The Images of Women in Film Essay Example for Free

The Images of Women in Film Essay The two films being evaluated in this essay are Now, Voyager and Pretty Woman. Both movies tackle the stories of one lead character, a woman and her transformation from one type of personality – usually the underdog into another which is more successful. This common formulaic plot of an â€Å"ugly duckling† evolving to become a beautiful swan has often been used as a storyboard for romantic films since viewers usually identify with the character who at first seems like the loser, but in the end becomes the victor. The image of Charlotte Vale at the beginning of the film is that of a typical old maid in conservative clothes, flat shoes, without make-up, with glasses, and without any social life. Her appearance is clean and neat but very much old school. From her entry at the initial part of the film, she is portrayed as shy, reserved, unhappy, overweight, unattractive and insecure. She is often ignored by everyone, and even mocked by some of her relatives. She also hates her mother so much but she is helpless and afraid and feels that she has nowhere to go. As the movie unfolds, Charlotte’s character is transformed into a more sophisticated, elegant, modern and glamorous personality, whom everyone adores and likes. Now, she has a well-coiffed hair, wears more revealing outfits, walks comfortably in high-heeled shoes, puts on make-up and smiles more frequently. She becomes cheerful, endearing, sweet and charming, and she loses her previous timidity and stiffness. With her transformation, Charlotte gains confidence in her self, and becomes more capable of facing other people, thus gaining more friends. When reprimanded by her mother for her new looks, she was no longer afraid to answer her back, which even she was surprised to learn. She already knows what direction she wants to take and the good thing is, she already knew how to get there. It is notable that at first, a lot of people were surprised with Charlotte’s transformation but because the change was a positive one which suited Charlotte, the makeover was delightfully accepted by almost everyone but Charlotte’s mother. At first, Charlotte’s mother insisted that she should go back into her old clothes and drab image. However, since Charlotte stood her ground and never relented to her mother’s dictates – that is, after her therapy and cruise Charlotte’s mother gradually learned to accept what Charlotte liked, denoting that she earned the respect of the one person she despised the most. On the contrary, the image of Vivian as portrayed by Julia Roberts is that of a regular hooker or prostitute – flashy colors, thigh high boots, a lot of exposed flesh, heavy make-up, a wig, and chewing gum while talking. The first impression upon seeing her is that she is really part of the flesh trade because of her loud attire which is also sexy, seductive and attention-grabbing all at the same time. Vivian’s character cannot afford to be shy because she has to offer her wares to her clients, and she has to show some skin and have the ability to bargain with her clients so that she can arrive at a good price for her services. Her image is far from conservative because of this film’s setting (1990) and the nature of her occupation. With Edward’s help, Vivian later on becomes more learned as he exposes her to the more acceptable social mores of the upper classes of society. Vivian evolves to become a better character where she becomes chic, classy, refined and graceful – a change which further endears her to Edward. The modification is also well-liked by the people around her as Edward somehow manages to bring out more of Vivian’s natural beauty which further enhances her amiable character. From Edward, to the hotel manager, to the elevator boy, to the hotel staff every one of them was glad to see the way Vivian was revolutionized from a cheaply dressed hooker to a charming, elegant and respectable lady. She now wears hats, matching shoes and bags, well-coordinated outfits, matching color combinations and just sufficient make-up. She also begins to converse more politely, and in a soft and calm manner. With the outward personality of Vivian getting altered, Vivian also acquires more confidence in herself and the way she mingles with people. It is also interesting to note that Vivian readily accepted the change initiated by Edward because the manner with which he approached her on the subject was very encouraging, being very gentle and soft-spoken. Towards the end of the story, the character of Vivian also decides to give up her previous job for a more decent alternative since she feels that she has become a different person and that at this point, she cannot turn back. As regards the body parts focused on by these two films, in Now Voyager, the legs and hands of Charlotte were focused in the first part of the film when she was still being introduced into the sequence. The specific scenes showed her hands putting out a cigarette on a small platter then throwing away the butts in a garbage can, then carving on her ivory treasure boxes, and then later on, fidgeting as her condition was being relayed to the psychiatrist. Her legs and feet were also focused on in the same sequences as she went down the stairs, and then stops at the lowest step, then hesitates because she hears something unfavorable being said about her. The character of Charlotte were in some way depicted in these sequences because it brought to mind a confused and insecure character who tried to rebel by smoking cigarettes, escaping reality by carving, but is insecure and uncertain of her actions as shown by her fidgeting and unsure steps. Similarly, the body parts focused on in the film Pretty Woman in the introductory part of the film is 4 hands which look like they are playing a game. It turns out to be a magic trick using coins, and the camera is slowly panned up to the face of the woman on the right, who looks amazed at the man who performed the magic trick. The next scene showing body parts is again focused on the hands – one white hand giving a packet with some white substance, presumably drugs, to the two hands of a black man. And then, the body part of Vivian that is first shown is the back side of her hips with lace underwear, where the woman turns from her left side to her right side while lying on a bed. Next, her chest is focused as she fixes her blouse, then her arms and hands as she puts on her bangles, while she is dressing up to get ready for work. Her hands are again shown while she colors the faded parts of her boots with a black marker, then her boots and her right hand as she zips up the boot on her left leg. Her left eye is focused with her right hand holding the mascara. By the time Vivian gets to meet Edward for the first time, focus is made on her backside at the waist portion as she turns her back on Edward while standing outside the car. All these body parts scenes in one way or another sets the tone for the movie since it tackles business as represented by the coins, drugs as related to the illegal businesses on Hollywood boulevard and the subject of sex as depicted by Vivian’s sensual attire in a nocturnal red-light district setting. The partial focusing on body parts gradually introduced the main character of Vivian, in much the same way that Charlotte was initiated into the first sequences of the earlier film. Relating the aspects of characterization to each film, the width of the character of Charlotte had to be rich in order for her to be able to adopt Tina into her family and be able to cope with not having Jerry in her life. Charlotte also had to be strong like her mother to be able to manage their businesses and their household without any emotional crutch to support her or push her up. As regards the depth of her character, Charlotte has the traits of creativity as shown in the way she creates carvings on her ivory boxes. She is also a deeply emotional person, who is terribly passionate when it comes to love, although she knows how to repress it if need be. This was highly evident during the time when she knew she already felt something for Jerry, but was in self-denial because she did not want to get into a complicated situation. This, however, was changed eventually when he admitted her feelings for Jerry, and allowed her feelings for him to flow freely. Another depth of character seen in Charlotte is her compassion for children, especially for those whom she knows are undergoing situations which she had already gone through. This Charlotte presents in the way which she cared for Tina at the mental institution, and during the time she gave a party for her at her house. Regarding characterization length, as mentioned earlier, Charlotte is given the chance to reinvent herself as if she were a different individual. At first, she is hesitant to leave her comfort zone and feels insecure about the changes taking place in her life. However, as she notices the affirmative reception of people pertaining to her transformation, she is encouraged to continue with what she has set out to do. With this, she improves her personality and grows further as an individual. The film’s mise-en-scene contributed in large part to emphasizing the three aspects of characterization. The width of Charlotte’s character is shown in the clothes she wears. Charlotte’s clothes or the character’s costumes are customary of the rich people, the settings are also typical of high class social backgrounds as shown by the large house, the cruise ship, the theater and parties among others. Depth of character is illustrated by the emotions carried by Bette Davis in her character portrayal, which made the story even more realistic. Length of character is exhibited by the change in the way Charlotte carries herself – which is amply supported by the clothes and again by the acting prowess of the lead character. Some foreshadowing is used to show the influences of Charlotte’s mom on her character. Since the film is still in black and white, emphasis on the lighting was not much utilized in this type of movie. The background music was amply exploited to elicit empathy for the main character especially in highly dramatic scenes between Charlotte and her lover. Conversely, the width of Vivian’s character required for her to be poor so that she could effectively portray her desperation to earn a living. Vivian had to be street-smart yet appealing at the same time since it was her body that she had to sell. She also had to be alone or without a family, in order to develop a rationale for her character’s focus on having an income as a hooker because she had no other choice and not because she liked the job. Likewise, Vivian’s depth of character is effectively portrayed as one who can easily psyche up people. In a brief encounter with Edward’s ‘friends’, Vivian gets to assess the type of people Edward socializes with and comes out with the conclusion that Edward needed to have her in his life because they (his friends) were shallow. â€Å"No wonder you came looking for me,† Vivian deduces of the situation. Much like Charlotte, Vivian also had a lot of passion inside her for her love interest although much of it was also repressed at first. Later on, she manifests this and makes this known to Edward, but still she knew how to temper her emotions since she recognized from the start that she and Edward were really poles apart. And then with regards to character length, the journey taken by Vivian is her adaptation to the ways of the elite, as prescribed by her love interest in the film. Vivian initially decides to take this on as part of her work, but later on she imbibes the more wholesome character which she assumes, and eventually gives up on the old character that she was. Vivian grows as a person because she welcomes the change and becomes a renewed person since as the film ends, she decides to leave behind her previous profession and start making a new path for herself. The mise-en-scene in Pretty Woman was likewise extensively manipulated in the film. The change in the character is immediately apparent as Vivian becomes accustomed to her new surroundings and much of the plot deals with how she gradually blends in to what is acceptable to that social group. The disparity in the setting of Hollywood boulevard compared to the areas where Edward frequents is accentuated to point out the gap between the two characters – Vivian the hooker and Edward the rich billionaire. Much of the character’s depth and length is carried by Julia Roberts who gives an excellent portrayal in this film. The lighting was good, there were no extremely dim or very bright scenes. It is interesting to note that most of the dim scenes were only found in the initial part when Vivian was still a hooker, and during the time she was still part of Hollywood boulevard. Later on, the dim scenes were mostly the love scenes between Edward and Vivian. The background music was also appropriate with the sentimental scenes having soft soothing and sentimental tunes, while those wherein Vivian made some achievements had more spirited and lively songs. In terms of aesthetics, the two films can be labeled as reflective of the image of the woman in the specified period when the films were made. Women in general had to dress up more conservatively in the olden times and a liberated stance was only introduced later on. As regards film artistry, Now Voyager! has a deeper and more disturbing plot because it deals with issues like family relationships, possible mental illness and forbidden love among others. On the other hand, Pretty Woman’s plot is simpler but is more engaging because it capitalizes on the elements of love and sex which was not much emphasized in the earlier film. Perhaps this is due to the highly conservative values predominant during the earlier times, hence, the most tender love scenes which could be shown between the main characters in the earlier film was limited to kissing. In comparing the two films, women are given more freedom of choice in the later film, unlike the earlier one when parents had the right to dictate the direction of their children’s lives. In both films, the theme of love still tugs at the heart and is timeless. Viewers in the present can identify with the main character in one way or another especially when it comes to the context of love and the relationship between two people. As a whole, the two films illustrate how the character of the woman has evolved from the conservative one of yesteryears to the smarter and more liberated woman that she is now. Still, the one thing that is universal and eternally holds true is the theme of love and the woman who has the boundless capability to wield this passion. References Wallis, H. B. Rapper, I. 1942. Now Voyager. United States: Warren Bros. Ziskin, L. Marshall, G. 1990. Pretty Woman. United States: Touchstone Pictures.

Comparing the Supernatural in William Shakespeares Hamlet and Macbeth

Comparing the Supernatural in William Shakespeare's Hamlet and Macbeth  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚   In the time of William Shakespeare there was a strong belief in the existence of the supernatural. Therefore, the supernatural is a recurring theme in many of Shakespeare's plays. In two such plays, Hamlet and Macbeth, the supernatural is an integral part of the structure of the plot. It provides a catalyst for action, an insight into character, and an augmentation of the impact of many key scenes. The supernatural appears to the audience in many varied forms. In Hamlet there appears perhaps the most notable of the supernatural forms, the ghost. However, in Macbeth, not only does a ghost appear, but also a floating dagger, witches, and prophetic apparitions also make appearances. The role of the supernatural is very important in both Hamlet and Macbeth. A ghost, in the form of Hamlet's father, makes several visitations in the play. It first appears to the watchmen, Marcellus and Bernardo, along with Horatio near the guardsmen's post. The ghost, though silent causes them a little anxiety, "It harrows me with fear and wonder"(I.i.53). It is not until the appearance of Hamlet that the ghost speaks, and only then after Horatio has expressed his fears about Hamlet following it, "What if it tempt you toward the flood, my lord, or to the dreadful summit of the cliff"(I.iv.76-77). The conversation between the ghost and Hamlet serves as a catalyst for Hamlet's later actions and provides insight into Hamlet's character. The information the ghost reveals incites Hamlet to action against a situation with which he was already uncomfortable, and now is even more so. Hamlet is not quick to believe the ghost, "The spirit that I have seen may be ... ...e supernatural provides a catalyst for action by the characters. It supplies insight into the major players and it augments the impact of many key scenes. The supernatural appeals to the audience's curiosity of the mysterious and thus strengthens their interest. Works Cited Curry, Walter. Supernatural in Hamlet and Macbeth. London: Mass Peter Smith, 1968. Epstein, Norrie, The Friendly Shakepeare, New York, Viking Publishing, 1993. Magill, Masterplots- Volume 6, New Jersey, Salem Press, 1949. Schlegel, August Wilhelm.   Criticism on Shakespeare s Tragedies . A Course   Ã‚  of Lectures on Dramatic Art and Literature. London: AMS Press, Inc., 1965.  Ã‚   Shakespeare, William.   Tragedy of Macbeth . Ed. Barbara Mowat and Paul  Ã‚   Warstine. New York: Washington Press, 1992.  Ã‚  Ã‚   Wills, Gary. Witches & Jesuits. Oxford: Oxford University Press, 1995.   

Implications Of Shared Characteristics For Literacy Instruction Education Essay

Child with Down syndrome ( DS ) have several general features in common which play an of import function in how good they are able to prosecute in literacy acquisition ; some of these features are cognitive, whilst others are physical. This paper identifies some of these shared features and high spots the deductions of these for literacy direction in mainstream schoolrooms ; it so provides illustrations of possible differentiated direction in reading and authorship, and support that instructors can give to DS kids so that their specific demands are met within a regular schoolroom context. Finally, it highlights how instructors, professionals and parents can work together in an organized manner to guarantee that DS kids are being every bit supported at both school and place. DS kids make a alone part to mainstream schoolrooms ; their emotional, physical and academic demands can be demanding for the instructor but when these are met, advancement can be made. This advancement will non g o on overnight but as the expression goes, â€Å" Good things take clip. † Shared Features of Down Syndrome Children Possibly the most of import feature of DS scholars is that their chronological age and physical adulthood are non declarative of their rational development, which develops at a much slower rate. For illustration, a DS pupil who is 10 old ages old might work cognitively and linguistically at the same degree as a typical 5 twelvemonth old ( Farrell & A ; Elkins, 1994 ) . DS pupils normally have problem with the development of their gross and all right motor accomplishments, which combined with a really low musculus tone affects the person ‘s ability to keep an appropriate position whilst acquisition. Fine motor accomplishment jobs mean that simple activities such as keeping a book and turning a page can be hard, as is handwriting ( Jordan, Miller & A ; Riley, 2011 ) . Because kids with DS frequently struggle to bring forth speech sounds and talk clearly, it is widely accepted that DS kids ‘s receptive vocabulary, is more advanced than their expressive vocabulary ( Farrell & A ; Elkin, 1994 ; Jordan et Al, 2011 ) . Stoel-Gammon ( 2010 ) states that DS kids by and large have a slow vocabulary growing ; by the clip kids are six, a DS kid has a productive vocabulary of around 330 words whereas his mainstream equals have productive vocabularies of several thousand words. Although hearing loss is a characteristic of these kids, they compensate by being extremely ocular scholars and when larning to read rely on their stronger ocular processing accomplishments to larn new words, instead than concentrating on letter-sound correspondences. Bing visually inclined, DS pupils learn to read utilizing a sight-word attack in which they recognise whole words based upon visual aspect and topographic point no accent on letter-sound relationships ( Lemons & A ; Fuchs, 2010 ) . DS kids have a high involvement in societal interaction and bask chances to collaborate, portion and learn with other people. They besides have high emotional demands and necessitate four times every bit much positive feedback as other pupils do ( Down syndrome WA, 2009 ) . Deductions of these Shared Characteristics for Literacy Instruction DS kids are sensitive to failure and deficiency consolidation schemes when larning. For this ground, Buckley and Bird ( 1993 ) recommend that instructors minimise pupil failure ; instructors can make this by to a great extent scaffolding them through each measure of a new reading or composing undertaking until they can finish it without the instructor ‘s intercession. Buckley and Bird highlight that DS pupils experience considerable trouble rectifying errors, much more so than other kids, so forestalling errors happening in the first topographic point is of import in the early phases of new acquisition, particularly with script. There are really strong links between DS pupils talking, reading and composing accomplishments. As mentioned, DS pupils learn to read best by larning sight-words instead than concentrating on letter-sound relationships to decrypt them. This impacts on the manner that instructors teach DS kids to read as it is non the same manner that they will learn the remainder of their mainstream pupils ( Buckley & A ; Bird, 1993 ) . As DS pupils are larning sight-words, instructors should promote them to correctly articulate them every bit good ; these two accomplishments interact with and inform each other so that the kid grows to understand the significances of words. The instruction and acquisition of composing straight links to speech and reading, excessively. Because DS pupils have small cognition of sentence structure, larning to compose utilizing common linguistic communication constructions influences how they begin to talk ; fundamentally, they learn the construction of sentences through acquisition to compose them and so get down to mime this construction when they are talking ( Buckley & A ; Bird ) . Although the usual attack to reading and composing for DS kids is through sight-words cognition, it is possible for them to larn letter-sound relationships ; instructors can help this by indicating out letter-sound correspondences in words that pupils already know good and pulling their attending to onset and rhyme within that word ( Buckley & A ; Bird, 1993 ) . Because DS kids do non follow auditory instructions good, instructors need to show information/directions/explanations/instructions in a ocular manner. Farrell and Elkers ( 1994 ) highlight that DS pupils prefer print because the ocular message does non melt away like a verbal message does. Kirijian, Myers and Charland ( 2007 ) reference that the instructor ‘s informed choice of literacy stuffs can maintain DS pupils engaged on the content for well longer periods of clip than they would be the instance if they were utilizing regular schoolroom stuffs. As DS kids have trouble with cognitive development, musculus tone and all right motor accomplishments, they find reading and composing undertakings more palling than others in their category do ; instructors need to be cognizant of this and give them smaller sums of work to finish or let short interruptions during lengthier activities ( Down syndrome Ireland, 2011 ) . Differentiated Direction for Teaching Down Syndrome Children Writing Before any authorship can take topographic point, instructors need to guarantee that their DS pupils have their organic structures supported in an unsloped place so they are non using energy seeking to keep an unsloped place because of their hapless musculus tone. Because all right motor accomplishments are ill developed, DS pupils ‘ handwriting direction can be adapted to holding the kid following letters in the air or on a flaxen surface with a finger, instead than doing them pull with a pencil on paper like other pupils. Once they have a strong tweezer clasp, the instructor can scaffold script by utilizing a highlighter to organize letters which the DS kid can follow over ; this will necessitate to be done many times before the kid is able to copy it, himself. It is of import that instructors ne'er assign the script to pattern and walk off to look into on other pupils because if the DS pupil makes a whole row of wrong letters, he is larning bad wonts that will be really hard to rectify. During these composing lessons, a feel good factor is critical for DS pupils to larn so it is better for them to merely compose 3 letters during this clip and have the lesson coating with them happy than for them to hold to compose more and stop up detesting authorship clip ( Down Syndrome WA, 2009 ) . During the existent authorship activities, instructors frequently need to back up DS pupils with both the formation of thoughts and so scribing them ; this is frequently done through joint building of texts by the pupil and instructor ( Moni & A ; Jobling, 2000 ) . As mentioned antecedently, instructors need to promote DS pupils to joint their thought as they read and write. To promote this, the instructor acts as a Scribe by composing down the pupil ‘s thoughts for him. Next, the instructor and child return turns physically composing the bill of exchange together ; this is done to avoid weariness in the pupil and assist him to accomplish something that would be beyond his ability if working unaided. By co-constructing texts, the instructor is besides patterning the thought processes required for authorship ; these texts can so be used for future reading pattern as it has significance for them. Another manner that instructors ‘ can distinguish composing for DS pupils is t o promote them to utilize a word processor to type up their co-constructed bill of exchange ; during this exercising, the instructor can cut down the scaffold by taking herself from the pupil and giving him a opportunity to work independently ( Moni & A ; Jobling, 2000 ) . Differentiated Direction for Teaching Down Syndrome Children Reading For the DS pupil, instructors need to make single reading ends and undertakings that are much simpler than those set for the remainder of the category. When larning to read, DS pupils require considerable more repeat to solidify larning than their mainstream equals do ( Jordan, Miller & A ; Riley, 2011 ) . By instructors uniting repeat of an activity with stuffs aimed at the DS kid ‘s ocular acquisition penchant, they are able to capitalize on run intoing both these demands in one spell. As pronunciation of sight-words is an issue for DS kids, instructors need to pattern this at the same clip that larning the word is happening. In several respects, DS kids learn to read in an opposite manner to mainstream students. DS kids learn the whole word foremost and attach significance to it at the same clip, whereas other pupils will utilize letter-sound correspondences to read the word and so use intending to it through sentence context. Once DS kids know a word, the instructor can construct on this by offering phonics direction utilizing that word, ab initio sectioning it into onset and rime and finally placing letter-phoneme relationships if the kid is able to. DS kids struggle with comprehension as their grammar and sentence structure cognition is ill developed or non-existent ( Buckley & A ; Bird, 1993 ) . To get the better of this, instructors can do simple books based on the kid ‘s ain experiences and write sentences with the kid ‘s spoken linguistic communication demands in head so that he is reading words, phrases and sentences aimed towards assisting him to speak with greater lucidity ( Buckley & A ; Bird ) . DS kids require little ‘bite sized ‘ reading undertakings instead than the 1s typically given to other pupils ; this enables them to experience a sense of accomplishment and stop the lesson on the all of import positive note. Because DS kids have high societal demands, instructors can integrate them into group and equal activities to increase larning chances accomplishments ( Snowling, Nash & A ; Henderson, 2010 ) . Teachers can besides offer reading support to DS pupils by supplying modeling of reading as equals read a text aloud whilst the DS pupil tracks the print in his ain book ; the same text can be repeated by several pupils as the repeat is of import for larning to happen. A similar affect can be achieved by utilizing engineering such as computing machine programmes that read aloud while pupils follow the text on screen. How Parents and Professionals can be Involved in a Literacy larning Partnership Due to the demands of learning DS kids literacy, instructors have terrible restraints placed on their clip as one-to-one direction is the most effectual manner of learning them. As such, it is necessary that the instructor receives help from a teacher adjutant or voluntary so that she can give attending to the other pupils in her category. The monetary value of holding an inclusive schoolroom is that particular demands pupils place force per unit area on the instructor. To get by with this, the instructor needs to garner together a support squad that can portion these demands and work hand in glove to learn the DS kid. With respects to literacy acquisition, it is of import that this school-based support squad works closely with the DS kid ‘s parents so that school and place literacy events are aligned and concentrating on a specific result. When DS kids are larning a specific reading accomplishment, instructors or specializers can teach parents how to reenforce this same acquis ition at place ( Snowling, Nask & A ; Henderson, 2010 ) . For illustration, Snowling et Al. province that parents frequently fail to inquire higher-level inquiries during reading activities with their DS kids ; as such, instructors can offer specific direction to parents on how to make this, likewise for onset/rime cleavage and phonological consciousness direction. This attack ensures that the kid is n't being instructed in two perchance counter-productive ways. Regular meetings and conferences between learning staff and parents should be held to measure advancement and program for following measure larning. These meetings besides give both parties an chance to discourse any concerns and maintain each other informed about other facets of the kid ‘s life, such as health/emotional province etc, which may hold an impact on larning ability. Decision Teaching DS kids is non a simple undertaking. They bring a combination of demands into the schoolroom which if separately broken down would each supply a challenge for the instructor to suit. The first measure to learning DS pupils is cognizing the issues that they face when larning to read, compose and talk ; these issues are both cognitive and physical and have deductions for how schoolroom instruction and acquisition is accomplished. DS pupils do n't larn the same manner as mainstream pupils do ; they require really heavy staging and advancement really easy when developing literacy accomplishments. However, single instructors are non entirely in this undertaking ; they have the support of other professionals and the kid ‘s parents, and jointly this group provides the kid with the emotional, physical, and academic support needed to go an active and valued member of both the schoolroom and wider society.

Quiet Professionalism - Free Essay Example

Sample details Pages: 1 Words: 346 Downloads: 7 Date added: 2019/04/12 Category Career Essay Level High school Tags: Professionalism Essay Did you like this example? As we reach the end of the year, I believe it is always a worthwhile endeavor to reflect on the goals you have accomplished, what you hope to achieve in the coming year, and the associated action steps that will help you realize those items. Similarly, I also believe it is important to reflect upon day-to-day behaviors, and how repeated excellence in small, seemingly trivial matters, lay the foundation upon which the large structures of personal integrity, calmness under pressure, and quiet professionalism are built. The work we do is challenging, and complex. The groups we interact with, both internal and external, are numerous and diverse. The visibility of our team is high, and subject to intense levels of scrutiny. We are an impassioned group of individuals that through shared trials, often by fire, are brought together as a cohesive unit. It is this conglomeration of conditions that often times make dealing with others who do not understand our challenges nor understand our passions, and talents the subject of frustration. I urge you to channel these frustrations in a constructive manner. Don’t waste time! Our writers will create an original "Quiet Professionalism" essay for you Create order When dealing with external partners, counterparties, regulators, and senior leadership, exercise patience when working with those who do not understand the depths and complexity of our charge. Profanity is not professional, nor constructive. Flared tempers are not professional, and damage credibility. Condescension is not professional, and a direct affront to a culture of shared success. There can be no question that at times I am among, if not the largest offender of these items. You are owed better from me as a leader, and are deserving of someone that can help showcase your talents, which are exceptional. You have my word that I will strive for personal excellence in this endeavor. In the coming days, Resource Management leadership will begin the alignment and ranking process. It is my commitment to all of you that I will enter the process on your behalf with tenacity personified through quiet professionalism. In the days, weeks, and months ahead, help arm me with arrows of your own quiet professionalism.