The Marketing Of Movies Film Studies Essay

The Marketing Of Movies Film Studies Essay In 1910s, the era commonly known as the birth of movie marketing, the big focus was on the movie stars. As motion picture audiences grew, so too did the importance of the actors. It was producer Carl Laemmle who originated the publicity stunt, an orchestrated media event where something dangerous or spectacular related to the movie is performed in order to draw further attention to its opening. After asking Florence Lawrence, a famous movie star, to join his IMP production company, he announced to the press that Lawrence had died in the car accident. After news of her death had created a sufficient stir, he placed a full-page advertisement in papers to deny the story. That was one of the first deliberate marketing strategies in the industry and it changed the movie marketing system dramatically. (Block and Wilson, 2010:19). As the stars of movies became more and more identifiable, the publics curiosity about them grew to be insatiable. This then started an era of using movie stars to promote movies and ultimately, it opened a whole new field of movie marketing. From 1920s, film distributors had started to employ marketing teams to create and produce publicity materials like press books, which were intended to encourage cinema managers in the exploitation of the film product. Film historians tend to look at early press books in order to study the history of movie marketing itself. Each press book would carry information about the film and its production, such as the plot synopses, the cast, background information and all the details of the availability of posters or other promotional aids such as lobby cards or standees life-size cardboard cut-outs of characters from the film (Moat, 2003-2010) to be put in cinema foyers. Press books were also used to promote ideas like recipes, competitions, quizzes and tie-ins with the local shops, as well as suggested text for local newspapers. The peak of the press books popularity lasted from the 1920s until the beginning of 1950s, when film distributors started to have more money to spend on promotiona l strategies, and film going was at its height. By the mid 1950s, theatre attendance had dropped to only 50 percent of what it had been in 1946. (Lees and Berkovitz, 1981) To make things worse, the U.S Department of Justice had launched an antitrust suit against the Big Five film companies Paramount, RKO, Twentieth Century Fox, Warner Bros. and MGM. After eight years of negotiations, these studios and three minor studios of that time Columbia, Universal, and United Artists agreed to what became known as the Paramount Consent Descree. (Pomerance, 2005:12) From now on, studios could no longer marshal under their own vertical structures the entire movie-making process, from acquisition of script material through pre-production, filming, editing, marketing, distributing, and exhibiting and therefore could no longer predict in advance what the profit range would be for the films they systematically produced. As the audience were less likely to visit the theatre, films had to have a more profound contact through the plot or use of vi sual effects. As a result, exhibition practises were modified in many ways after 1950 to lure the audience back: widescreen processes like CinemaScope and Cinerama, advance reservation road show bookings for major features, more intensive use of cinematic colour, the use of more exotic locations and lushly scored, quasi-symphonic or jazzy music. (Pomerance, 2005) However, what makes a hit? is the big question that has been on the minds of everyone involved in the movie business since its early days. (Lees, 1981:142) The uncertainty engendered by this shaky state of affairs causes, quite naturally, a parallel state of anxiety about decision making. There are no guidelines to consult that will indicate anything other than approximate probability. Film marketing has therefore two definitions. One is giving the public what they want. The other is making the public want what you have got. In the eyes of many movie marketers, this amounts to a very clear distinction between bad and good. (E.Squire, 2006:67) The problem is that there is usually no sure way to tell what the public wants. In late 1960s, film makers had started to use marketing research as a method of predicting the audience acceptance. Its goals were clear: determine a statistical picture of the kinds of people who go to movies, find out if certain projects will meet with public favour and learn how to market films that have already been made. (Marich, 2009:29) However, producers could watch the results of market research, trade paper reports of grosses, but the numbers for one film could never predict how the next one would do. In the 1970s, for example, there were three kinds of films one did not make: science fiction, sports and Vietnam. The films in those subject categories had all bombed, so it was assumed the public was turned off by the subject matter. (Stringer, 2003) Vietnam was depressing, science fiction was for buffs, and who wanted to see movies about boxing when they could see real sports at home, for free? Star Wars (Lucas, 1977), Coming Home (Ashby, 1978) and Rocky (Avildsen, 1976) buried these arguments forever, although the same thinking persists. For example, the presence of stars in the cast was said to be insurance that a film would be successful, but in Star Wars, for example, there were no famous names. Interestingly, the American film industry changed more between 1969 and 1980 than at any other period in its history, except perhaps for the introduction of sound. During that time, profits for the most successful motion pictures rose from the hundreds of thousands to the hundreds of millions of dollars. (Curran, 1998) The sixties were also highly marked by the rise of television. Although still too expensive, it opened a new window for film marketers. The film that is often credited with changing how movies are distributed and marketed was Jaws (Spielberg,1975), the first film to open at a thousand theatres and to use network television to support it. Made by Universal Pictures, the studio liked the complete film so much that it began a TV advertising campaign that cost an unprecedented $700,000 (Block, 2010:506) The film opened on 490 screens, setting the standard for subsequent wide openings for Hollywood films. Universal was looking to ramp up the marketing for Jaws to levels never seen before. Three nights before the film was scheduled to open nationwide, the studio saturated the networks during peak prime time hours with a barrage of thirty-second trailers. When it opened on June 20, Jaws become a national sensation. After the Jaws experience in 1975, multi-disciplined marketing departments were created, which included specific divisions for publicity, creating advertising, media buying, and promotion. (Cook, 2000). The follo wing chart depicts Jaws franchise films all-release worldwide box office revenues versus their production costs. (Block, 2010:507) Equivalent 2005 $s Against the rule of films one should not make in 1970s, George Lucas began developing his concept of a mythical science-fiction action adventure film named The Star Wars, set in the distant future and featuring a cast of characters. Universal and United Artists passed on it, but 20th Century Foxs Alan Ladd Jr. offered Lucas $10.000 to develop the screenplay. (Bakker, 2008:101) The head of Foxs advertising department, David Weitzner, began working on the film in February of 1977 and hired the successful advertising agency of Smolen, Smith and Connoly, which had previously created campaigns for such movies as Carrie (De Palma,1976) and The Omen (Donner, 1976). Donald Smolen began his task by examining the initial marketing research that had been conducted. The reports from the early screenings were not very encouraging said Smolen. We were told not to spend too much money, because the research showed it was just another science-fiction movie. (French, 1997:32) They certainly were not too excited about it, with the exception of Ashley Boone, the vice president of distribution at Fox, who kept touting the film, saying it is going to be a hit. When Fox screened the film for Smolen and his partners, they were not impressed. At this point, there were so much missing from the film it was not fair to judge it, although we did. However, my job was to make sure the f ilm was sold. In that regard it did not make any difference what the research showed or what anybody thought about the film. We were just trying to sell the film in the best possible way. (French,1997:32) To pump up pre-release interest, Lucas inventively tapped science fiction conventions, released a comic book and a novelization. The film opened to long lines at 10.00 am on May 25,1977 in a mere 43 locations across the United States. (Lucasfilm Ltd, 2004) No one knew it was going to be a big hit remembers David Prowse, actor playing Lord Vader. Nowadays, we take for granted that a big blockbuster will go out with thousands of prints and open in May. But back then the summer special effects blockbuster did not exist. (Prowse,2010) Although there were certainly fewer movie theatres in operation during the 1970s compared with today, a wide release of a mainstream, non-specialised film at that time typically meant a few hundreds engagements. Lippincott, former Lucasfilm Ltd. Vice President for Advertising admits that if the film was redone today, on the basis of the way movies are released with a couple of thousands prints, it probably would have been unsuccessful. Theatres did not want the movie. We were lucky to get forty theatres to open it (Gross, 1999:55) What is more, until the mid 1970s, movies were poor cousins of television when it came to merchandising. Sound tracks and books had always brought income to producers and studios, but the manufacturers who bought licenses to make other kinds of products such as toys or t-shirts figured that regular weekly exposure on television was the key to selling their goods. In comparison, movies seemed to be quick, one-shot affairs, not around long enough to sustain a product in the marketplace. (Curran, 1998) All that changed with Star Wars. The phenomenal success of most of the scores of Star Wars items showed that all sorts of products could ride on the coattails of a hit film. It also showed that through shrewd merchandising, a studio could make millions of dollars above and beyond income from movie theatres. The studios tend to define merchandising as any instance of an outside company using a film title or an image from a film on a product or as part of an advertising campaign. (Smith, 20 02:34) The latter case is called a tie-in, and as its name suggests, it is a partnership of two different companies in a unified advertising strategy. George Lucas agreed to reduce his salary as a film maker, reportedly $100.000, in exchange for Fox agreeing to let him have the films merchandising rights and other, lesser non-cash considerations. At the time Star Wars hit theatres, it had just ten licensees, but that mushroomed when the science fiction movie exploded in the box office. According to The Licensing Letter, the original merchandisers were Kenner for toys, games and crafts, Factors and Image Factory for t-shirts and posters, Ben Cooper for childrens costumes, Twentieth Century Records for soundtracks, Ballantine for paperbacks, Marvel for comics, Don Post Studios for various masks, Ken Films for edited home movies, and George Fenmore Associates for souvenir programs. (Marich, 2009:144) Star Wars was the real birth of the modern movie licensing business and it caught a lot of people by surprise. Six months after the release of Star Wars the much anticipated range of toys still was not ready. Puzzles, jigsaws and other items that could be produced with relatively short lead times begin to dominate toy shops across America, but Kenner had simply not had enough time to create its product. It became apparent to everyone at the company that they were going to miss the all-important Christmas toy purchasing period. Worried that by the time its products were available, the Star Wars obsession of Americas children would be over, the company devised the Star Wars Early Bird Certificate Package. (Lucasfilm Ltd, 2004) This was a large envelope available in toy stores. It included a certificate which the recipient would have to post to Kenner, remembering to include his or her name and address. The recipients would then, as soon as the toys were produced and before they were av ailable in shops, receive the first four of Kenners Star Wars action figures: Luke Skywalker, Princess Leia, R2-D2 and Chewbacca. Kenner, which is now owned by Hasbro, still to this day has a Star Wars license for different merchandise. To compare, in 1997, by adding just four-and-a-half minutes of new footage to the original film, at a cost of $10m, roughly the cost of the entire original movie, George Lucas has managed to recycle Star Wars back to the top of the box office and make it the most successful picture of all time in the US. When it opened on May 25, 1977, Star Wars took $2.6 million in six days from a timid 32-screen release. On January 31, 1997, the re-release exceeded all expectations with $35.9m from 2,104 screens. (Duncan, 1997: 16) When George Lucas decided to digitally revamp the Star Wars trilogy for re-issue, Lucasfilm and 20th century Fox were left with a marketing conundrum. How do you build awareness for a film that is possibly the best known picture ever made? We went into re-release without a marketing template explains Gordon Radley, president of Lucasfilm. (Lucasfilm Ltd, 2004) Star Wars is more than a cultural phenomenon, it has such an impact on the hearts and minds of cinema-goers and no trilogy has ever been re-released on such a large scale. Lucas himself had strict guidelines for the worldwide re-release: it was to emphasise the in-theatre experience- the big screen as the best possible way to see Star Wars as well as stressing the unique chance to see all three films in a relatively short scape of time. Less than a year before the Star Wars relaunch, the new trio was titled The Star Wars Trilogy Special Edition and given the tag line Join the Celebration! Back on The Big Screen! (Lucasfilm Ltd , 2004). Although the average American has seen the film many times, US posters used the phrase See It For The First Time. (Duncan, 1997:16) Working with Lucasfilm, Fox marketers have approached Star Wars in terms of raising the consciousness of an existing, long-lasting brand name. The important thing was that we were not bringing a new film out says Jim Gianopulos, president of 20th Century Fox International. We didnt have to raise awareness. In 1996, before the release, Star Wars merchandising held the number two sales spot. (Smith, 2002:35) Star Wars action figures were the biggest selling toy after Barbie and has made more than $3 billion since the release of the film in 1977 twice the amount the franchise itself has earned. The unprecedented $2 billion tie-in with PepsiCo that was struck in May 1996, became the cornerstone to promoting Star Wars as a brand name again. (Duncan, 1997:16) During the latter part of the decade, intoxicated by the success of Jaws and Star Wars, Hollywood developed a blockbuster complex. The following table depicts franchise films originating in the 1970s. (Block and Wilson, 2010:533) Equivalent 2005 $s in Millions of $s Rank Franchise Number of Films in Franchise All-Release Worldwide Box Office 1 Star Wars 6 $6,872.9 2 Jaws 4 $2,238.9 3 Rocky 6 $2,060.6 4 Superman 5 $1,797.0 5 The Godfather 5 $1,139.2 The event movies, franchise films, and instant blockbusters that drove the box office of the 1980s became more expensive, more high-tech, and more international in the 1990s, although the profits became even harder to realise. By the early 1990s, sophisticated marketing techniques such as advertising testing, the use of the internet and product placement in films, became firmly rooted in the business. As production and marketing costs soared, more and more movies opened with huge grosses only to fade after the first weekend, replaced by another movie the following weekend. Nobody could predict that in a summer packed with big-budget mainstream studio fare like Star Wars: The Phantom Menace (Lucas, 1999) and Wild Wild West (Sonnenfeld, 1999), Artisan studio would score the most stunning coup in recent times by propelling Blair Witch Project, a grainy, low-tech documentary, to $250 million at the box office worldwide. (Marich,2009:96) Interestingly, the writers of the film spent less than $100,000 to make and present it in documentary style. As a result, with sequels, videos and licensed merchandise, it became the most profitable low-budget films in cinema history, as depicted in the following table. (Block, 2010:520) Top 5 Blockbuster Movies Lowest Production Cost versus Highest Revenue All-Release Domestic Box Office, 1960-2009 Equivalent 2005 $s in Millions of $s Rank Film Initial Release Domestic Box Office Production Cost 1 The Blair Witch Project 1999 $177.3 $.04 2 Easy Rider 1969 $191.7 $1.9 3 American Graffiti 1973 $402.0 $3.30 4 Psycho 1960 $209.9 $5.3 5 My Big Fat Greek Wedding 2002 $266.4 $5.4 Thanks to a revolutionary use of the internet and word-of-mouth, the movie stood out amongst the onslaught of $200 million movies with corporate tie-in partners and $50 million advertising budgets. Bound by a small marketing budget, the internet proved to be the one outlet where the money spent paid off in spades. The Web completely levels the playing field; you cant out-spend somebody on the Web the Artisans studio marketing head, John Hegeman said. Its against the grain of every other media; you create a message and give it time to breathe. If the environment is interesting, you can hold onto the fan base longer, as opposed to a 30-second ad thats here and gone. For us, it was the most important and impactful delivery mechanism (Hegeman, cited in Stanley, 1999) Co-director of the movie, Eduardo Sanchez, created the Blair Witch Project website to outline the story of the Blair Witch and lure potential investors- before the screenplay had even been written. He also planted a false information that the murders shown on-screen were real, not staged by film makers. Of course the events depicted in the movies were not real, but the controversy they caused helped boost interest and ticket sales. Rather than posting a typical promotional movie site with Shockwave presentations, cute screen savers, a few trailers, and an opening date, Sanchez created a Web site that is an extension of the movie rather than just an online advertisement. In addition, just before the general release of the film, The Science-Fiction Channel aired a mockumentary, Curse of the Blair Witch (Sanchez, 1999b), which, supposedly, investigated the legend behind the movie. The program contains actual interviews of relatives and friends of the three main characters. (Sanchez, 1999b) Since the whole legend was fictional, including the myth of the missing students, the program can be treated as another marketing mechanism for the film. Despite this, it gives more background information on the legend that is hinted at in the film. Then, at the Cannes Film Festival, the producers distribute flyers containing information about the cast. The missing posters of the actors of the film were also put up. These marketing strategies and also the authentic feel of the movie made many viewers believe that the whole documentary was real, even though the film was listed in the fiction category. This decade also saw industry consolidation accelerate. By the end of the 1990s, bigger companies dominated the entertainment industry and companies such as News Corporation (20th Century-Fox and Fox Broadcasting), Time Warner (Warner Bros. and New Line Cinema), and Viacom (Paramount, Blockbuster Video, and CBS) were changing the dynamics of ownership. (Bakker, 2008:122) Studios were no longer part of companies focused primarily on movies and TV shows. These companies ushered in an era of more intense research, which was conducted at a higher cost. Everything was tested, from story concepts to TV commercials. These companies were also able to raise vast pools of funds from investors both in United States and around the world. Movies were still shown on film, but there were signs that the end of the celluloid era was upon us as movies entered the electronic age. Digital technology was used first to store information, then to edit movies and TV shows, and later as a tool in special effects, leading ultimately to the beginning of digital cinema, which would transform production, distribution, and exhibition. At the same time the internet gave easy access to an abundance of information and fast communication. When in 1993 only 1.3 million people used the Internet, by the year 2000, over 300 million people had access. (Bordwell, 2003:274) Soon after, the DVD was introduced as a digital consumer entertainment format and seemed likely to replace videotape. However, mainly due to evolving technology, the U.S film industry faced many new difficulties as a new century dawned. Film piracy exploded, thanks to digital copying and internet access. Also box-office revenues swelled due to increased ticket prices as supposed to larger audiences. In real terms, theatres were earning less from tickets sales that they had in the 1980s. (Stringer, 2003) In the meantime, the costs of film making and marketing were rising faster than the income. Nonetheless, theatrical motion pictures remained central ingredients in the media mix. Films spawned television series, video games, comic books and other merchandise material. The press tracked top-grossing films as if they were a sports team. The industry might have been riddled with economic problems, but film was securely at the centre of Americas and the worlds popular culture. Bibliography draft: Bakker, George (2008) Entertainment Industrialised. The Emergence of the International Film Industry, 1890-1940, University Press, Cambridge. Bassom, David (1999) Star Maker, StarBust, May 1999, pp. 40-45. Bhuvaneshwari (2005) Star Wars: A Star Brand, IBSCDC, May 2005, pp. 1-8. Block, Alex Ben and Lucy Autrey Wilson (2010) Blockbusting, HarperCollins Publishers Inc., New York. Cook, David (2000) History of the American Cinema. 9 Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979, MacMillan, New York. Curran, David (1998) Guide to American Cinema 1965-1995, Greenwood Publishing Group, Westport. Dale, Martin (1997) The Movie Game. The Film Business in Britain, Europe and America, Cassell, London. Duncan, Celia (1997) Marketing Focus: Star Wars Trilogy, Screen International, March 1997, p. 16. Endicott, Robert (2000) Studios Soar to New Box-Office Nirvana Advertising Age, July 2000, p. 10 E.Squire, Jason (2006) The Movie Business Book, McGraw-Hill Education, England. French, Lawrence (1997) Selling the Force, Cinefantastique, February 1997, pp. 32-37. Hayward, Susan (1996) Key concepts in Cinema Studies, Routledge, New York. Izod, John (1988) Hollywood and the box office, 1985-1986, MacMillan Press, Hampshire. Kempster, Grant (2005) Star Wars, Film Review, August 2005, pp. 12-16. Lehu, Jean-Marc (2007) Branded Entertainment: Product placement and brand strategy in the entertainment business, Kogan Page, London. Lees, David and Stan Berkowitz (1981) The Movie Business, Random House, New York. Marich, Robert (2009) Marketing to Moviegoers: A Handbook of Strategies and Tactics, second edition, Southern Illinois University Press, Carbondale. Pham,Andrew and Neil Watson (1993) The Film Marketing Handbook, BAS Printers Limited, Hampshire. Pomerance, Murray (2005) American Cinema of the 1950s. Themes and Variations, Oxford International Publishers Ltd, Oxford. Prowse, David, actor playing Lord Vader in Star Wars trilogy. Face-to-face interview (notes), 20 September, 2009, Glasgow. Smith, Jim (2002) The Star Wars Story- Part One, StarBust, May 2002a, pp. 34-41. Smith, Jim (2002) The Star Wars Story- Part Two, StarBust, June 2002b, pp. 26-33. Smith, Jim (2002) The Star Wars Story- Part Three, StarBust, July 2002c, pp. 28-34. Stringer, Julian (2003) Movie Blockbuster, Routledge, New York. Wasko, Janet (2003) How Hollywood Works, SAGE Publications, London. Miller, Neil The Ultimate Harry Potter and the Half-Blood Prince Photo Gallery, http://www.filmschoolrejects.com/news/the-ultimate-harry-potter-and-the-half-blood-prince-photo-HYPERLINK http://www.filmschoolrejects.com/news/the-ultimate-harry-potter-and-the-half-blood-prince-photo-gallery.phpgallery.php (accessed 22.02.2010) Royal Albert Hall Harry Potter and the Order of the Phoenix http://www.royalalberthall.com/about/history-and-archives/timeline-detail.aspx?search=20030626 (accessed 18.02.2010) Granville, Williams Bestriding the World http://www.mediachannel.org/ownership/granville.shtml (accessed 22.03.2010) Entertainment Marketing Letter Product Placement On The Rise In Broadcast Network Primetime Shows, http://www.epmcom.com/products/entertainment/eml (accessed 10.03.2010) Koster, Olinka Harry Potter and the not-so-wizard Coca-Cola wheeze http://www.dailymail.co.uk/news/article-79086/Harry-Potter-wizard-Coca-Cola-wheeze.html (accessed 23.03.2010) Moat, Janet Selling the Movies, http://www.screenonline.org.uk/tours/marketing/marketingtour1.html (accessed 24.10.2009) Grover, Ronald Twilight, the Movie: This Seasons Harry Potter? http://www.businessweek.com/technology/content/nov2008/tc20081114_235548.htm?chan=top+news_top+news+index+-+temp_companies (accessed 22.03.2010) MPAA Marketing budget 2007, http://www.mpaa.org/researchStatistics.asp (accessed 10.01.2010) Box Office Mojo Proud American, http://boxofficemojo.com/movies/?id=proudamerican.htm (accessed 21.01.2010) Thilk, Chris Harry Potter series http://www.moviemarketingmadness.com/blog/2004/06/03/7005/ (accessed 5.09.2009) Filmprofit, Producers Marketing Package http://www.filmprofit.com/samples/ProdMarkSample.pdf (accessed 01.01.2010) Stanley, Tim, High-Tech Throwback marketing of Blair Witch Project, http://findarticles.com/p/articles/mi_m0BDW/is_36_40/ai_56023086/ (accessed 10.11.2009) Star Wars:Bonus Material, prod: Lucasfilm Ltd., USA, 2004. Curse of the Blair Witch, dir: Eduardo Sanchez, USA, 1999b. Unknown, Twilight word of mouth and buzz marketing http://www.socialmediamarketinguk.com/twilight-word-of-mouth-marketing-and-buzz-marketing (accessed 2.04.2010)

Air Quality and Climate Change as Integrated Policy

An integrated approach to tackling air quality and climate change makes sound sense. The topics of air quality and climate change are interrelated, so policies surrounding the two problems should be addressed using an integrated approach. The emissions that pollute our air and those that warm the planet have common sources: vehicles, buildings, power generation and industry. These pollutants and activities that affect the air we breathe also have a significant impact on the climate change the earth is experiencing.Integrating air pollution control and climate change policies helps to achieve sustainable development and a low carbon society that benefit all. Many benefits are realized through integrating approaches and policies to air quality and climate change. One benefit of integrated policies is that the price to implement the policies is more cost effective. â€Å"Integrating climate and air pollution control programs leads to significant cost savings and important benefits to h uman health and the environment† (Kuylenstierna and Hicks, 2008).Also, climate policies and decisions are felt in the future while policies improving air quality are felt in the here and now. Also, an integrated policy would avoid unintentional trade-offs. That is â€Å"when policy is introduced to benefit one area without consideration of how it will affect the other; in these cases, negative impacts felt by one area may outweigh the actual benefits that the policy was designed to bring† (Environmental Protection UK, 2011). Another benefit of integration is the ability to prioritize actions and weigh the advantages and disadvantages of the action for each problem.There will be obstacles to realizing an integrative approach to air quality and climate change. Political obstacles can include lobbyist and interest groups that hold significant influence in the political arena. If proposed actions increase costs to manufacture or produce energy, the interest groups and the l obbyists will be vocal about their disapproval and may influence a political leader’s decision to implement environmental policies. In addition, individuals may voice their concerns about costs associated with integrated policies.For example, if the cost of a car goes up to meet emissions regulations, individuals will voice their opinions during election time by voting the out the policy maker. Finally, the science behind the problems needs to be clearly communicated and understood by all. The science needs to be valid and proven as well. If the science is correct, individuals will more readily accept any policy changes. Currently, there are opposing views on air quality and climate change that contribute to the confusion many realize surrounding the environmental problems the world is facing.A fragmented approach to address these environmental issues may do more harm than good. One policy that is meant to help with climate change may pose many disadvantages to air quality. I n a compartmentalized approach, the effect to the other issue is not considered. This can also add additional costs and resources to amend or fix a problem created through a fragmented approach. Separate approaches also contribute to the influence interest groups and lobbyists can have on the implementation of policies. Finally, a fragmented approach can be unclear and communicate competing priorities.The unclear and fragmented message presented to the public lessens the impact and the crucial need to act on the issues we face surrounding air quality and climate change. â€Å"Individuals are the drivers of larger processes of change involving organizations and political systems, especially in democratic societies† (Liverani, 2009). In addition, â€Å"as consumers, individuals hold a reservoir of mitigation capacity. Roughly 40 percent of OECD emissions result from decisions by individuals—travel, heating, and food purchases. U. S. ouseholds directly account for roughl y 35 percent of national CO2 emissions – more in absolute terms than the entire U. S. industrial sector and any other country bar China† (Liverani, 2009). Reflecting on these numbers, the impact that individual behaviors and actions demonstrate the negative consequences people have to the air quality as well as the significant contribution to the climate change problem. However, people must not only be informed, concerned, or understand the problems and issues, the people must act to improve air quality conditions and stop the rapid rate of climate change.People need to accept responsibility for their waste and their emissions. Policy makers have used economic and market mechanism to drive adoption, but this strategy is not all that is needed. Understanding their impact and acting on their impact without financial incentives is crucial to improve the quality of the air we breathe and slow the climate change we are experiencing. New social norms need to be established th rough effective marketing and communication of the problems.?

A Secret Weapon for High School Research Paper

A Secret Weapon for High School Research Paper A huge proportion of students are not able to write excellent research papers. They can put quotation marks around their search terms to get results that include the exact wording. Teachers should give credit to the procedure for searching, not only for the last item, she added. What Is So Fascinating About High School Research Paper? Luckily, there are a few companies where you could order high school papers, but they will need to be of top quality and ones that you can count on. To tell the truth, if you are aware of how to and you're experienced enough, an excellent research paper can be written in only a couple of hours of hard work, even without professional aid. There are lots of things that you could do, based on what one your school board would prefer the most. If you're interested in environmental science or want to tell about how a neighborhood factory pollutes the waters in your neighborhood, be certain to find out m ore about the topic! The High School Research Paper Chronicles Reading a book involves a good deal of attention, thus a library is the best spot for reading books and exploring the world. Even if a specific research paper topic is getting plenty of buzz at the moment or other men and women seem interested in writing about it, don't feel tempted to make it your topic if you don't genuinely have some kind of interest in it also. There are people who are good at writing ebooks on relationships for example. It is essential to avoid the kids from the dust in the home. Be quick to fulfill our English research paper topics for high school so you'll finish your paper punctually. Any paper is going to be written on time for an affordable price. The paper will stick to a suitable format about any topic associated with the American Civil War. High school research paper is the simplest among the other varieties of papers. Attempting to compose a research paper on a topic that doesn't have a lot of research on it's incredibly hard, so before you choose a topic, do a little preliminary searching and be sure you are going to have all the info you must compose your paper. Any further details you would like to add can be accomplished even after the paper was handed over to you. The title should stick out from the remaining part of the text. You can take an argumentative research paper which utilizes the new info to reach a specific point of view concerning the subject issue. There's additionally a particular format to citations, depending on the formats mentioned earlier. Consider the structure of your upcoming research paper (it is dependent on what sort of information you had the ability to discover in step two). Some information might need to be left from a paper for kids. There are respective companies that provide research paper writing services. Doing this will help to make certain you avoid plagiarizing in your research report. Recommendation A method on the best way to write a great report is by noting the recommendation info. With each option you must make sure, it's been well researched beforehand so you do not need to conduct your own research. Top High School Research Paper Secrets You will have to formulate arguments for the subject of your research too. Writing research papers is a wearying proce dure, and even more so if you don't have a predetermined topic. Read your ideas you have to know your topic inside and out. Not all research paper topics are made equal, and you would like to be sure you pick a fantastic topic before you commence writing. Writing a science paper is indeed a tough job but what is even tougher is choosing a great topic. Some educators may observe the review for a showcase just for an elite. Students should use various sources when writing research papers. The Pain of High School Research Paper To begin with, students find it tough to write superior research papers since they do not have sufficient time. Furthermore, the students don't know the right writing styles to use while writing their research papers. The most difficult thing for those students of high school whilst writing their research papers is to seek out a topic for writing it. Many students at every academic degree of college or university do not like to write research papers since they are terrified of the term research and all the work it entails.

The Holocausts Destruction - Free Essay Example

Sample details Pages: 5 Words: 1352 Downloads: 4 Date added: 2019/04/26 Category Food Essay Level High school Tags: Holocaust Essay Did you like this example? Relationship, it means two or more concepts, objects, or people are connected, or the state of being connected. The story Night by Elie Wiesel is an autobiography about a young boy named Elie and his father surviving the holocaust. Elie has a exclusive relationship with both his father and god that change throughout the story, but they change differently .The rocky relationship with his father has events that that go from being inseparable in Birkenau, to feeling as though he is a burden, but with god he struggles with his faith as his time in the camps worsen, but towards the beginning his devotion with God was strong.. Don’t waste time! Our writers will create an original "The Holocausts Destruction" essay for you Create order Before Elie and his father got sent to camp, their relationship was distant while his relationship with God was one of devotion. As it was described in the first pages of the story, Elie wanted the audience to know what the relationship was like before the camps: â€Å" My father was a cultured man, rather unsentimental. He rarely displayed his feelings, not even with his own family, and was more involved with the welfare of others than that of his own kin† (Wiesel 4). Many children in this time period often felt as though their parents were not able to provide emotional support. Elie clearly felt this, and did not appear to have a particularly strong bond with his father. Instead, he felt devoted and connected to God. Elie wished to spend his life focused around Judaism and devoted all his free time and energy on religious studies. With Moishe’s guidance, they would read the same pages of the Zohar over and over. At one point Elie states, â€Å" Moishe the Beadle , th e poorest of the poor of Sighet, spoke to me for hours on end about Kabbalah’s revelations and its mysteries. Thus began my initiation. Together we would read, over and over again, the same page of Zohar. Not to learn it by heart but to discover within the very essence of divinity† (Weisel 15). Elie believed that religion was a basic survival need, showing that he followed his religion instinctively. As the story moves on, the relationship between Elie and his father and between Elie and God changed dramatically. During Elie’s time in the camp the relationship that he has with his father change very quickly. When Elie and his father arrived at their first concentration camp, in Auschwitz. Elie was very scared and the only person that he knows is his father. â€Å" My hands†¦(30). From the beginning times in camps Elie and his father find great comfort in the being physically for each other, clearly their bond strengthens. The bond between Elie and his father does strengthen: And what if he were dead, as well? He was not moving. Suddenly the evidence overwhelmed me: there is no longer any reason to live, any reason to fight (Wiesel 98-99). Elie reveals that he truly depends on his father for survival, because if his father is no longer alive, he loses all hope for survival. It almost seems that his relationship grows with his father almost to the point that up until h alf way into the story his father basically could replace God in his life. His father is all that he needs to survive and what keeps him going, much like faith does for the people around him. While in the concentration camps. Elie’s devotion towards god dramatically falls. As the first nightmarish night in the concentration camp unfolded, Elie as a person was changed. His beliefs became different and he was no longer able to see the world in the same light, as expressed Never shall I forget that night, the first night in camp, which has turned my life into one long night, seven times cursed and seven times sealed.Never shall I forget those moments which murdered my God and my soul and turned my dreams to dust. Never shall I forget these things, even if I am condemned to live as long as God Himself. Never(Wiesel 32). Elie redefines the position God holds in his life. Elie sees that the Holocaust highlights the evil and cruelty from everybody. Not only by the Nazis, but from t he other prisoners, his fellow Jews, even himself. He feels that if the world is so awful and cruel than God either must be awful and cruel or not exist altogether. â€Å" I no longer accepted God’s silence. As I swallowed my bowl of soup, I saw in the gesture an act of Rebellion and protest against him† (wiesel 76). From this, Elie feels that he is better off alone in a world without God and man. Near the end of Elie’s time in the concentration camp his relationship with his father gets the turn for the worst. At one point the doctor was trying to explain to Elie that his father is holding him back: â€Å"Listen to me, kid. Don’t forget that you are in a concentration camp. In this place, it is every man for himself, and you can not think of others. Not even your father. In this place, there is no such thing as father, brother, friend. Each of us lives and dies alone. Let me give you good advice: stop giving your ration of bread and soup to your old father. You cannot help him anymore. And you are hurting yourself. In fact, you should be getting his rations†¦Ã¢â‚¬â„¢ He was right, I thought deep down, not daring to admit it to myself. Too late to save your old father†¦ You could have two rations of bread, two rations of soup†¦ It was only a fraction of a second, but it left me feeling guilty.† (Wiesel 111). Elie had finally realized that i n order to survive he needs to stop taking care of him. He know that his father is going to die anyways, and knows that he shouldn’t waste precious resources on him. The concentration had mentally destroyed him. An example of that was when his father is struck and Elie does nothing to help him, Elie said: â€Å"My father had just been struck, in front of me, and I had not even blinked. I had watched and kept silent.† He moves from apathetic to complete contempt for his father in a matter of months to the point where his talk about his father’s death near the end is emotionless: â€Å"I woke up at dawn on January 29. On my fathers cot there lay another sick person. They must have taken him away before daybreak and taken him to the crematorium. Perhaps he was still breathing.†¦ No prayers were said over his tomb. No candle lit in his memory. His last word had been my name. He had called out to me and I had not answered. I did not weep, and it pained me that I could not weep. But I was out of tears. And deep inside me, if I could have searched the recesses of my feeble conscience, I might have found something like: Free at last!†( Wiesel 112). In Night, Wiesel’s relationship with God and his father had and downs, which ultimately changes his views about God and his relationship with his father. Before the concentration camps, Wiesel shows his strong devotion to God, but with his father he did not have a good relationship. but as he personally experiences the Holocaust, Wiesel becomes uncertain of his religious beliefs with god and had a stronger bond towards his father. While Wiesel grows and transforms into a man, he simultaneously redefines God’s position in his life, and with his father he start to realize that he can not live much longer if he is going to continue to take care of his father. With Wiesel, being a author and the main character of the story, surfeits many examples of the mental and physical effects of people in the Holocaust and more specifically for a young boy. For this reason, Night provides a deeper understanding of the Holocaust so that with a better understanding of such a horrific e vent, history doesnt repeat itself.