Using Blooms Taxonomy for Effective Learning

The hierarchy of Blooms Taxonomy is the widely accepted framework through which all teachers should guide their students through the cognitive learning process. In other words, teachers use this framework to focus on higher-order thinking skills. You can think of Blooms Taxonomy as a pyramid, with simple knowledge-based recall questions at the base. Building up through this foundation, you can ask your students increasingly challenging questions to test their comprehension of a given material. Utility By asking these critical thinking questions or higher-order questions, you are developing all levels of thinking. Students will have improved attention to detail, as well as an increase in their comprehension and problem-solving skills. Levels There are six levels in the framework, here is a brief look at each of them and a few examples of the questions that you would ask for each component. Knowledge: In this level students are asked questions to see if they have gained insight from the lesson. (What is... Where is... How would you describe?)Comprehension: During this level, students will be asked to interpret facts that they learned. (What is the main idea... How would you summarize?)Application: Questions asked during this level are meant to have students apply or use the knowledge learned during the lesson. (How would you use... How would you solve it?)Analysis:Â  In the analysis level, students will be required to go beyond knowledge and see if they can analyze a problem. (What is the theme... How would you classify?)Synthesis: During the synthesis level of questioning students are expected to come up with a theory about what they learned or use predictions. (What would happen if... What facts can you compile?)Evaluation: The top level of Blooms Taxonomy is called evaluation. This is where students are expected to assess the information learned and come to a conclu sion about it. (What is your opinion of...how would you evaluate... How would you select... What data was used?) Corresponding Verb Examples Remembering: arrange, define, duplicate, label, list, memorize, name, order, recognize, relate, recall, repeat, reproduce, stateUnderstanding: classify, describe, discuss, explain, express, identify, indicate, locate, recognize, report, restate, review, select, translateApplying: apply, choose, demonstrate, dramatize, employ, illustrate, interpret, operate, practice, schedule, sketch, solve, use, writeAnalyzing: analyze, appraise, calculate, categorize, compare, contrast, criticize, differentiate, discriminate, distinguish, examine, experiment, question, testEvaluating: appraise, argue, assess, attach, choose, compare, defend estimate, judge, predict, rate, core, select, support, value, evaluateCreating: arrange, assemble, collect, compose, construct, create, design, develop, formulate, manage, organize, plan, prepare, propose, set up, write

Risk Management Questionnaire - 1438 Words

Model Question Paper MF0009 Insurance and Risk Management Section A: 1 – 20: each question carries 1-mark Section B: 21 – 31: each question carries 2-mark Section C: 32-38: each question carries 4-mark Section A 1. What does risk imply? a) Bright future b) Doubt about future c) Worse position d) No future 2. Chance may be defined as: a) A favourable outcome b) A different outcome c) Fluctuating outcome d) Undefined outcome 3. One of the following is not the meaning of Risk – a) Risk as the cause b) Risk as loss c) Risk as the subject d) Risk as the likelihood 4. Chance is _________ Risk a) Same as b) Different from c) Similar to d) Not related to 5. Objective risk is defined as a) Relative variation of actual and expected loss b)†¦show more content†¦The higher the probability that an unwanted event will occur, _________ the risk. a) The Smaller is b) The Greater is c) No change in d) Can’t say anything about 26. The highest authority to settle a consumer dispute under COPRA Act a) Dist forum b) State commission c) National commission d) Apex court 27. The order issued by the consumer forum does not include one of the following – a) To remove the defect pointed out from the goods in question b) To replace the goods with new one c) To pay compensation awarded by the forum d) to return the defective product 28. Which of the following is true? a) The agent gets 2% commission on single premium b) The agents gets 7.5% commission on annuity business c) 40% commission is paid on first years premium d) No commission is paid for revival of policy 29. Treaty method is a formal and ---------- agreement between two insurers. a) Legally binding b) Informal agreement c) Contract d) Mutual Consent 30. Which of the following is not true with Joint Venture Model? a) It is between one or more banks with an insurance company b) Distribution is done through Bank s network c) Balance share holding is between the bank and insurer d) Exclusive products are offered to the customers 31. Bank personnel may resist the sale of insurance in the bank due to – a) Lack of product knowledge b) If savings are diverted from bank c) Lack of training d) Sales Section C 32. State which of the followings are true or false – i)Show MoreRelatedThe Requirements Of Risk Management1737 Words   |  7 PagesAd Hoc is basic level, which the organizations do not realize the requirement of risk management, and has no systematic solution to deal with the risk. At this level, the project always deal the risk after it happened, which lead to weak situation in conducting the project. Level 2: Initial. At this level, the organization can use rudimentary manner to manage risk. However, even aware of the need of risk management, there is still lack of the capability of implement. Level 3: Defined. This is aRead MoreReview on the Impact of Management Integrity on Audit Planning and Evidence948 Words   |  4 PagesReview on the Impact of Management Integrity on Audit Planning and Evidence Objective This research is done to assess the correlation between management integrity and RMM, audit planning and misstatement detection, which leads to analysis of the impact of management integrity information on audit conduct. 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Due to the fact that the construction industry is trying to be more cost and time efficient as well as have more control over other objectives of the projects, risk management should be associated to any project. In this research risk management process for steel structure buildings in Iranian construction projects was investigated due to its more popular and has so much advantages. Risk management would be studied in five stages including earthRead MoreIdentification And Assessment Of Risks Associated With Erp Post Implementation1628 Words   |  7 Pagesâ€Å"Identification and Assessment of Risks Associated with ERP post-implementation in China† was authored by Guo Chao Peng and Miguel Baptista Nunes and published in the Journal of Enterprise Information Management (JEIM), Volume 22, Issue 5, 2009. By evaluating the following article, a thorough analysis could be made on how probable risks may involve succeeding the execution of Enterprise resource planning. Surveying a wide range of 118 major companies to examine the results, the authors could determineRead MoreEvaluation Of An Project Risk Assessment1467 Words   |  6 Pagessome sort questionnaire as a tool of the project risk assessment. The goal is to provide a clear guideline to Briargrove concerning how to manage risk using these tools in any project. While providing examples of a questionnaire this is also not set in stone, having the ability to modify and create one more detailed to the necessary project as needed by shareholders. The paper has provided a proper description of how to employ questionnaires and surveys in monitoring and assessing risks in projectsRead MoreIn Recent Years, It Has Been Witnessed That A Number Of1150 Words   |  5 Pagespointed out that the laxity of credit risk management is one of the causes of the growth in the number of non-performing loans. It is necessary, therefore, to work out a method to improve the efficiency of credit risk management. This thesis examined five large commercial banks in China and studied their credit risk management processes. This study intends to develop an up-to-date understanding of Chinese banking industry, covering some aspects of credit risk management, banking profitability and competitionRead MoreSwot Analysis : Risk Identification Techniques1021 Words   |  5 Pages1) Risk Identification Techniques †¢ SWOT Analysis: SWOT analysis plays a key role in formulation of strategy and hence, it can be used for identifying strategic risks. The strengths and weaknesses of a company are internal in nature and can cover the risks associated culture, organization, financial and operational part of the strategy. 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Risk is defined as events whose unfavorable consequencesRead MoreRisk Management Process : Erm Frameworks, Risk Identification, And Tolerance1245 Words   |  5 Pages Risk Management Process: ERM Frameworks, Risk Identification, and Tolerance Setting up a project makes it necessary that risks that are likely to affect the business are determined. The characteristics of the risks are to be documented. Participants in the risk management process vary, and they include personnel such as end users, customers, risk management team, project team, outside experts, stakeholders and other project managers (Piazza-Waggoner, Adams, Goldfarb, Slater, 2002). The risk identification

Postmodern film making An analysis of Moulin Rouge Essay Example For Students

Postmodern film making: An analysis of Moulin Rouge Essay With close mention to the selected movie Moulin Rouge , go beyond the beds of spectacle and fiction to show the multiple and contradictory discourses to be found in postmodern movie devising, and what these tell us about nucleus world. Postmodernist film has frequently been criticised in academic circles for its â€Å"ill-famed medley esthesias, retro-obsessionisms, and empty simulations of simulations† . The characteristic technique of citing earlier plants, every bit good as the eternal name-checking of popular civilization points and icons, is frequently seen as a deficiency of originality, creativeness, prowess, and hence a deficiency of worthiness. In this essay I shall analyze Baz Luhrman’sMoulin Rouge( 2001 ) and its relationship to thoughts of the postmodern, pulling comparings to the overtly postmodern plants of Quentin Tarantino as agencies of contextualisation, and comparing impressions of postmodernity with impressions of high construct film in an effort to understand what Luhrman calls the â€Å"high construct comedy† of the movie, and how this effects the film’s nucleus world. If the most exciting and luring grade of postmodernist film is its engagement of the informed spectator through the reclaimation and referencing of popular civilization points and images, so it would so look sensible to propose a comparable relationship between postmodern film and the high construct movies whose most memorable and recognizable elementsarethese iconic images, images which are used non merely to market the movie but frequently to move as a simple microcosm for the movie as a whole. Much of postmodern film can be seen as an act of reclaimation, and of recontextualisation, and much of this reclaimation relies on the sorts of iconic images and characters The iconic images which are frequently used to drive and to market high construct movies ( those of the fierce foreigners inAlien Resurrection or of Luke Skywalker exerting his visible radiation saber inStar Wars episodes 4, 5 and 6 ) are frequently the victims of this intertextual reclaimation – an illustration being the scene inWayne’s World( Penelope Spheeris, 1992 ) in which Robert Patrick reprises his function as the T-1000 fromExterminator 2: Judgement Day( James Cameron, 1991 ) . This scene relies upon the audience’s cognition of the Terminator movies for its comedy: as Mike Myers speeds off shouting from the T-1000, the audience is partly express joying at the saddle sore of Myers and carbon monoxide in puting Robert Patrick in this state of affairs, but to a far greater extent the com edy comes in the signifier of verification and comprehension – the immature viewing audiences pat each other on the dorsum in self-satisfied felicitation of the popular civilization cognition that their befuddled parents deficiency. This pat-on-the-back syndrome is behind much of the pleasance derived from postmodern film by its postmodern audience, and so by its younger, less informed viewing audiences who know little of postmodernism but a great trade about the importance of allowing popular civilization points in youth civilization ( the coolest childs are the 1s that can recognize the most mentions, and anyone who misses a mention is out of the cringle, like the child whose parents don’t let him to watch 18 certificate movies ) . Indeed to this younger audience a movie likePulp Fiction( Quentin Tarantino, 1994 ) may supply a similar sort of enjoyment that a high construct movie such asArmageddon( Michael Bay, 1998 ) might supply – iconic images, memorable soundtrack and a root in popular civilization. The older, more cinematically literate spectator consumes the movie in a different mode – they understand the name-checking and referencing, and can warrant their furiously self-indulgent b ack-patting through the complex narration and intelligent authorship. In this manner postmodern movies can be sold to the younger, less knowledgable, more waxy audience in the same manner as the high construct movie whilst still go throughing muster for the cinephile market. This relationship between postmodern film and high construct film will go of import to my analysis ofMoulin Rouge, and another component of postmodern film which is of great relevancy to an apprehension of the movie is the reclaimation of popular civilization icons, images and sounds. This procedure of reclaimation is surely non limited to popular film, but instead to any recognizable component, point, trade name or icon. Geoff Andrew provinces: â€Å"The eternal allusions and courts to cult heroes and famous persons, favorite films, Television shows, comic-strips and vocals, urban myths and trade name names, non merely establishes a direct line of contact and complicity with the audience which exists over and above the plot lines, but encourages viewing audiences to believe about and his movies in the same obsessional way.† Take for illustration the extended mentions to popular civilization points inPulp Fiction: there are many references of fast-food eating houses such as McDonalds, Burger King, Wendy’s and Jack In The Box, references of Madonna,The Guns of Navarone( J. Lee Thompson, 1961 ) , the Television series Kung-Fu, Kool A ; The Gang, Sprite, and about anything to make with 1950s pop civilization you could conceive of at Jack Rabbit Slim’s diner. But the film’s postmodern plausibleness does non halt at that place. The method of citing earlier plants through mimicking movie manner has been much criticised ( Anne Friedberg describes postmodernism as â€Å"texts that refer merely to texts and reliable experiences replaced by simulation† ) , but remains a characteristic characteristic of postmodern film, and is made overtly clear by Tarantino on a figure of occasions: for illustration, the cryptic briefcase with the aureate freshness, borrowed from Robert Aldrichâ€℠¢sSnog Me Deadly( 1955 ) , or the referencing ofThe Texas Chainsaw Massacreas Butch selects his arm of retaliation, which are both presented really clearly as borrowed plants. Luhrman can besides be seen to be citing earlier plants through mimicking movie manners: the gap sequence in which Christian arrives into Paris on a train is evocative of the celebrated Auguste Lumiere movie of 1895, and as Christian and Satine kiss on the rooftop, the Moon above them is drawn precisely as Melies drew it in his 1890 movieMan On The Moon. InMoulin Rougeit is non high construct film or old cult television shows that are mature for looting, but instead all aspects of dad music and the musical genre, phase musicals, and the history of aureate epoch film. However, in his director’s commentary, Baz Luhrman speaks of the manner he constructed the gap movie to promote â€Å"an gap agreement with the audience†¦ where they understand that it’s both high construct comedy and high construct tragedy†. The movie can be seen to stand for a melding of postmodernity with narrative elements of the high construct: the film’s success relies on a contract with the audience, that they discard their suspension of incredulity to take an active portion in a musical comic-tragedy based on the history of musical comedies and dad music. In the same manner that people would be attracted to see a Van Damme action movie, others would be attracted to see a Luhrman musical-comedy. The Fall Of The House Of Usher Persuasive EssayThird, we have the movie within a movie, or more exactly the drama within a movie. A typical trait of postmodern filmmaking is a self-reflexive consideration of the structural conventions of cinematic storytelling, as can be seen inThe Gallic Lieutenant’s Woman( Karel Reisz, 1981 ) andA Cock A ; Bull Story( Michael Winterbottom, 2005 ) . Typically this is described as another device for promoting the audience to abandon the suspension of incredulity. InMoulin Rouge, a movie about musicals, the characters break into vocal about how good their musical is traveling to be. It’s a musical public presentation, about a musical, in a musical. In the film’s flood tide we watch the theatre audience watching the drama whilst besides at the same time watching the love trigon between Christian, the Duke and Satine play out. We see their confusion as the Duke’s flunky is flung onto the phase, dropping his gun, and they laugh, presuming this to be portion of the public presentation, presuming the ‘reality’ of their love narrative to be the show. When Christian comes up with the narration for their drama by parodying the narrative that they are taking portion in, the world of the movie becomes capable to notice merely like the narrations of the ‘40s and ‘50s musicals that Luhrman is citing throughout. By the clip we are shown the characters practising and so executing their drama, we are seeing a lampoon of a lampoon. But this barely seems to take away from the cumulative consequence of a movie so rooted in lampoon, so rooted in its ain mix tape aesthetic, or from the powers of its DJ manager. So so between these separate beds of discourse, where lies the nucleus world of the movie? What is the point of all this fiction? The nucleus world could be seen to be in the love narrative of Christian and Satine – surely on a narrative degree the movie is about two lovers, and the fact that in their narrative they are forced to execute in a staged version of their narrative does non take away from the effects of the archetypal narrative construction where male child meets girl and loses miss and poses the active inquiry ‘will they end up together? ’ , but simply alters our perceptual experience of it. But this love narrative feels slightly auxiliary, as if one time Luhrman had got into the concern of making characters to dwell his universe of aural nostalgia he had to happen a manner to warrant their being. I would reason that the film’s nucleus world lies in it’s forging of a touchable relationship between film maker and witness, in this postmodern reclaimation and recontextualisation. In Tarantino’s work his song choice is characteristic but still really much playing as soundtrack, and his popular civilization mentions, although ever-present, are sewn into the cloth of the narrative. His movies are recognisably Tarantino-esque – he is an auteur – but their narrations exist in their ain immersive worlds. Luhrman’s mix tape pop-song referencing plants on another degree. His â€Å"high construct comedy† comes in the signifier of his musical referencing, which takes topographic point in duologue, in word picture, in soundtrack and in mark. The comedy is his comedy, and as he says, our enjoyment of the movie relies on non on the playing out of narrative, but on this agreement with him. Bibliographies: Stranger Than Paradise,Geoff Andrew, Prion Books Limited, London 1998 A Cinema Without Wall, Timothy Corrigan, Routledge, London 1992 Window Shopping, Anne Friedberg, University of California Press, 1993 Art and Science of Screenwriting,Philip Parker, Intellect Books, Exeter 1998 High Concept,Justin Wyatt, University of Texas, 1994, 1

AP Physics Atwood Machine Lab Essay Example For Students

AP Physics Atwood Machine Lab Essay The two objects of equal masses are suspended over a light pulley, the objects will move only until they are both at equal distances from the ground. Then they will not move at all. 2. Net force, mass of an object, and acceleration. 3. (A) Acceleration would increase. The mass of one side is greater than the mass of the other, meaning the heaver side has a greater weight force (MGM) acting upon it equating to a greater acceleration. B) the acceleration will remain the same because ratio of masses are equal. 4. (A) If the total mass is constant, and mass is moved from one side to the other, the acceleration would stay the same. (B) If the mass were to gradually increase on both sides, the acceleration would slow down. 5. Two masses have the same acceleration because the forces are the same. Analysis 2. There is a direct relationship between difference in mass and acceleration. As the difference increased the acceleration increased. 4. As our total mass increased, the acceleration decreased. The relationship was inverse. If there is more mass, acceleration will be slower. It would take more force to make it accelerate at the same rate as if there was less total mass. The result of changing only the total mass and not the force making it accelerate or other variables gives you the inverse relationship between total mass and acceleration. 5. 6.

6 Reasons to Read Before Class

6 Reasons to Read Before Class Everyones college and grad school experience is a little different, but the one thing all have in common is reading. You already know that college entails a lot of reading. Guess what? Grad school is way worse.  Expect your reading load to triple, at least, in graduate school. With such a huge set of reading assignments, you might be tempted to fall behind and not read before class. Here are six reasons why you should avoid temptation and read ahead of the class. Make the Most of the Class Time Class time is valuable. Be sure that you can follow along. When you read ahead of time, you are more likely to understand the organization of the lecture. Youll be better able to figure out whats important and what isnt (and thereby take effective notes). Understand the Topic and What You Don't Understand If everything that you hear in class is new, how will you determine what you understand and whether you have questions? If you have read beforehand you can focus your attention on filling gaps in your understanding by paying more attention during some parts of the lecture and by asking questions. Participate Most classes require at least some participation. Be ready to answer questions and to discuss the topic. Its easy to participate when you know the topic. Reading beforehand helps you to understand the material and gives you time to consider your perspective and opinions. Dont get caught unprepared. Professors opinions matter - do not get caught faking it. Show Off Reading before class lets you show that youve read, that you care, and that you are intelligent. Youll be able to ask good questions and participate in a way that demonstrates preparation, interest, and mastery of the material. These are all positive marks in profs views. Participate in Group Work Many classes require group work, often in class. If you have read, you are ready and likely will not mooch off of your classmates, or benefit from their hard work. In turn, if you have read you can tell when the group is taking a wrong turn. Contrary to some stereotypes, effective group work requires preparation. Show Respect Reading ahead of time shows respect for the instructor and interest in the class. While instructors feelings should not be the primary motivator of your behavior, relationships with faculty are important and this is one easy way to get your relationship with your professor off to a good start. Think ahead- faculty are often important resources for advice, recommendation letters, and opportunities. Many students find reading tiresome, a great deal of work. Try employing reading strategies such as the SQ3R method.

Maria Tallchief

Maria Tallchief Dates: January 24, 1925 - April 11, 2013Known for: first American and first Native American prima ballerinaOccupation: ballet dancerAlso known as: Elizabeth Marie Tall Chief, Betty Marie Tall Chief Maria Tallchief Biography Maria Tallchief was born as Elizabeth Marie Tall Chief and changed her name later to Europeanize it for career reasons. Her father was of Osage descent, and the tribe was the beneficiary of oil rights. Her family was well off, and she had ballet and piano lessons from age three. In 1933, pursuing opportunities for Maria and her sister, Marjorie, the Tall Chief family moved to California. Marias mother wanted her daughters to become concert pianists, but they were more interested in dance. One of Marias early teachers in California was Ernest Belcher, father of Marge Belcher Champion, wife and professional partner of Gower Champion. As a young teen, Maria, with her sister, studied with David Lichine and then with Bronislava Nijinska, who in 1940 cast the sisters in a ballet at the Hollywood Bowl that Nijinska had choreographed. After high school, Maria Tallchief joined the Ballet Russe in New York City, where she was a soloist. It was during her five years at the Ballet Russe that she adopted the name Maria Tallchief. While her Native American background led to skepticism about her talent by other dancers, her performances changed their minds. Her performances impressed audiences and critics. When George Balanchine became ballet master at the Ballet Russe in 1944, he took her as his muse and protege, and Maria Tallchief found herself in increasingly prominent roles which were adapted to her strengths. Maria Tallchief married Balanchine in 1946. When he went to Paris, she went as well and was the first American-born woman dancer to perform with the Paris Opera, in Paris and later with the Paris Opera Ballet in Moscow at the Bolshoi. George Balanchine returned to the US and founded the New York City Ballet, and Maria Tallchief was its prima ballerina, the first time an American had held that title. From the 1940s to the 1960s, Tallchief was one of the most successful of ballet dancers. She was especially popular and successful as and in The Firebird beginning in 1949, and as the Sugar Plum Fairy in The Nutcracker beginning in 1954. She also appeared on television, made guest appearances with other companies, and appeared in Europe. Having been trained by David Lichine early in her dance education, she played Lichines teacher, Anna Pavlova, in a 1953 movie. Tallchiefs marriage to Balanchine was a professional but not personal success. He began to feature Tanaquil Le Clerq in key roles, and he did not want to have children, while Maria did. The marriage was annulled in 1952. A brief second marriage failed in 1954. In 1955 and 1956, she was featured at the Ballet Russe de Monte Carlo, and in 1956 she married a Chicago construction executive, Henry Paschen. They had a child in 1959, she joined the American Ballet Theatre in 1960, touring America and the USSR. In 1962, when the recently-defected Rudolf Nureyev debuted on American television, he chose Maria Tallchief as his partner. In 1966, Maria Tallchief retired from the stage, moving to Chicago. Maria Tallchief returned to active participation in the dance world in the 1970s, forming a school connected with the Chicago Lyric Opera. When the school was the victim of budget cuts, Maria Tallchief founded her own ballet company, the Chicago City Ballet. Maria Tallchief shared duties as artistic director with Paul Mejia, and her sister Marjorie, also a retired dancer, became the schools director. When the school failed in the late 1980s, Maria Tallchief again became associated with the Lyric Opera. A documentary, Maria Tallchief, was created by Sandy and Yasu Osawa, to air on PBS in 2007-2010. Background, Family Father: Alexander Joseph Tall ChiefMother: Ruth Porter Tall Chief (Scots-Irish and Dutch ancestry)Siblings: one brother; sister Marjorie Tall Chief (Tallchief) Marriage, Children husband: George Balanchine (married August 6, 1946, annulled 1952); choreographer and ballet master)husband: Elmourza Natirboff (married 1954, divorced 1954; airline pilot)husband: Henry D. Paschen (married June 3, 1956; construction executive)daughter: Elise Maria Paschen (born 1959; poet, writing teacher) Education piano and ballet lessons from age 3Ernest Belcher, ballet teacher (father of Marge Champion)David Lichine, student of  Anna PavlovaMadame (Bronislava) Nijinski, sister of Vaslav NijinskyBeverly Hills High School, graduated 1942

Pulp Fiction Review Research Paper Example | Topics and Well Written Essays - 1250 words

Pulp Fiction Review - Research Paper Example Tarantino’s application of style in the Pulp Fiction is a representation of emerging approaches. It is centered on a movie context rather than real life. The use of alteration and paradox gives new energy to the film and gives its audience a new experience. The infamous Pulp Fiction is a tale of a number of connected lives of two men who make a living from killing, a boxer who is aging, a mob boss, accompanied with his wife. The story revolves around the lives of these individuals as they experience a number of unsettling, intense, memorable, comic and emotional situations. In a review of the film, Ebert Roger describes it as being a comic film that revolves around drugs, violence, blood, unusual sex, dead bodies and other graphic details. The plot of events and the theme of the film seem to be strange. Tarantino matures every scene sufficiently by the use of a variety of cinematic aspects, which transforms the film into an iconic and a memorable masterpiece (LoBrutto, 76). Ta rantino applies cinematography, editing, affectivity of sound and mise-en-scene to warn the audience of any events transitioning, introduce scenes, enlighten the audience hidden traits about the characters and enhance anticipation while maintaining suspense. This is evident in a scene where Vincent has to pick up Mia from Wallace’s house for the night. The scene commences with a tracking shot of him making his way to the front door in which his body forms a silhouette in the front door. The cameras capture for a brief moment the note that has been taped to the door and then make a zoom in on the note. The interests of the audience are maintained by the shift to Mia’s voice which narrates the note and this explains the content to the audience. Vincent enters the door and Tarantino’s expertise when it comes to mise-en-scence becomes apparent (Jewers, 99). The effect that immediately captures the eye is the color scheme of the house. Almost every item is white in c olor, which the inclusion of the couch, carpets, walls, lamps to even the shirt that Mia is wearing. For the enhancement of the white color scheme, key front lighting is used in the scene. This color also adds irony to the film since white in often linked to purity, yet the inhabitants of the house are far from innocent. One addicted to crack while the other is a mob boss. Juxtaposition is also introduced with regard to the fact that Vincent is wearing a black suit yet the rest of the house is white in color. Analysts may suggest that this is a premonition that he has no place in the house and that bad misfortune will befall him if he stays in the house. The house has also been designed to appear to be very modern since various forms of modern technologies have been incorporated into the house such as cameras that are able to watch over the main rooms (Polan, 133). While Vincent if unaware that he is being watched by Mia through a camera viewing station, he walks around the house at ease. To maintain the entertainment value of such a scene, Tarantino makes use of non-dietetic sound, despite the fact that it was coming from the record player, but the audience is not aware of that aspect until the end of the scene. The song is about a about a girl that is in love with the son of the