Proposal for a Animation Dissertation Essay Example

Proposal for a Animation Dissertation Essay Three initial ideas for dissertation. 1. Analogue film and its imprint on the digital era. This thesis for a dissertation would have set about to analyse the relationship between analogue and digital filmmaking and the differences in these practices since the rise of the latter’s popularity and usability. The paper would have evaluated digital filmmaking practices and the new range of techniques that modern technology has brought about, giving reference to the rise of importance in editing since the development of red-one and the response to this of various filmmakers, Lars Von Trier etc. New aesthetics would have also been explored, looking at films such as Inland Empire (Lynch, 2006) and Trash Humpers (Kornine, 2009) and the ways in which contemporary films utilise imperfections of the digital medium to create new aesthetics in opposition to that of the cultured visuals of Hollywood cinematics. The essay would also have devoted a chapter to Marshall McLuhan’s theories of the postmodern effect of globalisation through the Internet and how new media has changed the face of film and the way practitioners can operate within visual culture. . Auteurism – career momentum that outlasts the diminishment of practitioner’s talents. This dissertation would have explored the effect on a director that being branded an auteur can have. The paper would have formed a discussion on how being branded an auteur early in a filmmakers career can end up inadvertently damaging their product. The dissertation would have utilised case studies on directors such as Michel Gondry, Wes Anderson and M. We will write a custom essay sample on Proposal for a Animation Dissertation specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Proposal for a Animation Dissertation specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Proposal for a Animation Dissertation specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Night Shyamalan to form the basis for an argument on the view that the directors films are so highly praised for aspects of cinematography and narrative that, in later projects, revert to conforming to what they believe audiences expect of them and begin to display a distinct impression of ‘style over substance’. It would go on to suggest, backed up by aforementioned case studies, that directors can have the tendency to become lost within their own visuals and thematic traits and loose sight of what got them branded as n auteur in the first instance. This idea was formed through watching M. Night Shyamalan in chronological order and forming an opinion that he has utilised the ‘twist’ ending to such an extent that it no longer shocks an audience and creates the effect that garnered him so much critical acclaim after the release of The Sixth Sense (1999). Stemming from this realisation the paper would study other auteur branded director’s films and form ed an opinion on whether the tag of an auteur can damage a practitioners brand. . Hasta la vista†¦ movie – the effect of ‘geek culture’ on the modern day movie experience This paper would have studied the effect of geek culture on the modern day viewing experience when anticipating and watching an upcoming film. The paper would have drawn on statements made by Marshall McLuhan about the rise in usability of the internet and new media and how this has affected the way in which modern day audiences participate in the movie going experience. The dissertation would have utilised examples such as the modern trailer, blogs, the film website, critics reviews and events such as film and comic book conventions to introduce the thesis that curiosity and commentary on films through these mediums destroy the feeling of ambiguity experienced by cinema goers who previously could enter a film not knowing a thing about the film they were about to watch, and how this is an era that now lies well within the past. It would analyse the modern day climate in which a person can read a magazine and scour the Internet for 30 minutes and have already found out the main events, listened to the soundtrack and know every stylistic trait of a film before viewing it. The paper would have presented this view but also attempted to present an unbiased argument by stating that it is because of this ‘geek culture’ and its positive promotion on the Internet that many modern day films are produced and received so successfully. As reference for this argument a case study would be conducted into the promotion of film through viral videos, and a further case study would be conducted into the forthcoming film Tron: Legacy (2010) and how the internet may have facilitated its production. Word Count: 701 Abstract This study addresses the viability of auteurism in the contemporary moving image industries and the significance of this in relation to whether or not an animator can be considered a genuine auteur within the wider context of general artistic practice. The purpose is to provide an up to date and comprehensive, analytical framing of auteur theory and enhance the arguments laid down by critics, thinkers and theorists on both the psychoanalysis concerned with the consideration of the ‘original’ self in a postmodern society and whether the collaborative, creative nature of the animation industry lends itself to the term auteur. The dissertation will provide a social, historical and theoretical study of a number of discourses concerned with the animation industry, examining distinguishable personalities within the medium and formulating a thesis on arguments limiting auteur theory to the status of â€Å"high art† whilst questioning the genealogical construction of understanding surrounding the bourgeois construct of authorship. The paper sets about to provide an unbiased argument on the authentic nature of auteurism within contemporary perceptions of animated cinema, it attempts to present two sides to arguments that concern the author and audiences of a ‘text’ and their role within a process of cognitive perception. It will instigate discussion on aspects of auteurism by presenting case studies on Pixar and they ways in which the corporation operates in contrast to non-western animators such as Hayao Miyazaki and The Brothers Quay. The central argument is concentrated on an animator’s ability to experiment and diversify, create new perspectives on the interrelations between the highbrow and the popular, aesthetics and ideology. Word Count: 263 Methodologies Report This paper is a theoretical and historical study of the animation industry, how it has grown and blossomed from the advent of Joseph Plateau’s Phenakistoscope in 1832 and the early animated films of Reynaud And Melies in the late 1800’s, through to the modern day industry dominated by the market conditioning animation studios such a Pixar and Disney. Alongside this contextual background the relativity of auteur theory will be discussed in relation to its possible existence in a contemporary business that competes against contemporaries often seen to exist on a plane artistically above that of the mainstream animation industry. This question of authorship within the animation practice has been widely disputed and contended by a range of commentators throughout its short history and this study will serve to provide a conclusive framing of the topic. The first problem with thinking about animation and its broad stable of directors as a base for authorship can be traced back to its association with ‘high art’ and the origin of the word auteur in conjunction with media studies, Cahiers du Cinema. During the 1950’s, a period in which French film enjoyed widespread artistic acclaim, this influential film journal, written by, among others, Jean Luc Goddard, Francois Truffaut and Jacques Rivette, attempted to emphasise the role which a filmmaker assumes in the direction of their film and the significant way in which they acquired a distinguishable signature style from production to production. This became further associated with terms such as camera-stylo or metteur en scene. The Cahiers du Cinema insisted that if a director was to become recognised as displaying the traits of an auteur he must be recognised as contributing a signatory licence across a series of films, that clearly defined both aesthetic and thematic trends and offered a conclusive view of the elementary principles of an ‘art form’. Problems arose with the theories concerning auterist film practice in the late 1960’s almost a decade after the Cahiers had coined the phrase during the French renaissance. The collaborative and procedure orientated nature of making a film was called into question and â€Å"became subordinate to the critical parameters that determined film as a directors medium and as the significant voice of the film† (Wells, 2002 p. 72). Notable screenwriters such as Nicholas Kazan and Ernest Lehman have voiced their discontent with the notion of the director as the singular contributor to the stylistic and thematic contents of a film. Supporting this, since the late 60’s, few film historians have onoured the notion of a director as a singular contributing factor within a film and note other practitioners – the screenwriter, cinematographer and producer – to having mounted a substantial challenge to the directors claim to the romantic concept of the author. It is obviously true that the animation director’s influence can have a large effect upon the films artistic direction but it is interesting to consider whether or not they alone hold the pen or camera-stylo, as it were. Inevitably because of the range of opinions that exist within the subject of auteur theory especially considering the spectator and the sociological connotations that are implied by the author and audience existing alongside the text and inhabiting it (Barthes, 1982) it is hard to provide a definitive account of authorship in animation practise and the discussion of this theory remains challenging within media studies. The addition of thinking about the animation director as an auteur further complicates the debate of authorship. It can be said that in one frame of mind the animation industry perfectly echoes that of filmmaking practice in relation to production process and artistic conditioning implied through this range of processes. On the other, it further complicates the argument concerning the ability of the filmmaker to work within an arguably even larger creative environment or completely alone. It has been argued (Wells, 2002 p. 73-74) that this allows animation to be seen as one of the most auteurist of art forms and that’s its methods of production, especially when considered to be at its most collaborative, insist upon the strict intervention of a singular voice that acts as an authorial presence. Frustratingly few animation directors have been praised as auteurs within the medium, with their identities often becoming swallowed up by corporate image, in the case of animation houses such as Pixar and Disney, being debased with the appeal of consigning it simply to a petty form of narrative or, again, falling victim to the acceptance of the mutually reliant process of production. Connected to this is the concept that animation has been, and will always be, produced for a predominantly immature audience and that auteur theory cannot be applied to a film practice that concerns itself with providing articles for such a demographic. This has become a tired argument as there a huge variety of ways in which a director can be described to be an auteur. Drawing arguments from a wide variety of sources and assisted by specific case studies it is this dissertations aim to provide a vocabulary for how the animation auteur can be addressed. It is this papers intention to, utilising a variety of modes and methods, signal the opinions of scholars that have campaigned for the existence of a recognisable auteur within the media industries and then go on to transplant these theories into that of the modern day animation industry. The essay will touch on contemporary titans of the animation world such as Disney and Pixar whilst also giving special consideration for the foundations that have been laid by the historical forbearers in crafting a profitable industry in which today’s practitioners of mainstream animation operate. Alongside the mainstream, consideration will be given to the independent or ‘experimental’ animator, working outside the confines of an industry that, it has been suggested, limits they way in which a director can remain in control of the artistic and thematic outputs of their film. Special consideration will be given to the eastern European animators such as Jan Svankmajer, The Brothers Quay and Yuiry Norstein and the ways in which we can regard them as auteurs through the methods of production in which they practice their ‘art’. It will also analyse how the work of Hayao Miyazaki is differentiated from that of its western counterparts not only through its visual and thematic styles but also through the sociological boundaries in which it is released. Thought will be given to a society, and the pschoanalysis that accompanies it, in which audiences flock to the cinemas to see the newest releases from a highly recognised and respected animation house, but also, a director that is considered to be a genuine auteur and one of the artistic powerhouses of contemporary Asian cinema. Following this, my final chapter will concern itself with the major discourses in animation today. It will utilise a case study instigating investigation into the way in which the modern animation houses conduct their modes of production and whether or not this can be seen as adding to or detracting from the auteur model laid down by Cahiers du Cinema. The theoretical background for this paper will cover many areas of film history and criticism and point to key areas in which the auteur theory has come under contention, drawing on key sources it will analyse their relevance within the contemporary animation industry and provide current case studies of animation auteurs and production houses to provide a coherent context for the theories that it attains to underpin. The dissertation will cover well-known critics ranging from Cahiers du Cinema to modern day articles from film journals such as Sight Sound and The Online Animation Journal. The writings of these authors will be used to give context for some of the statements that are made concerning auteur theory and to assist in cultural references to animated movies and cinematic movements from the last 130 years. The paper will also reference the work of cultural theorists such as Roland Barthes and Michel Foucault, whose work has been invaluable in the affirmation of what constitutes a genuine author and the ways in which we can view them in a modern day society. The dissertation aims to provide a spread of criticism from a wide range of historical periods during the 20th century, and, as the essay is concerned with the shift within the understanding of an auteur and its place in the industry of today, it was considered to be important to include opinions from more than the contemporary to demonstrate the shift that has occurred in our understanding of the director as an author. Alongside a wide range of scholarly sources directly concerned with film criticism that have been implemented the essay attempts to utilise areas of psychoanalysis and cognitive deconstructions to attain some idea of how sociological boundaries have been built up concerning the idea of the individual self, especially situated within a creative industry and within the confines of a post modern society. The study borrows and reconstitutes ideas and theories from such well-known thinkers as Sigmund Freud, Jacques Derrida and Richard Harland. Although not directly connected with the world of cinema the ideas put forth by these thinkers have greatly influenced the way in which proportions of society think of the ‘unified self’ and the case for ‘original thought’. It was important to consider dialogue provided by theorists working outside of the filmic world as it has allowed the paper to gain a more conclusive view of aspects that can affect auteur theory more concerned with the workings of an audiences conscious thought, rather than that of cinematography and narrative alone. During the course of this essay the proposed theories will be analysed through a variety of method and, as mentioned, the sources come from a wide range of authors to provide many different opinions on auteur theory. These include; cultural theorists, directors, film critics and psychologists. In addition to the wide spread of authors that have been used the material has been drawn from a variety of qualitative and quantitative ources that comprise of scholarly books, newspaper articles, film journals, blogs, online critics circles, websites providing information on box office receipts, films and other visual resources. These methods have been undertaken to avoid the time consuming necessity of providing a source of self-produced data such as interviews or focus groups conducted with individual interviewees and focus groups. The data provided through this wide range of sources should compensate for a lack of self produced data and give a clear indication of the criticism and ideas that exist across a wide range of society. The main critical ideas that are analysed and enforced within this essay is an affirmative opinion that auteur theory is alive and well within the modern day film industry and that this also translates through into the contemporary animation industry. The essay sets about to deconstruct misconceptions concerning the negative reception that auteur theory receives from both cinematic and cultural theorists, and whilst the focus of the essay is very much on the promotion of the auteur director and the analysis of the cultural surroundings in which he operates the paper is careful to provide a balanced view of the topic by framing the question with both positive and negative responses. In summary, the main critical ideas to be analysed will be animation aesthetic and message as well as the existence of the auteur within the film analysing both his, or her, impact on the messages, narrative and aesthetic of the their work from film to film. It reviews the sociological structures that we are surrounded with and brought up through that allow, or disallow us, to consider the director as a true author, taking into consideration industry, modes of production, aesthetics, messages, fluency, consistency and cultural impact and finally the shift in style of animation throughout the years and how it should be considered an equally important and valuable cultural artefact as that of the live action cinema. Word Count: 1980

Experts and Editors

Experts and Editors Experts and Editors Experts and Editors By Colin In a previous article we looked at generalisation as opposed to specialising in specific subject matter. We looked at the pros and cons of each, and it provoked a lot of feedback from our readers. One question that popped up involved the amount of knowledge one should attain in order to be considered a qualified expert on a topic. There are several routes that may be considered here. Academic Qualifications The first is via education, and the attainment of a recognised qualification. If you, as a freelance writer, followed the route of further education, whether straight from school or as a mature student, you may consider yourself knowledgeable in the theory of your subject. I say knowledgeable because in most cases what you have learned from the books hasn’t been put into practice in any real shape or form. For example, a student who went to university to learn about accounting may gain a Degree from their studies, but as most students find out when they start employment, it is not until they have to apply what they have learnt that they discover much of it wass only needed to pass the exams and get you in the door; the real stuff is learnt on the job. And it is here the term â€Å"expertly qualified† is truly gained. Being awarded a qualification is one thing, but having ten years hands on experience in the industry will truly make you an expert. Vocational Qualifications If your field happens to be in something more vocational, fly fishing for instance, gaining expert status is not as clear cut as it is in the academic world. Expert status could be claimed after many years of reading, studying, and absorbing the sport in every way possible; learning how to tie flies, the mechanics of casting, or the biology of fish. This is something that requires real devotion and a real love for the subject. In this respect, expert status is less arguable because it has been done willingly outside of a person’s need to survive. An editor who has someone like this on their books will do well. One thing all experts must have in common is the ability to write about their topics well, and write about them regularly. So it’s one thing being able to talk about your subject over and over, but writing new and unique articles every week or month requires a different set of abilities. Research In the life of the freelance writer though, nothing is as clear-cut as academic qualifications or vocational activities. In order to survive, the ability to turn your hand to new topics confidently and accurately is a valuable skill that most editors crave. One day you may be writing reviews on some books you have recently read, the next you may be asked to write about something you know nothing about. By the time you have researched the article through interviews, phone calls, gaining real-life experience of your own, cross-checked your information, written the first draft, researched it some more, and handed in the finished article, you may well find you can easily consider yourself an expert in that particular field. Carrying out solid research will not only gain you expert status, but it is also the route to longevity, well-paying writing gigs, and fruitful long term relationships with editors. Working with Editors Another question that popped up involved the question of the relationship between editors and writers, that is, who takes the credit for a book that has been heavily edited, and how much of the editor’s work finds its way into the text? Under normal circumstances the person who writes a book will be credited with the work, and have the copyright and moral rights assigned to them. An editor would not normally get any credit, unless for example, the book was an anthology or an auto-biography in which the editor helped to ghost write the book or play a large part in its writing. How much of an editor’s work finds its way into a book or article would depend on the individual editor’s style, and how much input is required. If a book or article requires a lot of editing, though, a writer should expect to be dropped from the payroll forthwith. It is up to the writer to create the work in the manner in which the editor has specified at the outset; major reworks at the editorial stage are not generally acceptable. There is a long standing argument in publishing about where the best books come from; a good editor or a good writer? The answer lies somewhere between, because a good editor should be able to get the best out of a writer without displacing their style. They should bond together and hit the same wavelength from concept to production. If a change of editor between book number one and the sequel occurs, one may end up with an entirely different book in style and format that may not sell as much as the first, assuming of course, that it did. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Freelance Writing category, check our popular posts, or choose a related post below:50 Idioms About Legs, Feet, and Toes15 Great Word GamesUses of the Past Participle

Imagine you are a HR manager employing non-Chinese staff in the Essay

Imagine you are a HR manager employing non-Chinese staff in the People's Republic of China, how would you recruit and prepare - Essay Example Introduction In the recent years, China has been in focus for its astounding growth rate and future potential. The country has recorded high growth rate of up to 13% and the power that triggers this rate of growth is its vast and varied population. Today, there are about 1.3 billion people living in China of which about 38% reside in the coastal areas where most of the industries are located. Of these about 72% of the people fall within the working group and literacy rates among the Chinese is about 96%. Unemployment in China is at 9%. China capitalises on its immense human resource and this is why it attracts such huge foreign flow of capital. Despite such a glorious economy and strength of human capital, China is not free from problems. Its human resources pose the greatest problem despite being its strongest factor. The country is plagued by concerns like foreign exchange risks and financial and currency risks but of these, the human resources top the charts of concerns for China in the present and near future (Lubman, 2010). Figure: top concern for China at present and the coming 3 years (Source: Eusmecentre, 2012) The figure above shows the respective ranking of the topmost problems faced by China at present and also predicts the future ranking of these problems in the country. We observe that Human resource issues like availability of qualified employees are the biggest problem with companies in China, both domestic and international. The study also indicates that HR shall remain the topmost concern for China in the coming years as well. Problem The shortage of qualified staff has created an overheating in the Chinese labour market. There is a widespread lack of experienced and qualified employees. Adding to woes, employee turnover has become a critical problem that arises out of this shortage problem. In terms of statistical data, one out of every three employees runs a high risk of turnover in China. HR managers and executives have a critical concern of retaining their best talents. This number is almost double of what runs in other global markets. China’s employee situation has turned into a poachers den where existence and growth of foreign multinationals has generated a huge demand for talented, experience and qualified staff. In case of employee availability, the demand situation far exceeds the supply scene. The big fight persists among both domestic and foreign companies and this buyers market is plagued by presence of employees who always look for better options (Thomson, 2011). Most Chinese organizations try to combat the situation through an out paying strategy to attract talent into their companies. It has been realised that high pay attracts employees and what also acts as a catalyst to employee retention is strong employee development potential and attractive career paths. In China, candidates are attracted more towards job opportunities that promise a better pay. But with time, as the candidature shifts towards the younger generation, the demand for career opportunities that are differentiated and developmental opportunities tend to attract employees more. The general belief in most companies is that they need to design better pay packages so as to fight of poachers, or in other words, competing companies. However, it is wrong

The Role of the Financial manager SLP Assignment

The Role of the Financial manager SLP - Assignment Example Coupled with the recent developments in the financial performance successes, Apple Inc.’s status as a towering figure among publicly traded companies continues to cement its business. Based on the strong brand presence and financial successes reported continuously at the company, success projections in the near future appear promising due to the sustainability of its business model. The utilization of high-end technologies at Apple Inc. continues to provide a promising future for the company’s growing market. The size of Apple Inc. in the American and global smart technologies segment correspond with the recorded revenue growth hitting $42.1 in the fourth quarter of the just ended trading period (Apple Inc., 2014). Further projections on the company’s future relate to the company’s ratings on management effectiveness standing at 14.96 per cent and 33.61 per cent for return on assets and equity respectively. The sustainability of the software and hardware model at Apple’s products portfolio enables the company to challenge for top honors in the technology market. Apple Inc.’s towering financial power elevates it to the top of the list of American multinationals supporting tens of billions of dollars as stable investment value. Recent income figures in excess of $325 billion supported by quarterly gross margin growth of 38 per cent give an indication of the size of the company (Apple Inc., 2014). In these financial figures, $70.54 billion of gross profit implies that the company posted positive operations in the market that it continues to dominate. According to Yahoo Finance (2014), Apple Inc. trades as AAPL at Nasdaq stock market, with the recent stock market performance standing at a stable price of $109.70 (week opening Nov 10). The price of Apple Inc.’s share a year ago stood at $74.28, which gives an indication of growth by a growth of

Domestic Issue Essay Example for Free

Domestic Issue Essay One of the problems that the United States is currently facing is immigration. Every year, a large number of people immigrate to the country to start a new life. They believe this country will bring them answers and will solve their problems in the instant that they arrive. Many do get successful and live the life they dreamed of, and there are even more immigrants who become unfortunate. Still, the problem lies on the fact that too many immigrants exist in the country leaving less opportunities to the American people. It is a fact that these immigrants are talented and hardworking people. Because of their determination to succeed to help their families, most of them are willing to do anything just to make some money and be accepted in the workforce. Most of them agree even to be paid with the minimum amount because having a legal job is important. Employers prefer to hire these immigrants due to the ease of dealing with them. As a result, many Americans workers lose their opportunities to be hired by these employers. The competition is getting tougher, as the number of immigrants increase each year. Another problem that immigration can bring is the spread of diseases to the country. Immigrants come from all over the world and some of them may be hosts of communicable diseases including the human deficiency virus (HIV), hepatitis, or bird flu. This presents a threat to the health of Americans, and to the whole world. Immigration is not all negative if other aspects are analyzed. It might even be a very good thing for the country if it were not in excess. However, it is still a problem, which the

Apple Computer and Long-Term Success Essay -- Technology, Computers, E

In the 1970s, technologies such as video cassette recorders and personal computers were revolutionizing the industry. Co-founders, Steve Jobs and Steve Wozniak, were drawn to this technology revolution and in 1976 started Apple Computers (Abdelsamad et al., 2008). The combination of their charisma and intellect enabled them to design the Apple I computer. Today, Apple is one of the leading technology companies in the world. However, internal factors such as Apple’s unclear marketing plan, employee work life negligence, and financial-legal issues have negatively affected their performance and sullied their corporate reputation. Apple worked to correct the issues that were detracting from their performance and has had great success in recent years. However, Apple must learn to continually monitor these areas in order to achieve long-term success and retain a competitive advantage. Since Apple’s inception, there have been three significant internal factors that have been detrimental to the company’s performance. One of the factors affecting Apple’s performance was their inability to distinguish themselves in their industry. In addition to the fact that Apple would not allow outside computer manufacturers to use their Mac operating system, their products were easily imitable (Abdelsamad et al., 2008).The combination of these two factors allowed their rivals, Windows and Intel, to dominate the personal computer (PC) market. It was necessary for the company to focus on a particular marketing mix to gain an advantage over their competitors (Wheelen & Hunger, 2012). Another detrimental factor that was affecting Apple’s performance was the negative attention the company received when a trade union was formed at a Chinese factory that ... ....ht ml Kurtenbach, E. (2011, December 20). China probing blast at Apple supplier factory. USA Today Tech. Retrieved from http://www.usatoday.com/tech/news/story/2011-12-20/apple- factory-explosion/52112678/1 Noe, R. A., Hollenbeck, J. R., Gerhart, B., & Wright, P. M. (2007). Fundamentals of human resource management (2nd ed.). New York, NY: McGraw-Hill/Irwin. Robertson, D. (2006, August 14). Apple pleads for more time to file. Times - United Kingdom. Retrieved from EBSCOhost. Schoonmaker, D. (2005). Apple Store Opens Here. Grand Rapids Business Journal, 23(26), B2. Retrieved from EBSCOhost. Supplier responsibility. (n.d.). Apple. Retrieved from http://www.apple.com/supplierresponsibility/ . Wheelen, T. L., & Hunger, J. D. (2012). Strategic management and business policy: Toward global sustainability (13th ed.). Upper Saddle River, NJ: Prentice Hall.

Observation Checklist Essay

Philosophy on Education is the belief that the passion to learn, the commitment to succeed, and the motivation to try, is the passage through the core values that a teacher instills to a student, as learning becomes a way of guidance that encourages pupils to improve. It is an educator’s duty to provide an environment that exhibits a multitude of ways for children to engage in the process of learning. When I was a young child, I always wanted to show people the things I have learned through my family, friends, manuals, and teachers. Then, I entered the field of teaching, where I was able to present to an audience of children, various techniques in reading, writing, and arithmetic under the auspices of the head teacher. Let alone, I wanted to help those whom where much more challenge than others. This interest has catapulted me towards the beginning of my career in education. The journey through my past experiences as a teacher assistant foreshadowed my teaching styles. Under the auspices of the certified staff, I was given the opportunity to work in a population that requires an extra bit of patience. In formulating my approach to each class lesson, there was a need to implement hands-on learning as the basis for each work session. An adulating engagement with the student, while promoting encouragement, and confidence in taking tasks has its role in part with the learning process. Once the student becomes self sufficient, then the teaching has effectively accomplish its role. Furthermore, the importance of a teacher making assessments on a student’s capabilities is vital to facilitating education. In the successful grasping of an academic material and its content, being able to have rapport with the students to gain better understanding of their capabilities should intertwine directly with each learning style. Fostering a positive teaching environment requires that the student receives an invitation to participate in a friendly atmosphere. As a proclamation, there should be willingness for each student to express themselves with an utmost pride towards their work and success. In conclusion, my goal as a teacher is to provide to in each and every student with the necessary skills and knowledge so they could succeed on their own. I want to leave a memory of myself as teacher who was not afraid to roll up the sleeves to help another student in any way and influenced others to do the right thing. My colleagues recall me a teacher who regularly participates and who was active to contribute assistance to the school community.