. Kicked in the ribs, the great statement press says “art” when “ouch” would be more appropriate. When a director is said to be an assignment artist (generally on the basis of earlier work which the press failed to recognize) and especially when he picks artistic subjects like the pain of creation, there is Godfather the book and movie a tendency to acclaim his new bad work. This way the press, in trying to make up for calendar, its past mistakes, manages to descriptive my backyard, be wrong all the time. And so a revenge-of-a-sour-virgin movie like Truffaut’s “The Bride Wore Black” is treated respectfully as if it somehow revealed an artist’s sensibility in every frame.

Reviewers who would laugh at assignment, Lana Turner going through her femme fatale act in another Ross Hunter movie swoon when Jeanne Moreau casts significant blank looks for Truffaut. In American movies what is most often mistaken for critical thinking, artistic quality is box-office success, especially if it’s combined with a genuflection to importance; then you have “a movie the industry can be proud of” like “To Kill a Mockingbird” or such Academy Award winners as “West Side Story,” “My Fair Lady,” or “A Man for assignment calendar, All Seasons.” Fred Zinnemann made a fine modern variant of a Western, “The Sundowners,” and hardly anybody saw it until it got on critical life, television; but “A Man for All Seasons” had the look of prestige and the press felt honored to assignment, praise it. I’m not sure most movie reviewers consider what they honestly enjoy as being central to criticism. Some at great thesis statement, least appear to think that that would be relying too much on their own tastes, being too personal instead of being “objective”—relying on the ready-made terms of cultural respectability and on consensus judgment (which, to a rather shocking degree, can be arranged by publicists creating a climate of importance around a movie). Just as movie directors, as they age, hunger for what was meant by assignment calendar respectability in their youth, and aspire to prestigious cultural properties, so, too, the movie press longs to be elevated in terms of the cultural values of their old high schools. The Book And Movie. And so they, along with the industry, applaud ghastly “tour-de-force” performances, movies based on “distinguished” stage successes or prize-winning novels, or movies that are “worthwhile,” that make a “contribution”—“serious” messagy movies.

This often involves praise of bad movies, of dull movies, or even the calendar praise in creative writing rubric good movies of what was worst in them. This last mechanism can be seen in the honors bestowed on “In the Heat of the assignment Night.” The best thing in the movie is that high comic moment when Poitier says, “I’m a police officer,” because it’s a reversal of Godfather the book, audience expectations and we laugh in delighted relief that the movie is not going to be another self-righteous, self-congratulatory exercise in the gloomy old Stanley Kramer tradition. At that point the audience sparks to calendar, life. Using Critical. The movie is fun largely because of the amusing central idea of a black Sherlock Holmes in assignment calendar a Tom and Jerry cartoon of reversals. Poitier’s color is used for comedy instead of for that extra dimension of irony and pathos that made movies like “To Sir, with Love” unbearably sentimental.

He doesn’t really play the super sleuth very well: he’s much too straight even when spouting the essay about course-related kind of higher scientific nonsense about right-handedness and calendar left-handedness that would have kept Basil Rathbone in an ecstasy of clipped diction, blinking eyes and raised eyebrows. Like Bogart in “Beat the Devil” Poitier doesn’t seem to creative writing story, be in on the joke. But Rod Steiger compensated with a comic performance that was even funnier for being so unexpected—not only from assignment calendar, Steiger’s career which had been going in creative short story rubric other directions, but after the apparently serious opening of the film. The movie was, however, praised by the press as if it had been exactly the kind of picture that the audience was so relieved to discover it wasn’t going to be (except in assignment calendar its routine melodramatic sequences full of fake courage and the climaxes such as Poitier slapping a rich white Southerner or being attacked by white thugs; except that is, in its worst parts). When I saw it, the audience, both black and white, enjoyed the joke of the great thesis fast-witted, hyper-educated black detective explaining matters to the backward, blundering Southern-chief-of-police slob.

This racial poke is far more open and assignment inoffensive than the usual “irony” of Poitier being so good and so black. For once it’s funny (instead of embarrassing) that he’s so superior to everybody. “In the course-related Heat of the calendar Night” isn’t in itself a particularly important movie; amazingly alive photographically, it’s an entertaining, somewhat messed-up comedy-thriller. The director Norman Jewison destroys the final joke when Steiger plays redcap to Poitier by infusing it with tender feeling, so it comes out sickly sweet, and it’s too bad that a whodunit in which the whole point is the demonstration of the Negro detective’s ability to unravel what the white man can’t, is never clearly unraveled. Maybe it needed a Negro super director. (The picture might have been more than just a lively whodunit if the using in everyday life detective had proceeded to solve the calendar crime not by writing short story rubric “Scientific” means but by an understanding of relationships in assignment the South that the descriptive essays white chief of police didn’t have.) What makes it interesting for my purposes here is that the audience enjoyed the movie for the vitality of its surprising playfulness, while the industry congratulated itself because the film was “hard-hitting”—that is to say, it flirted with seriousness and spouted warm, worthwhile ideas. Those who can accept “In the Heat of the Night” as the socially conscious movie that the industry pointed to with pride probably also go along with the way the press attacked Jewison’s subsequent film, “The Thomas Crown Affair,” as trash and a failure. One could even play the same game that was played on “In the Heat of the Night” and convert the assignment “Crown” trifle into a sub-fascist exercise because, of course, Crown, the superman, who turns to crime out of boredom, is the crooked son of “The Fountainhead,” out of Raffles. Descriptive Essays My Backyard. But that’s talking glossy summer-evening fantasies much too seriously: we haven’t had a junior executives fantasy-life movie for a long time and to attack this return of the worldly gentlemen-thieves genre of Ronald Colman and William Powell politically is to fail to have a sense of calendar, humor about the Godfather the book little romantic-adolescent fascist lurking in most of us. Part of the fun of movies is that they allow us to see how silly many of our fantasies are and how widely they’re shared. Assignment Calendar. A light romantic entertainment like “The Thomas Crown Affair,” trash undisguised, is the kind of about, chic crappy movie which (one would have thought) nobody could be fooled into thinking was art. Seeing it is calendar like lying in the sun flicking through fashion magazines and, as we used to essays, say, feeling rich and beautiful beyond your wildest dreams.

But it isn’t easy to assignment calendar, come to the book, terms with what one enjoys in films, and if an older generation was persuaded to dismiss trash, now a younger generation, with the press and the schools in hot pursuit, has begun to talk about calendar trash as if it were really very serious art. How To Write A How. College newspapers and calendar the new press all across the great statement country are full of a hilarious new form of scholasticism, with students using their education to calendar, cook up impressive reasons for using, enjoying very simple, traditional dishes. Here is a communication from Cambridge to calendar, a Boston paper: Although Thomas Crown is an attractive and story fascinating character, Vicki is the protagonist. Crown is consistent, predictable: he courts personal danger to feel superior to the system of assignment calendar, which he is a part, and to make his otherwise overly comfortable life more interesting. Vicki is caught between two opposing elements within her, which, for convenience, I would call masculine and feminine. In spite of the book and movie, her glamour, at the outset she is basically masculine, in a man’s type of job, ruthless, after prestige and wealth.

But Crown looses the female in her. His test is a test of her femininity. The masculine responds to the challenge. Therein lies the pathos of her final revelation. Calendar. Her egocentrism had not yielded to his. In this psychic context, the possibility of establishing faith is creative short story explored.

The movement of the film is towards Vicki’s final enigma. Her ambivalence is commensurate with the increasing danger to assignment, Crown. The suspense lies in how she will respond to her dilemma, rather than whether Crown will escape. I find “The Thomas Crown Affair” to be a unique and haunting film, superb in its visual and technical design, and fascinating for the allegorical problem of human faith. It’s appalling to read solemn academic studies of Hitchcock or von Sternberg by using thinking people who seem to assignment calendar, have lost sight of the primary reason for seeing films like “Notorious” or “Morocco”—which is that they were not intended solemnly, that they were playful and inventive and in everyday faintly (often deliberately) absurd. Calendar. And what’s good in them, what relates them to art, is essay course-related job that playfulness and absence of solemnity.

There is talk now about von Sternberg’s technique—his use of assignment calendar, light and dcor and detail—and he is, of how to, course, a kitsch master in these areas, a master of studied artfulness and assignment pretty excess. Using Critical Thinking. Unfortunately, some students take this technique as proof that his films are works of art, once again, I think, falsifying what they really respond to—the satisfying romantic glamour of his very pretty trash. “Morocco” is great trash, and movies are so rarely great art, that if we cannot appreciate great trash , we have very little reason to be interested in calendar them. The kitsch of an earlier era—even the critical in everyday best kitsch—does not become art, though it may become camp. Von Sternberg’s movies became camp even while he was still making them, because as the romantic feeling went out of his trash—when he became so enamored of his own pretty effects that he turned his human-material into blank, affectless pieces of dcor—his absurd trashy style was all there was. We are now told in respectable museum publications that in assignment calendar 1932 a movie like “Shanghai Express” “was completely misunderstood as a mindless adventure” when indeed it was completely understood as a mindless adventure. And enjoyed as a mindless adventure. Great. It’s a peculiar form of movie madness crossed with academicism, this lowbrowism masquerading as highbrowism, eating a candy bar and cleaning an “allegorical problem of assignment calendar, human faith” out of your teeth.

If we always wanted works of descriptive essays, complexity and depth we wouldn’t be going to movies about calendar glamorous thieves and seductive women who sing in cheap cafs, and life if we loved “Shanghai Express” it wasn’t for its mind but for the glorious sinfulness of Dietrich informing Clive Brook that, “It took more than one man to assignment calendar, change my name to using in everyday, Shanghai Lily” and for the villainous Oriental chieftain (Warner Oland) delivering the classic howler, “The white woman stays with me.” If we don’t deny the pleasures to be had from certain kinds of trash and accept “The Thomas Crown Affair” as a pretty fair example of entertaining trash, then we may ask if a piece of trash like this has any relationship to assignment calendar, art. And I think it does. Write. Steve McQueen gives probably his most glamorous, fashionable performance yet, but even enjoying him as much as I do, I wouldn’t call his performance art. It’s artful, though, which is assignment exactly what is required in this kind of vehicle. If he had been luckier, if the script had provided what it so embarrassingly lacks, the using critical life kind of assignment calendar, sophisticated dialogue—the sexy shoptalk—that such writers as Jules Furthman and critical thinking in everyday life William Faulkner provided for Bogart, and if the director Norman Jewison had Lubitsch’s lightness of touch, McQueen might be acclaimed as a suave, “polished” artist. Even in this flawed setting, there’s a self-awareness in his performance that makes his elegance funny. And Haskell Weller, the cinematographer, lets go with a whole bag of tricks, flooding the screen with his delight in beauty, shooting all over assignment calendar, the place, and sending up the material. Using Thinking Life. And Pablo Ferro’s games with the split screen at assignment calendar, the beginning are such conscious, clever games designed to descriptive my backyard, draw us in to watch intently what is assignment of no great interest. What gives this trash a lift, what makes it entertaining is clearly that some of those involved, knowing of great thesis, course that they were working on a silly shallow script and a movie that wasn’t about anything of consequence, used the chance to assignment calendar, have a good time with it. If the using in everyday director, Norman Jewison, could have built a movie instead of putting together a patchwork of calendar, sequences, “Crown” might have had a chance to be considered a movie in the class and great genre of Lubitsch’s “Trouble in Paradise.” It doesn’t come near that because to transform this kind of kitsch, to make art of it, one needs that unifying grace, that formality and charm that a Lubitsch could sometimes provide.

Still, even in this movie we get a few grace notes in McQueen’s playfulness, and from Wexler and Perro. Working on trash, feeling free to play, can loosen up the calendar actors and craftsmen just as seeing trash can liberate the spectator. And as we don’t get this playful quality of art much in movies except in trash, we might as well relax and enjoy it freely for write to essay, what it is. I don’t trust anyone who doesn’t admit having at some time in his life enjoyed trashy American movies; I don’t trust any of the assignment calendar tastes of people who were born with such good taste that they didn’t need to find their way through trash. There is a moment in “Children of how to to essay, Paradise” when the rich nobleman (Louis Salou) turns on his mistress, the calendar pearly plebeian Garance (Arletty). He complains that in all their years together he has never had her love, and essay she replies, “You’ve got to leave something for the poor.” We don’t ask much from movies, just a little something that we can call our own. Calendar. Who at some point hasn’t set out dutifully for that fine foreign film and using critical thinking life then ducked into assignment the nearest piece of American trash? We’re not only educated people of taste, we’re also common people with common feelings. And our common feelings are not all bad . You hoped for some aliveness in that trash that you were pretty sure you wouldn’t get from the respected “art film.” You had long since discovered that you wouldn’t get it from certain kinds of American movies, either.

The industry now is taking a neo-Victorian tone, priding itself on great thesis statement, its (few) “good, clean” movies—which are always its worst movies because almost nothing can break through the assignment smug surfaces, and descriptive essays my backyard even performers’ talents become cute and cloying. The lowest action trash is preferable to wholesome family entertainment. When you clean them up, when you make movies respectable, you kill them. The wellspring of their art , their greatness, is in assignment not being respectable. Does trash corrupt? A nutty Puritanism still flourishes in the arts, not just in the schoolteachers’ approach of great statement, wanting art to be “worthwhile,” but in the higher reaches of the academic life with those ideologues who denounce us for enjoying trash as if this enjoyment took us away from the really disturbing, angry new art of our time and somehow destroyed us. If we had to justify our trivial silly pleasures, we’d have a hard time. How could we possibly justify the assignment calendar fun of getting to know some people in movie after movie, like Joan Blondell, the brassy blonde with the heart of gold, or waiting for the virtuous, tiny, tiny-featured heroine to say her line so we could hear the riposte of her tough, wisecracking girlfriend (Iris Adrian was my favorite). Or, when the picture got too monotonous, there would be the song interlude, introduced “atmospherically” when the cops and crooks were both in the same never-neverland nightclub and everything stopped while a girl sang. Sometimes it would be the most charming thing in the movie, like Dolores Del Rio singing “You Make Me That Way” in “International Settlement”; sometimes it would drip with maudlin meaning, like “Oh Give Me Time for Tenderness” in “Dark Victory” with the dying Bette Davis singing along with the chanteuse.

The pleasures of this kind of trash are not intellectually defensible. But why should pleasure need justification? Can one demonstrate that trash desensitizes us, that it prevents people from enjoying something better, that it limits our range of aesthetic response? Nobody I know of has provided such a demonstration. Do even Disney movies or Doris Day movies do us lasting harm? I’ve never known a person I thought had been harmed by them, though it does seem to me that they affect the tone of a culture, that perhaps—and I don’t mean to be facetious—they may poison us collectively though they don’t injure us individually. There are women who want to see a world in which everything is pretty and cheerful and in which romance triumphs (“Barefoot in the Park,” “Any Wednesday,”); families who want movies to rubric, be an innocuous inspiration, a good example for assignment calendar, the children (“The Sound of Music,” “The Singing Nun”); couples who want the kind of essay about course-related, folksy blue humor (“A Guide for assignment calendar, the Married Man”) that they still go to critical thinking in everyday, Broadway shows for. Assignment Calendar. These people are the reason slick, stale, rotting pictures make money; they’re the reason so few pictures are any good. And in that way, this terrible conformist culture does affect us all. Writing Short Rubric. It certainly cramps and limits opportunities for artists.

But that isn’t what generally gets attacked as trash, anyway. I’ve avoided using the term “harmless trash” for movies like “The Thomas Crown Affair,” because that would put me on the side of the angels—against “harmful trash,” and I don’t honestly know what that is. It’s common for assignment calendar, the press to call cheaply made, violent action movies “brutalizing” but that tells us less about writing short rubric any actual demonstrable effects than about the finicky tastes of the reviewers—who are often highly appreciative of violence in more expensive and assignment calendar “artistic” settings such as “Petulia.” It’s almost a class prejudice, this assumption that crudely made movies, movies without the look of art, are bad for descriptive my backyard, people. If there’s a little art in good trash and sometimes even in poor trash, there may be more trash than is generally recognized in some of the most acclaimed “art” movies. Calendar. Such movies as “Petulia” and “2001” may be no more than trash in the latest, up-to-the-minute guises, using “artistic techniques” to give trash the look of art. The serious art look may be the latest fashion in expensive trash. All that “art” may be what prevents pictures like these from being enjoyable trash; they’re not honestly crummy, they’re very fancy and they take their crummy ideas seriously. I have rarely seen a more disagreeable, a more dislikable (or a bloodier) movie than “Petulia” and I would guess that its commercial success represents a triumph of publicity—and not the simple kind of just taking ads.

It’s a very strange movie and people may, of course, like it for all sorts of critical thinking, reasons, but I think many may dislike it as I do and still feel they should be impressed by it; the calendar educated and privileged may now be more susceptible to the mass media than the using critical thinking life larger public—they’re certainly easier to reach. The publicity about Richard Lester as an artist has been gaining extraordinary momentum ever since “A Hard Day’s Night.” A critical success that is also a hit makes the director a genius; he’s a magician who made money out of art. The media are in assignment calendar ravenous competition for ever bigger stories, for writing rubric, “trend” pieces and editorial essays, because once the Process starts it’s considered news. If Lester is “making the scene” a magazine that hasn’t helped to build him up feels it’s been scooped. “Petulia” is the come-dressed-as-the-sick-soul-of-America-party and in assignment calendar the opening sequence the guests arrive—rich victims of highway accidents in their casts and wheel chairs, like the spirit of ’76 coming to opening night at the opera. It’s science-horror fiction—a garish new world with charity balls at how to write a how, which you’re invited to “Shake for Highway Safety. Lester picked San Francisco for calendar, his attack on using critical, America just as in “How I Won the assignment calendar War” he picked World War II to attack war. That is, it looks like a real frontal attack on war itself if you attack the war that many people consider a just war. Writing Rubric. But then he concentrated not on the issues of that war but on the class hatreds of British officers and men—who were not engaged in defending London or bombing Germany but in assignment calendar building a cricket pitch in Africa.

In “Petulia,” his hate letter to America, he relocates the my backyard novel, shifting the assignment locale from Los Angeles to San Francisco, presumably, again, to descriptive essays, face the big challenge by showing that even the best the country has to assignment calendar, offer is rotten. But then he ducks the challenge he sets for himself by making San Francisco look like Los Angeles. And if he must put carnival barkers in life Golden Gate Park and invent Sunday excursions for children to Alcatraz, if he must invent such caricatures of epicene expenditure and commercialism as bizarrely automated motels and dummy television sets, if he must provide his own ugliness and assignment hysteria and lunacy and use filters to destroy the city’s beautiful light, if, in short, he must falsify America in in everyday life order to assignment calendar, make it appear hateful, what is it he really hates? He’s like a crooked cop framing a suspect with trumped-up evidence. We never find out why : he’s too interested in making a flashy case to examine what he’s doing. And reviewers seem unwilling to using critical life, ask questions which might expose them to the charge that they’re still looking for assignment, meaning instead of, in about job the new cant, just reacting to images—such questions as why does the movie keep juxtaposing shots of bloody surgery with shots of rock groups like the assignment calendar Grateful Dead or Big Brother and the Holding Company and shots of the war in Vietnam. What are these little montages supposed to do to Godfather and movie, us—make us feel that even the hero (a hardworking life-saving surgeon) is assignment implicated in the war and that somehow contemporary popular music is also allied to destruction and death? (I thought only the moralists of the using thinking Soviet Union believed that.) The images of “Petulia” don’t make valid connections, they’re joined together for shock and excitement, and I don’t believe in the brilliance of a method which equates hippies, war, surgery, wealth, Southern decadents, bullfights, etc. Assignment. Lester’s mix is almost as fraudulent as “Mondo Cane”; “Petulia” exploits any shocking material it can throw together to essay about course-related, give false importance to a story about Holly Golightly and calendar The Man in the Gray Flannel Suit. The jagged glittering mosaic style of to essay, “Petulia” is an armor protecting Lester from an artist’s task; this kind of “style” no longer fools people so much in assignment writing but it knocks them silly in essay about course-related job films. Movie directors in trouble fall back on what they love to assignment calendar, call “personal style”—though how impersonal it often is can be illustrated by great “Petulia”—which is not edited in the rhythmic, modulations-of-graphics style associated with Lester (and seen most distinctively in his best-edited, though not necessarily best film, “Help!”) but in calendar the style of the and movie movie surgeon, Anthony Gibbs, who acted as chopper on it, and assignment who gave it the thesis statement same kind of scissoring which he had used on “The Loneliness of the calendar Long Distance Runner” and in his rescue operation on “Tom Jones.” This is, in much of “Petulia,” the most insanely obvious method of cutting film ever devised; keep the descriptive essays my backyard audience jumping with cuts, juxtapose startling images, anything for calendar, effectiveness, just make it brilliant —with the director taking, apparently, no responsibility for the book, the implied connections. (The editing style is derived from Alain Resnais, and though it’s a debatable style in calendar his films, he uses it responsibly not just opportunistically.)

Richard Lester, the director of “Petulia,” is a shrill scold in Mod clothes. Consider a sequence like the one in about course-related job which the beaten-to-a-gruesome-pulp heroine is taken out to an ambulance, to the accompaniment of hippies making stupid, unfeeling remarks. It is embarrassingly reminiscent of the calendar older people’s comments about the youthful sub-pre-hippies of “The Knack.” Lester has simply shifted villains. Is he saying that America is so rotten that even our hippies are malignant? I rather suspect he is, but why? Lester has taken a fashionably easy way to attack America, and because of the war in Vietnam some people are willing to accept the bloody montages that make them feel we’re all guilty, we’re rich, we’re violent, we’re spoiled, we can’t relate to short rubric, each other, etc.

Probably the director who made three celebrations of youth and freedom (“A Hard Day’s Night,” “The Knack,” and “Help!”) is now desperate to expand his range and become a “serious” director, and this is the new look in seriousness. It’s easy to make fun of the familiar ingredients of trash—the kook heroine who steals a tuba (that’s not like the best of Carole Lombard but like the worst of Irene Dunne), the vaguely impotent, meaninglessly handsome rotter husband, Richard Chamberlain (back to the rich, spineless weaklings of David Manners), and Joseph Cotten as one more insanely vicious decadent Southerner spewing out villainous lines. (Even Victor Jory in “The Fugitive Kind” wasn’t much meaner.) What’s terrible is not so much this feeble conventional trash as the assignment director’s attempts to turn it all into scintillating art and burning comment; what is really awful is the trash of his ideas and creative writing short story artistic effects. Is there any art in assignment this obscenely self-important movie? Yes, but in a format like this the few good ideas don’t really shine as they do in simpler trash; we have to Godfather, go through so much unpleasantness and showing-off to get to them. Assignment. Lester should trust himself more as a director and the book and movie stop the cinemagician stuff because there’s good, tense direction in a few sequences. He got a good performance from George C. Scott and a sequence of post-marital discord between Scott and Shirley Knight that, although overwrought, is not so glaringly overwrought as the rest of the assignment calendar picture. Thinking In Everyday. It begins to suggest something interesting that the picture might have been about. (Shirley Knight should, however, stop fondling her hair like a miser with a golden hoard; it’s time for her to get another prop.) And Julie Christie is extraordinary just to look at—lewd and anxious, expressive and empty, brilliantly faceted but with something central missing, almost as if there’s no woman inside. “2001” is a movie that might have been made by calendar the hero of “Blow-Up,” and it’s fun to think about Kubrick really doing every dumb thing he wanted to do, building enormous science fiction sets and equipment, never even bothering to figure out what he was going to do with them. Fellini, too, had gotten carried away with the Erector Set approach to movie-making, but his big science-fiction construction, exposed to view at the end of “8Ѕ,” was abandoned. Kubrick never really made his movie either but he doesn’t seem to know it. Some people like the American International Pictures stuff because it’s rather idiotic and maybe some people love “2001” just because Kubrick did all that stupid stuff, acted out a kind of super sci-fi nut’s fantasy.

In some ways it’s the biggest amateur movie of them all, complete even to the amateur-movie obligatory scene—the director’s little daughter (in curls) telling daddy what kind of short story, present she wants. There was a little pre-title sequence in “You Only Live Twice” with an astronaut out in space that was in a looser, more free style than “2001”—a daring little moment that I think was more fun than all of “2001.” It had an element of the unexpected, of the shock of finding death in space lyrical. Kubrick is calendar carried away by about the idea. The secondary title of “Dr. Assignment Calendar. Strangelove,” which we took to be satiric, “How I learned to stop worrying and love the bomb,” was not, it now appears, altogether satiric for Kubrick. “2001” celebrates the invention of tools of essays, death, as an calendar evolutionary route to a higher order of non-human life. Kubrick literally learned to stop worrying and love the descriptive essays bomb; he’s become his own butt—the Herman Kahn of extraterrestrial games theory. The ponderous blurry appeal of the calendar picture may be that it takes its stoned audience out of story, this world to assignment, a consoling vision of a graceful world of space, controlled by superior godlike minds, where the essays my backyard hero is reborn as an angelic baby. Calendar. It has the dreamy somewhere-over-the-rainbow appeal of a new vision of heaven. “2001” is a celebration of cop-out. It says man is just a tiny nothing on the stairway to the book, paradise, something better is coming, and it’s all out of your hands anyway.

There’s an intelligence out calendar, there in space controlling your destiny from ape to angel, so just follow the slab. Drop up. It’s a bad, bad sign when a movie director begins to think of thesis, himself as a myth-maker, and this limp myth of a grand plan that justifies slaughter and assignment calendar ends with resurrection has been around before. Kubrick’s story line—accounting for evolution by an extraterrestrial intelligence—is probably the most gloriously redundant plot of all time. And although his intentions may have been different, “2001” celebrates the end of creative writing story, man; those beautiful mushroom clouds at the end of “Strangelove” were no accident. Calendar. In “2001, A Space Odyssey,” death and life are all the same: no point is made in the movie of Gary Lockwood’s death—the moment isn’t even defined—and the descriptive essays hero doesn’t discover that the hibernating scientists have become corpses. Calendar. That’s unimportant in a movie about the beauties of resurrection. Trip off to join the cosmic intelligence and come back a better mind.

And as the trip in the movie is the usual psychedelic light shows the about job audience doesn’t even have to worry about getting to Jupiter. They can go to heaven in calendar Cinerama. It isn’t accidental that we don’t care if the characters live or die; if Kubrick has made his people so uninteresting, it is partly because characters and individual fates just aren’t big enough for certain kinds of writing short story, big movie directors. Assignment Calendar. Big movie directors become generals in descriptive essays my backyard the arts; and they want subjects to match their new importance. Kubrick has announced that his next project is “Napoleon”—which, for a movie director, is the equivalent of Joan of Arc for an actress. Lester’s “savage” comments about affluence and malaise, Kubrick’s inspirational banality about how we will become as gods through machinery, are big-shot show-business deep thinking. This isn’t a new show-business phenomenon; it belongs to the genius tradition of the theatre. Big entrepreneurs, producers, and assignment calendar directors who stage big spectacular shows, even designers of and movie, large sets have traditionally begun to play the role of visionaries and thinkers and men with answers. Assignment. They get too big for art. Is a work of art possible if pseudoscience and the technology of movie-making become more important to the “artist” than man? This is central to the failure of about course-related job, “2001.” It’s a monumentally unimaginative movie: Kubrick, with his $750,000 centrifuge, and in assignment love with gigantic hardware and control panels, is the writing story rubric Belasco of science fiction.

The special effects—though straight from the assignment drawing board—are good and big and Godfather the book awesomely, expensively detailed. There’s a little more that’s good in the movie, when Kubrick doesn’t take himself too seriously—like the comic moment when the gliding space vehicles begin their Johann Strauss walk; that is to say, when the director shows a bit of a sense of proportion about what he’s doing, and sees things momentarily as comic when the movie doesn’t take itself with such idiot solemnity. The light-show trip is of no great distinction; compared to the work of experimental filmmakers like Jordan Belson, it’s third-rate. If big film directors are to assignment, get credit for doing badly what others have been doing brilliantly for years with no money, just because they’ve put it on a big screen, then businessmen are greater than poets and Godfather theft is assignment calendar art. Part of the fun of writing short story rubric, movies is in seeing “what everybody’s talking about,” and assignment if people are flocking to my backyard, a movie, or if the press can con us into assignment calendar thinking that they are, then ironically, there is a sense in which we want to see it, even if we suspect we won’t enjoy it, because we want to know what’s going on.

Even if it’s the worst inflated pompous trash that is the most talked about (and it usually is) and even if that talk is manufactured, we want to see the movies because so many people fall for whatever is talked about that they make the advertisers’ lies true. Movies absorb material from the culture and the other arts so fast that some films that have been widely sold become culturally and sociologically important whether they are good movies or not. Movies like “Morgan!” or “Georgy Girl” or “The Graduate”—aesthetically trivial movies which, however, because of the ways some people react to Godfather, them, enter into the national bloodstream—become cultural and assignment calendar psychological equivalents of watching a political convention—to observe what’s going on. And though this has little to do with the art of my backyard, movies, it has a great deal to do with the assignment appeal of movies. An analyst tells me that when his patients are not talking about their personal hangups and their immediate problems they talk about the situations and essay about course-related job characters in movies like “The Graduate” or “Belle de Jour” and they talk about them with as much personal involvement as about their immediate problems. I have elsewhere suggested that this way of reacting to movies as psychodrama used to be considered a pre-literate way of reacting but that now those considered “post-literate” are reacting like pre-literates.

The high school and college students identifying with Georgy Girl or Dustin Hoffman’s Benjamin are not that different from the stenographer who used to live and breathe with the calendar Joan Crawford-working girl and worry about whether that rich boy would really make her happy—and considered her pictures “great.” They don’t see the great thesis movie as a movie but as part of the assignment soap opera of their lives. The fan magazines used to encourage this kind of thesis, identification; now the advanced mass media encourage it, and those who want to assignment, sell to short story, youth use the language of “just let it flow over you.” The person who responds this way does not respond more freely but less freely and calendar less fully than the person who is aware of what is well done and what badly done in a movie, who can accept some things in it and reject others, who uses all his senses in reacting, not just his emotional vulnerabilities. Still, we care about what other people care about—sometimes because we want to writing rubric, know how far we’ve gotten from common responses—and if a movie is important to other people we’re interested in it because of what it means to them, even if it doesn’t mean much to us. The small triumph of “The Graduate” was to have domesticated alienation and the difficulty of communication, by making what Benjamin is alienated from a middle-class comic strip and making it absurdly evident that he has nothing to communicate—which is just what makes him an acceptable hero for the large movie audience. If he said anything or had any ideas, the audience would probably hate him. “The Graduate” isn’t a bad movie, it’s entertaining, though in a fairly slick way (the audience is just about programmed for assignment calendar, laughs). What’s surprising is that so many people take it so seriously. What’s funny about the movie are the laughs on that dumb sincere boy who wants to talk about art in bed when the great thesis statement woman just wants to fornicate. But then the assignment movie begins to pander to write to essay, youthful narcissism, glorifying his innocence, and making the predatory (and now crazy) woman the villainess.

Commercially this works: the inarticulate dull boy becomes a romantic hero for the audience to project into with all those squishy and now conventional feelings of look, his parents don’t communicate with him; look, he wants truth not sham, and so on. But the movie betrays itself and its own expertise, sells out its comic moments that click along with the rhythm of a hit Broadway show, to make the oldest movie pitch of assignment calendar, them all—asking the audience to identify with the simpleton who is the how to a how latest version of the misunderstood teen-ager and the pure-in-heart boy next door. It’s almost painful to calendar, tell kids who have gone to see “The Graduate” eight times that once was enough for you because you’ve already seen it eighty times with Charles Ray and Robert Harron and Richard Barthelmess and Richard Cromwell and Godfather the book and movie Charles Farrell. How could you convince them that a movie that sells innocence is a very commercial piece of work when they’re so clearly in assignment the market to buy innocence? When “The Graduate” shifts to the tender awakenings of love, it’s just the latest version of “David and Lisa.” “The Graduate” only wants to succeed and that’s fundamentally what’s the matter with it. There is creative a pause for calendar, a laugh after the mention of “Berkeley” that is an unmistakable sign of hunger for success; this kind of movie-making shifts values, shifts focus, shifts emphasis, shifts everything for a sure-fire response.

Mike Nichols’ “gift” is that be lets the audience direct him; this is demagoguery in the arts. Even the cross-generation fornication is standard for the genre. How To. It goes back to Pauline Frederick in “Smouldering Fires,” and Clara Bow was at it with mama Alice Joyce’s boyfriend in “Our Dancing Mothers,” and in the Forties it was “Mildred Pierce.” Even the terms are not different: in assignment these movies the seducing adults are customarily sophisticated, worldly, and corrupt, the kids basically innocent, though not so humorless and write a how blank as Benjamin. In its basic attitudes “The Graduate” is corny American; it takes us back to before “The Game of Love” with Edwige Feuillre as the sympathetic older woman and assignment “A Cold Wind in August” with the sympathetic Lola Albright performance. What’s interesting about the critical thinking in everyday success of “The Graduate” is sociological: the revelation of how emotionally accessible modern youth is to the same old manipulation.

The recurrence of certain themes in movies suggests that each generation wants romance restated in slightly new terms, and of course it’s one of the pleasures of movies as a popular art that they can answer this need. And yet, and yet—one doesn’t expect an educated generation to be so soft on itself, much softer than the factory workers of the past who didn’t go back over and over to the same movies, mooning away in fixation on themselves and thinking this fixation meant movies had suddenly become an calendar art, and their art. When you’re young the odds are very good that you’ll find something to enjoy in using critical thinking in everyday life almost any movie. But as you grow more experienced, the odds change. I saw a picture a few years ago that was the sixth version of material that wasn’t much to calendar, start with. Unless you’re feebleminded, the odds get worse and worse. We don’t go on reading the same kind of manufactured novels—pulp Westerns or detective thrillers, say—all of our lives, and essay job we don’t want to go on and on looking at movies about cute heists by comically assorted gangs. The problem with a popular art form is that those who want something more are in assignment calendar a hopeless minority compared with the millions who are always seeing it for the first time, or for the reassurance and gratification of seeing the conventions fulfilled again. Descriptive Essays. Probably a large part of the older audience gives up movies for this reason—simply that they’ve seen it before.

And probably this is assignment why so many of the best movie critics quit. They’re wrong when they blame it on the movies going bad; it’s the odds becoming so bad, and they can no longer bear the many tedious movies for the few good moments and in everyday life the tiny shocks of recognition. Some become too tired, too frozen in fatigue, to respond to assignment calendar, what is new. Others who do stay awake may become too demanding for descriptive my backyard, the young who are seeing it all for the first hundred times. The critical task is assignment necessarily comparative, and younger people do not truly know what is using critical thinking in everyday life new. And despite all the chatter about the media and how smart the young are, they’re incredibly nave about mass culture—perhaps more nave than earlier generations (though I don’t know why).

Maybe watching all that television hasn’t done so much for them as they seem to think; and when I read a young intellectual’s appreciation of assignment, “Rachel, Rachel” and come to “the mother’s passion for chocolate bars is a superb symbol for great thesis statement, the second coming of childhood,” I know the writer is still in his first childhood, and I wonder if he’s going to come out of it. One’s moviegoing tastes and habits change—I still like in movies what I always liked but now, for assignment calendar, example, I really want documentaries. After all the years of stale stupid acted-out stories, with less and less for me in them, I am desperate to know something, desperate for facts, for information, for faces of creative writing short story, non-actors and for knowledge of how people live—for revelations, not for the little bits of assignment calendar, show-business detail worked up for us by show-business minds who got them from the Godfather the book same movies we’re tired of. But the big change is in calendar our habits . If we make any kind of decent, useful life for writing rubric, ourselves we have less need to run from it to those diminishing pleasures of the assignment movies. When we go to the movies we want something good, something sustained, we don’t want to settle for just a bit of something, because we have other things to do.

If life at home is more interesting, why go to the movies? And the theatres frequented by true moviegoers—those perennial displaced persons in how to write to essay each city, the loners and the losers—depress us. Listening to them—and they are often more audible than the sound track—as they cheer the cons and jeer the cops, we may still share their disaffection, but it’s not enough to keep us interested in assignment cops and robbers. A little nose-thumbing isn’t enough. If we’ve grown up at the movies we know that good work is continuous not with the academic, respectable tradition but with the descriptive essays glimpses of something good in calendar trash, but we want the subversive gesture carried to the domain of essay job, discovery.

Trash has given us an appetite for art.

The Top 25 Underrated Creative Writing MFA Programs (2011-2012) The twenty-five programs listed below fully fund a sizable percentage of incoming students, yet still receive less attention from applicants than they deserve. They are not -- or not yet -- among the very best creative writing MFA programs in the United States, but applicants looking to balance out an application list dominated by highly-ranked, high-selectivity programs would do well to consider, too, some entrants to calendar the following list: Florida State University . Tallahassee gets mixed reviews, and some worry the program has gotten too large for its own good, but it's three years of descriptive essays full funding at a university with not only assignment calendar a creative writing MFA but a top-notch creative writing doctorate, too (currently ranked second nationally). It may not deserve to be a Top 20 program in the national MFA rankings, but its recent fall in this year's yet-to-be-released rankings (to #72) is entirely unwarranted. Right now there's better than even odds it makes a return to the Top 50 next year. Georgia College State University . The whole operation here gives off a warm vibe, and why not: it's a well-funded, intimate program that's been flying below the radar for years. Yet now it's within hailing distance (nine spots) of an Honorable Mention classification in the forthcoming national MFA rankings, and it really does deserves to make the jump to that next level.

A better rural Southern program you'd be hard-pressed to find. Iowa State University . What was said last year bears repeating, especially with the program making the jump to a how Honorable Mention status in the national rankings this year: the secret's almost out of the assignment calendar bag on Iowa State, and about, what's not to calendar like? It's three fully funded years in one of AIER's Top Five college towns (PDF) at a program to which few apply. ISU's unique focus on the environment (as well as interdisciplinary work and one-on-one mentoring) are stand-out features. Minnesota State University at Mankato . It's a program you keep hearing good things about, even if you're not entirely sure why. Maybe it's the thesis statement fact that the English Department offers a total of 30 full-tuition-remission teaching assistantships, and they'll let you stay three years if you want. Calendar! Maybe it's the sense that this is a friendly, inviting program. Who knows. In any event, it makes the list, and while it may not be this grouping's strongest entrant, by all accounts it deserves to be here.

New Mexico State University . The program at NMSU has just launched a new website, and the hope is that this site will shortly feature more information on the high number of full funding packages (approximately 60% of incoming students) that current NMSU students insist the MFA offers. Write A How! For now, we'll take these students at their word. Certainly, the calendar program gives all the signs of hosting a lively literary community, and that's reflected in its slow creep up the national rankings (currently #82). Descriptive My Backyard! As with Minnesota State, it's certainly not the strongest program on this list, but it's nevertheless worth watching. North Carolina State University . Rumor has it that NCSU will soon become part of what's become a national trend among MFA programs: only admitting students who can be fully funded through grants, fellowships, or assistantships, and thereby becoming a fully funded program under the current national assessment scheme via the back door. Well, why not? If the rumor's true, you're looking at a possible Top 50 program in the years ahead (it's already Top 30 in selectivity, and just outside the Honorable Mention category of the national rankings). Poet Dorianne Laux is the calendar star of the faculty here. Northern Michigan University . A tiny program in the scenic UP that funds surprisingly well.

It oughtn't be as obscure as it is, particularly as it has one of the best student-to-faculty ratios of essay about any graduate creative writing program in the United States. As with so many -- in fact, far too many -- MFA programs, NMUs website reveals little significant information about the program and thereby does it (and its applicants) no favors. But the assignment calendar sense in how to a how to essay the creative writing community is assignment calendar that something good is happening here. Ohio State University . Nobody can explain why this program isn't Top 25 -- perhaps even Top 20 -- every year. Sure, it's already popular, but it remains half as popular as it should be. Three years in an AIER-rated Top 15 mid-size metro with a strong faculty, a reasonable teaching load, and a vibrant university community deserves a close look from any serious MFA applicant. Every year OSU is outside the a how to essay Top 25 (especially in poetry), something is grievously wrong with the national MFA picture. Oklahoma State University . The prospect of living in Stillwater won't set many eyes agog or causes many hearts to calendar flutter, but the the book and movie fact remains that the Okies don't currently crack the Top 100, and they certainly should. Calendar! Lots of full funding packages are available, there's a creative writing doctoral program at the university along with the MFA -- meaning, by and large, a higher quality workshop experience than one might otherwise expect -- and yet almost no one applies. That should change.

Oregon State University . Thinking Life! With all the attention paid to the University of Oregon's fully funded MFA program, the fully funded program at calendar Oregon State somehow gets overlooked. Essay About Course-related Job! Corvallis isn't Eugene, sure, but the fact remains that OSU ranks just outside the Top 50 in poetry, just outside the assignment calendar Top 25 in nonfiction, in the Top 40 for placement, and in the Top 50 for selectivity. There's just no reason not to apply. Temple University . Attention poets: Temple has an MFA program. Philadelphia has long been one of the great cities for American poets to live in, and descriptive my backyard, now that Temple has transformed from a non-terminal MA to a terminal MFA, it's suddenly worth a second look.

Is it still a program in transition? Sure. But it's also ranked 109th nationally, so the fact that it has a way to go is part and parcel of it appearing on this list. The faculty here is amazing, even if the funding is not (or not yet) -- though it's said that it's much better for poets than for assignment calendar, fiction-writers, in writing keeping with the program's strong ties to the Philadelphia poetry community. University of Alaska at Fairbanks . More than 30% of incoming MFA students can expect to get a TAship in this three-year program, in addition to having access to multi-genre courses and single-genre workshops in not two but four genres: poetry, fiction, creative nonfiction, and dramatic writing.

There aren't many places better than scenic Alaska for aspiring poets and assignment, writers to get some serious reading and writing done. University of Arkansas . With Ohio State, University of Arkansas is using critical one of two current Top 50 programs to make this list (and for the record, University of Nevada at assignment calendar Las Vegas was quite nearly the third). Descriptive My Backyard! This is calendar a four-year, fully funded program in Godfather a nice college town, and it offers literary translation as well as poetry and fiction tracks. Assignment Calendar! It's in the top tier in practically any measure you'd care to name, and yet it cannot -- cannot -- seem to crack the national Top 30, which is especially odd given that a similarly long, similarly well-funded southern program (University of Alabama) has been impossible to dislodge from the Top 20 for years now. The difference between the two programs isn't great enough to explain the ranking difference. More poets and fiction-writers should apply here, it's that simple. University of California at Riverside . Trying to get funding information on California MFA programs requires more than a little detective work. UCR is rumored to thesis statement fund many of its students well; only the program's webmaster knows for sure, however, and he's not telling. Whatever the truth of the matter, a few things are for certain: the assignment calendar program offers five genres of study; it (wisely) requires rather than merely encourages cross-genre work; the faculty is thinking excellent; and the fact that the university has an calendar, undergraduate creative writing major (the only one in California) tells you how committed the entire university is to creative writing.

The location is great thesis statement also a plus: a large city (300,000+) within a short distance of Los Angeles. University of Central Florida . Recently named one of the nation's biggest party schools, and why not? It's in assignment calendar Orlando, so there's more than just the weather to celebrate -- Disney World is only a short car-trip away. But locale aside, who knew that UCF fully funds nearly all its incoming students? The faculty roster may not boast many superstars, but neither do most other programs' faculties, and ultimately it's the to essay quality of teaching that matters, not public acclaim for professors' writing. If you want to attend a large, vibrant university in the midst of a large, vibrant, warm-weather city -- and be fully funded in the bargain -- UCF is for you. It's no coincidence that four programs on this list are located in assignment calendar Florida; MFA applicants consistently under-apply to Florida programs (even University of creative writing short rubric Florida, a Top 25 program overall and certainly the best MFA program in the state, receives only half the calendar applications it should). University of Kansas . What was said last year still applies: this now-Honorable-Mention program offers three years of well-funded creative writing study, and KU is one of the about job few U.S. universities that cares enough about creative writing to host both a creative writing doctorate and an MFA. Calendar! And did you know Lawrence, Kansas is deemed a Top 10 college town nationally by Godfather the book and movie AIER? The 2/2 teaching load is daunting, but there's still a lot of reasons to be excited about KU. University of assignment calendar Miami . Knocking on great thesis statement the door of the calendar Top 50 in all categories of assessment, Miami will someday soon make the leap to the Top 50 and stay there.

It's a great university in using thinking a great city, and it deserves -- and has -- a great, well-funded MFA program. If you're looking for a fully-funded-for-all MFA experience in a big city (and there are only around five such experiences available nationally), you've found your place. University of New Orleans . The Big Easy is coming back -- in calendar a big way. The MFA at UNO offers both a full- and a how to essay, low-residency option, and frankly there's no reason not to leap at the former. Many students get full funding, you can take classes in screenwriting and playwriting as well as poetry and fiction, and there are summer programs available in assignment calendar both Europe and Mexico. There's much to life be excited about here. University of Texas at Austin [Department of English] . This is the other MFA program at the University of Texas. Calendar! The program at the Michener Center is already one of the most well-known and highly-selective in America; what many don't realize, however, is that the MFA run by statement the university's English Department is also fully funded -- albeit less generously -- and its students get to workshop alongside Michener faculty and students. Plus, it's in Austin, as happening a college city as one could hope for.

You can expect this program to assignment crack the national Top 50 sometime in the next 24 to 36 months, but for now it's still a hidden gem. No other university in America (except the University of Iowa, which offers both the Writers' Workshop and the Nonfiction Writing Program) has two separate and descriptive essays my backyard, distinct MFA programs, though the assignment difference between Iowa and short rubric, Texas is that both of Iowa's programs are incredibly selective. Applicants looking to assignment slip into thinking life, a Michener-grade experience through the assignment calendar back door should take the the book hint. University of calendar Utah . Write A How To Essay! Back in 1996, the creative writing program at Utah was ranked in the Top 20 nationally -- largely due to a creative writing doctoral program that still ranks among the assignment calendar Top 10. It's a mystery why the MFA program at Utah (now ranked #115) isn't more popular, given that almost a third of incoming students are fully funded, everyone gets to workshop with some of the best creative writing doctoral students in the world, and how to write to essay, Salt Lake City is by all accounts a surprisingly nice (and surprisingly progressive) place to live for a couple years.

The literary arts community here deserves much more attention than it's getting from assignment, applicants. Virginia Commonwealth University . Write A How To Essay! For years now VCU has been in calendar and out of the national Top 50 -- it depends on the year -- but in a just world it would consistently be on the inside looking out. And it has nothing to how to to essay do with the calendar spotlight recently shone on Richmond by the successes of two of its college basketball programs (VCU made the Final Four in 2011, and University of and movie Richmond the Sweet 16). Assignment! No, what's happening here is that a three-year, well-funded program in a Top 15 mid-size metro (according to AIER) is thesis statement being overlooked. This should be a perennial Top 50 program, and someday soon it will be. Western Michigan University . Calendar! Kalamazoo is a larger and more vibrant college town than many realize, and essay, now that -- as word has it -- the MFA program at WMU is seeking only to admit students it can fully fund (much like North Carolina State, above), applying to calendar be a Bronco just seems like good sense. Essays! As with some other programs on this list (Florida State, Utah, and, to a lesser extent, Oklahoma State) students at Western Michigan get to workshop with some of the nation's most talented MFA graduates -- the creative writing doctoral program at assignment the university is ranked among the top dozen nationally. Perhaps that's why student satisfaction here appears to be so high? WMU is knocking on the door of an Honorable Mention classification in creative writing short the national rankings, and if it goes public with its plan to become fully funded it will achieve that classification and perhaps even more -- a Top 50 designation, too. West Virginia University . They've been cagey about their funding in the past, but reports are that the funding is actually excellent and calendar, that the program's annual applicant pool is swelling. It'd be hard to argue that the essay about course-related job program should be ranked much higher than it is assignment -- it makes the Top 60 nationally in using the forthcoming national rankings -- but it still isn't spoken of calendar as much as you'd expect.

Wichita State University . The Book! The graduate creative writing program perhaps best known for calendar, being the essay course-related job place Albert Goldbarth teaches at has enjoyed a sudden bump in the rankings, from just outside the Top 100 to just inside the Top 80. And the ride may well continue; there's still relatively little competition for admission to WSU, a real surprise given that this is a well-funded three-year program with a light teaching load. All of assignment these programs (with the exception of University of Arkansas and Ohio State) will need to spend much more time on their online promotional materials in order to make the jump from this list to the bigger one: the Top 50 national rankings, as published by Poets Writers . Applicants to these (and, really, all) programs need to know precisely what percentage of story incoming students receive the equivalent of assignment calendar a full tuition waiver and a livable stipend, as well as see some hard data on short story how selective their target programs are. Until that happens, most of these programs will continue to be unjustly underrated rather than justly highly-ranked. Calendar! And, not for nothing, nearly all of these programs (with a few notable exceptions: Florida State, Iowa State, Ohio State, Oregon State, University of Arkansas, University of Miami, and University of Texas at Austin, all fully funded programs) could do with even more full-funding packages for incoming students. For those keeping count, this is the second year this list has been compiled. Last year's list can be found here. Feel free to discuss these and other programs in the comments section below.

[NOTE: San Diego State University and Florida Atlantic University were also included on this list in an earlier version of the article. Funding data for these programs is still under review to determine whether they will be readmitted to the list in how to the future]. A graduate of Dartmouth College, Harvard Law School and assignment, the Iowa Writers' Workshop, Seth Abramson is the great thesis author of two collections of poetry, Northerners (Western Michigan University Press, 2011), winner of the 2010 Green Rose Prize, and The Suburban Ecstasies (Ghost Road Press, 2009). Calendar! Presently a doctoral candidate in English at story rubric the University of Wisconsin-Madison, he is also the co-author of the forthcoming third edition of The Creative Writing MFA Handbook (Continuum, 2012).

10 Steps to Create a Paralegal Resume to Get You an Interview. Creating a paralegal resume or a legal assistant resume is best thought of as preparing an advertisement where what you are selling is you. Your resume is usually your first impression on potential employers and it should make them want to meet with you. To create a dazzling legal resume that will get you interviews, follow these ten easy steps. 10 Steps to Create a Paralegal Resume to Get You an Interview. 1 . Design a letterhead. Assignment Calendar! Your letterhead should include your name, address, phone number, and e-mail address. Play around with different designs, using lines and spaces, and the book and movie bold or large font to create an attractive letterhead in which your name stands out.

If a potential employer remembers nothing else about calendar your resume, you want them to remember your name. If you are a registered paralegal, PACE certified, or hold any post-nominal credentials to list after your name, you should list them in your letterhead. Critical Thinking In Everyday! 2 . Browse the help wanted ads. Find advertisements for the type of job you want online, in your local newspaper, or on assignment the campus job board. Thesis! Review the ads for calendar, the skills and experience employers are looking for the book and movie, in job candidates. This will help you determine exactly what information to include on your resume. 3 . Decide what sections you will include in your resume. You can title your sections whatever you want and calendar should have at least two different sections and using thinking in everyday not more than four.

Common resume sections include: a. Education. If you have an associate or bachelor degree in assignment, any field, or a paralegal certificate, from a college or university, you should include this information in an Education section of your resume. b. Work Experience. Anyone who has had at least one job should include a work experience section on a resume. c. Special Skills. If you can use software commonly used in a law office, are great at and movie, conducting research, or can prepare a bankruptcy petition or inheritance tax return, you should include a special skills section where you can highlight these abilities. Assignment Calendar! d. In Everyday! Achievements, Honors, and Awards. Did you graduate with honors, save your previous employer a lot of money, or win a prestigious award? If you have any achievements, honors, or awards, to talk about, you should include them on your resume, particularly if they are relevant to the skills potential employers may find desirable. e. Calendar! Personal and Volunteer Work/Experience. If you have never had a job, you may want to how to write to essay, create a personal and/or volunteer experience section where you provide information about relevant life experiences you have had, either personally or through volunteer work. 4 . Fill in the education section.

List the name of the school and the degree you received. Your grade point average (“GPA”) and the dates you attended are optional. Calendar! If you had an accumulative GPA of 3.5 or higher, you should probably include it. If your GPA was lower than 3.5, you may want to leave the information out. Great Statement! 5 . Provide information about assignment calendar your previous work experience.

Each listing should include, at how to write to essay, the minimum, the name of the company or person for whom you worked, the assignment city and how to write a how state where the employer is located, and your job title. Some other things to think about when creating this section of your resume include: a. Assignment Calendar! Appropriate jobs in include. There is short no need to include all of your previous jobs on your resume. Assignment Calendar! You should choose those jobs where you performed similar work and used the skills potential employers will be looking for to include on job your resume. b. Organization. Assignment Calendar! How you organize the work section, depends on the number of jobs you will list and the types of experience you have. For example, if you have had experience that may be relevant to a job in the legal profession, such as managing an office, working with financial accounts, or working as a paralegal, you may want to group work experience by category, i.e. Business Experience, Management Experience, and Financial Experience. If you have only had one or two previous jobs, it may be better to list them chronologically. c. Job descriptions.

Whether you include job descriptions or not is Godfather the book up to you. If you performed tasks that are relevant to the job you are seeking, had jobs, which could entail a wide range of functions, or had job ambiguous job titles, you may want to include job descriptions with each work listing. Calendar! Whatever you choose, be consistent; if you write a job description for one job, write one for all of them. Also, when writing your descriptions, think about the specific tasks you performed that may require the same type of skills for essays, which potential employers may be looking. d. Dates of employment. This can be sensitive information to list on a resume to those who are concerned about age discrimination or time out of the workforce raising families or tending to personal responsibilities, and no longer need to assignment calendar, be on a resume.

You may choose to list your dates of employment, however, if such dates show your loyalty to great, previous employers or a steady climb up the career ladder. 6 . Create the Special Skills section. If you have used programs or websites that are common in calendar, law offices, such as LexisNexis, West Law, Amicus Attorney, or Microsoft Word, you should list these in essay, a special skills section. You should also list anything that you know how to do that most paralegals do not, such as bankruptcy petitions, inheritance tax returns, or corporate formations. Additionally, if you are an calendar, advanced computer user, know how to course-related, build a website, or have any skill that others may not have, and assignment calendar that may make you a better employee for a law firm, you should include it in a special skills or equivalent section of your resume. 7 . Include information about your achievements, honors, and/or awards. If you have received an essay, award, been honored in some manner, or have relevant personal or professional achievements that make you special and assignment set you apart from Godfather the book and movie others, create a special section on your resume and talk about them.

8 . Calendar! Create any other sections that will show that you are the one for the job. Whatever life experience, class, or certification you have that shows you are better qualified for the job than other candidates should be on your resume. There is no need to thinking, stick to the traditional resume format, and you are free to be creative and show off your skills in your own way. Employers are not scrutinizing a resume to ensure it is in calendar, proper form, they are looking for someone to whom to how to, trust their business and their future! 9 . Calendar! Format your resume. Use bold font, spacing, lines, and all capital letters in Godfather the book and movie, order to create a visually appealing and easy to assignment, follow resume.

Be sure that your name stands out, your fonts are easy to read, and essays my backyard that your resume is no longer than two pages. 10 . Calendar! Proofread. Run your spelling and grammar check, proofread twice, and creative writing rubric then ask a friend or family member to proofread again. A legal resume should not contain any grammar or spelling errors. Paralegal Resume Writing Tips Pointers.

While you can be a bit creative with your lines, spaces, and bullet points, and can use large and/or bold font in assignment, some places, you should stick to basic fonts, Arial or Times New Roman, and for most the part, use 12 point type. Always print your resume on plain white or resume paper. Essay About Course-related! Copy your resume letterhead into your cover letter and reference list for a professional consistency. Use legal jargon and keywords wherever appropriate. (i.e. drafted, motions, briefs, pleadings, research, child support, adoption, criminal, estate planning, etc.). Resume Planet has a free resume builder and has professional resume writers if you need further assistance.

The University of South Florida’s Career Center provides resume tips, action verb listings for use in calendar, job descriptions, sample resumes, and resume help videos. The state of Washington has some excellent, in-depth, information about creating a winning resume on its WorkSource website.

essay on news media Robert G. Assignment! Kaiser. I n 1998, Ralph Terkowitz, a vice president of The Washington Post Co., got to know Sergey Brin and Larry Page, two young Silicon Valley entrepreneurs who were looking for backers. Terkowitz remembers paying a visit to thesis, the garage where they were working and keeping his car and driver waiting outside while he had a meeting with them about the idea that eventually became Google. An early investment in Google might have transformed the calendar Post 's financial condition, which became dire a dozen years later, by which time Google was a multi-billion dollar company. But nothing happened. “We kicked it around,” Terkowitz recalled, but the to essay then-fat Post Co. had other irons in other fires. Such missteps are not surprising. People living through a time of revolutionary change usually fail to grasp what is going on calendar around them. Great Thesis! The American news business would get a C minus or worse from any fair-minded professor evaluating its performance in the first phase of the Digital Age. Big, slow-moving organizations steeped in their traditional ways of assignment calendar, doing business could not accurately foresee the next stages of a technological whirlwind.

Obviously, new technologies are radically altering the ways in which we learn, teach, communicate, and the book and movie are entertained. It is impossible to know today where these upheavals may lead, but where they take us matters profoundly. Assignment Calendar! How the digital revolution plays out over time will be particularly important for journalism, and therefore to great, the United States, because journalism is the craft that provides the lifeblood of assignment, a free, democratic society. The Founding Fathers knew this. How To! They believed that their experiment in assignment calendar self-governance would require active participation by an informed public, which could only great be possible if people had unfettered access to information. James Madison, author of the First Amendment guaranteeing freedom of speech and assignment of the press, summarized the proposition succinctly: “The advancement and diffusion of knowledge is the only guardian of true liberty.” Thomas Jefferson explained to thesis statement, his French friend, the Marquis de Lafayette, The only security of all is in a free press. Assignment! The force of public opinion cannot be resisted when permitted freely to descriptive essays my backyard, be expressed.” American journalists cherish another of Jefferson's remarks: “Were it left to me to decide whether we should have a government without newspapers or newspapers without a government, I should not hesitate a moment to prefer the latter.” The journalistic ethos that animated many of the Founders was embodied by a printer, columnist, and editor from Philadelphia named Benjamin Franklin.

The printing press, which afforded Franklin his livelihood, remained the engine of American democracy for more than two centuries. But then, in the second half of the 20th century, new technologies began to undermine long-established means of sharing information. First television and then the computer and assignment the Internet transformed the way people got their news. Writing! Nonetheless, even at assignment calendar the end of the how to write a how century, the business of providing news and analysis was still a profitable enough undertaking that it could support large organizations of calendar, professional reporters and short editors in assignment calendar print and broadcast media. Now, however, in the first years of the 21st century, accelerating technological transformation has undermined the about course-related business models that kept American news media afloat, raising the possibility that the great institutions on assignment which we have depended for news of the world around us may not survive. These are painful words to write for someone who spent 50 years as a reporter and editor at The Washington Post . For the first 15 years of a how to essay, my career, the Post 's stories were still set in lead type by linotype machines, now seen only in assignment museums.

We first began writing on about course-related computers in the late 1970s, which seemed like an unequivocally good thing until the rise of the Internet in the 1990s. Then, gradually, the ground began to shift beneath us. By the assignment calendar time I retired earlier this year, the Graham family had sold the Post to Jeff Bezos, the founder of Amazon, for $250 million, a small fraction of its worth just a few years before. The Book! Donald Graham, the assignment calendar chief executive at the time, admitted that he did not know how to save the newspaper. In fact, digital technology has flummoxed the owners of traditional news media, especially newspapers, from the beginning. For example, in 1983, in short story the early years of computerized production of newspapers when almost no one knew what was coming, The New York Times almost committed digital suicide. The Times decided it only needed to calendar, retain the rights to the electronic versions of its stories for 24 hours after publication. To make a little extra money, the Times sold rights to creative, everything older than 24 hours to Mead Data Central, owners of the Lexis-Nexis service. Calendar! Mead Data Central then sold electronic access to Times stories to law firms, libraries, and the public.

By the descriptive essays early 1990s, as the assignment calendar Internet was becoming functional and popular, this arrangement was a big and growing problem: newspapers, including the Times , were planning “online,” computerized editions, but the Times had sold control of its own product to Mead Data. Luckily for the country's best newspaper, the Anglo-Dutch firm Reed Elsevier bought Mead Data in 1994. The sale triggered a provision in the original Times -Mead contract that allowed the Times to reclaim the electronic rights to its own stories. That enabled the Times to put its journalism online in 1995. But putting newspapers online has not remotely restored their profitability. For the moment, The New York Times is great thesis statement making a small profit, but its advertising revenues are not reassuring. The Washington Post made profits of more than $120 million a year in the late 1990s, and today loses money—last year more than $40 million. Newsweek magazine failed, and Time magazine is teetering.

Once-strong regional newspapers from Los Angeles to Miami, from Chicago to Philadelphia, find themselves in desperate straits, their survival in doubt. News divisions of the major television networks have been cutting back for more than two decades, and are now but a feeble shadow of their former selves. Overall the economic devastation would be difficult to exaggerate. One statistic conveys its dimensions: the advertising revenue of all America's newspapers fell from assignment, $63.5 billion in 2000 to about $23 billion in 2013, and is still falling. Traditional news organizations' financial well-being depended on the willingness of advertisers to pay to reach the short story rubric mass audiences they attracted. Advertisers were happy to pay because no other advertising medium was as effective. But in assignment the digital era, which has made it relatively simple to target advertising in very specific ways, a big metropolitan or national newspaper has much less appeal. Internet companies like Google and my backyard Facebook are able to sort audiences by the most specific criteria, and thus to offer advertisers the possibility of assignment calendar, spending their money only on ads they know will reach only critical thinking in everyday people interested in what they are selling. So Google, the master of targeted advertising, can provide a retailer selling sheets and towels an audience existing exclusively of people who have gone online in the last month to shop for sheets and towels. This explains why even as newspaper revenues have plummeted, the ad revenue of Google has leapt upward year after year—from $70 million in 2001 to an astonishing $50.6 billion in calendar 2013.

That is more than two times the combined advertising revenue of every newspaper in America last year. And the situation for proprietors of newspapers and creative short magazines is likely to get worse. Calendar! One alarming set of statistics: Americans spend about 5 percent of the time they devote to thinking in everyday life, media of all kinds to calendar, magazines and newspapers. But nearly 20 percent of advertising dollars still go to print media. So print media today are getting billions more than they probably deserve from descriptive essays, advertisers who, governed by the inertia so common in human affairs, continue to buy space in publications that are steadily losing audience, especially among the young.

When those advertisers wake up, revenues will plummet still further. King County Journal. Union City Register Tribune. Halifax Daily News. Rocky Mountain News.

News organizations have tried to adapt to assignment, the new realities. As the Internet became more popular and rubric more important in assignment calendar the first decade of the 21st century, newspaper proprietors dreamed of paying for their newsrooms by how to write to essay mimicking their traditional business model in assignment calendar the online world. Their hope was to create mass followings for their websites that would appeal to advertisers the way their ink-on-paper versions once did. But that’s not what happened. The news organizations with the most popular websites did attract lots of eyeballs, but general advertising on their sites did not produce compelling results for advertisers, so they did not buy as much of it as the a how papers had hoped. And the price they paid for assignment calendar, it steadily declined, because as the short Internet grew, the number of assignment calendar, sites offering advertising opportunities assured that “supply” outstripped “demand.” Advertising revenues for to essay, the major news sites never amounted to calendar, even a significant fraction of the creative rubric revenues generated by printed newspapers in the golden age. There seems little prospect today that online advertising revenues will ever be as lucrative as advertising on paper once was. The other online innovation that has devastated newspapers is Craigslist, the free provider of what the newspapers call “classified advertising,” the assignment small items in small print used by individuals and businesses for generations to how to to essay, buy and sell real estate and merchandise, and to hire workers. Twenty years ago classifieds provided more than a third of the assignment calendar revenue of The Washington Post . Craigslist has destroyed that business for the Post and every major paper in the country. The Philadelphia Inquirer/Daily News headquarters building on Broad Street in great thesis statement Philadelphia, October 6, 2005.

The paper is one of many major newspapers facing cutbacks and dwindling circulation. D espite two decades of trying, no one has found a way to make traditional news-gathering sufficiently profitable to assure its future survival. Serious readers of America's most substantial news media may find this description at odds with their daily experience. After all, The New York Times , The Wall Street Journal , and calendar The Washington Post still provide rich offerings of good journalism every morning, and they have been joined by numerous online providers of both opinion and news—even of great thesis, classic investigative reporting. Digital publications employ thousands of reporters and editors in new and sometimes promising journalistic enterprises. Is this a disaster? Of course not—yet.

But today's situation is probably misleading. The laws of economics cannot be ignored or repealed. Nor can the actuarial tables. Only about a third of Americans under 35 look at a newspaper even once a week, and the percentage declines every year. A large portion of today's readers of the few remaining good newspapers are much closer to the grave than to high school. Today's young people skitter around the Internet like ice skaters, exercising their short attention spans by assignment calendar looking for fun and, occasionally, seeking out serious information.

Audience taste seems to be changing, with the result that among young people particularly there is a declining appetite for the sort of information packages the great newspapers provided, which included national, foreign and writing short story local news, business news, cultural news and assignment calendar criticism, editorials and write a how to essay opinion columns, sports and obituaries, lifestyle features, and science news. Alas for those who continue to want access to that kind of product, there is no right to reliable, intelligent, comprehensive journalism. We only get it when someone provides it. And if it doesn’t pay someone a profit, it’s not likely to assignment calendar, be produced. New York City. 1959. TV news anchorman Walter Cronkite.

© Dennis Stock/Magnum Photos. B efore digital technology changed the world, the news was quite orderly and predictable. Essay About Job! To find out what was happening, you bought a paper, listened to the radio, or watched television. Most people relied on calendar one or two sources for essay course-related job, all their news—a newspaper and a TV network, for example. A few institutions and a few individuals dominated the provision of news: Walter Cronkite and John Chancellor; The New York Times and The Washington Post ; Time and Newsweek . The universe of news providers was small and also remarkably homogeneous. David Brinkley could move from NBC to assignment, ABC without causing much of a stir. When Roone Arledge, whose first big accomplishment was to make ABC the leading network for sports, was empowered to build a new ABC News, he did it by short rubric raiding the staffs of NBC and CBS. Calendar! Similarly, when Ted Turner launched CNN, he poached talent from the networks. A How! This small, nearly-closed world rarely provided any surprises. Politically, the assignment big news organizations cast themselves as fair-minded and even-handed, never partisan.

Time magazine may have been somewhat more conservative, The New York Times more liberal, but none drifted far from the center of the political spectrum. For nearly four decades after World War II, mainstream journalism was notably non-ideological. At the height of their success, all the best news organizations shared two important qualities: a strong sense of responsibility about their roles as providers of news and a how analysis, and plenty of money to calendar, spend on those missions. In their heyday, roughly the last third of the 20th century, these institutions tended to unify American society. News anchors like Cronkite, Chancellor, Tom Brokaw, Dan Rather, and Peter Jennings were reassuring, avuncular figures with whom millions of Americans shared the dramas of the day. All the mainstream print and broadcast media sought to Godfather, provide an information supermarket whose aisles—from sports to calendar, business to politics, foreign affairs, entertainment news, and gossip—would hopefully attract mass audiences across all classes of society. And they made money—a lot of it—by selling those mass audiences to advertisers. NBC/NBCU Photo Bank via Getty Images.

The money allowed for an extravagant approach to news. Editors and producers could put their news instincts ahead of other considerations, including profits—at least occasionally. I did this myself, dispatching reporters around the country and the world with something awfully close to abandon when I was a senior editor of The Washington Post . The best newspapers—the best of a much more crowded field than exists today—invested in Washington bureaus, foreign correspondents, and investigative reporting teams, not to mention luxuries almost unheard of now. For years, for example, no reporter for the Los Angeles Times had to suffer the indignity of flying in coach; business or first class was the Godfather and movie norm. The broadcast media enjoyed even more extravagance. In the 1970s the three television networks each maintained large corps of foreign correspondents stationed in bureaus across the globe, and also domestic bureaus in the major American cities. They all did serious documentaries and showed them in prime time. Editors and assignment calendar producers pursued stories that interested them, without much concern for how readers or viewers might react to write a how to essay, the journalism that resulted. Members of calendar, this tribe of journalists shared a sense of a how to essay, what “the news” was. The most influential of them were the editors and reporters on the best newspapers, whose decisions were systematically embraced and echoed by other editors and writers, as well as by assignment calendar the producers of television news.

As many have noted now that their power has declined, these news executives were gatekeepers of a kind, deciding which stories got the most attention. The most obvious examples of their discretionary power came in the realm of investigative reporting. One of the cardinal events of rubric, this era was Walter Cronkite's decision in late October 1972 to report in detail on the CBS Evening News the findings of two young Washington Post reporters, Carl Bernstein and assignment calendar Bob Woodward, on short story rubric the developing Watergate scandal. Cronkite’s decision highlighted the strength of the news culture, while also helping to assignment, put the Post —then still emerging as a leading newspaper—at the writing story rubric center of national attention. This was a golden era in journalism, a time when a prosperous and widely-respected press demonstrated an calendar unprecedented willingness to confront a sitting president. Watergate and the Vietnam War both made it much easier to challenge authority. Newspapers especially began to show increasing self-confidence—sometimes it felt like arrogance—by moving away from reactive journalism that focused on the events of the previous day and and movie devoting more space and energy to “enterprise” journalism, which included not just in-depth investigations, but stories about trends in assignment calendar society, profiles, and feature stories. Thanks to this new boldness, the relationship between reporters and government deteriorated and became quite contentious. Deference gave way to descriptive, skepticism and, often, cynicism about the believability of public officials and calendar government agencies.

One of the great symbolic moments of this era was the decision by the Nixon administration to seek a court order to stop The New York Times from publishing details of a secret Pentagon history of the Vietnam war that a disgruntled official had leaked to the paper. Initially a federal district court accepted the government’s argument that publication endangered “national security,” and issued an order to the Times to cease publication of stories based on the “Pentagon Papers.” The Times 's source, Daniel Ellsberg, then leaked another set of the papers to The Washington Post , which hurriedly began preparing stories about them. The government sought court action to block the Post as well. The Supreme Court agreed to take the case. Essay About Course-related! The Times and Post hired some of the best (and most expensive) lawyers in the country to argue for publication. The court quickly decided in assignment calendar favor of the course-related newspapers' right to assignment, publish. Nixon's attempt to impose “prior restraint” on the American press had failed.

Two private corporations, the Times and Post companies, had defied the government and then persuaded the Supreme Court to let them get away with it. Godfather The Book! Journalists still remember this as a critical moment in the history of their business. 1902-03: Ida Tarbell profiles John D. Rockefeller and the Standard Oil Company The progressive era of the late 19th and early 20th centuries was a time of social activism as Americans and their president, Theodore Roosevelt, fought corruption and monopolistic practices in government and industry. Tarbell, a former school teacher, wrote a series of articles for McClure’s Magazine about the giant Standard Oil Company and its owner John D. Rockefeller. Calendar! The series was published in book form in 1904, and in the book and movie 1911 the U.S. Supreme Court found the company to be in violation of the Sherman Antitrust Act, causing its breakup. Ironically, Tarbell didn’t like the term “muckraker,” which was applied to calendar, her and other reform-minded journalists of the era. 1906: Upton Sinclair exposes conditions in Chicago's meatpacking plants Chicago was America’s center of meat processing and packing around the turn of the century in 1900. Although Sinclair’s famous 1906 work, The Jungle , was a novel, he based it on seven weeks in my backyard disguise working in assignment calendar Chicago’s meatpacking plants.

His exposé of conditions that immigrant workers faced in the stockyards and the unsanitary practices of the industry coincided with passage of the Pure Food and Godfather Drug Act of 1906 and assignment calendar the Federal Meat Inspection Act of 1906. Sinclair later focused on American journalism itself, calling attention in 1920 to the practice of “yellow journalism” in his book The Brass Check . 1953: Murrey Marder dogs Sen. Joseph McCarthy's witch hunt In February 1950, U.S. Senator Joe McCarthy declared that more than 200 Communists were working at the U.S. State Department. After his re-election in 1952, McCarthy conducted a series of Godfather the book, hearings on the matter and assignment calendar implicated Army personnel in espionage. In 1953, Murrey Marder, writing for The Washington Post , began full-time coverage of Sen. Writing Short! McCarthy and his hearings. Marder investigated the senator's accusations against calendar, Army personnel stationed at Fort Monmouth in New Jersey, finding that the senator's charges against them were all false. Marder later opened the using in everyday London bureau of the The Post , and after his retirement, helped create the Nieman Watchdog Project.

1962-64: David Halberstam calls foul on the U.S. military's rosy Vietnam claims In October 1963, President John F. Kennedy was so upset about David Halberstam’s reporting from Saigon that he asked Arthur Ochs Sulzberger, the publisher of The New York Times , to transfer David Halberstam out of Vietnam. Since the calendar previous year, Halberstam had offered dogged and skeptical coverage of U.S. government officials’ optimistic portrayals of their and the South Vietnamese government’s efforts against North Vietnam. “The job of the reporters in Vietnam,” Halberstam wrote in 1965, “was to report the news, whether or not the news was good for America.” In 1964, Halberstam earned a Pulitzer Prize for his Vietnam reporting. 1969: Seymour Hersh exposes the My Lai massacre and cover-up In March 1968, U.S. Army soldiers massacred hundreds of civilians in My Lai, a South Vietnamese village. In the months following, Army commanders downplayed the incident, keeping it hidden from the public. However, due to pressure on the chain-of-command from a soldier in the infantry company involved, Lieutenant William Calley, Jr. was court martialed in September 1969 for his role.

The public wouldn't learn of My Lai until Hersh, acting on a tip, interviewed Calley and descriptive his lawyer. Hersh's story was published by Dispatch, a small news agency with a tiny staff, and then picked up nationally. Calley was the only soldier convicted in relation to the massacre. Hersh won the 1970 Pulitzer Prize for calendar, his reporting. 1971: The Pentagon Papers leaked and course-related published. In 1971, with the Vietnam War still going after almost a decade, a military analyst named Daniel Ellsberg leaked a seven-thousand page history of U.S.-Vietnam relations that had been prepared for internal use by the Pentagon. Assignment Calendar! Lengthy sections of these “Pentagon Papers” were published in The Washington Post and The New York Times , revealing the covert origins of a war that was exceedingly unpopular at home. The Nixon administration ordered the Godfather newspapers to cease publication of any of the documents. This led to a Supreme Court case ( New York Times Co. v. United States ) that eventually ruled in favor of the press. 1972: Woodward and Bernstein expose the Watergate break in In June 1972, five men were arrested for breaking into the Democratic National Committee offices at the Watergate Complex in Washington, DC. Two young reporters at calendar The Washington Post , Bob Woodward and Carl Bernstein, were intrigued that one of the burglars was on thinking life the payroll of President Richard Nixon’s reelection committee and assignment calendar began digging further.

Woodward and Bernstein uncovered a series of political crimes and “dirty tricks” that connected the burglary back to life, the White House. Their reporting led to indictments of 40 administration officials and the eventual resignation of President Nixon. The paper won the 1973 Pulitzer Prize for the investigative reporting. 1992: Florence Graves reveals sexual misconduct in Congress In 1992, shortly after the Anita Hill controversy, Florence Graves, founder of Common Cause magazine, began an investigation into sexual misconduct on calendar Capitol Hill. She quickly found a pattern of charges pointing to Senator Bob Packwood. In the fall of 1992, The Washington Post published Graves'story detailing allegations from 10 women of sexual misconduct by the Oregon senator. Essays My Backyard! The story not only led to the first-ever Senate Ethics Committee investigation of sexual misconduct and the eventual resignation of assignment calendar, Senator Packwood, but also to the passage of the landmark Congressional Accountability Act, subjecting Congress to the same discrimination laws as the how to rest of the nation. 2010: Dana Priest and William Arkin detail secret government organizations On July 19, 2010, Washington Post reporters Dana Priest and William Arkin published “Top Secret America,” a series of investigative articles revealing the massive and what they characterized as mismanaged post-9/11 growth of the calendar U.S. intelligence community. How To Write To Essay! The series, benefiting from the work of more than a dozen other journalists at The Post , compiled hundreds of thousands of records over two years, identifying 45 government organizations (1,271 sub-units) and 1,931 private companies engaged in top-secret intelligence work. The series highlighted the calendar oversight challenges facing such a fast-growing and secretive system with such an critical in everyday important agenda: maintaining the safety of American citizens. Reuters/Jason Reed JIR.

2013: The Washington Post and assignment calendar The Guardian report on descriptive essays my backyard NSA surveillance In early June 2013, The Post and The Guardian broke nearly-simultaneous stories about National Security Agency surveillance activities being conducted on U.S. citizens and foreign officials. Both sets of calendar, articles, led by how to Barton Gellman at The Post and Glenn Greenwald at The Guardian , along with Laura Poitras and Ewan MacAskill, initially relied on a confidential source who was a former NSA analyst and then-employee at assignment calendar a private sector consulting firm. The source had told Gellman that he was operating out of conscience and knew that he would be exposed. That person was Edward Snowden. Both newspapers shared the Pulitzer Prize this year for thinking in everyday life, their articles. Washington Post reporters Carl Bernstein (center) and assignment calendar Bob Woodward (left), the team who broke the Watergate story.

Washington, D.C., 1974. © Wayne Miller/Magnum Photos. T he golden era had its shortcomings, to be sure. A herd mentality too often prevailed, especially in descriptive essays my backyard Washington coverage. Self-important journalists were too common. And both the conventional wisdom and conventional attitudes remained strong. So, for example, when confronted by a story like the AIDS epidemic, the great news organizations reacted slowly and calendar clumsily. Few journalists paid serious attention to the rising disparities in American society. Thesis! Toward the end of the era, in the first years of the 21st century, the assignment calendar news media succumbed to critical life, the national anxieties produced by the 9/11 attacks and failed to challenge effectively the Bush administration's rush to war in Iraq. Assignment Calendar! Many journalists joined the rush.

This was an Godfather embarrassment for assignment calendar, our major journalistic institutions and and movie a disservice to the country. Nevertheless, America's best news organizations have proved their value again and again, even in recent years, as their fortunes have declined. The culture of calendar, journalistic skepticism born in critical in everyday life the 1960s and 1970s has continued to serve the country well. Repeatedly, journalists have broken significant news stories that government officials hoped would never be revealed, from accounts of assignment calendar, Americans torturing terror suspects to revelations of the write to essay systematic mistreatment of veterans at Walter Reed Hospital; from accounts of the government's eavesdropping programs to descriptions of its vast, post-9/11 intelligence apparatus. The major journalistic revelations of the last decade altered the country's image of itself.

They mattered. And society has benefited in less tangible ways, too. “How would this look on the front page of The Washington Post ?” has been a question asked in offices in Washington ever since the time of Watergate, to good effect. Of course this deterrent to illegal, unethical, or embarrassing behavior is unevenly effective; many miscreant public officials have ignored it, and will in assignment calendar the future, whether or not there continues to be a front page of The Washington Post . But this sense of accountability has had a salutary effect. The best journalism has most often been produced by those news organizations that have both the resources and the courage to defend their best work when it offends or alarms powerful institutions and individuals. The public may perceive journalism as an writing story rubric individualistic enterprise carried out by lone rangers of rectitude, but this is rarely the case. The best work is usually done by a team that has the backing of an assignment organization committed to maintaining the highest standards of seriousness and integrity, and to nurturing talented reporters and editors. In the trickiest realms of investigative reporting on matters that touch on “national security,” the team—including the great thesis statement writers and editors as well as the lawyers and often the publisher too—can be critically important. News organizations that can afford to support such teams are now at risk.

A healthy democratic society requires referees—authority figures with whistles they can blow when they perceive infringements of the rules. Prosecutors and judges fulfill this role in matters of law enforcement, but their writ is limited by assignment the scope of the law. “I am not a crook,” insisted Richard Nixon, and perhaps he wasn't, but he was a kind of political criminal nevertheless, and he was first called to account by essay course-related journalists. Will such whistle blowers be on the job to confront the next Nixon? Paul Starr, the distinguished Princeton scholar, has put the matter succinctly: “By undermining the economic basis of professional reporting and by assignment calendar fragmenting the creative writing short story rubric public, [the digital revolution] has weakened the ability of the press to act as an effective agent of public accountability. Assignment Calendar! If we take seriously the idea that an independent press serves an essential democratic function, its institutional distress may weaken democracy itself. And that is the danger that confronts us.”

Bill O'Reilly vs. Jon Stewart 2012: The Rumble In The Air-Conditioned Auditorium at George Washington University on October 6, 2012. Jamie McCarthy/Getty Images for essays, The Rumble 2012. I f today's providers of the best journalism—often referred to these days, somewhat ominously, as “legacy media,” meaning the old stuff—cannot survive their continuing tribulations, what will take their place? Predicting the calendar future is a fool's errand, but some trends are clear. The Internet promotes fragmentation by encouraging the development of like-minded communities, from you and your Facebook friends to avid Tea Party supporters who love Breitbart News, a highly readable, relentlessly ideological right-wing news site. Using In Everyday Life! Surveys by the Pew Research Center for the People the Press show that increasing numbers of assignment calendar, American get their “news” from descriptive essays, ideologically congenial sources.

The news media are fragmenting just as American society is fragmenting—by class, by region, by religious inclination, by generation, by ethnic identity, by calendar politics and more. The rise of the fragmented news media is quite a recent phenomenon. It really became significant after the inauguration of Barack Obama in January 2009. President Obama came into the White House in the midst of the worst economic crisis since the Great Depression. He had run as a unifier who would bring a new era of bipartisan collaboration: “Yes we can!” But no, he couldn't. Republicans in Congress decided at essays my backyard the outset of his administration that they would try to deny the new president any victories. Obama's early legislative successes, based on assignment calendar the big Democratic majorities in the House and Senate produced by the 2008 election, disguised the fact that partisan gridlock lay just around the corner.

After 2010, when Republicans regained control of the House, the gridlock set in. Creative Writing Short Story Rubric! The politicians made an uneasy peace with the idea of calendar, perpetual partisan warfare. Voters also took increasingly ideological positions, and looked with increasing suspicion on those who disagreed with them. Today's politicians, especially on the right, communicate to “their” voters through “their” media, most notably, of course, Fox News. Similarly, liberal Democrats like to how to write a how to essay, appear on MSNBC. More ideological politicians like a world without Cronkites—without recognized gatekeepers and arbiters. So “the news” that once helped unify the country is now just another source of division. Daniel Patrick Moynihan used to argue that “everyone is assignment entitled to his own opinion, but not to his own facts.” No longer. Politicians and commentators now seem perfectly happy inventing their own reality when it suits their political or ideological purposes. Fox News's determination to Godfather the book and movie, ridicule the assignment calendar Affordable Care Act—”Obamacare”—had nothing to do with traditional journalistic truth-seeking. Thinking In Everyday! Rather, it was part of calendar, a propaganda campaign.

The MSNBC cable network, part of NBC, which used to be a serious news organization, saw a business opportunity in making itself a liberal alternative to Fox, the most profitable cable news network, and now unabashedly propagates a liberal view of the news. Using Critical In Everyday Life! Fox and MSNBC have both decided to cater to their audiences not with original reporting of the news (which is assignment calendar expensive), but with commentary on the news interspersed with broadcasts of set-piece events like presidential news conferences. Curiously, or revealingly, there is little outrage in the culture about life, these developments. We seem to have adapted to the demise of the old expectations about accuracy, fairness, and reporting without much of a fight. Some of the new online products produce interesting and calendar informative journalism, but none has the ambitions or the sense of responsibility of the best publications. They couldn't afford those luxuries.

A great news organization is expensive. The newsroom of The New York Times costs about a how, $230 million a year. The news operation of The Washington Post , already substantially diminished from the height of its profitability and influence, still costs more than $90 million a year. Without the revenues to support them, newsrooms all over the country have been decimated. Newspapers employed 59,000 journalists in 1989, and 36,000 in 2012 (and fewer since then).

Once-formidable institutions including The Baltimore Sun , Chicago Tribune , Los Angeles Times , and Miami Herald are vastly diminished. Others have gone out of business altogether. The significant news organizations that have survived are under terrific pressure now. Calendar! A revealing document emerged this spring from in everyday, The New York Times , a 96-page report written by a committee of Times employees on the digital future. Reading it makes clear the calendar extent to which even Times reporters and editors now see the demands of the digital age as incompatible with their traditional pursuits.

The committee argues that The New York Times must become a “digital first” organization. Critical! “That means aggressively questioning many of our print-based traditions and their demands on our time, and determining which can be abandoned to free up resources for digital work.” One example cited in the report: “Packaging, promoting and sharing our journalism” on the Internet—three activities that have nothing to do with reporting and writing news stories—must become a priority for assignment calendar, the newsroom. Even when journalists are allowed to pursue traditional reporting, the requirements of online journalism limit their opportunities to do so. Before the big papers had websites, a reporter could take all day to cover an event, talk to critical thinking in everyday life, sources to get background information, consider the implications of the new developments, and write a story for the next day's paper. Today the same reporter has to file multiple versions of the same story as the day progresses, adding new tidbits as she acquires them. There is much less time available to dig into a story and discover its ramifications. The quantity of calendar, original reporting has surely declined as the importance of the Internet has grown. One immediate effect of all these changes and cutbacks is that there's no paper in America today that can offer the essays same coverage of assignment calendar, its city, suburbs, and great state that it provided 20 or even 10 years ago, and scores of city halls and state legislatures get virtually no coverage by calendar any substantive news organizations. Television remains the primary source of news for the book, most Americans, but local stations have dramatically reduced their reporting staffs, and the networks no longer try to assignment, cover the world and the country as they once did. It’s true that the federal government in essays Washington still gets a lot of attention from assignment, reporters.

But one large category of Washington coverage has virtually disappeared: journalism about writing short story, members of Congress by calendar news organizations “back home.” A generation ago scores of local newspapers and television stations employed Washington correspondents who kept an eye on the members of the House and Senate from their cities and great thesis states. Senator Christopher Dodd recalls that in his early years in the Senate, in assignment the 1980s, a dozen reporters from Godfather the book and movie, Connecticut outlets were based in Washington and reported regularly on his activities. By the time he retired in 2010, that number had fallen to zero. No Connecticut newspaper or television station had a reporter in calendar the nation's capital. Facade of The Newseum, incorporating the text of the story First Amendment to the United States Constitution. David Monack/Wikimedia Commons. A re there no grounds for optimism, or even hope? Of course there are. In this age of creative destruction, the destruction is more obvious than the creativity, but some of the calendar new, online providers of news are doing interesting work that helps compensate for the shrinkage of traditional outlets' reporting staffs. For example, in Connecticut there are now several bloggers reporting on the state's members of Congress, and CT Mirror, a non-profit news site, has a full-time Washington reporter.

Around the country dozens of thesis, news websites have sprung up to provide some local coverage, many of them employing their own reporters, and a few of them are quite good. There are also several web-based operations that sometimes break important national stories. The very best of them is ProPublica, a non-profit organization founded by Paul Steiger, the former managing editor of The Wall Street Journal , that is devoted to investigative reporting, an expensive specialty that has suffered in the era of disappearing newspaper profits. ProPublica provides pro bono journalism of the highest quality, as good as the investigative projects of the major newspapers. Its budget of $12 million a year, nearly all raised from assignment, donors, funds a staff of great thesis statement, 45 reporters and editors. But as its journalists acknowledge, the ProPublica stories that have the greatest impact are those done in collaboration with legacy news media that publish or broadcast them. Its own excellent website has a relatively small audience.

AP Photo/Jason DeCrow. Other non-profit organizations are also providing reporting at a level that only the major news organizations used to offer. The winner of the assignment calendar 2014 Pulitzer Prize for investigative reporting was Chris Hamby of the Center for Public Integrity in write a how to essay Washington, a non-profit watchdog organization that maintains vast electronic files tracing the flow of money into our politics. Marcus Brauchli, who has served as the senior editor of both The Wall Street Journal and The Washington Post , observed recently that thanks to Internet offerings, the assignment quantity of American journalism has never been greater. It used to be the case that newspapers like the Times and Post offered their readers what was usually the very best coverage available in a wide range of news categories—there were no serious competitors. Today there are competitors in every one: ESPN in sports, Politico in Washington coverage, BuzzFeed in the world of essay, popular culture, and so on. We at the Post used to assignment, have a corner on the market in using in everyday life Washington—no competitor could challenge us in any of our major categories. No corners are available now. New York Times Building. Jleon/ Wikimedia Commons.

I f there is assignment calendar some good news, it's hardly enough to be reassuring. Something more substantial has to happen to thesis statement, sustain the kind of assignment, journalistic excellence that a democracy requires. Of course there can be technological surprises. A group of young people could be working in thinking in everyday life a Silicon Valley garage right now on an idea that could re-establish a healthy revenue stream for assignment, major news organizations. I certainly hope so. Efforts to save serious journalism enjoy one natural advantage: smart people playing influential roles in society know that they need good information about many subjects. It is conceivable that these citizens, who are a significant audience albeit a small fraction of the total population, will be willing to about course-related, pay the full cost of the journalism they consume. At first blush this may sound painfully obvious. Don't people usually pay for the services they use? Not the news. Before websites, readers paid a pittance for their news in newspapers that were deliberately priced below the cost of a cup of coffee to try to maximize circulation (and therefore advertising dollars).

And then for the better part of two decades—the first decades of the calendar World Wide Web—online consumers got used to great statement, the idea that news was not just cheap but free. Assignment! In the United States The Wall Street Journal was the only major publication that charged for online access to its journalism. Descriptive Essays! Everyone else gave their work away on the theory—or hope—that this was the way to build the audiences that advertisers would eventually pay to reach. Then in assignment calendar March 2011, The New York Times announced a paywall that required regular online readers to pay for my backyard, its journalism, a risky gambit that has proven remarkably successful. At the beginning of April the Times had 800,000 “digital subscribers,” people paying to read the paper on electronic devices only. (The daily ink-on-paper Times is bought by 680,000 people, and 1.2 million on Sundays.) Digital subscriptions currently bring in assignment more than $150 million a year, money that has saved the about course-related job company from the grave financial crisis caused by declining revenues for the print edition. Assignment! The Washington Post and most other large newspapers followed the Times , if they were not already charging for thesis statement, online access.

Though none of the assignment others has had as much success signing up digital subscribers as the great Times , the newspaper’s ability to persuade online readers to assignment, pay is heartening. It suggests at least the possibility that over time, consumers of story rubric, news might follow the path of television viewers, who once thought—before the arrival of cable television—that TV was free, but eventually got used to calendar, paying substantial monthly cable bills. My Backyard! Some version of that transition could save the traditional news business—if some clever inventor can figure out how to make it happen. Assignment! Until now no one has, and even the Times 's encouraging numbers fall short of a solution that could save its $235 million-a-year newsroom. A morning edition of the Washington Post- August 6, 2013.

Amazon.com Inc founder Jeff Bezos bought the newspaper in great statement a surprise deal that ended the Graham family's 80 years of ownership. “Design the electronic classifieds now.” see the assignment full memo. L ast fall, when he met the staff of The Washington Post soon after buying the great statement paper, Jeff Bezos of Amazon spoke about the importance of “the bundle,” as he called the variety of news, opinion, useful information, and entertainment that the Post offers each day. The goal in the digital age, Bezos said, had to be to make the bundle attractive to a lot of people—so attractive that they would be willing to pay for it. The average age of the readers of the printed paper, Bezos noted, goes up “about one year every year.” It's no secret where that leads, he quipped. Now that he owns the money-losing Post , Bezos faces the challenge of assignment calendar, how to sell that bundle. Write A How To Essay! Michael Moritz of Sequoia Capital, one of the country's most successful venture capitalists, summarized the problem: “How [can] an Internet property, dedicated to broad-based news and information, ever generate a lot of money? Without solving that riddle, there is no path to prosperity.” Of course, a large organization offering “broad-based news and calendar information” is not the only conceivable model. Personally I am convinced that our society will be best served by the book the survival of a few distinguished news organizations committed to holding powerful people accountable for the ways they use their power. Assignment Calendar! This view is certainly a product of my lifetime's service in one such organization.

But there are other possibilities. The news supermarkets we are used to may not survive, but “disaggregated” news organizations specializing in specific subjects might, over time, provide the accountability journalism we need. One interesting example is the SCOTUS blog, which provides excellent coverage of the job Supreme Court. It makes no profit, but is supported by Bloomberg. Politico's coverage of assignment, Washington and politics, though uneven, is great thesis statement better than that of assignment calendar, any but the very best news organizations. And Politico, thanks to revenue from its Capitol Hill newspaper edition, actually makes money. It is also possible that “prosperity” won't be necessary. The $250 million Bezos paid for The Washington Post was a tiny sliver of his $30 billion net worth. For him to cover the Post 's losses now costs the equivalent of short story rubric, lunch money for an ordinary mortal—something Bezos could easily afford for decades to come, if he chooses to play the angel's role indefinitely.

The money-losing Boston Globe , sold at a huge loss by The New York Times in 2013, has a deep-pocketed new owner in John Henry, principal owner of the Boston Red Sox, who similarly could keep the paper afloat indefinitely if he wants to. There might be comparable angels in the futures of other news organizations. New Yorkers have speculated for years that their former mayor, Michael Bloomberg, worth $34 billion, might play that role some day for The New York Times . The wealthiest giants in this brave new world are companies that did not exist 20 years ago, inventive outfits that have capitalized on digital technologies most effectively. Facebook and Google, for example, bestride the globe like modern-day King Kongs, catering to billions of people and earning scores of billions of dollars. Both exploit the work of calendar, traditional providers of news that create information useful to and movie, Facebook friends and Google searchers.

They lead large numbers of assignment, readers to the journalism of the legacy media. But they contribute relatively little to the survival of those providers. These firms were created by essays my backyard a new generation of young people whose self-interest may lead them either to realize the importance of the legacy institutions, or figure out how to create new ways to do what the assignment calendar old news organizations did in the past. Financially, it would be easy for Google to Godfather and movie, rescue The New York Times . The annual cost of the calendar Times 's newsroom represents less than 2 percent of using life, Google's 2013 profits. Calendar! Google, or someone else, could also create new news organizations dedicated to excellent coverage of narrow fields. The future, in Mort Sahl's wise words, lies ahead—but remains invisible. News as we know it is at critical thinking in everyday life risk. So is democratic governance, which depends on an effective watchdog news media.

Both have been undermined by changes in society wrought by digital technologies—among the most powerful forces ever unleashed by mankind. We have barely begun the Digital Age, and there is assignment no point in trying to predict just where it will take us. News certainly has a future, but what that will be is in everyday life unclear. All that we know for assignment calendar, certain is that we are lighting out for new territory. Join the conversation on Twitter using #BrookingsEssay or share this on Facebook . This Essay is also available as an eBook from these online retailers: Amazon Kindle, Barnes Noble, Apple iTunes, Google Play, and on how to write a how Kobo. Like other products of the Institution, The Brookings Essay is intended to contribute to discussion and stimulate debate on assignment calendar important issues. The views are solely those of the author. Graphic Design: Marcia Underwood and essay about job Jessica Pavone.

Research: Fred Dews, Thomas Young, Jessica Pavone, Kevin Hawkins. Editorial: Beth Rashbaum and Fred Dews. Web Development: Marcia Underwood. 1775 Massachusetts Ave, NW, Washington , DC 20036.

Download a Resume Template That Employers Will Love. Are your Resume and online job search profiles not yielding you the calendar results you need to find gainful employment and finally afford to using critical thinking life pay your bills? No doubt about it; it’s tougher to assignment find a job now than it’s been in creative writing story rubric, decades. That doesn’t mean, however, that you can’t give yourself every fighting chance of snagging the next available job. While there is plenty to assignment calendar be said for effective interviewee skills, the absolute most important step for getting hired is writing a winning Curriculum Vitae. Without a highly attractive C.V, you’re just one of dozens or more applicants that begin to blend together after a while. You want your most relevant skills and experience to jump off the page and grab the attention of the person responsible for and movie reviewing the calendar group of critical thinking in everyday life, CVs in which yours is stacked or filed online. Direct access to assignment resume templates advices.

1. Choose your favorite Curriculum Vitae. 2. Download selected resumes on your desktop. No front page content has been created yet. How To Write a Winning Curriculum Vitae. Understand What Makes a Great Resume. Many job applicants are under a misconception that a great Curriculum Vitae means fluffing up terms, adding lots of the book and movie, jobs and experience, listing as many skills as possible, and engaging in assignment, other overkill tactics. Excessive and irrelevant information only clutters the page and makes it more difficult to descriptive essays find the skills and information for which your prospective employer is searching. The best resumes are those that are concise and calendar, specific to the job being sought. As such, a separate resume should be used for each job if the about course-related job required skills, education, and calendar, experience are different. At the descriptive essays my backyard end of this article, we will review a few time saving tips building each specific Curriculum Vitae.

First, though, let’s take a look at how to write a winning CV. Review All Job Description Material and More (If Necessary) While some employers seem to be in assignment, the habit of posting as little information as possible, others provide a great deal of valuable information relevant to descriptive my backyard not only the skills, experience, and education of a desired employee, but also the description, expectations, and demands of the job itself. Calendar? Acquire as much information as you can about the position. If the how to a how to essay employer provided you with pages and pages of descriptions, read them before building your resume. If the employer posted minimal information about the job, you may find information by reviewing the website or even calling and asking for details. The more you know about your prospective employers, the more power you have to show them a picture-perfect employee on assignment, paper. If you read terms you don’t really understand, see requirements for education levels you haven’t reached, or find any other indication that you’re not a good candidate for great statement the job; don’t waste your time applying. Also, understand that it may be very difficult to find a job that matches your education or the bulk of your experience. You may have to begin at an entry level position in a company that seeks supervisory and upper management applicants from assignment within.

If this is the case, be extremely careful about divulging the extent of your education, experience, and salary history as you may be viewed as ‘overqualified’. However insulting or degrading it may feel, the reality is that at some point you just have to accept that options are limited and be willing to ‘dumb it down’ a bit to the book and movie secure employment. Just think, though: In the next few months after you’re hired, you’ll have a chance to excel beyond expectation and increase your odds of recognition and promotion. Use Only Relevant Terms, Skills, and Experience. If you feel the assignment calendar need to add more information to your curriculum vitae than what’s absolutely relevant, make sure that the most compelling details are on the first page and that it’s not crowded with words. Essay? In addition to your contact information, you should have: Relevant skills, relevant experience, and relevant education. If you have multiple jobs dating back for a number of years, try to list only the most relevant jobs within the past 5-7 years on the first page and either make a note that a more extensive job history is calendar available upon request or attach a separate sheet with a complete history in case the reviewer is essay about so inclined to assignment calendar read it.

Whatever you do, DO NOT let a full page of outdated and irrelevant details take away from the short razzle and dazzle of the first page of assignment, your resume. Remember that your developed skills are more important than your experience. Yes, you need experience to demonstrate the thesis statement fact that you’ve had time to calendar hone those skills, but employers need to thesis statement know the capabilities you have that are relevant to assignment the job for which you’re applying. The Verbiage of great thesis, Your Curriculum Vitae. You want your C.V to sound professional, but it doesn’t have to sound like it came out of the calendar Oxford Dictionary. Remember, it’s not as though you’re writing a dissertation; you’re listing bits and pieces of creative writing story rubric, concise and relevant information to present a snapshot of what you have to offer. Refer to the job description and other material posted by your prospective employers. If they used industry-specific jargon, use the same jargon wherever applicable. Review their posted list of required skills and job duties and use it as a guide for assignment listing all of your valid and applicable skills and job duties with previous employers. If you have additional skills or job skills than are not posted on the job description by your prospective employer, consider leaving them out. If you feel you must include them somewhere, follow the same rule as job history: Keep them off the first page.

Instead, attach them at the top of the page containing your extensive job history. You have 2 primary goals for essay job your curriculum vitae: Make it easy to assignment read and make every word count. In order to accomplish this, you need to use a font of at least 10-12 and make each section of your document stand out from the next by staggering blocks of information that take up different levels of horizontal space. For example, you may place your name, physical address, phone number, and email address at the top in the center. For contrast, you would place a sentence outlining your objective; perhaps something like: To obtain consistent and descriptive essays my backyard, long term employment with a company in which my skills and talents will be utilized and appreciated. Because that sentence will take the entire width of the page, your next sections should be small and assignment, centered. This would be a great place to list your skills. If you place your employment in the next section, that would be a great contrast to your skills.

Make a table with 2 columns and a few rows (just enough for your most relevant jobs). Add your title, previous employers, and their contact information in the left column and your job duties on the right. Finally, underneath your employment history, enter your education information centered on essays, the page. Employers may or may not be interested in speaking with your personal references. If there is any reason why your prospective employers shouldn’t speak with your previous supervisors, try to avoid putting their contact information on your Curriculum Vitae. Otherwise, there should be plenty of calendar, professional references in your format for them to great thesis review. You can post a sentence on the bottom of your Curriculum Vitae either inviting your potential employer to call contacts from your employment history and/or letting him/her know that you have a list of personal references available if requested. If you have room on the page after leaving plenty of space in between each section, increase the font size of assignment calendar, your name. If you have adequate or advanced linguistic skills, consider writing a short cover letter (3-5 small to write a how to essay moderate paragraphs) introducing yourself and outlining your skills, dedication, ambition, work ethic, and any other relevant piece of information that increases your appeal to an employer but may not have a proper place on your Curriculum Vitae. Cover letters are easy to disregard if an calendar, employer isn’t interested, and they can help to set you aside from other applicants if there is an interest in learning more about you by reading your cover letter.

You can either use the outline provided in this article or you can create your own curriculum vitae outline containing your name, contact information, and the basic sections you will need to fill out per application. Save the outline and consistent information in a master file, and once you’ve finished preparing a Curriculum Vitae for a job, choose ‘Save as’ and create a specific name for it. To find your Curriculum Vitae more quickly and conveniently, consider using the same name and changing only the last word. Using In Everyday Life? For example, you may save your resume as ‘MyResumeCompany.doc’. Replace the assignment word ‘Company’ with each different place to write to essay which you submit your curriculum. How to calendar Write a Great Cover Letter. Landing a job is undoubtedly difficult in today’s economy. Writing a great cover letter is probably the write most important step you can towards landing the job of their dreams. Why is writing a cover letter so important?

It is the first thing a potential employer sees, and it will dictate whether or not the employer even looks at your resume. Even the most polished, professional resume doesn’t stand a chance against a poorly written cover letter. How do you write a cover letter that not only assignment calendar, a potential employer to read your resume, but also gets you invited for an interview? Writing a winning cover letter is not difficult if you follow a few simple steps: Just like an employer won’t look at a resume that’s attached to about job a poorly written cover letter, the employer won’t even bother to read the cover letter if it’s a messy jumble of text. To create a professional-looking cover letter, be sure to use plenty of white space. You should have, at assignment calendar a minimum, one inch margins and double spaces between paragraphs. Follow the about course-related guidelines for writing a basic business letter and be sure to include a simple, text-only letterhead. Assignment? Your letterhead should be the same letterhead that appears on your resume. This is your one and only chance to name drop, so take advantage of it.

Potential employers want to know how you heard about the position. Great Statement? You should also identify the specific position that you are seeking, and state that you are applying for this position. Assignment? Yes, it’s obvious, but cover letters follow a long-established pattern, and this isn’t the time to write a how to essay be a rebel. Finally, set the tone for the rest of the letter, and briefly state what you will be discussing.. If you have more than a few years of experience in the field to which you are applying, your professional experience should be presented before your educational experience. First, write a topic sentence that presents one unified idea.

If you’ve held several jobs in this career, find the assignment one aspect that these jobs have in essay course-related job, common that will most impress your potential employer. You also need to link this paragraph to your educational experience. Similar to your employment paragraph, you need to develop one unified idea rather than simply presenting a list of all the schools you’ve attended and courses you’ve taken. Determine which aspect of your education is most important to the position you’re applying for and present it here. A fourth and even fifth paragraph may be added if you need to present additional relevant information. Just remember to develop one idea per paragraph, and to assignment calendar keep the essays entire letter under one page. This is your opportunity to tie everything together, leading the reader to invite you to an interview. You need to reference your resume and calendar, any other included attachments. In addition, you need to Godfather and movie politely, yet confidently state that you wish to be invited to an interview. Finally, state the easiest way for the employer to reach you, referring to the phone number and e-mail address in your letterhead. For important documents like cover letters, you need to calendar go beyond your computer’s spell check and essay course-related, grammar check.

Place the cover letter aside for a few hours, or overnight if possible, and look at it with fresh eyes. You might find errors that you didn’t see previously. As a final step, ask someone, who you trust will do a decent job, to proofread your cover letter. Now, you have a well-written cover letter that will hopefully lead a potential employer to read your resume and ultimately invite you to an interview. The rest is up to calendar you! How to prepare for a winning job interview. In a competitive market for available jobs, potential candidates should put in the necessary time and effort to writing short story make a solid impact. You must simply accept that it’s a buyer’s market, the assignment calendar buyer, in and movie, this case is the organization. Your first job as the seller is to sell yourself. You need to stand out from the other candidates like a house with a shiny red door in a cookie-cutter neighborhood.

Assume your resume and cover letter is in calendar, a pile on a desk with plenty of essay, others, therefore you must find a way to rise to the top. You need to put yourself in a stronger position, instead of assignment, you trying to chasing the job, make them convince you to creative writing short rubric take it. Your mindset dictates the assignment calendar demeanor you portray. If you seem too desperate, you don’t make it to the next step, however, too arrogant and doors will close. You have to essays put yourself in the shoes of the assignment interviewer and determine your moves every step of the way. Spend about creative writing short, five hours preparing for each hour of interview, you want to investigate how you can deliver value to calendar the organization. By researching and probing how you can make an impact in the position, you are going beyond the thesis canned responses of most candidates. Your resume should announce that you are qualified for the position. After the interview, you want to leave the impression that you can start the job tomorrow. You want to contact somebody who does the same job at the organization or similar enterprise and ask several questions.

It’s a must that you discover the current challenges for the position within the organization and the industry as a whole. The next step is succeed where so many candidates fall short, you want to show initiative by suggesting ideas for assignment the position. Hiring managers have so many job functions to perform, by proving that you not only did research concerning the essay about course-related job position, but proposed suggestions, you show tremendous potential. You would be surprised how those that have been performing the job for years have not expressed such aptitude. Be prepared to go beyond lip service, you want to calendar demonstrate the great homework you have done. Reaching out to a current employee performing the calendar same job function puts you over the top. Don’t be shy or feel like you are intruding. Many employees have innovative ideas about how to perform their jobs better, tap into that information for Godfather the book free and then add your own spin.

Use the power of imagination to assignment stand out write to essay from the crowd, everybody else is going to assignment calendar be following the same job interview tips that get recycled over critical life, the web. If you want to make a lasting impression, you must put in the sweat and calendar, effort. Find someone who you can practice with until it comes out natural. Landing an offer in a tough economy requires considerable effort. Great? If you can demonstrate you can make an impact in your interview, your name will rise to the top of the pack. Copyright Curriculum-Vitae.In 2013 - Contact : webmaster curriculum-vitae.in. All the Curriculum Vitae templates are at your disposal without any guaranty.

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