Beauty: Wish and Jane Martin Essay

The play â€Å"Beauty† by Jane Martin was a great play as in it tells you of how there are some people out there that are not satisfied with whom or what they have. And wish to be someone else or have what someone else has. And the magic a Genie can bring to give them their wishes and let them see how it feels to change places with the person you admire most. Like the saying â€Å"the grass always looks greener on the other side of the fence.† The conflict that was going on in the play was between two women, Carla and Bethany. Bethany was the first to come forward with her feelings of inadequacies and wishing she was more like Carla. She then brings these feelings forward to Carla, who states her wish to be more like Bethany. Carla was beautiful and not too brainy, but care free with her life. Bethany was a not so beautiful woman but had a great head on her shoulders, and took life more seriously than Carla. Once Bethany and Carla brought forward their feelings about wishing they were the other, they had decided to make a wish with the Genie in the bottle that Bethany had found on the beach earlier that day. I believe at this time is where the rising action reaches its climax. The women make their wish to the genie, who then changes each one into the other. The women are now the other. They are stunned and happy at the same time. It was now time to live each other’s lives. Life went on for a few very long years with the women living each other’s lives. They then met up again. They had not been happy being the other. They missed who they had been. When Bethany had been Carla she found her new looks and less than intellectual ways had made people look at her differently, and not in a good way. Carla had seen that being as intelligent as Bethany was a double edged sword as well, not being very attractive and smart usually left you rather lonely and never considered the center of the males attention. I believe that before they met up and while they had lived one another’s lives is when the falling action began. I believe the falling action was them discovering that they should have appreciated who they were more before they had made this wish. The techniques that were used in the play was in how it was written and played out in a way that showed you important information and meaning in a very short amount of time by having the genie found and the wishes being known and acted on immediately, then showing them living each other’s lives and then them coming together to undo what they had done. This play accomplishes the meaning and the thought behind it by making you think from the very beginning what the actors were trying to portray to us and pushed right through to the actions that were going to take place and what would come of these actions. And lastly, the final thought on how their original feelings had changed and how they then were changed back into themselves, and tell of how they appreciated more now of who they had always been and didn’t want to be anyone else. Although the play is only ten minutes long, the events that happen in those ten minutes makes you see and maybe appreciate a little bit more of what you have and how changing places with someone else that you think you envy for whatever reason, may not be the way to go. Although it was only a ten minute play, during that ten minutes you were able to see what the women were feeling and what it was they had desired. It showed what their own insecurities about themselves were and the envy toward the others life and who they were. It’s amazing that Jane Martin could right all this and have it come across so clearly in a ten minute play. Jane Martin put the women that were total opposites together as friends and then she was able to show each ones strengths and weaknesses. As a whole person, they probably would have been Wonder Woman, each of them had a strength the other didn’t have and a weakness that the other didn’t have. But, when they were together as friends they completed each other. 1. The conflicts that were present were the two women who had wished to be the other and not satisfied with who they were as themselves. 2. The rising action was when the girls make their wish to change places with the genie. 3. The falling action begins toward the end of the years they spent being one another and seeing what the other’s life was like. 4. The techniques that were used to move the actions along were having the play begin with finding the genie and the fast way the women got into stating how they had wished to be the other and then showing how much they disliked being the other and meeting up and letting the other know their dislikes in having being the other and how they wished to be themselves again, and then making the wish to change back. The quickness of each spoken and acted out emotion and the clarity of what was being said and felt made this play able to be done in a ten minute time without taking anything away from what was coming across to the audience.

Stefan’s Diaries: Origins Chapter 22

The week of the Founders Ball came with a cold spell that settled into Mystic Falls and refused to leave. Ladies walked around town in midafternoon in wool coats and shawls, and the evenings were cloudy and starless. Out in the field, workers fretted about an early frost. Still, that didn't stop people from as far away as Atlanta coming into town for the ball. The boarding-house was full, and the entire town had a carnival-like air in the days leading up to the event. Damon was back at Veritas, his mysterious tenure with the brigade over. I hadn't told him that Katherine and I were attending the Founders Ball, and he hadn't asked. Instead, I'd busied myself with work, feeling renewed vigor about taking over Veritas. I wanted to prove to Father that I was serious about the estate and about growing up and assuming my place in the world. He'd been giving me more responsibility, allowing me to look over the ledgers and even encouraging me to go to Richmond with Robert to attend a livestock auction. I could see my life, ten years from now. I'd run Veritas, and Katherine would run the inside of the home, hosting parties and playing the occasional card game at night with Father. The night of the ball, Alfred knocked on my door. â€Å"Sir? Do you require any assistance?† he asked as I swung the door open. I glanced at my reflection in the mirror. I was dressed in a black long-tailed coat and tie, with my hair slicked back. I looked older, more confident. Alfred followed my gaze. â€Å"Looking smart, sir,† he allowed. â€Å"Thank you. I'm ready,† I said, my heart fluttering in excitement. Last night, Katherine had teased me mercilessly, not giving me any clues as to what she was going to wear. I couldn't wait to see her. I knew she'd be the most beautiful girl at the ball. More important, she was mine. I headed down the stairs, relieved that Damon was nowhere to be found. I wondered whether he was attending the Founders Ball with some of his army friends or perhaps one of the town's girls. He'd been distant lately, impossible to find in the morning and at the tavern at night. Outside, the horses were pawing at the drive. I entered the waiting coach, which clip-clopped its way to the carriage house. I glanced out the window, and noticed Katherine and Emily standing at the front door. Emily wore a simple black silk dress, but Katherine †¦ I had to press my back into the carriage seat to keep from jumping out of the moving coach. Her dress was emerald green, nipping in at the waist dress was emerald green, nipping in at the waist before flowing over her hips. The bodice was low and tight and showed off her creamy white skin, and her hair was pulled back on the top of her head, exposing her graceful, swan-like neck. The second Alfred pulled back on the horses' reins, I opened the door of the coach and hopped out, smiling broadly as Katherine's eyes caught mine. â€Å"Stefan!† Katherine breathed, lifting her skirts slightly as she glided down the stairs. â€Å"Katherine.† I gently kissed her cheek before I offered my arm to her. Together, we turned and walked toward the carriage, where Alfred stood with the door open. The road to Mystic Falls was filled with unfamiliar coaches of all shapes and sizes, leading to the Lockwood mansion on the far end of town. I felt a thrill of anticipation. This was the first time I'd ever escorted a girl to the Founders Ball. In all previous years, I'd spent most of the evenings playing poker with my friends. Invariably some sort of disaster happened. Last year, Matthew Hartnett had gotten drunk on whiskey and had accidentally unhitched the horses from his parents' coach, and two years ago, Nathan Layman had gotten into a fistfight with Grant Vanderbilt, and both ended up with broken noses. We slowly made our way up to the mansion, finally reaching the front walk. Alfred stopped the horses and let us out. I laced my fingers with Katherine's, and together we walked through the open doors of the mansion and headed toward the dining room. The high-ceilinged room had been cleared of all furniture, and the candlelight lent a warm, mysterious glow to the walls. A band in the corner played Irish reels, and couples were already beginning to dance, even though the night was young. I squeezed Katherine's hand, and she smiled up at me. â€Å"Stefan!† I whirled around and saw Mr. and Mrs. Cartwright. I dropped Katherine's hand immediately. Mrs. Cartwright's eyes were red, and she was positively gaunt compared to the last time I saw her. Meanwhile, Mr. Cartwright seemed to have aged ten years. His hair was snow-white, and he was walking with the aid of a cane. Both wore purple sprigs of vervain–a tuft stuck out of Mr. Cartwright's breast pocket, and the flowers were woven into Mrs. Cartwright's hat–but other than that, they were clad entirely in black, for mourning. â€Å"Mr. and Mrs. Cartwright,† I said, my stomach clenching with guilt. In truth, I'd nearly forgotten that Rosalyn and I had been engaged. â€Å"It's good to see you.† â€Å"Y could have seen us sooner if you'd come ou to call on us,† Mr. Cartwright said. He could barely hide the contempt in his voice when his gaze landed on Katherine. â€Å"But I understand you must have been in deep †¦ grief as well.† â€Å"I will come now that I know you're taking visitors,† I said lamely, tugging at my collar, which suddenly felt quite tight around my neck. â€Å"No need,† Mrs. Cartwright said icily as she reached into her sleeve to pull out a handkerchief. Katherine clasped Mrs. Cartwright's hand. Mrs. Cartwright looked down, an expression of shock on her face. A wave of apprehension ran through me, and I fought the urge to step between them and shield Katherine from their anger. But then Katherine smiled, and amazingly, both Cartwrights smiled back. â€Å"Mr. and Mrs. Cartwright, I am so sorry for your loss,† she said warmly, holding their gazes. â€Å"I lost my parents during the Atlanta siege, and I know how hard it is. I didn't know Rosalyn well, but I do know she will never be forgotten.† Mrs. Cartwright blew her nose noisily, her eyes watering. â€Å"Thank you, dear,† she said reverentially. Mr. Cartwright patted his wife on the back. â€Å"Y thank you.† He turned to me, compassion es, replacing the scorn that had occupied his eyes just moments earlier. â€Å"And please take care of Stefan. I know he's suffering.† Katherine smiled as the couple rejoined the crowd. I gaped in amazement. â€Å"Did you compel them? † I asked, the word tasting bitter in my mouth. â€Å"No!† Katherine placed her hand over her heart. â€Å"That was good, old-fashioned kindness. Now, let's dance,† she said, tugging me toward the large ballroom. Luckily, the dance floor was a crush of bodies and the lighting was low, so it was almost impossible to make out specific people. Flower garlands hung from the ceiling, and the marble floor was waxed to a sheen. The air was hot and cloying, with the scent of hundreds of competing perfumes. I put my hand on Katherine's shoulders and tried to relax into the waltz. But I still felt jumpy. The conversation with the Cartwrights had stirred my conscience, making me feel vaguely disloyal to Rosalyn's memory, and to Damon. Had I betrayed him somehow by not telling him that Katherine and I were at the ball together? Was it wrong that I'd been grateful for his prolonged absences? The band stopped, and as women adjusted their dresses and grasped their partners' hands again, I headed toward the refreshment table in the corner. â€Å"Are you all right, Stefan?† Katherine asked, gliding up beside me, worry lines creasing her lovely forehead. I nodded, but I didn't break my stride. â€Å"Just thirsty,† I lied. â€Å"Me too.† Katherine stood expectantly as I ladled the dark-red punch into a crystal tumbler. I passed the glass to her and watched as she drank deeply, wondering if that was what she looked like when she drank blood. When she placed the glass on the table, she had the slightest trace of red liquid around her mouth. I couldn't help it. With my index finger I wiped the drop off the side of her bow-shaped mouth. Then I put my finger in my own mouth. It tasted sweet and tangy. â€Å"Are you sure you're all right?† Katherine asked. â€Å"I'm worried about Damon,† I confessed as I poured myself a glass of punch. â€Å"But why?† Katherine asked, genuine confusion registering on her face. â€Å"Because of you,† I said simply. Katherine took the tumbler from me and led me away from the refreshment table. â€Å"He's like a brother to me,† she said, touching my brow with her icy fingers. â€Å"I'm like his little sister. Y know ou this.† â€Å"But all those times when I was sick? When you and he were together? It seemed like †¦Ã¢â‚¬  â€Å"It seemed like I needed a friend,† Katherine said firmly. â€Å"Damon's a flirt. He doesn't want to be tied down, nor would I want to be tied to him. Y ou are my love, and Damon is my brother.† All around us, couples swirled in the semi- darkness, dipping in time to the music and laughing gaily at private jokes, seemingly without a care in the world. They, too, had to worry about attacks and the war and heartbreak, but they still laughed and danced. Why couldn't I as well? Why did I always have to doubt myself? I glanced at Katherine. A dark curl had come loose from her updo. I tucked it behind her ear, relishing the silky feel of the strands between my fingers. Longing coursed through me, and as I stared into her deep brown eyes, all feelings of guilt and unease vanished. â€Å"Shall we dance?† asked Katherine, taking my hand and pressing it to her cheek. Through the crowded dance floor, I spotted Father, Mr. Cartwright, and the rest of the Founders whispering furiously in a far corner. â€Å"No,† I whispered huskily. â€Å"Let's go home.† I grabbed Katherine's shoulder, and we whirled around the dance floor until we reached the kitchen, where servants were busily preparing refreshments. Hand in hand, we tore through the kitchen–much to the confusion of the servants –and exited at the back of the house. We sprinted into the night, oblivious to the cold air, the shrieks of laughter from the mansion, and the fact that we'd just run out on the social event of the season. The coach was tied near the Lockwoods' stable. Alfred was no doubt playing craps with the other servants. â€Å"After you, my lady,† I said, lifting Katherine by the waist and placing her in the passenger seat. I hoisted myself up to the driver's seat and cracked the whip, which immediately caused the horses to start clip-clopping in the direction of home. I grinned at Katherine. We had an entire evening of freedom in front of us, and it was intoxicating. No having to sneak into the carriage house. No skirting the servants. Just hours of uninterrupted bliss. â€Å"I love you!† I yelled, but the wind stole the words as soon as they left my mouth. I imagined them traveling with the breeze, floating through the entire world until every person in every town knew of my love. Katherine stood up in the coach, her curls whipping wildly around her face. â€Å"I love you, too!† she shouted, and then collapsed into giggles on the seat. By the time we got back to the carriage house, we were both sweaty and red-cheeked. The second we reached Katherine's chambers, I pulled the dress off her slim frame and, seized by my passion, gently ran my teeth against her neck. â€Å"What are you doing?† She stepped back and stared at me sharply. â€Å"I'm just †¦Ã¢â‚¬  What was I doing? Playacting? Trying to seem as if Katherine and I were the same? â€Å"I guess I wanted to know how you feel when you †¦Ã¢â‚¬  Katherine bit her lip. â€Å"Maybe someday you'll find out, my innocent, sweet Stefan.† She lay back on the bed, arranging her hair on the snow-white goose-down pillow. â€Å"But right now, all I want is you. â€Å" I lay down next to her, tracing the curve of her chin with my index finger as I put my lips to hers. The kiss was so soft and tender that I felt her essence and mine combine, creating a force that was larger than ourselves. We explored each other's bodies as if for the first time. In the dim light of her chambers, I was never sure where reality ended and my dreams began. There was no shame, no expectation, just passion and desire, and a sense of danger that was mysterious and beautiful and consuming. That night, I would have allowed Katherine to consume me entirely and claim me for her own. I would have gladly offered up my neck if it meant that we could have stayed locked in that embrace for all of eternity.

Canadian Film Industry

In the Canadian Film industry there are numerous major players, some of which are supported by the Canadian and Provincial governments and others are independent companies. In this paper, we will take a look at the structures in which these firms function as well as their roles within it. The government of Canada has a strong support and purpose for the film industry and we will take a closer look at some of the motivators for these actions and how they seek to do so. The objectives of the government, politicians and bureaucrats involved and how this came to be a strategic industry will also be examined. The performance of each of these players will present burdens and benefits to the policy community and the industrial policy for the Canadian film industry itself. For the purposes of this paper we will define the Canadian film industry as, the filmmaking industry in Canada. Canada is home to several film studios centres, primarily located in its three largest cities: Vancouver, Toronto, and Montreal. Most of these industries and communities tend to be regional and niche in nature, therefore a typical film in Canada is made through a complex array of government funding and incentives and from distributors. We may include television as apart of film productions definition but broadcast will not be included because of the variety different types of distribution, coverage and funding it adds to the topic at hand. The Government of Canada has set up film advisory boards, started major corporations and spent billions of dollars in support of this industry, in this paper we seek to answer the question, why? (Government of Canada, 2010) There are a few different hypothesis, but as we will see it is a more complex of a situation than meets the eye. The political and economic motivators for attracting film and television production activities are to capture economic multiplier effects, which are believed to exceed the cost of foregone tax income by a factor of two or three. (Davis, 2009) Other positive views include the large employment that the industry provides for Canadians, for foreign outsourced productions 31,650 jobs were created in one year, with an average employment income of $36,000. (Canadian Government, 2010) Another main factor is the indigenous productions are on the rise Canadian content accounted for 13. % of total revenues, up from 4. 9% in 2005. (Government of Canada, 2008) This shows that the main objectives, as stated by the Canadian Government themselves, are to foster the quality and diversity of Canadian film by restructuring support programs to reward ongoing performance and by encouraging an increase in average production budgets. (Government of Canada, 2010) These are only some of the reasons why this has become a strategic industry. Close substitutes including, sporting events, concerts all affect the consumers consumption of movies. The recession is said to have had a positive affect on the consumers desire to go out to the movies, this could be based on the relatively low financial commitment of a movie versus the price of a ticket to a concert or sporting event. Of interest is the issue of the 2010 Olympics, were staged in Vancouver, one of the Canadian hot spots for film making especially co-productions with Hollywood. Revenues dipped more than 22 percent based on the fact that not many producers wanted to shoot during the Winter games. Oddly though, due to the recession production numbers were able to increase. Post Media News, 2011) Some of the main keys to success of the industry are, in fact, the support from the government, the ability of the industry to produce a decent profit margin and to create jobs for Canadians. Also, indigenous film making is on the rise mainly due to the support and the active goal making that the government had put into motion. Distribution and marketing of these films need growth, there are some festivals and award shows that are strategic variability to the marketing of films such as, Toronto film festival, Genie awards Victoria film festival. Even though there are two firms that recently switched their focus entirely to distribution, Alliance Atlantis and Lions Gate Entertainment no longer produces films at all. Distribution continues to be a problem for Canadian filmmakers, though this established network of film festivals provides important marketing and audience exposure for Canadian films. In addition, international co-productions are increasingly important for Canadian producers and smaller films are often funded by arts councils (at all levels of government) and film collectives. Another recent but very real burden for the Canadian film industry is the ack of attention and funds paid to it in the 2010 budget. Some have argued that the government has not made necessary budget allocation for the industry to continue its growth, especially for indigenous projects. (Government of Canada , 2010) Structure: The top four firms in the Canadian film industry will be the main focus, as they play the largest role in Canada, although there are many arts councils and film collectives especially at the provincial level. The four firms are the National Film Board of Canada, Telefilm Canada, the Canadian Television Fund, and the Canada Council for the Arts. These companies accounted for about 73% of total national revenues, up from 71% in 2005. (Government of Canada, 2008) The National Film Board of Canada and the Canada Council for the Arts are both agents of the federal crown. Notable is the recent closure of the Canadian Television Fund in March 2010. In addition, Telefilm is an agent of the federal crown and is the main distributor of Canada Media Fund, which has now taken over some of the projects and duties of the CTF. These crown corporations report to Parliament through the Minister of Canadian Heritage. (Government of Canada, 2010). Some other forms of support are incentives that these companies disseminate or create; Canadian Audio-Visual Certification Office (CAVCO), Canadian Film or Video Production Tax Credit (CPTC), Film or Video Production Services Tax Credit (PSTC), Film or Video Production Services Tax Credit (PSTC), Canadian Film or Video Production Tax Credit (CPTC), Canada Arts Presentation Fund (formerly Arts Presentation Canada), Canada Arts Presentation Fund (formerly Arts Presentation Canada), Canada Cultural Investment Fund (formerly Canadian Arts and Heritage Sustainability Program) and Audiovisual Coproduction. This is only a small representation of programs and incentives that are offered by the federal government, most often each province has it’s own incentives, scholarships and funds for regional talent. These opportunities are there to encourage Canadian filmmakers so that Canadian content is available and accessible to Canadians by reflecting Canada's rich linguistic, ethno-cultural diversity. Filmmakers, employees, and pretty much any one on the Canadian film labour force would be considered interest groups. They have been fighting for years for the benefits and labour relations that some other industries have had for 50 years. The film industry has had a long history with issues within the industrial labour relations. There have been many fair policies created in protection of the productions crews, now the industry is seeking policies and opportunities affecting the accumulation of capabilities and the level of the production firm. As previously stated the distribution of indigenous films is limited in Canada and this poses one of its biggest challenges. The customers (moviegoers) need to be informed about the release dates and when and where they can see such films. Reviews need to readily be available, with the strong financial backing the that Hollywood has to market and distribute films, Canadian films must have a stronger presence in the industry in the form of television, internet and print advertisements. Indigenous production capabilities benefit directly for providing services to Hollywood, while indigenous business and creative capabilities are much less likely to benefit. (Davis, 2009) By broadening the Canadian knowledge base, by helping in the production of blockbusters, it not only inspires us to make blockbusters but we can learn from the mistakes of our southern neighbours. Not only that, but the American celebrities increase the fascination with the film culture and get movie goers excited about going to see films. Business and creative capabilities pay be limited by this co-production relationship, in that the policies and tax incentives in place encourage the American film industry to take advantage of these opportunities but have sometimes nearing quadruple the budget as a Canadian film. This quintessential competitiveness is said to be undermined by the tax incentives and interferes with international trade agreements. If this is so, this also undermines the co-production relationship Canadians have with the American industry. It seems to be a give and take relationship, where they provide us with jobs and knowhow, where we offer up business capabilities. As for the creative capabilities of Canadians in film, this is something that cannot be undermined. It is possible to get sucked into the hype of Hollywood and become all too focused on making that next blockbuster, but many of Canadian filmmakers know that their product represent a Canadian perspective and are proud of that. So this dichotomy of benefit versus burden, does have a large opportunity to become balanced, if we can accept the balance of exchange of know-how and business value. Behaviour: The markets strategies of government, firms, cooperative and independent, interest groups determines the significance of the non market actions to the firms involved in the Canadian film industry. The non-market strategies: of government, firms, cooperative and independent, interest groups shapes the business opportunities and co-productions possibilities in the marketplace. (Baron, 2010) First we will begin with the market strategies that are applied by the different parties involved in the film industry. The labour force (crews) in the production industry had a hard time getting respect on a policy level. The collective bargaining was nearly non-existent. Now that policies have been set in place to protect workers on set and in production there is more of a focus on policies on the level of the firms themselves. What rights do the firms posses? How can they counter any milestones that may occur? How do we help them become more competitive with the American markets? The answers are funding for distribution. The two companies who are currently focusing on distribution, are underfunded and it seems they lack the knowledge base to promote a film from start to finish. With all the media avenues today, marketing a film needs to touch on television, internet and print promotions, but without reliable financial commitment from the Canadian government we can hardly support our Canadian productions. For non-market strategies, we can see clear evidence that the top four firms do in fact work together, largely based on the fact that they are all government funded and owned, subsidiaries of the crown. Some arguments are made that service production is said to risk inhibiting development by deflecting of eclipsing indigenous production or by absorbing resources that might otherwise devoted to it. (Davis, 2009) Many of the firms have the same goal because they share similar beginnings. Independent production firms lack a team ethic with the bigger crown firms. An underlying policy assumption of promoting and independent production is that an increasingly capable domestic production should get some degree of economic viability through the conquest of international markets. Observations: The reason there is a lack of perspective in the industry is because all the firms have a different focus but with many of the same goals and funding. We can see that in the past 50 years the industry has overcome many market issues, but does need to ban together and demand some support for distribution. If no one will see the films that reflect our culture and perspective, what is the point? This is the main problem with the film industry today, as well as the disconnect with independently run firms. Filmmakers need a voice and should be more involved in non-market strategies.

Analyse a text connected with your degree subject (which is Film and Essay

Analyse a text connected with your degree subject (which is Film and TV Studies) by applying the ideas of Marx and Althusser - Essay Example what Marx has said about History in his book The holy family, or Critique of critical criticism (1844), Generic thinks it should be understood that â€Å"cinema doesnt make itself, cinema isnt made for itself, cinema is made by and for us. Films relation to the mass becomes a question of how to understand its situation as a medium capable of reaching many millions of people, potentially disparate in place and time.† (Generic. 2006). In today’s world, cinema is still one of the most influential medium to reach a large mass of people across the world. All the social, political, cultural and ideological issues which have, or could have created raves in the history of human beings are dealt from a common or unusual perspective in cinema. A section of people use this medium to express their ideas and beliefs on a particular topic which sometimes collide with the established school of thoughts, and sometimes greatly accepted. The underlying discussion on the above-mentioned b ook focuses specifically on the aspect of feminism in line with the perceptions of Karl Marx and Louis Althusser. Marx’s ideology of history being the struggle between classes is also applicable in the history of feminism. Women as a dominated class have struggled for identity and existence against the male class. They have fought for their freedom from patriarchal control, for their rights and privileges as independent human beings. Women have evolved through slavery to primitive communism- a term supposed to have introduced by Marx to indicate rights of an individual to basic resources and freedom from authoritarian rule and hierarchical social structure. The Marxist theory of feminism focuses on shattering of capitalism in order to emancipate women. The capitalist society, which largely values personal assets to demarcate the social position of an individual, is at the base of women’s oppression, according to Marxist feminism. Marx and Engel analyses that if the capitalist society, which

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Integrative Conclusion - Essay Example Throughout this process I have been consistently surprised at how much my work has taught me, and how much my present and my past tie into each other. Prior to this portfolio I had never considered why I chose the path I did for my career. At the time, it felt like I was bouncing from one situation to another, and perhaps at first I was. Certainly, my very first job was more about finding a way to earn money than it was any conscious decision. However, looking back through the eyes of experience, I am beginning to understand where the passions that drive my interests have come from. I have grown considerably from the time that I first started working to the present day, as I have worked my way through the store to my current role as the head of the Security and Loss Department. At first, my involvement in the store was relatively little. I worked on checkouts, and while I saw security doing their job, I had no involvement in them and little interest. I moved from this role because of an increasing interest in becoming more involved in the store. This eventually led me to the security department, where I felt both more comfortable. I think that as I started to work in security I was fulfilling some of my deepest passions, ones that I hadn’t fully been aware of. As I have become more involved in security, I have continued to grow, and my role has moved from being an employee under someone else’s instruction to being management myself. In my introduction essay for this portfolio, I examined my own past and how it has shaped my life. I considered the way that my life had developed, what my passions are and where I thought they came from. I chose loss prevention as a theme because it seemed the most logical. After all, loss prevention is the central focus of my job. However, it was not until I started to examine my past that I understood why I enjoyed my work so much, and where that interest and passion had sprang from. Two factors that strongly influe nced me in my younger years were my uncles’ role in law enforcement and my father, a firefighter who risked his own life to save others. These influences strongly convinced me of the value of the law, of what was right and just. I believe that these morals have resulted in me finding great satisfaction from helping others, and from working to preserve the law. I think now that it was this passion and interest that has meant I have immensely enjoyed my role in the Security and Loss department, and also driven me to become part of it in the first place. For example, I had always held a great deal of respect for my uncles and their work, and wanted to eventually become involved in something of a similar nature. This was part of the reason for wanting to do a Bachelor’s Degree in Criminal Justice, but I didn’t feel that I was ready to give up my job in order to earn the degree. Hence, I am balancing the two by working on the course online, while holding my job at Be st Buy. It was also the reason that I took on an internship at the Bergen County Prosecutors Office. I hope that completing my degree will bring me a few steps closer to ultimately becoming involved in Law Enforcement, although for now I am content where I am. In my first

Writting assignment Example | Topics and Well Written Essays - 500 words

Writting - Assignment Example ovide for all recognized subsequent events provided the availability of additional evidence in their financial statements considering the availability of this information during the date of the balance sheet or the development of the financial statements. In cases that a probability exist weighing on which a liability has been incurred provides for the reasonable estimation of the liability. 25-8 provides for the creation of the recognition of a loss contingency once the range in which the loss falls is probable for estimation (Accounting Standards Codification, n.d). In the same context, the retirement of an asset proves possible once the uncertainties provided become certain, and the company comprehends the effect caused in totality. During the development of the financial statements of December 31, 2007, the company needed to provide for the uncertainty in its records and based on the estimate developed, it proved necessary to include the rough estimate of $17million in the financials as liability. During the year 2009, the record of the liability stated as $17 million needed amending since the ruling had been made on the case providing for $18 million despite the appeal holding. In 2010, W filed for appeal against the ruling of the court of appeal on the matter. This leaves uncertainty still surrounding the matter and hence the need to continue holding the liability stated in the books. According to the ASC 410-30 dealing with asset retirement, it is only recognized once fully ascertained which ascertainment occurred in 2011 after W lost the appeal. It is, therefore, prudent for the effect of the appeal to occur in 2011 in the financials of M. The company needs to have all the liabilities recognized the right and recorded in the books of accounts based on the Accounting Standards provided. These all provide for the company to have its books and reports run in accordance with the accounting principles providing a true and fair view in the company’s