The Development and Applications of the Zoom Lens in Cinematography Essay Example for Free

The Development and Applications of the Zoom Lens in Cinematography Essay With the birth of cinema just over a hundred years ago, the progresses made between now and then on the techniques of cinematography have never ceased to amaze audiences. Certainly, many of us could remount moments in our lives when we have felt awed by the movies and satisfied that our money’s worth was redeemed in a flurry of special effects; however, very few of us would be inclined to understand just how much effort was put into designing a very necessary part of any film production: the lens. Not only is a properly designed lens crucial to the quality of picture, but it could also save valuable time and money for the DP and Producer, respectively. This is especially true for the zoom lens, and serves as a main initiator for the constant research that is going into the instrument. Unlike fixed focus lenses, zoom lenses are image-forming optical systems which are capable of producing images of different sizes of an object from any definite distance (Clark, 4) How it achieves this effect is by moving groups of lenses within the system in a carefully coordinated fashion, using the lenses to appropriately bend the light and focus for our viewing purposes. As simple as it may sound, the science of zoom lens design is an extremely complicated subject that involves rigorous mathematical calculations that are beyond the scopes of this term paper. The zoom lens has always been essential and existent all-throughout the history of film and cinematography and it has been used it so many films that can help depict various elements such as character emotion and setting tones. However, in order to provide a general understanding of key aspects in zoom lens design, an attempt will be made to summarize one hundred years of technological advancements. Perhaps the very first hints of a zoom lens may be spotted in an 1834 article from the Proceedings of the Royal Society, by Peter Barlow (Clark, 3). Barlow noticed that by combining a negative lens (bi-concave lens) with a telescope, which contained positive lenses (bi-convex lens), he could vary the magnification of the viewed object in any proportion while never having to lose sight of the object. Although interesting, this was a discovery made only for applications on a visual instrument, and not one which could be used in combination with the photographic camera. In the 1890’s, the development of the varifocal telephoto lenses produced the first camera-associated zoom-like lenses (Kingslake, 4). These lenses used a similar two-lens system when compared to Barlow’s, yet they provided more readily varied focal lengths by utilizing a rack and pinion mechanism to control the distance of separation between the two lenses. Unfortunately, these lenses proved to be extremely cumbersome to operate, a possible attribution to its lack in popularity at that time. Not only was the image quality inadequate due to the focusing limitations of the photographic plate, a large bellows extension was required to compensate for the varying image distance during zooms (Clark, 4) At around the same period in 1902, C. C. Allen took a different approach towards creating a variable-focus lens (Clark, 4). The â€Å"Allen lens†, as it came to be known, utilized a three-lens system that contained an axially movable middle lens and two stationary outer lenses. This system was unlike the telephoto lens in that it did not require a bellows extension as its image distance remained identical for two positions of the middle lens. While there was the presence of focus defects with lens movement beyond these two positions, they were usually tolerable over a narrow range of focal lengths. This narrow focal range inevitably placed great limitations on this system’s zooming capacity. The stage has been set for the two major types of zoom lens that shall remain in constant competition with each other over the next 100 years: Machinally compensated and optically compensated zoom lenses. The telephoto lens could be thought of as the ancestor of all mechanically compensated lenses (Clark, 5). These lenses are heavily dependent on the use of cams to produce an independent, non-linear relationship between the movements of its zoom elements, which in turn achieve the change in power of the lens and maintain the image at some fixed plane (Clark, 12). On the other hand, the Allens lens could be thought to be the originator of all optically compensated lenses (Clark, 5). These lenses maintained a fixed, linear relationship between the movements of its zoom elements, often though means that directly connect the elements together. Like the Allen lens, all optically compensated zoom lens inescapably produces focus defects, resulting in a final image which oscillates around a mean focusing position (Clark, 30). With the above designs nowhere near perfect, subsequent improvements in lens design all worked to improve both the zoom range and the correction of lens aberrations. In 1932, the Bell Howell Cooke â€Å"Varo† zoom lens became the first ever true zoom lens developed for 35mm cinematography (Warmisham and Mitchell 339). The â€Å"Varo† was a mechanically compensated zoom lens which used cams to operate a variable three-element system, and provided a maximum 3:1 zoom (40 to 12 mm); however, the design was flawed in that with an increasing focal length, the aperture would decrease, creating difficulties in maintaining corrections (Clark, 6). It was still too early and too ambitious of a move for mechanically compensated zoom lenses to be wielding three elements at a time, and lens designers soon reverted back to using only two zoom elements at a time (Clark, 26). After a slow start in the 1930’s, optically compensated zoom lenses came zooming back with the announcement of the â€Å"Zoomar† lens in 1946, developed by F. G. Back for Zoomar Incorporated (Clark, 8). This lens, made for motion-picture cameras, was in improved optically compensated zoom lens that had five positive-component optical elements, the second and fourth being coupled to move together axially. This arrangement allowed the decrease of image shift that is typical of optically compensated zoom lenses (Kingslake, 5). Unfortunately, with as many as twenty-two optical elements altogether, the Zoomar lens suffered from an inability to correct for the Petzval sum, a lens aberration which results in a severely curved image plane. As if to answer for this flaw, in 1949 the SOM-Berthiot â€Å"Pan-Cinor† lens was introduced (Kingslake, 5). Developed by R. H. R. Cuvillier, this was yet another optically compensated zoom lens; however, it differed from the Zoomar in that instead of using an all-positive lens system, the Pan-Cinor lens coupled a pair of positive components with a negative component in between them (Kingslake, 5). This simple addition of a negative component provided the necessary correction to lens aberration such as the Petzval sum, and ultimately made the Pan-Cinor lens far superior to the Zoomar lens (Clark, 9). Meanwhile, led by H. Hopkins, the mechanically compensated zoom lenses had their share of progress from 1945-1950 (Clark, 9). H. Hopkins was able to design a system that was basically symmetrical, with two negative middle units which mirrored one another’s movements and two identical, fixed positive outer units, this symmetry greatly aided in the correction of lens aberrations (Clark, 24). One of the most renowned advances in the field of optically compensated zoom lens was made in 1953 by L. Reymond (Clark, 9). By reversing the powers of the Pan-Cinor lens, he created a system comprised of two coupled negative elements moving with a positive stationary element between them; in addition, Reymond added another stationary positive element to the front of the unit, making it a four-lens optically compensated zoom unit. What this setup was able to achieve was a drastically reduced image plan oscillation as well as four points of correct focus throughout the zoom range instead of the traditional three points (Clark, 9). This was truly a breakthrough for optically compensated zoom lenses. For the mechanically compensated zoom lens, it had to wait until 1971 for its next breakthrough (Clark, 26). In response to the demands made for a zoom lens optimized with a wider angle of view and shorter working distance, G. H. Cook and F. R. Laurent introduced a three-zoom-element system. This lens was capable of covering the most frequently used focal lengths of the fixed-focus lenses in 35 mm cinematography, and produced comparable image quality to fixed-focus lenses (Clark, 27). This brings us to the end of a period in zoom lens development in which there is a clear-cut difference between one class of lens versus the other. Although many cinematographers may prefer the sharp focus of the mechanically compensated lens over the simplistic operation of the optically compensated lens, a merging of their best qualities was inevitable in pursuit of perfection (Clark, 28). As the complexity of zoom lens design increased with higher expectations for performance, manual design would no longer suffice. Soon, lens designers found the perfect solution: the computer. With the progression of zoom lens development into the 1970’s, computer optimization programs became a standard tool for lens designers (Kienholz, 1443). These programs increased the efficiency of lens design drastically, as observed when Kienholz re-designed a 1956 lens using the Grey program on a CDC 6600 computer in 1970. Post-optimization, it was shown that the final lens had 11. 8%, 4. 9% and 9. 7% reduction in lens distortion for the wide-angle, intermediate, and telephoto positions of the zoom lens (Kienholz, 1451). In addition, there were improvements in almost all parameters including lateral color and image quality throughout the zoom range. Computer optimization programs can also be seen to work in tandem with other technological advancements. In the early 1990’s, â€Å"aspherical lens† became hot research item due to its exceptional ability to correct aberrations that were commonly associated with conventional spherical lens (Betansky, 657). The use of aspherics would therefore provide ways to decrease the number of lens elements originally used for the purposes of aberration correction, making a zoom system more compact (Yatsu, Deguchi and Maruyama, 663). At the same time, the design of zoom lenses containing aspherical components became even more complicated due to an increased in design parameters. Here, computer optimization programs were used to analyze the parameters one by one and generate a proper design solution (Yatsu, Deguchi and Maruyama, 663). Today, computer programs have become so powerful that precise prediction of various aberrations is possible (Usui et al. , 389) These new simulation programs allow DP’s to give input as to what â€Å"look† they think the perfect zoom lens should produce while allowing researchers to translate their expectations into technical designs. We have truly arrived at a new era for the design of zoom lens, where lens designers, with help from DP’s, can create very practical technical masterpieces that convey artistic ideas from the director’s mind into the audience’s eyes. Now the a general history of the zoom lens has been provided, now we will be looking at how the zoom lens has been used in film productions. With its varifocal properties, the original purpose of a zoom lens was to allow cinematographers to use one lens only throughout the entire shooting process, thereby generating more efficiency. However, the ability of the lens to zoom during shots and the visual effects generated in such shots became much more valuable tools for creative directors. Film makers often choose to employ zoom lens due to its ability to relay a sense of realism to the audiences- by zooming in from a distance, it is possible to simulate the effect of watching someone or some act in secrecy. One example of a film that used this effect extensively is Steven Spielberg’s Munich (2005), which depicted the trauma that hits an Israeli assassin who was seeking revenge from the terrorists responsible from the 1972 Munich massacre. Spielberg and his DP not only used the zoom effect to depict a more realistic fitting sense of espionage, but they also wanted to make the film feel as if it were really taking place in the 70’s. This gave the setting of the film a more authentic feel to the audience. A similar usage of the zoom lens can be seen in Alan Rudolph’s Afterglow (1997). Being a film with a plot that revolves around adultery and emotions, Rudolph wanted to give his shots a voyeuristic feeling (A Luminous Afterglow). By combining long takes with well-choreographed zoom shots, Rudolph was able to guide the audience through performances developed during the course of a shot and allow them to â€Å"watch† the actors, exploring the scenes in ways they would never dare. Perhaps one of the most well-known zoom effects is the â€Å"dolly zoom†, or alternatively called the â€Å"Vertigo zoom†. This technique was pioneered by Alfred Hitchhock in his classic film Vertigo (1958). This effect basically stimulates the dizzying sensation of vertigo by zooming in one direction and dollying in another direction (Ashcer and Pincus, 98). In Vertigo, the main character John â€Å"Scottie† Ferguson develops a severe case of altophobia. The dolly zoom is used to show an altophobic reaction in Scottie’s point of view to show the audience what the character is experiencing due to his case of vertigo. Thus far, this same effect has been widely popularized in features from the Thriller or Horror genres, commonly used to express extreme emotions of the subjects (Valluri). Another example is a film again by Steven Spielberg. In Spielberg’s thriller film Jaws (1975), he was able to re-popularize the â€Å"Vertigo zoom† in a memorable shot of a dolly zoom into a character’s stunned reaction at the climax of a shark attack on a beach (after a suspenseful build-up). With the widespread application of zoom lenses in the film industry today, it is hard to imagine that even just thirty years ago, it was considered impossible to produce a zoom lens whose image quality is comparable to ones generated by fixed focus lenses (Clark, 2). Indeed, the application of zoom lens has always been essential and existent all-throughout the history of film and cinematography and it has been used it so many films that can help depict various elements such as character emotion and setting tones. Zoom lenses have come a long way in over a hundred years, and it is without a doubt that with the progression of cinematic technology, even more picture-perfect zoom lenses would be developed to fit the needs of the motion picture production communities. Works Cited Ascher, Steven, and Edward Pincus. The Filmmaker’s Handbook. New York: Plume, 1999 B, Benjamin. â€Å"The Price of Revenge. † American Cinematographer 87. 2 (2006) 1-3. 6 April 2010 http://www. theasc. com/magazine/feb06/munich/page1. html. Clark, A. D.. Zoom Lenses, Monographs in Applied Optics Vol. 7. New York: American Elsevier Publishing Company Inc. , 1973. Fumiaki, Usui, Jun Osaya, Ken Ito, And Laurence Thorpe. â€Å"A New HD Cine Zoom Lens For Digital Motion Pictures. † SMPTE Motion Imaging Journal. Oct/Nov (2005): 383-395 Kienholz, D. F.. â€Å"The Design of a Zoom Lens with a Large Computer. † Applied Optics. 9(6)(1970): 1443-1452. Kingslake, Rudolf. â€Å"The Development of the Zoom Lens. † Journal of the SMPTE. 69(1960): 534-544.

A Marketing Strategy for Nestles Milo Essay example -- Business Mana

A Marketing Strategy for Nestle's Milo Overview In this brief I am going to discuss the key features of my marketing mix and create my marketing strategy by using the information attained from my SWOT analysis, PEST analysis and a Competitive Audit. I am going to choose an area of the product (Nestle's Milo) that I feel needs improving and improve it. To achieve this I’m going to use the four P’s to meet the objectives of Nestle and the needs of customers. I have chosen to improve the packaging (the product factor of the marketing mix) because I believe that it is inadequate in quality and it is the area that could give Milo that competitive edge. Also if I’m going to promote it in the UK through advertisements and promotional activity it appearance should be at its optimum. The Marketing Mix All businesses need a marketing mix to achieve its marketing objectives. The marketing mix refers to the factors known as the four P’s * Product * Place * Price * Promotion In marketing, product refers to both goods and service. Goods are physical objects, such as sports clothing, home entertainment equipment or food and drink. Services involve a combination of skills, information or entertainment, such as football match, use of a swimming pool or a theatre production. There are three critical factors to consider when developing a product: * Product characteristics * Position of the product within the product life cycle * Brand image of the product Without one of these three factors the product will not sell to its potential. Product characteristics like the brand are very essential when developing a product. Branding is the process that gives a product or service a distinctive identity with the aim of creating a unique image that will make it easily identifiable and separate from its competitors. For example, in blind tests 51 per cent of people prefer Pepsi. However, when customers can see the brand that they are drinking, 65 per cent say that they prefer Coca-Cola. What these 65 per cent of people are in fact saying is that they prefer the brand represented by the Coca-Cola image rather than the product itself. Place involves the location and availability of a product or service and the method by which it is distributed to consumers. If a product or service is not accessible to potential customers, then no matter how well it has been priced and promot... ... be an advantage to Milo because as stated in my SWOT analysis â€Å"Sponsorship through sporting events† shows that Milo has an opportunity to expand. I would (again) like to promote the product Milo in the UK because it is stated in my SWOT analysis that â€Å"Promotion hasn’t been done in the UK† and as a result of this competitors should have a competitive edge over Milo. Also stated in my Competitive Audit â€Å"Currently no promotion in the UK† suggests that product awareness is minimal. The only promotion available to the UK on Milo is websites; â€Å"Websites promotion is available to the UK† as stated in my Competitive Audit. This may not help the sale of Milo as it does not state in my Competitive Audit. This may not help the sales of Milo as it does not state where people may be able to purchase the product. An opportunity that may save money for Milo is by using advertising methods from Australia as Milo have â€Å"Good sponsorship and adverts in Australia† as stated in the Competitive Audit. A disadvantage of this is that the UK population may prefer a different kind of promotion to those of Australia hence; if promotion is not done correctly competitors will gain a competitive edge over Milo.

Piano and Drums Poem Analysis Essay

In Gabriel Okara’s poem, â€Å"Piano and Drums†, Okara expresses his feelings and thoughts of a primitive society in contrast to a western society. Being an African himself, and having studied in a western society, the poem reflects the confusion in his emotions as well as the loss of self-identity. The title of the poem itself, â€Å"Piano and Drums† displays a sense of dissimilarity and contrast as the instruments are so unalike in terms of sophistication. Throughout the entire poem, Okara incorporates the instruments to further express, through music, how the speaker is feeling. By using well-structured stanzas and poetic devices such as imagery, symbolism, sensory detail, personification, and diction, Okara is able to immerse the readers into the difficulties of cultural conflict and the confusion of a person in the midst of the two contrasting societies. Some of the most important poetic devices utilized in this poem by Okara are imagery and symbolism. Throughout the progression of the poem, there is a constant use of images to assist in displaying Okara’s conflicting emotions about the two separate worlds. The title of the poem, â€Å"Piano and Drums† clearly displays the symbols that are used in the poem. In expressing views of his native culture compared to Western culture, Okara uses the â€Å"jungle drums† (2) to represent the African culture and does the same with the â€Å"wailing piano† (17) to represent Western culture. These symbols are used particularly because of the complexity of the instruments. Being such a simply crafted instrument, with just a resonance chamber and animal skin, the jungle drums are a good symbol to signify the African life. On the contrary, with the piano being such a complex instrument with many components assembling it together to create more variety of sound, it is distinct that it embodies the Western lifestyle. In consideration of these symbols, the speaker implements more imagery to further display the contrast between the two symbols and emphasize the disorientation the speaker is enduring. Therefore, in order to execute his use of imagery successfully, he proceeds further by making a clear contrast between the images of a sophisticated society in contrast to a primitive society. For example, beginning the poem with, â€Å"when at break of day at a riverside† (1) the speaker is able to communicate to the readers that there is a sense of a beginning of a natural life. It also shows that the speaker is trying to convey that there is new civilization, as in the past, rivers have been the starting point of a developing civilization. In the same stanza, the speaker displays raw images of the jungle drums being like â€Å"bleeding flesh† (4). By implementing such primeval pictures, the poet is aiding the readers to make a connection between the drums and the rawness of the instrument and where it originates. Additionally, in the first stanza, there is reference to predator-like animals; for example, the â€Å"panther ready to pounce† (6), the â€Å"leopard snarling about to leap† (7), and the â€Å"hunters crouch[ed] with spears poised† (8). All these predatory images of wild animals are symbols to portray instinctive, primal behaviour which show the aspects of African culture that focus on survival and a natural lifestyle. Furthermore, the poet continues the idea of the drums symbolizing African culture in the second stanza through implementing more imagery. An example in this stanza is of the â€Å"blood rippl[ing], turn[ing] torrent† (9). This image of blood flowing and turning into streams refers back to the raw, primitive tone of the poem as the image of blood makes readers infer hunting and survival. In the next lines of the stanza, Okara includes an image of the speaker â€Å"in [his] mother’s lap a suckling† (11). This image of a mother feeding her young is extremely naturalistic and shows the ingenuousness of African life as well as the simplistic way of life. However, readers are particularly able to use this image to surmise that the speakers comfort lies in his mother’s lap and his motherland. Despite the primitiveness and rawness, the speaker reminisces on his childhood and the security of being with his mother. This idea of missing his homeland is further sustained in the image of â€Å"simple/paths with no innovations† (12/13). The choice of the word â€Å"simple† describes the ease the speaker feels in his homeland as there are no complex advancements or difficulties to deal with. Also, the simple paths are concomitant with the Africans’ primary focus on basic survival as staying alive is their only concern in life. The speaker feels â€Å"fashioned with the naked/warmth† (14/15) which is another example of the unsophisticated, primordial style of African culture as the image shows a bare person. Yet, even though they are unclothed, they still feel the warmth of their body suggesting their healthiness and livingness which is the most important to them. In complete contrast, the third stanza portrays the piano as a symbol to exemplify Western culture as being sophisticated, complex, and intricate which is also portrayed through additional images. However, despite the usual thinking of sophistication being praised, the speaker, in this case, puts Western culture in a negative light which is presented through the music of the piano. When first introducing the piano, it is described as a â€Å"wailing piano† (17) which gives the readers an image of a disturbing, crying baby that is an annoyance to the ears. This is in contrast to the speaker’s views of the â€Å"mystic† sound of the drums which the speaker views as a simple, but magical instrument. Also, the fact that the piano is playing a â€Å"solo† (18) displays the independence, individuality, and the selfishness of the people in the Western world. In addition, the â€Å"far-away lands/and new horizons† (20/21) illustrate the distance at which the speaker feels he is with the Western society. As the speaker feels so close to his roots and his native land, the Western society is foreign to him and, therefore, feels far away and distant. The new horizons just further emphasize the alienation he feels to be in that sort of culture where there are constant innovations and discoveries being made. This isolation is also expressed through the image of the speaker being â€Å"lost in the labyrinth† (23). Once again, the complexity of the labyrinth reflects onto the speaker’s view of the complexity of the Western world. However, as he feels lost in the labyrinth, it shows that he is not fitting into the society and feels uncomfortable. This especially contrasts with the comfort he feels in his mother’s lap in the second stanza. To add, in the last line, the word â€Å"daggerpoint† (25) strikes out to readers as the image of the dagger is strong. Even though the speaker displays the violence of the African natives, readers get the sense of the speaker viewing the Western society to be more violent in the sense that African’s kill animals to stay alive, but Western people use violence against other human beings which is unacceptable. Although, because of the primitive lifestyle, it seems to be that the African’s are more violent, in actuality, the speaker believes that Western people are more predatorial. To conclude, Okara uses imagery and symbolism to express the speaker’s feelings towards African culture in comparison to Western culture. Another important poetic device that Okara integrates into his poem, â€Å"Piano and Drums† is sensory detail, and in particular, sound. The use of sound helps to develop the images, but to also express musically, the emotions he feels in regard to then two contrasting cultures. For instance, in the first stanza, the speaker hears the sound of â€Å"jungle drums telegraphing/the mystic rhythm, urgent† (2/3). The use of the sound coincides with the use of imagery yet the sound of the drums and the â€Å"mystic rhythm† lures the readers into the poem and assists them in hearing the rawness of the drums and also sets a jungle-like atmosphere to the poem. To show the contrast, this â€Å"mystic† sound that lures the readers in, contrasts with the speaker’s interpretation of the sound of the â€Å"wailing piano solo†. â€Å"Wailing† already gives a negative image of the sound, and throughout the whole stanza, all the readers can think about is the annoying sound of the piano. The sounds that the piano makes are elaborated with â€Å"coaxing diminuendo, counterpoint,/crescendo. † (22/23). When the diminuendo occurs, the word â€Å"coaxing† allows for the readers hear the piano at a distance yet when the counterpoint enters, the other melody interferes and becomes more confusing to the ears. Just when the confusion intensifies, the crescendo makes the piano get louder and harsher to bear. All of the sounds combined and the melodies playing at different times is bewildering to the speaker and essentially causes him to feel â€Å"lost†. This relates to the idea that the Western society is too complex for the speaker to handle and, thus, with everything that is happening at once, the speaker cannot handle it. As a result, the Western culture is not viewed in high regards to the speaker which is translated to the reader through the sounds. Lastly, in the final stanza, the clash of the piano and the drums is revealed through the line â€Å"the mystic rhythm of jungle drums and concerto† (28/29). When the two sounds are placed next to each other, it sounds like a cluster of noise which explains why the speaker feels â€Å"lost in the morning mist† (26). The percussion of the drums and the melody of the piano concerto are such contrasting sounds that it is evident that the speaker wants to distinguish the difference between the two cultures. Therefore, through the usage of sounds in the poem, Okara helps to establish the speaker’s feelings towards the two different cultures. Not only is sensory detail an important literary device, but personification in â€Å"Piano and Drums† helps to express the speaker’s attitude and feelings towards the African culture and the Western culture. The first example of personification is â€Å"groping hearts/in green leaves† (15/16) which is soon followed by â€Å"wild flowers pulsing† (16). The idea of the groping hearts show how united the African natives are with nature and life around them. By personifying the heart, it makes it come alive and truly connects to life and shows the primary concern for the Africans – survival. Just after the reference to the heart with the green leaves, the roles switch and this time the flowers are pulsing. This further accentuates the extent to which nature and life collaborate in the lives of the Africans which demonstrates the great significance and preciousness of their lives. On the other hand, the personification of the â€Å"tear-furrowed concerto† (19) exhibits a different effect on the readers. The concerto, or the sound produced by the piano, is given the characteristic of being crumpled in tears. It is compared to a human face that is crying and leaving wrinkles. This negative image expresses to the readers that the piano is miserable and suppressed. Once again, the reference to the piano is put in a negative light and made to look despondent. Another personification of the piano is the â€Å"wailing piano† (17). It is compared to a hysterical, loud cry which again shows the suppressed and unhappy state that it is feeling. Perhaps the speaker feels as though the Western culture is unable to â€Å"bleed† out and be close to nature, so they are deprived from the rawness of life and, consequently, feels sad. Evidently, the use of personification in this poem, stresses the difference between the two cultures as well as the way in which the speaker feels about it. In final analysis, through the use of the poetic devices: imagery, symbolism, sensory detail, personification, and diction, the concept of the piano and drums being two separate cultures was emphasized and contrasted throughout the poem to show the conflict between cultures as well as the feelings of disorientation a person dealing with both would feel. In the end, it was clear that the speaker is still baffled and confused as to how he would accept both cultures and make it so that there is no conflict between the two. Yet, the sense of isolation and separation is distinct in the speaker as he endures a journey through two cultures that are on opposite poles of each other. Despite the sadness and confusion in the poem, the readers feel that they can empathize well with the speaker because of the well-detailed portrayal of the speaker’s emotions, particularly the piano and the drums. Word count: 2,094

Identification Of Communication Skills Styles And...

1. Table of Contents 2. Introduction 2 3. Identification of communication skills, styles and effectiveness of Sandberg 2 3.1. Identification of Communication styles: 2 3.1.1. To move up, communicate up 2 3.1.2. If you want to lead, take a bold point of view 2 3.1.3. Connect with people through a clear and simple narrative 3 3.1.4. Develop thick skin 3 3.2. Identification of communication skills: 3 3.2.1. Her observations about communication: 3 3.3. Effectiveness of communication skills: 3 4. Critical analysis of the skills styles and effectiveness 3 5. Conclusion drawn from critical analysis of the overall investigation 4 2. Introduction Sandberg is the writer of the bestseller Lean In: Women, Work, and the Will to Lead, where millions†¦show more content†¦And later served many other top organizations which finally made her reach into a public and familiarized with social networking hit site Facebook. This renowned lady still continues to be the COO of Facebook who currently stays in Menlo Park, California where her depressed post in 2015 received millions of likes in Facebook. 3. Identification of communication skills, styles and effectiveness of Sandberg 3.1. Identification of Communication styles: Sheryl Kara Sandberg is a kind of motivating women and can be considered to be of a role model to the developing she. Her communication style is always enrolling behind the women empowerment and their development. Her style of communication is controversial which puts off about women and work their ambition and success. She has put up all these styles in her first book Lean In published March 10, 2013. She always strived and questioned others about women’s leadership roles and their own success. From the video we can know that She always wants a women to communicate in the style of a leader. Following that she has communicated four lessons for a women to follow: 3.1.1. To move up, communicate up Women narrow themselves to manage towards a particular line, whereas men tries to step up the next step of a ladder. Managing her boss, Mark Zuckerberg, CEO of renowned social networking site is one of the greatest strengths that is imbibed in Sandberg.