The Development of Chinese Five Hero Films

下面为大家整理一篇优秀的essay代写范文- The Development of Chinese Five Hero Films。本文将通过考察无下片，最早的动作片以及相关的著名演员和导演，来主要反映中国武术片（也称为功夫片）的一般发展路径。
在中国武术电影中，有一种像武侠电影。这类电影的主题是展示武侠精神，也被称为剑客精神，这是中国文化中的一种独特现象。正是这种特殊的文化孕育了另一种中国文化奇迹-五峡电影作品。武侠电影借助不断变化的拍摄技术，将伟大的武术家的精神进行了电影化，并在一定程度上丰富了这种精神的内涵。

This essay will mainly reflect the general development path of the Chinese martial arts films (also known as kung fu films) by going through wuxia films, earliest action films, and those famous actors and director involved.
Among Chinese martial arts films, there is a genre as wuxia film. The theme of this kind of films aims at demonstrating wuxia spirit, which is also referred as swordsman spirit, a unique phenomenon in Chinese culture. It is this particular culture that has bred another Chinese culture marvel—wuxia filmic productions. With the help of ever-changing filming technique, wuxia films cinematize the spirit of great martial artists, and in a degree, they even enrich the content of this spirit.
Before moving on to the development of Chinese martial art films, a clearer definition should be made. As martial art film is a very board concept that from a timing perspective, it crosses a period of around 100 years; from a region angle, it ranges from films shot in mainland China, Taiwan, and Hong Kong; and to sort out, martial arts (kung fu) films can be further divided into wuxia film and action film—action films’ focus are the kung fu movements but wuxia pictures are replete with the wuxia spirit. Though ideas has been diversified on the classification of martial art movie, herein this essay, Chinese martial arts filmic productions include wuxia film and action film which are produced in mainland China, Hong Kong. 
Affected by factors as region politics, Chinese film development, and Chinese culture, the progress of martial art filmic productions went through ups-and-downs. In a light of periodic characteristics, its development can be generally divided into 5 stages.

The Naissance—Age of Tales
During the late 1920s to early 1930s, China had its third tide of commercial films. Among all initial Chinese filmized dramas, martial art films appeared earliest and gained its genre in the first place. According to Collection of Chinese Films, within the 4 years between 1928 and 1931, 227 local shootings were launched in cinemas. (China Film Archive, 1960)
Yet, this period has gained a name of the era of tales due to the fact that those films bear little resemblance to what we call kung fu films today. They are products of unconsciousness, since both elements, the wuxia spirit and martial art, appeared as fragments. (Jinyu, 2010) Many movies tended to play up the battle scene, rather than the spirit of it. In other words, the swordsmanship was employed as a showcase of force, and the sequence of kung fu were also abrasive. It can be assumed that at that time, filmgoers’ interests mainly went to the marvelous plots and personages. Strictly speaking, martial art films at that time only took a preliminary existence and were far from mature.

The Realization—Age of chivalry
Later during 1940s and 1950s, kung fu film production, which was originally based in Shanghai region, moved to Hong Kong and took over the Hong Kong Cantonese film industry. A great amount of Cantonese-speaking kung fu films were shot. The 1950s witnessed the thriving of a series of Wong Fei-hung films.
Wong series, a combination of spirit and action sequence, depicted the legend stories of the chivalrous martial artist. Though films at this time continued the story-focusing tradition, Wong films wielded the proper martial arts forms, while portraying moralistic messages and righteous values. In Foshan, Guangdong Province, Wong spread kung fu practice, cured the injured, upholding the justice. He not only gained respect by prepared folks with kung fu, and his medicine treatment also contributed to his high reputation. Nowadays, he is memorized as a representative of morality and chivalry, which partly should be attributed to the influence of Wong series. Therefore the trend of Wong Fei-hung films signals the turning from story to chivalry in the development of Chinese wuxia films.
However, this phase did not last long. As we see that the contents are filled with lecturing, although they are meant to be encouraging, they seem obsolete. The battle scene still lack a sense of actual wrestling, overly inkling to performance borrowed from Beijing opera.(“The History of Chinese Martial Art Films”, 2010) Probably what people admire more are segments heavily-loaded with local culture, such as the Cantonese dialect and custom like wushi (lion dance, a traditional practice in Canton to celebrate important events).

The First Climax—Age of Martial Art
As a genre film, the true mature of kung fu films had not come until the mid 1960s, and till late 1970s, this period can be regarded as the third stage. The biggest Hong Kong filming studio of the 1960s and 1970s, Shaw Brothers, employed top wuxia films directors like King Hu and Chang Cheh, whose work is considered as the top standard of that period. “Viewers were enthralled by the way they used camera angles and editing to make you believe real blood was being spilt.” (Perfect Serendipity, 2003)
Maybe the most sounding martial artist for all kung fu fans around the world is Bruce Lee. 1971, sponsored by Hong Kong Golden Harvest Studio, Lee started his journey in movie industry with movie The Big Boss. With a low investment, this movie broke all box office records in Hong Kong at the time and triggered his meteoric rise to fame. (Jeffsalor, 2013) Entering 1972, with Golden Harvest doubling the investment, Lee starred in Fist of Fury which was even more popular and broke the Asian box office record. After that, one after another, Lee’s 5 films left him a matchless reputation in the history of kung fu filmic industry. To analyze factors leading to his success, besides his star quality and stories which fit to the concern for the destiny of Chinese ethnic, the most important one should be the tussles unique in his way. Lee was a charming mixture of both profound thinking and kung fu performances. His major in college was philosophy, but he devoted all his spare time into studying of kung fu, and his devotion finally made himself an adept in kung fu philosophy and Jeet Kune Do, a school of Korean marital art. Nowadays, his philosophy remains classic among a large number of kung fu fans.
Strictly speaking, Lee’s movies should be categorized into action rather than wuxia. Some people believe, “in the 1970s, these films brought out a more authentic and credible form of martial arts. The themes of these films focused more on vindication, training and victory, pushed the film industry toward unarmed combat rather than the sword play in earlier martial arts films.” (Miller, 2003)
It is a phase of the rising of kung fu films, where a lot of figures in this industry stepped onto the stage and various school of filming sprout, therefore this phase is also praised as the Golden Age. To sum up, the success of this age should not simply attribute to the changes—Mandarin Chinese replacing Cantonese, color film replacing the black-and-white—but to the discovery of the soul of the martial film, which allowed filmmakers to produce films featuring the martial art itself. (“The History of Chinese Martial Art Films”, 2010)
To specify, firstly, it set right the performance of kung fu as the core in the conception process of film and its production. Secondly, it gave rise to the status of action directors. It was interesting that in earliest action movies, the film directors were unfamiliar with martial arts techniques, and therefore required assistance from martial arts instructors, lifting them from advisor to action director of the film. Through this change, experiences of unprecedented concept, filming technique, scenery arrangement can be accumulated and passed down by action directors. Lastly, cinematic narration was always in need of a proper tempo to show the movements, which finally was satisfied by well-designed fight sequences. In this sense, kung fu performance became a fundamental language of this genre.
This phase put kung fu films on multifarious platforms that formed by innovated martial art movements, and during which kung fu films embraced its time.

The Veering—Age of Entertainment and Neo-picture
Then arrived the 1980s and 1990s. Unlike the transfer from mainland China to Hong Kong during second stage, during this decade, main production base spanned both regions. When the idea of kung fu comedy took shape on the island, new attempts were practiced on the north. Moreover, a new practice of filming— co-production—arose. In this phase, the major feature of the filming, which is described as entertainment and neo-pictures, was the pursuit of diversified styles.
In mainland China, though martial art films were in the ascendant, but they were also hindered by pressures of mainstream ideology and traditional film conception. At its commencement were void concept, crude techniques and poor experiences of genre film production. Dozens of martial art films produced during this period had barely other value except serving as a record of history and a part of this trend. (“The History of Chinese Martial Art Films”, 2010) Compared with martial art films from Hong Kong and Taiwan, they were too little as whole.
On the other side at the “exotic” corner of China, Hong Kong kung fu productions slid to its comparatively waning years. One best example was Jakie Chan’s turning to kung fu comedies. By starring in Snake in the Eagles Shadow and Drunken Master in 1978, Chen’s fame roared up fast, becoming another kung fu star after Bruce Lee.
Instead of traditional wuxia clichés, he chose modern action movies. In 1980, he even directed a kung fu film the Young Master, and after that, he participated in a lot of gangster movies. (“Jakie Chan”, 2014) These action movies were deeply rooted in the style of classic kung fu, but with an element of comedy which has transformed the genre into several mainstream movie hits. The character makes use of whatever he can take for handy—desk, chairs, bowls, and basins. In the performance of these films, a taste of comedy emerges in every single moves, all the hiding, dodging, and punching. Consequently, this new invention of Chinese marital art movies turned a new page of the development of kung fu films. Yet, what should not be neglect is that while constructing a new form of martial art films, it in some degree shook the status of wuxia films.
The wuxia film found its break-through in the form of co-production. In 1982, Hong Kong director Chang Hsin Yen cracked the mainland market with film Shaolin Temple. This film made another phenomenon in the development of Chinese marital art films, creating a new box office record in mainland China, and it also discovered another star in Chinese marital art film industry—Jet Li.
Li came from a background of traditional martial art study. He was champions of several national martial art contests. In Shaolin Temple he made his debut and continued with a series of these pictures. As a result of the training background, his martial art actions are powerful and standard. Differential from the techniques of Jakie Chan, Li’s battle movements seem more calm and indifferent, without gaudy distractions. Therefore, his roles usually are committing heroes who refuse to give in to the antagonists. These characters mostly have strong determination in the eyes, but occasionally, some saucy acts also impress audiences. (“Jet Li Biography”, 1998)
In general, the 1980s is inferior as the Forming age. The best of this time are all produced by joint effort, such as, Shaolin Temple, Kids from Shaolin, and Little Heroes.

The Rising—Age of Globalization
In the new millennium, joint production between mainland China and Hong Kong continues, and another trend—the participation of more parties—goes up. Manifesting by the widely-admired film, Crouching Tiger, Hidden Dragon, it seems that the Chinese wuxia filming also goes international as Globalization develops.
This international success was on in 2000 and well-received as one of the most influential Chinese film in the Western world, sweeping dozens of film festivals—winning over 40 awards. As Rey Chow has written about the problematic in China’s representation in cinema, he believe “the way Chinese films have represent both to itself and the Western world just across a boundary of unequal economic power.” (Rey & Harootunian & Masao, 1996)
Director Ang Lee, who is from Taiwan and with a filming education background from the U.S., employed a cast from American, mainland China, Hong Kong, and Taiwan, offering audiences with a navigation of diverse landscape in mainland China through Gobi desert to the southern Bamboo Forest to the ancient metropolis of Peking. (Julie Ng, 2001)
The globalized production has not weakened the Chinese elements within the pictures. Its camera work leads viewers into the graceful spirit and struggling status quo of Li Mu Bai and Jen by natural and effortless flows with their actions rather than flashy scenes and exaggerated wire-stunt fighting. It does not marginalize actual fighting skills and make action sequence acrobatics. Some almost silent long takes plus close-up views prolong the tension and make the emotion of characters float out from the screen into the air, into the breath of audiences. Though it is a tiger but crouching, a dragon but hidden. It risks the almost common element of kung fu films, the thrilling tight moves for calmness, which seems to be a quite wise tactic in today. Maybe it is the reason why it can boost the popularity of Chinese kung fu over the world.
Some categorize Crouching Tiger, Hidden Dragon as a humanistic film. This stream of film emphasizes the identities of characters, inclining to unveil their inner thinking and struggles to carry out the development of story. A dip in this stream adds subtlety to characterization of this humanistic blockbuster films, and subsequently, other directors shot myriad work in attempts to tap the rich reservoir of Chinese wuxia tradition.
Hero of Yimou Zhang is one of those pictures. This ambitious film is an answer to the examination for Chinese film industry brought by globalization and commercialization, which also marked his veering in his aesthetic identity. (Harrison, 2006) The film covers a historical story of Jinke’s assassination of Qin emperor. This event is recorded in the Historical Records among those famous chivalrous assassinations legend.
The cinematic art of Hero is praised as the martial arts poem painted in color that connects color with sound, emotion, and meaning. Black was the color of the Qin dynasty, the dynasty ruled by a tyrant. Saturated red is Zhang’s color for intense passion and jealousy—in Hero love demands loyalty, blood, and life. The use of golden yellow is full of life. After that, the translucent green curtains of the palace illuminate the heroism of Flying Snow and Broken Sword as they try to kill the emperor and fail. (Kwok & Lau, 2007)
To sum up, this period though seems like Chinese wuxia film welcomes another springing of neo-wuxia film production, to keep the tradition of wuxia spirit and bring out fabulous marital art sequence and cinematic art requires innovation. As mentioned above, that wuxia film went through the age of tales, age of chivalry, age of martial art, and age of neo-picture, it means the cinemagoers have experienced marvelous stories, chivalrous heroes, flashy fights, and excellent filmic art. Whatever coming films to be shown would be no longer original for them. Therefore, what those extended crews convened by globalization can achieve still remains unknown.


Reference

China Film Archive,1960,Collection of Chinese Films.Beijing: China Film Archive
Chow, R., Harootunian, H., & Miyoshi, M. (1996). Global/local: Cultural production and the transnational imaginary. R. Wilson, & W. Dissanayake (Eds.). Duke University Press.
Harrison, M. (2006). Zhang Yimou's Hero and the Globalisation of Propoganda. Millennium-Journal of International Studies, 34(2), 569-572.
Jackie Chan. (2014). The Biography.com website. Retrieved April 10, 2014, from
http://www.biography.com/people/jackie-chan-9542080.
Jeffsalor. (2013, November 27). Bruce Lee: The Big Boss Retrieved April 10, 2014, from
http://www.onesixthwarriors.com/forum/front-page-news/728431-enterbay-1-6-bruce-lee-big-boss.html
Jenny Kwok,.& Wah Lau. (2007). A Review of Contemporary Media. Jump Cut, 49(1)
Jinyu (2010, April 28). Wuxia films soaked with Chinese traditions [Web log post]. Retrieved April 8, 2014, from
http://blog.163.com/jin_yu_1228/blog/static/12264827720103281232430/
Jet Li Biography. (1998). Jet Li Official Website. Retrieved April 9, 2014, from
http://jetli.com/jet/index.php?s=life&ss=biography&l=en
Julie Ng. (2001).Crouching Tiger, Hidden Dragon. Retrieved April 10, 2014, from
http://cinesarnia.com/Descriptions/2001%20winter/Crouching%20Tiger.pdf
Miller. (2003). History of Martial Arts Films [Web log post]. Retrieved April 9, 2014, from
http://www.ehow.com/about_6521385_history-martial-arts-films.html
Perfect Serendipity. (2003, January 19). Do We Need Another Hero? [Web log post]. Retrieved April 8, 2014, from
http://www.wu-jing.org/News/M03/2003-01-Wuxia-01-Themes.php
2010, The History of Chinese Martial Art Films. Baidu Library. Retrieved April 8, 2014, from
http://wenku.baidu.com/view/757d4c26dd36a32d737581cf.html

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Curiosity and complexity in translation

下面为大家整理一篇优秀的essay代写范文- Curiosity and complexity in translation。本文讲述人种志学描述了一种常见情况，通常发生在我们的日常生活中，尤其是当我们长大时。幼儿通过这种方式学习成年人的语言。换句话说，民族志学有一些共同点。但是，从字面上看，它是令人惊讶的复杂和抽象，这要求人们从秘鲁库斯科的发现开始。这是几个世纪前被西班牙人征服的地方。一位学者（理查德·皮特施曼（Richard Pietschmann））发现了一篇稿件，其内容比发现本身有趣。手稿用两种语言写得很长。一种是他们的母语，称为盖丘亚语，另一种是不合语法的西班牙语。标题是《第一纪事》和《善治》。普拉特（Pratt）撰写了一篇名为“接触区的艺术”的文章，从他特别的语言学观点中发现了一些有意义的东西，并仔细研究了该手稿的内容。普拉特认为，这本有趣的手稿的作者瓜曼·波马（Guaman Poma）用他的话语显示了征服和帝国的影响。它最重要的特征是他对印加血统的骄傲与对基督教的采用相结合。

Auto-ethnography describes a common situation which usually happens in our daily life, especially when we grow up. Young children learn languages of adults’ world in this way. In other words, there are some points in common with auto-ethnography. However, it is surprisingly complex and abstract from a literal view point, which requires people to start from a discovery in Cuzco, Peru. It is a place once conquered by Spanish a few centuries ago. A scholar (Richard Pietschmann) discovered a manuscript whose context was more interesting than the discovery itself. The manuscript is very long written in two languages. One is their indigenous language called Quechua and another one is ungrammatical Spanish. Its title is The First New Chronicle and Good Government. Pratt, having written an essay named “the Art of Contact Zone”, found something significant from his especially linguistic viewpoint and researched the context of this manuscript carefully. In Pratt’s opinion, the author of this interesting manuscript, Guaman Poma, displayed the impact of conquer and empire in his words. The most important character of it is the combination of his proud of Inca descent and adoption of Christianity.
This manuscript is a letter to the king and divided into two parts. The first part is named “New Chronicle”, which is also the archetype of auto-ethnological text, drawing all our attention. A chronicle was the tools of Spanish to prove their American conquest and usually used by the official document. However, Poma portrayed a new world in “New Chronicle”. In his letter, the indigenous people shared the glory of god with these European conquerors, even having an intent to replace them. Cuzco, located in South American, replaced Jerusalem and became the center of the Christian world. Amerindians had blood relationship with these Europeans for their ancestors were also Adam and Eve. Since the history of Andean was divided into five parts, Poma linked it with five ages of Christian history and made the whole society closer to the traditional European viewpoint. Besides, he constructed an encyclopedia of Inca and pre-Inca history and combined the traditions and details from their own customs or words of elders. What a funny story made up by this Amerindian! It is precisely identifying the character of this item, auto-ethnography, and exemplified it perfectly.
The author of this manuscript, Poma, was an indigenous Andean and he learned how to write from his brother, a mixed-blood who accessed religious education from a Spanish father. Thus he was a special person influenced by two distinguished cultures. He described the society of themselves in the conquerors’ way spontaneously. In Pratt’s view, ethnographic texts are the imaginations of these European conquerors, whereas auto-ethnographic texts come from the ideas of conquered people themselves. They got information from European conquerors as well as their own traditions positively or negatively. Then impacted by the environment, the works which reflect their ideas, are presented as a mixture of cultures from outsiders and insiders. It is safe to say that auto-ethnographic works absorb the conquerors’ customs or idioms of European metropolitans, according to description of Pratt’s work “the Art of the Contact Zone”. Some European idioms were accepted and accompanied with indigenous elements to form auto-ethnographic texts while others was swept out. Finally, the formation of these new works influence people’s understanding of situations of the time.
This kind of works, auto-ethnological texts, have no determined audiences. They might be metropolitan audiences or natives from their own community. It is natural for them to get into the dominant culture by speculating from a metropolitan’s viewpoint. These people such as the author Poma and so on represent the first generation influenced by new changes and intend to involve in a current and dominant culture. The elders of Poma also worked together with him and played an important role in his daily life. The whole circumstance makes up a contact zone. As conquered people, Poma held a mild opinion toward conquerors and wanted to benefit each other. He blamed the greedy Spanish whereas mimicking their language at the same time. This is a character of auto-ethnological texts and dynamics of languages and representations in contact zone.
After reminding and explanation of auto-ethnography, people will wonder the purpose and method of application of this analytical tool naturally. Pratt broke up the community of imagination and applied the item “auto-ethnography” to show a dynamical model of contact, collision, and involvement between different cultures. He also led people to recognize the necessary of these erratic things through contradicting our common sense in some ways. Readers experience the feeling of authors and understand the starting point of authors. Then an article, Translating and Translation: Finding the Beginning, written by Alberto Alvaro Ríos, is going to be an instance of an auto-ethnographic text.
At the first glace, the author clarified his identification, a person who has dual languages or more. He began his childhood from a place located at the boundary of America and Mexico. Besides, his mother and father grew up in different countries and were cultivated in different traditions. Thus the author himself played a role in the contact of two cultures which is similar with that of Poma. We obviously cannot get the exact idea about Poma and rely on the analysis of Pratt. The confusion of audiences is also reminded by Pratt and explained quickly in the following paragraphs. However, people will be puzzled for a long time when they read this article. Despite only three pages, the article have cost much more time than that people spend reading several pieces of newspaper, especially for ones who lack necessary background about a Mexican-style communication. Thus it is necessary for us to interpret the essay by applying Pratt’s tools.
The author leads us from the research of scholars to his personal understanding. Linguists function as an open word as well as their scientific conclusion. From the source of this phenomenon, Rios uses the basic words to eliminate the doubt of audiences. “Linguists, by using electrodes on the vocal cords, have been able to demonstrate that English has tenser vowels than, for example, Spanish. The body itself speaks a language differently, so that moving from one language to another is more than translating words. It's getting the body ready as well. It's getting the heart ready along with the mind.” Then he expands the scope of scholars’ conclusion that language transformations also accompany the physical changes to translating work. People can list other scientific articles opening with this strategies because of its effect, and the author also applies this technique. In my opinion, nevertheless, Rios presents his idea in the way same as which Poma wrote his “New Chronicle”. Poma quoted Catholic Bible whereas Rios used the conclusion of linguists. Why should they depend on these things? In fact, they are the people belonging to a fraction of mainstream, which need the tools of dominant groups to justify themselves. In this circumstance, Poma thought of Bible and Rios chose linguistics. By displaying the familiar context, it is more likely for the mainstream to accept the reasonability of their ideas. When someone who stands at the edge of a field, wants to introduce something new, the tactic will help a lot. Obviously Rios also make full use of it.
Following the introduction of the theory and the author’s background, stories begin. But Rios emphasizes his personal understanding before stories in order to explain it more clearly. As the person living in a confused environment, he regards translation as an important part of his life and his experience makes dual languages learning important. More information and traditions of others’ life involved into his life by dual languages as well as the collision between these languages. His thought and recognition of his growing environment also become more reasonable. The application of a metaphor helps his expression about his condition. There is no doubt that an eye can observe the world, but two lenses create a better sight for the observers. As what Rios says in the article: “The apparatus, the binoculars, are of course physically clumsy - as is the learning of two languages, and all the signage and so on that this entails - they're clumsy, but once put to the eyes a new world in that moment opens up to us. And it's not a new world at all - it's the same world, but simply better seen, and therefore better understood.” A new world appears although it is the same world. Rios gives a good explanation for following stories. We can find similar narrative from Poma’s words. All of us know that Poma lived in the dominant of the Spanish and a new era began for the invasion of the Spanish. It is sad but not choice. It is curious that Poma put the Indian into the story of Bible and even arranged a position for their Indian ancient among the children of Adam and Eva. Rios also wrote in this way, placing the Mexican tradition into Western dominant ideology and considering them as the same world. It is, actually, the personal illusion of the author and can be described as a deep gap between two cultures. The clumsy is easy to understand because a writer writes and speak in English intending to understand the tradition of his ancients who speak Mexican basically.
Several stories follow these declarations. The first one is easy to understand and the author tells us about the different ideas about a word. After the painting, his mother knew the actual meaning of limon from a Mexican view point. The latter one is also a narrative about the illegal action and different interpretation from two sides. However, when it comes to the story related the author, it will put audiences into the confusion. A non-gifted student asked the author two questions in an offensive way whereas the author replies to it peacefully. Without much explanation, the author understood him regardless the offenses from other and was touched by his new realization about translation. It really confuses audiences, including me. In this situation, exploration about the essence of the article is an efficient way to solve the problem. For instance, “He nodded his head. You really like this poetry shit, he asked.” In a common communication, “shit” usually expresses an unrespectable attitude and I even have a prospect of fight. In addition, the following sentence is “And then he followed with the very best thing I could have hoped for. So, how many fights you had?” Obviously a storm is coming. But the author realized that he was making an equation. Therefore, audiences should be aware of the catch phrase, shit. It might be used as a pet in the circle of non-gifted students and does not mean any rudeness. It is a typical example in a contact zone and Pratt as well his method remind audiences the source of the misunderstanding. In the final part, a personal growing experience of people living in collisions such as Rios and Poma makes confusions. In order to understand it, the awareness of the existence of contact zone is very essential and plays a key role for readers.
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Comparison of two websites

下面为大家整理一篇优秀的essay代写范文- Comparison of two websites。本文讲述当我分别打开网站时，它们以不同的样式吸引着我。按照“霍拉效应”一词，我对网站感觉很好，却没有阅读确切的内容。网站的外观使我感觉到网站背后的专业团队，他们必须出色地建立漂亮的网站。 Justim Creative网站（JCW）很简单，让我感到舒适，而The Marketing Zen Group网站（MZGW）添加了更多视觉元素。换句话说，这两个网站的设计过程都很出色并且很吸引人。

When I open the websites respectively, they are appealing to me with different styles. According to the term” hola effect”, I feel good about the websites without reading the exact content. The appearance of the websites make me sense the professional teams behind the websites, they must do an excellent job to build the beautiful websites. Justim Creative website (JCW) is simple and makes me feel comfortable while The Marketing Zen Group website (MZGW) adds more visual elements. In other words, both websites are brilliant in designing process and attractive.
Besides, both websites establish a lead capture mechanism which gives away information for free. The Email marketing is a great way to keep in touch with visitors and it seems promising, Both websites aim to stay in touch with visitors by using Email, But different from JCW’s simplicity, MZGW‘s capture mechanism is eye-catching. That is to say, it could make customers give emails to the website. MZGW provides free whitepaper to visitors as an incentive for capturing the email of the customers. That is, the lead capture mechanism of MZGW is more successful.
Next, I focus on the structure of the websites. Both websites are logical and coherent. The navigation of the websites is very clear. If you want to know the basic information, you just need to click” About” or “About us”. If you are interested in their achievements, just click” Portfolio”. It is so clear that cannot boggle your mind. The good structure guides your to take actions to search for information.
In the next step, I focus on the most important part of the websites –the content. Content is the heart of the website, JCW provides graphic designs while MZGW aims to marketing which includes graphic designs, so MZGW includes more information than JCW because of its widely range. There are pictures, articles in the home page of both websites, but MZGW provides a video about the website. It is obvious that MZGW is much more appealing to various potential customers. It gives its customers more choices. Moreover, MZGW gives more accurate information about the article, such us the exact publish date of articles while JCW are not. We can infer that MZGW is trying their best to update the information to share resources and tips with their customers. Besides, we can also see the logo of the certifications and accolades in the home page which demonstrate their expertise. Thus it is more likely for MZGW to build trust and credibility and become a go-to person for all things in the field.
As for social media integration, both websites do excellent work. They both provide a Facebook like button and a Google+ button and other resources to share the information from the websites which help the spread of the information, it is crucial for the development of websites.
What’s more, the optimization is an important factor of websites. The first aspects of optimization is inside coded correction and it needs to suit to different types of browsers. I check the correction of websites in jigsaw.w3.org/css-validator. When I input the URL of two websites, there are 85 errors of JCW while there are only 10 errors of MZGW. Apparently, the correction of the inside code of MZGW is much higher than JCW. Apart from inside code, the websites need to make sure search engine can “read” websites which means search engine optimizations. I search the websites by using Google search engine, and both websites are suitable.
Finally, we need to compare the maintenance of the websites. From the user-friendly design, we can infer both websites are trying to maintain their websites, but according to the errors I just found, MZGW dedicates more to their maintenance.
In general, both websites are excellent, but MAFW is of high quality than JCW and I prefer MAFW personally.

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Disappearance

下面为大家整理一篇优秀的essay代写范文-Disappearance。本文讲述Chet Craig是Norris Company中央工厂的经理。诺里斯公司（Norris Company）拥有遍布全国的商业业务，拥有三个优质印刷厂和大约350名员工，专门从事优质彩色工作。
在工作日的早晨，切特认为开放式单元的安排最为紧迫和重要，因此他分解了项目的目标，程序和安装步骤。他还考虑了库存分析，包装控制和新的特殊订单形式。然后，他解决了仓库领班的麻烦和办公室经理的问题，监督了一些新闻工作者的工作，并指示人事主管审查假期计划和评估程序。

Chet Craig was a manager of the Norris Company’s Central Plant. Norris Company had nation-wide commercial business with three quality printing plants and approximately 350 employees, specializing in quality color work.
In the morning of the work day, Chet considered the open-end unit scheduling most urgent and important, so he broke down the objectives, procedures, and installation steps of the project. He also thought about the inventory analysis, the packing controls and new special-order form. Then he solved the stockroom foreman’s trouble and an office manager’s problem, supervised some pressmen’s work and instruct a personnel director to review the vacation schedules and evaluation program.
After a day’s working, Chet was exhausted, but not satisfactory with his work. As an executive, Chet was required to possess creative thinking which is a necessary value for a company and leads to concrete accomplishments. However, Chet had no time to think, because his daily routine was already full of arrangements, and now he could not even complete the existing works sometimes. Therefore Chet felt guilty for he had done nothing creative and could not schedule his work efficiently.
Looking for improvement measures for Chet’ problem, the company needs to be restructured. Chet was in charge of too many trivial works some of which could have been completed by subordinates since he had planned intelligently. As a result , Chet could manage his time better and bring more benefits to the enterprise.

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Surgeon General Warning of Secondhand Smoke

下面为大家整理一篇优秀的essay代写范文-Surgeon General Warning of Secondhand Smoke。本文讲述根据2014年外科医生的最新报告提供的信息及其他相关参考资料，讨论二手烟对健康的后果，并就二手烟提出若干可行的医生一般警告。根据国家疾病预防控制中心，国家慢性病预防和健康促进中心，吸烟与健康办公室的未公开数据统计，暴露于二手烟引起的两种肺癌的死亡和暴露引起的冠心病的死亡二手烟的数量高达240万，占1965年至2014年这几年中过早死亡总数的10％以上。粗略地估计，由于接触二手烟而导致的过早死亡所致的生产力损失价值估计为每年56亿美元。此外，许多科学研究已证明，二手烟的暴露与癌症，呼吸道疾病和心血管疾病以及对婴幼儿健康的不良影响有因果关系。

Research topic
The purpose of this report is to discuss the health consequences of secondhand smoke based on the information given in the latest 2014 Report of the Surgeon General and other relevant references, as well as to put forward several feasible surgeon general warnings in terms of secondhand smoke.

According to the statistics of unpublished data from Centers for Disease Control and Prevention, National Center for Chronic Disease Prevention and Health Promotion, Office on Smoking and Health, the deaths of both Lung cancers caused by exposure to secondhand smoke and Coronary heart disease caused by exposure to secondhand smoke, are up to 2,400,000, taking up more than 10% of the total premature deaths over the years from 1965 to 2014. Roughly, the value of lost productivity due to premature deaths caused by exposure to secondhand smoke is now estimated to be $5.6 billion per year. In addition, many scientific studies have proved that the exposure to secondhand tobacco smoke has been causally linked to cancer, respiratory, and cardiovascular diseases, and to adverse effects on the health of infants and children.
Given both tangible and intangible negative influences of secondhand smoke, there are mainly three general warnings to encourage nonsmokers to protect themselves and their families from exposure to secondhand smoke.
From the macroscopic prospect, the government is supposed to take the responsibility to protect citizens from the harms to health caused by secondhand smoke. For one thing, several legislations in terms of establishing non-smoke zones are critically in need. For another thing, it is strongly advisable to introduce some health education programs to residential communities in an attempt to make people fully aware of the harmful aspects of secondhand smoke.

As for individuals, they should also attach some emphasis on secondhand smoke, since their health is linked to it in some ways. For example, it is of great importance for them to avoid secondhand smoke consciously, especially in some public areas. Besides, nonsmokers are supposed to express their unwillingness to secondhand smoke clearly to their friends around them.
At the same time, more attention should be given when it comes to children, who are the futures of any generation. Both their parents and teachers should teach them to realize secondhand smoke brings nothing but harm to our life. What’s more, children themselves ought to learn to say ‘No’ to the scenarios concerning secondhand smoke.
All in all, if we can take the warnings discussed above into practice, it can be expected that the goal of increasing awareness of secondhand smoke can be attained, with the harms of it decreased and even eliminated eventually.

References
U.S. Department of Health and Human Services 2012
Centers for Disease Control and Prevention, National Center for Chronic Disease Prevention and Health Promotion, Office on Smoking and Health, unpublished data.
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