25 Inspiring Quotes about Writing

Writing may be one of the most rewarding – and most frustrating – activities in the history of mankind. Few other callings result in as much crumpled paper, snapped pencils, frayed nerves and all-nighters. Writing has also given us some of the most inspirational quotes imaginable. Here, weve collected 25 quotes to give you the motivation and inspiration you need to finish your project, even if it takes all night. Getting Started Every writer has dealt with writers block and new writers can find the process of simply starting to be difficult. Since beginning can be difficult for even seasoned writers, much advice has been given on how to take the plunge and begin telling your story. There is nothing to writing. All you do is sit down at a typewriter and bleed. (Ernest Hemingway) â€Å"The scariest moment is always just before you start.† (Stephen King) â€Å"The first draft of anything is shit.† (Ernest Hemingway) â€Å"The secret of getting ahead is getting started.† (Mark Twain) â€Å"Begin at the beginning,† the King said gravely, â€Å"and go on till you come to the end: then stop.† (Lewis Carroll) You dont have to be great to get started, but you have to get started to be great. (Les Brown) As we can see, the best authors in the world understand that beginning to write is as simple as it is difficult – one must simply begin. Choosing the Right Words Another common theme in writing is the eternal struggle to find just the right words and phrases. Many times writers throw around a number of words, searching for the one that fits like a missing puzzle piece. Rough drafts were made to be reworked and this is where a writers vocabulary and talent really come into play. Writing a scene requires the same dexterity and skilled hand as paining a picture, creating a sculpture or any other creative endeavor. â€Å"The difference between the right word and the almost right word is the difference between lightning and a lightning bug.† (Mark Twain) â€Å"One day I will find the right words, and they will be simple.† (Jack Kerouac) â€Å"Dont tell me the moon is shining; show me the glint of light on broken glass.† (Anton Chekhov) â€Å"Words can be like X-rays if you use them properly they’ll go through anything. You read and you’re pierced.† (Aldous Huxley) â€Å"If it sounds like writing, I rewrite it. Or, if proper usage gets in the way, it may have to go. I can’t allow what we learned in English composition to disrupt the sound and rhythm of the narrative.† (Elmore Leonard) There is no great writing, only great rewriting. (Justice Brandeis) On Inspiration Creative inspiration is perhaps one of the most ephemeral things in the world. Inspiration can come from anywhere and creativity is, at best, a fickle mistress. This interest in creativity and the creative process has been with man since the earliest times. The ancient Greeks had dozens of Muses dedicated to various forms of the arts and science. The Muses are goddesses representing different arts and sciences in Greek mythology. They are the daughters of Mnemosyne and Zeus. Kalliope – the muse of epic poetry Euterpe – the muse of music and lyric poetry Erato – the muse of lyric/love poetry Melpomene – the muse of tragedy Thalia – the muse of comedy Although established Muses of the past are rarely referred to now, their spirit lives on. Today, the creative process may be seen differently, but the inspiration and frustration remain the same. â€Å"You never have to change anything you got up in the middle of the night to write.† (Saul Bellow) â€Å"Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.† (Scott Adams) Inspiration is a guest that does not willingly visit the lazy. (Pyotr Tchaikovsky) â€Å"Creativity is knowing how to hide your sources† (Albert Einstein) Inspiration is wonderful when it happens, but the writer must develop an approach for the rest of the time. (Leonard Bernstein) Fill your paper with the breathings of your heart. (William Wordsworth) Your intuition knows what to write, so get out of the way. (Ray Bradbury) I dont know where my ideas come from, but I know where they come to. They come to my desk, and if Im not there, they go away again. (Philip Pullman) On the Writing Life Its often said that artists are a special breed, and writers are no different. The writing life isnt for everyone and, for those who feel the calling, taking the journey is sometimes difficult. Writers have discussed their methods, their inspirations and their styles, but here we get a glimpse into what truly drives them to follow the writers life. â€Å"You must stay drunk on writing so reality cannot destroy you.† (Ray Bradbury) â€Å"I know some people might think it odd unworthy even for me to have written a cookbook, but I make no apologies. The U.S. poet laureate Billy Collins thought I had demeaned myself by writing poetry for Hallmark Cards, but I am the peoples poet so I write for the people.† (Maya Angelou) â€Å"We are all apprentices in a craft where no one ever becomes a master.† (Ernest Hemingway) I write for the same reason I breathe because if I didnt, I would die. (Isaac Asimov) You fail only if you stop writing. (Ray Bradbury)

King Con a screen play Essays

King Con a screen play Essays King Con a screen play Essay King Con a screen play Essay A brightly lit, stylish apartment. FACE sits on a large leather chair, his back to the extravagant open-plan kitchen. His attractive features are clouded by a look of concentration. Suddenly his eyes light up and his face breaks into a smile. FACE Ive got it! I know how were going to do this. Across a small glass coffee table are three men, one old wearing a dark suit ALBUS FEWKES, one young in jeans and a jacket RYAN FIXIE CONWAY and one particularly well built, wearing all black SPENCER COLLINS. They sit alongside a beautiful, young brunette woman, wearing royal blue CAT CRUSH. They look up with interest. CAT Tell us then FACE Alright, here it is. 2. EXT. PAVEMENT OUTSIDE HOTEL. Day. 2. Busy pavement outside an impressive, tall building. A car door is opened by a chauffeur to reveal SIMON ROYALE, a short man, dressed in expensive clothes. He nods at his driver, walking purposefully into the building. FACE (V.O) We know from Albus extensive enquiries that our only chance to get near The Mark is his stay at the Rochester. This means weve got to get in there. 3. INT. HOTEL LOBBY. NIGHT. 3. The Lobby is bright and spacious, expensively furnished with a large desk between the elevators and the doors leading out to the rest of the hotel. (CONT:) CONT. PHONE RINGS, the young, blonde, RECEPTIONIST dressed in red Rochester uniform answers. ALBUS (V.O) (voice slightly exaggerated) CONGRATULATIONS! Youve won our HR raffle, winning a night at Netherfield Spa. Dont worry well cover your shift! Receptionists face lights up with a smile. 4. INT. HOTEL LOBBY. DAY. 4. Simon Royale gives his name to check-in. The red-head girl behind the desk looks up, giving a winning smile, revealing herself to be Cat in disguise. She hands him a key-card and a Welcome Pack with an obvious leaflet, reading: Tonight, Worlds Best Elvis Tribute. FACE (V.O) Well need Albus in there too. Simon Royale turns to walk towards the elevator. Behind him Albus, dressed in a red Rochester uniform, is walking past. He gives Cat a subtle wink. 5. INT. HOTEL 7TH FLOOR CORRIDOR. DAY. 5. Simon Royale exits an elevator and uses his room key to gain entry to room 713. FACE (V.O) With Cat planted at the desk well know what room hes in and when he comes down for the entertainment. Well just- FIXIE (V.O) Hold on 6. INT. APARTMENT. DAY. 6. Look of confusion on Fixies face. FIXIE What entertainment?! Face looks to Albus who gives him a nod. Face shuffles uncomfortably in his chair. (CONT:) CONT. FACE (Slowly) Royale is a HUGE Elvis fan. FIXIE RightSo..? 7. INT. HOTEL ROOM. DAY. 7. The welcome pack sits on the desk in Simon Royales suite. The Elvis leaflet is on the top, clearly stating that a Ryman F. Cohen is going to be performing in the Hotels main lounge. Simon Royale picks up the leaflet, looking at it with an approving smile. 8. INT. APARTMENT. DAY. 8. Spencer and Cat laugh as Fixie jumps out of his chair exclaiming his disbelief. FIXIE (Determined) No way, theres no bloody way that Im doing Elvis. FACE (Calmly) Its got to be you, none of us could pull it off. Youre definitely our performer. (Laughing softly) Your daily shower routine is Always on my Mind! Fixie breathes deeply, obviously mulling over what is asked of him. FIXIE Bloody hell Alright.. The others in the room all cheer with friendly laughter as Spencer pats him on the back. FIXIE Theres one problem though I only know one Elvis song. Theres mild panic as everything falls quiet. All look to Face, who after a couple of seconds silence, pulls himself up in his chair slightly shaking off his doubts. FACE We can work with that. 8. INT. HOTEL ENTERTAINMENT LOUNGE. 8. The lounge is pleasantly dark and lavishly furnished. There is an oak bar that runs along the back wall facing a stage and 25 tables. FACE (V.O) Albus, its up to you to get it past the lounge staff so no one notices that Fixies not meant to be on stage. FixYou have to start practising. Albus is behind the bar in the Rochester lounge, putting up a poster advertising the Elvis performance, a couple of staff members look on, giving nods of understanding that theres a new act scheduled. He then edits the rota, ensuring hes working during the performance. 9. SPLITSCREEN INT. HOTEL ROOM BATHROOM / APARTMENT BATHROOM. NIGHT. 9. Simon Royale is getting ready for the evening. He is in the shower, washing his hair. Simultaneously, Fixie is in his shower, obviously rinsing excess dark hair dye out of his hair. Simon Royale then wraps a towel around his waist and walks towards the basin. He looks in the mirror, mimics Elviss famous Lip Curl, smirking at himself. At the same time, Fixie walks to his mirror and practices the Lip Curl, shaking his head at his attempts. Simon Royale then picks a comb out of his washbag and combs his hair flat to his head. Meanwhile, Fixie grabs a comb from the shelf under the mirror and combs his hair into an elaborate quiff. 10. INT. HOTEL ROOM / APARTMENT. CONTINUOUS. 10. Simon Royale pulls on another expensive suit, fixes his tie in the mirror and makes his way to the door of his room. Simultaneously, Fixie pulls on a 50s shirt, tucking it into tight black jeans, fixes his quiff and makes his way to the door of the apartment. 11. INT. HOTEL LOBBY. NIGHT. 11. Simon Royale emerges from the elevator, walking past the front desk where Cat stands, a fixed smile on her face. As he walks to the lounge, Face approaches the desk. FACE I have a reservation in the name of Will Shakespeare. CAT (Grinning)Heres your room key Sir, I hope you enjoy your stay with us. (Quieter) I think were ready, be quick! Face gives her a nod and a look of mild anxiety mixed with excitement and makes his way to the elevator. 12. INT. HOTEL ELEVATOR. CONTINUOUS. 12. FACE (V.O) Getting in there, getting up there, isnt the problem. Faces finger hovers over the number 7, but, lifting his eyes slightly to the security camera in the corner of the lift, he moves it to the number 5. 13. INT. HOTEL LOUNGE. NIGHT. 13. Simon Royale enters, takes a drink from Albus and settles himself at one of the centre-front tables. FACE (V.O) Were going to be a bit pushed for time. 14. INT. HOTEL 5th FLOOR CORRIDOR. NIGHT. 14. Face is walking away from the closing elevator doors. A gold sign indicates he is on the 5th floor. He makes his way through a set of red doors marked Stairs. FACE (V.O.) But its getting us all out of there before anyone notices that Fixies only got one song OR that were in the building. We need something special. 15. INT. HOTEL LOBBY. NIGHT. 15. Cat stands behind the front reception desk. She glances around, letting her eyes linger on two security guards. (CONT:) CONT. FACE (V.O) We dont want security to clock Albus and Cat trying to leavebesides everyones expecting at least an hour of entertainment from Fixie. 16. INT. HOTEL STAIRWELL. NIGHT. 16. Face is running up the stairs as fast as humanly possible, clutching the key-card as he climbs. 17. INT. HOTEL LOUNGE. NIGHT. 17. Fixie is at the side of the stage. An inaudible introduction is given. The room is full, the crowd CHEERS. He takes a deep breath, holds his head up and saunters on stage. He holds his microphone as the first bars of Elvis LITTLE LESS CONVERSATION play. 18. INT. HOTEL 7th FLOOR CORRIDOR. NIGHT. 18. Face, outside room 713, speedily swipes the card and with a quick look around, enters. 19. INT. HOTEL ROOM. CONTINUOUS. 19. Face, closing the door behind him, makes a quick sweep of the room with his eyes. They light up when he spots a heavy-duty briefcase. He quickly breaks into it, and removes the 4 disks inside, placing them in his jacket pocket. 20. INT. HOTEL LOUNGE. NIGHT. 20. Fixie is mid song, strutting across the stage as he sings. Face enters the room, Albus looks at the clock. FACE (V.O.) One of the nice things about the Rochester is that it shares its back entrance courtyard with the Bateson-Woodhouse testing facility. What could possibly be nice about that? Well If someone were to call the ALF, anonymously informing them when to expect a breach in security, they might be inclined to provide our distraction for us CAT (V.O) How could someone know that? 21. EXT. BATESON-WOODHOUSE/HOTEL COURTYARD. NIGHT. 21. Spencer is proudly wearing a security uniform with a name badge saying Edgar. He looks at the time, looks around and leaves his post. Moments later, a crowd with bolt cutters, spray paint and Save The Animals posters descend upon the unguarded compound. 22. INT. HOTEL LOUNGE. NIGHT. 22. Fixies song comes to an end, panic crosses his face as he realises the crowd will be expecting his next number. Albus hears the commotion in the courtyard and quickly opens the back door, allowing the yelling to distract the guests and the liberated animals to make their way in to the lounge. He then ducks back behind the bar and watches the chaos ensue. FACE Hey, is that a monkey?! As animals fill the room, Face, now sure his team will all make it out, leaves the lounge, quickly followed by Albus. The security guards, previously stationed in the lobby, appear at the sound of shouting guests. Simon Royale is clearly distressed and perplexed. A look of realisation crosses his face. He tears out of the Lounge. 23. INT. VAN PARKED ON STREET. NIGHT. 23. Spencer breathes a sigh of relief as he spots Face, Albus and Cat sprinting towards him. They enter the van, laughing. CAT Wait a minute, what about Fixie did you see him get off the stage? SILENCE as they all realise they dont know where he is. PHONE RINGS, Spencer answers it SPENCER (On Phone) Fixie? Is that you? 24. EXT. STREET OPPOSITE HOTEL. 24. Police lights flash from across the street, groups of people and animals are forming outside the Hotel. Fixie stands watching the chaos, he puts the phone to his ear, and grins, satisfied. FIXIE (On Phone) Elvis has left the building.

Internal controls and weaknesses report Essay Example | Topics and Well Written Essays - 1250 words

Internal controls and weaknesses report - Essay Example The paper "Internal controls and weaknesses report" aims to analyze purchase and payment and the receipt and sales functions of a business enterprise. Audit and assurance are important accounting functions which seek to check the completeness of financial records. These two functions are mandatory for businesses that operate as public limited companies. However, other business establishments, including sole proprietorship, can opt to conduct an audit of their business processes so as to ensure that their businesses are operating optimally. This voluntary action will go a long way in ensuring that the interest of the owner of the business is safeguarded. The purchase and sales functions of this business happens to have some weaknesses which can be remedied by the implementation of the recommendations that have been tabulated. The purchase and the sales function of a business are very important to a business. These functions ensure that the assets of the business are well taken care of . It is very important to ensure that these functions are operating optimally to ensure that the business operations run smoothly. Audit and assurance is the business function that maintains control on this processes. This function ensures that the correct books have been kept and the right transactions have been recorded. It also ensures that proper authority has been obtained for any business transaction to occur. An accounts payable clerk (AP) and purchasing officer (PO) are employed in addition.

Malaysia Research Paper Example | Topics and Well Written Essays - 1000 words

Malaysia - Research Paper Example The executive power is the Cabinet and the current Prime Minister is Najib Razak. Legal system is based on common law. Malaysia is a market economy. GNP is $67 billion, GDP is 6%. The renewable natural resources are palm oil, timber, rubber, the nonrenewable natural resources are oil and tin. Major exports are petroleum, timber, tin, palm oil, major imports are electrical devices, steel, food. The specific aspect on which the paper will concentrate is foreign labor; it will discuss the rights and the programs aimed at managing labor. The paper will prove that it is necessary Malaysian government should provide necessary changes as labor policy appear to be too strict. Malaysia provides limitations through age and nationality restrictions. Workers should be between 18 and 45 years of age, and no resettlement of dependents in Malaysia is allowed. Only citizens of Philippines, Indonesia and Thailand are issued passes for domestic/ household employment; for the manufacturing, construction, plantation and service sectors, the list of eligible nationalities is extended to include Bangladeshis and Pakistanis. (Blau, 1996) The legislation and opportunities in the sphere of foreign employment and giving foreign workers opportunities for professional growth and promotion is even stricter than that of Singapore, because even skilled professional workers are not allowed for permanent residence, and though they are able to receive visas for their dependents, the list of the key posts which they can hold in the organizations which hire them is very narrow and depends on the level of the enterprises foreign paid-up capital. (Kiong-Hock, 2002) It appears, that the Malaysia view foreign labor as the threat to the employment of its native population and thus does not see any need in giving them opportunities for employment, while the same opportunities can be used by the local citizens. The country seems to refuse accepting the reality, in which it rapidly grows, and thus

Understanding Personality Essay Example | Topics and Well Written Essays - 500 words

Understanding Personality - Essay Example Personality can be described as the combination of attributes such as behavioral, temperamental, emotional and mental traits that make a person an unique individual. Ones personality typically derives from a combination of externalities such as environment, and educational level combined with internalaties such as gender, and ethnicity. Ones personality made up of their various characteristics operate to influence ones overall behavior which can be described as personality dynamics. An individuals personality dynamics are also molded by cognitive processes and culture. Ones cognitive processes describes how one interpret situations and their concluded answer to their interpretation of the thought process. This can vary by culture as culture is a sense of connection to a social group and since thought process is a variable, culture influences on ones thought process may create that variable as attitudes and feelings of a group may differ from culture to culture. For instance, the police beating Rodney King which incited a riot in Los Angeles, California in 1991. The police officers were acquitted of the usage of excessive force by a predominantly white jury that consisted of only 2 minorities which neither were from Black descent. The jury found that Rodney King resisted arrest inspite of the visual and physical evidence that insinuated excessive force. The outrage from the verdict infused folks from the Black culture as their cognitive perception of the interpretation of the visual evidence differed greatly from the jury. The cognitive process of the Blacks in that area had preconceived ideologies about police brutality that differed from other cultures which in turn incited a riot. The preconceived belief about police brutality had an influence on the personality dynamics of the Blacks that participated in the riots.

How Global Is The Global Media?

How Global Is The Global Media? With the emergence of globalization, it has enhanced digital communications between suppliers and consumers and flourished the commercial media market. However, are these media systems developing a truly global market? Are they communicating with the public in a truly global perspective versus transnational, national, regional and local? (Martin, 1988, pp 40) In the twentieth century, global media simply means technology/digital media, the internet is known as our global village where information and communications can reach thousands homes in spite of geographical and cultural distances. Being global means getting internationally united and integrated through interchanging of world views. During the 1960s and 1970s, globalization primarily refers to the evolvement of Americanization, firms that are originally based in the United States started moving across the globe in a rapid pace. (McChesney, 2001) Since the United States market is already well-developed and only seeking for incremental expansion, these dominant firms aim to invest in the foreign markets so as to strengthen their competitiveness amongst other powerful national corporations. (McChesney, 2001) Unsurprisingly, these American firms have become the dominant players in the commercial media market after the 1990s, the concentration of specific media industries such as Television networks, Music industries, Film Makings, Books and Magazines publishing, are gradually increasing since dominant parent companies began to set up subsidiaries across the globe. In the twenty-first century, the global media market is basically dominated by seven multinational corporations which are based in America: Disney, AOL Time Warner, Sony, News Corporation, Viacom, Vivendi and Bertelsmann. (McChesney, 2001) And according to McChesneys findings (2001), these companies own the major U.S. film studios, one of the U.S. television networks, most of TV channels in U.S. and worldwide, they even control up to 85% of the global music market. By all accounts, does a truly global media market include such a high level of media concentration? Scholars on globalization and cultural equality argued that the American dominance in the media industries has made it difficult for other developing countries to produce and distribute their own form of cultural media products and has limited the degree of cultural exchange between global countries. On the other hand, Morley (1996, pp37) believes that Americanization, also refers to media/ cultural imperialism, is just the side effect or process of globalization. He explains that in long run, the U.S. is striving to emerge a set of values and beliefs which largely shares amongst all nations through media. Media plays a significant role in spreading the word of mouth and is redefining the way the global communicates; (Morley, 1996, pp54) The flow of media communications can be multilayered, in this case, the U.S. is just taking the lead, media is going to wide spread across the globe layer by layer (local, regional, nation, transnational, multinational and global). Cultural media Imperialism A global media system supposed to be influential and powerful enough to mediate nations (organizations, groups and individuals) to communicate their differences and similarities through cultural exchange. However, Straubhaar (1991) has identified several key problems regarding the media flow in the 1970s: media and cultural imperialism. The spread of commercial media was seen to have constrained the distribution of media and its usage to a purely national basis. The media was perceived to be a one way flow of television and news from western countries like United States and France and the big four news agencies (Associated Press, United Press International, Agence France Presse and Reuters) respectively, to the rest of the world. (Straubhaar, 1991) Straubhaars concept of asymmetrical interdependence (1991) is able to explain the imbalanced set of relationships, where the original media flow of the world displays first world countries at the top, and third world at the bottom. It is very ironic to say that media/cultural imperialism is one of the stages to go through in the journey to media globalization. McChesney points out that the contemporary American culture is the most powerful and influential in history. The unequal distributions of income, the lack of industrial infrastructure, lack of government support and media resources in the third world countries (i.e. India and parts of Africa) not only have constrained them from creating their own media channels, it has also increased their dependency on the U.S for capital, technology and most media products. (2001) In the notion of global media, it encourages opening up to the world, sharing and exchanging instead of protecting your own culture; however, the dominant media coverage and financial and technologically lagging behind of the third world have even caused small countries to lose their cultural identity. (Morley, 2006, pp34) Living in a capitalist community, it is understandable for companies to be profit oriented; profits became the motor force to drive the expansion of U.S. media into international sales and investment. Nonetheless, according to Strabhaars findings, audiences preference is as well considered to be a key factor in producing socially determined television readings. (1991) For instance, the massive distribution (exports) of American global films has successfully promoted the U.S. culture and spread knowledge about the Americans to the world. Furthermore, multinational audiences choice of reading has been assimilated to the American style/layout/format media productions (especially films and dramas). (Martin, 1988, pp52) The international success of the U.S. media industries has flourished the media market in other European countries such as Britain, North American, Mexico etc. (Martin, 1988, pp 54) Matter fact that the American influence is giving way to the development of media industries in the third world. These firms are learning to take the first world models, and adapting it to their native settings such as developing non main stream media which is more economical. (Straubhaar, 1991) Accordingly, in less than ten years after the Americanization period, Brazil already owned its national radio station and theatre; India got its own community television channel; Egypt started its national media industry by introducing a new cinema and opera theatre. (Martin, 1988, pp 52) Cultural proximity and hybridisation Under the U.S. influence, media industries in Brazil tend to have adapted the American form of commercial media and cultural industry. Telenovela has been considered a distinct cultural industry product of Brazil since 1970s. (Straubhaar, 1991) Morley said that it is often being categorized as American style soap operas since it is translated from soap operas to Latin American by some Brazilian Americans. The Rich Also Cry is the first telenovela that went global which is exported to China, Russia, France, Malaysia, Japan and the U.S. etc. (2006 pp 43) The nature of cultural linguistic markets helps develop cultural proximity within regions more than the mass imported U.S. programs. (Movius, 2010) Telenovela helps spread sociocultural messages worldwide. Small communities like the Hispanic people who share similar cultural norms with the Americans and Brazilians, are attracted to watch Brazils telenovela even some of them are living in east Asian countries. (Movius, 2010) Straubhaar argues that even though some countries are sharing a similar culture or a common language, there are many media products, especially television programs being locally transplanted before they enter a local market; (1991) It is also very less likely to see pure imported media programs since the local audience usually prefer programs that are most proximate to them in terms of format, style, culture, tradition, custom and dialect. (Movius, 2010) Take for example, the Disney cartoon movie will be translated to Chinese when it enters the Chinese film industry, all the American slangs and jokes will not be presented in the same way or meaning since they cannot make any sense in Chinese. Regardless of the movies origin, viewers will interpret tem according to their cultural context and portrait it in their own urban lifestyle. (Morley, 2006, pp 35) To a certain extent, it is nearly impossible to assimilate worldwide cultures to one or else small nations will lose the unique aspects of their home, culture and environment. (Straubhaar, 1991) The global media means to enhance the exchange of cultural ideas, knowledge and values instead of overtaking others cultural image and identity. The success of Brazilian telenovela is considered as a combination of genre traditions and exchange of cultures between nations through media production. With reference to Martin (1988, pp 51), contraflow describes how the cultures interact and transform, without losing their own genres. Also, the exportation of telenovela Ugly Betty to the U.S. from Colombia is seen to be a great example of contraflow media, it proves that there is no longer a one way flow of media from the America. (McChesney, 2001) Initially, it represents a dependency upon the first world but succeeds in moving into a greater, but still asymmetrical interdependency. (McChesney, 2001) Cultural difference is no longer a communication barrier in the globalized world. The global media has broaden audiences social horizon as various media bring them new and compelling cultural knowledge. Mass media like radio, cinema and television has reconsolidated social groupings (closed cosmopolitan groups) and renewed cultural forms. (Movius, 2010) Apart of the Hollywood products from U.S., new layers of global production and access have emerged such as the worldwide flow of telenovela, Japanese anime and manga, Chinese Kung Fu films and Bollywood films. (Movius, 2010) It is not surprised that globalization is often associated with Americanization; the U.S. has indeed written the grammar of television and film production. Yet, starting from the 1990s, the global power has shifted to Asia. (Movius, 2010) Recently, the U.S. and Chinese film industries announced that they are going to set up a Hollywood co-production film studio based in Tianjin, China. (Pulver, 2012) At such, China would be able to nurture opportunities for cross cultural creativity and business investment in the future. This project also allows China to offer its rich heritage culture to the world. Asian countries seem to be turning the original imperialistic U.S. chain on its head in the 2010s, (McChesney, 2001) South Korea is a prime example of a turn of influential media flow and showing the crucial role of advancing technology. The KPOP (Korean music) culture favours a massive number of foreign listeners; Record companies encourage songs that combined Korean lyrics with rapped breaks and slogan-scaled English choruses, some of them even produce Japanese or Chinese song albums to attract the foreign market. In regard of the advance technology, the internet cannot be neglected as it is the most powerful and influential media that bridge communications amongst the global audience. It is known as the global village, the motor force that drives all nations together at once regardless of time and place. (Martin, 1988, pp 45) Social media like YouTube, Facebook, Twitter, MySpace takes on the job of the mass media to globalize peoples identity but in a larger degree, through an interpersonal space. These new global media players continue to grow which have also strengthen social relationships as well as increased accessibility to global information. (Movius, 2010) However, identities and media relations are still multi-layered with cultural geographical elements (McChesney, 2001) According to Straubhaar (1991), there are tendencies that the communication of media networks will be effected by cultural media traditions and regulatory systems. For instance, Facebook is censored in China due to some political reasons. At the same time, the Chinese media has developed their own social networking sites that function like Facebook: Weibo and RENN. This act has again challenged the notion of global media, showing that there are still countries which want to protect their domestic media and cultural industries to some point. (Straubhaar, 1991) As a conclusion, there is an initial change in the world media relations from dependence to relative interdependence. Though the United States still make up a high percentage of media ownership worldwide, other national media industries are consolidating an independent position in the world media market. (McChesney, 2001) The question to media imperialism and power inequality within the global media system is still very complex due to some political, social, cultural and economic implications. The global media is trying to deliver the same message worldwide, however, there are others forces and causes influencing such process.

Comparing Revenge in Aeschylus The Oresteia Trilogy and Sophocles Ele

Revenge in Aeschylus' The Oresteia Trilogy and Sophocles' Electra  Ã‚   The act of revenge in classical Greek plays and society is a complex issue with unavoidable consequences. In certain instances, it is a more paramount concern than familial ties. When a family member is murdered another family member is expected to seek out and administer revenge. If all parties involved are of the same blood, the revenge is eventually going to wipe out the family. Both Aeschylus, through "The Oresteia Trilogy," and Sophocles, through "Electra," attempt to show the Athenians that revenge is a just act that at times must have no limits on its reach. Orestes and his sister Electra, the children of the slain Agamemnon, struggle on how to avenge their father's death. Although unsure what course of action they must take, both brother and sister are in agreement that revenge must occur. Revenge is a crucial part of Greek plays that gives the characters a sense of honor and their actions a sense of justice. Killing the person responsible for one of your family member's deaths is Athenian justice. This type of lethal justice is executed by Orestes and Electra. Before proceeding to the house of Aegisthus and Clytemnestra, they plot the murder of their father's murderers. They decide Orestes will murder his mother, and Electra will dispose of Aegisthus. Orestes is the most focused of the two; but Electra, although timid in the beginning, is the most masculine. Both of these personality traits are key to their plan coming to fruition. Once her brother devises the plan, Electra verbally encourages him to follow through with it. After thrusting his blade into Clytemnestra only once, Electra cries that "[i]f thou beest a man, [s]trike twice!" (Sophocles 5... ...ther and being unable to know what that means, Athena proclaims that "[m]ine is the final vote, [a]nd I award it to Orestes' cause" (Aeschylus 140). He was simply following the unspoken law that you kill the person responsible for your family member's death. No matter what action he took, he would of be looked down upon with disdainment. The act of revenge is the most honorable of all types of justice. Killing those who kill people you care about exhibits your loyalty to the man or woman who is deceased. Even though the cost was killing his mother, Orestes did avenge his father's death. Aeschylus and Sophocles show their fellow Athenians that although it may not be the most pleasurable and best looking solution, revenge is the most just. Although problems and criticism did arise from his actions, Orestes did exactly what he was suppose to do in the given situation.