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A Simple Way to Complete an Outstanding Analytical Essay

A Simple Way to Complete an Outstanding Analytical Essay A Simple Way to Complete an Outstanding Analytical Essay It doesn’t matter what academic assignment you have: a simple descriptive essay or a research paper on physics. Knowing the basic principles will always help you to complete any sort of a task with minimum affords. Analytical essay is not an exception. It is a paper, where you need to analyze and interpret an event, piece of art or situation. You need to show your critical thinking and apply all of the knowledge you have gained. Decide what will be the center of your work. Any analytical essay concentrates on a topic, certain quote or issue. That is why you need to analyze the subject and decide what aspects you will focus on. Include facts on a matter to support your point of view, even if your essay is written about a book or a movie; Choose your topic. Usually professors give a topic to write about but sometimes you can choose it yourself. Here is where the most problems arise and most of the students simply don’t know how to manage the task properly. If it is a movie or a book analysis, you can back your opinion with actions of various characters. You can also analyze motives of actors or participants. If it is a historical event, don’t forget to describe the things that influenced it. As well as use scientific tools for an academic topic; Start with a thesis statement. It is one of the most important parts of any assignment, as it gives the reader a chance to understand whether he wants to go on reading. A thesis statement of an analytical essay should back your ideas and give the reader a chance to see what issues you are going to discuss; Back your thoughts with evidence. You should pay great attention to all the materials you are dealing with, as they will be later used to back your ideas. Use films, books or any other materials to support your statement and add additional evidence to your thesis. It is a great idea to explain various events or situations, which happened before the described events and their influence on the matter; Write a plan of your paper. Completing an outline may greatly simplify your life, as you will be able to always stick to the plan and remember what thinks you wanted to write about. A regular analytical essay consists of a short introduction, body and conclusions. The body paragraphs contain main information on the matter, so here you need to indicate all of the most important features on the subject. Example of an analytical essay plan: Introduction Section 1: Causes of the event Section 2: Description of the event Part 3: Reaction of the characters Conclusions Compose your analytical essay    Write the introduction. Any introduction requires careful attention to details, as it gives the reader an overall impression and encourages him to go on reading. That is why you need to be innovative and make your topic as attractive as possible. However, don’t include too many facts and details, as they may easily bore the audience. You should also try to avoid dramatic elements, like exclamation marks, as an analytical essay always remains subjective; Write body paragraphs. There is a great way to complete your body paragraphs in a simple way. You should only divide them into three parts: Write down the main sentence; Analyze the text; Include a certain fact, which will confirm your thesis and text analysis. Every paragraph should correspond with your thesis statement and provide a deep understanding of the topic. Don’t be in a hurry and complete a thorough analysis of all statements; Wisely choose a place for quotes and paraphrases. Any time you want to use someone else’s thoughts or phrases, you need to quote them inside the text. With such citations, you support your ideas or provide useful information, so it is important to add quotes to relevant paragraphs. Make sure you cite everything properly depending on the required formatting style; Write down the conclusions. When working on this section, you need to remind the audience your main statements on the topic. It is also possible to paraphrase the thesis but make it sound different from the introduction section. Provide different ideas and conclusions to make the reader think on the topic. Your opinion shouldn’t influence someone else’s assessment but still it is useful to write a couple sentences on your own ideas. Final stage Go through your paper over and over again to avoid any mistakes, including lexical and grammatical ones. Even the best paper can receive lower marks if it contains lots of mistakes and complex sentences. That is why you need to make sure that you spend enough time on correcting possible errors. If you find it difficult, ask someone to help; Read your analytical essay aloud. Students often neglect this common practice. However, it can greatly help you to concentrate on the sections, which you didn’t pay attention to. You may also see what sections or even phrases sound too complicated and which are readable. Making one step at a time, you will be able to complete an outstanding essay, which will be smooth and interesting; Eliminate all possible spelling mistakes. There is nothing worse than writing names, locations and places with mistakes. Take your time and consult several various sources to make sure you spell such information correctly. The best tips you will ever get It will be much easier to write down your thesis statement if you understand what you are willing to prove. Your opinion may change throughout the work, so you should simply alter the thesis statement a bit; Stick to the point. Some students think that writing a long essay, filled with watery sentences, is a great solution. However, any professor will agree that your analytical essay should be brief and clear. Every sentence you write should analyze a certain matter and be backed by a research; Don’t use too many quotes. Of course, it is great to use quotes and citations of scholarly sources and other authors. However, loading your text with too many details will simply do you harm, as your professor may think that you don’t have any personal thoughts on the subject; Be innovative. It is difficult to stand out from hundreds of other works, so finding a way to differ is crucial if you want to be noticed. If the topic allows, write your essay in a form of an autobiography or a letter. In addition, you can add infographics, illustrations and provocative titles to engage the reader; No everyday language. If your essay is analytical and requires a critical approach, it is necessary to avoid everyday phrases. If you decide to use slang you can sound unprofessional, which may greatly influence your final grades and overall impression from the text.

Short essay Example | Topics and Well Written Essays - 750 words

Short - Essay Example For an industry to succeed in a competitive market, it should focus on two common trainings, the general management training and functional training. The main aim of training is to offer cordial services which reflect friendly and warmth required in a highly competitive market. Training also maintains the image of self-assurance and influence in the employees’ mind. As per my understanding, in a commercial aviation, comprehensive training motivate the employees by providing them with information on the expectation of the industry, skills of handling passengers as well as the regulations that guides the operation in an industry. The second main motivator to my success in a competitive commercial aviation is the creation of high-performance service delivery team. A good number of aviation services require teamwork to necessitate the delivery of impeccable services to customers. Effectual teamwork in aviation industry in most cases facilitates skills and knowledge sharing among t eam members. On the other hand, I am also motivated to work in a competitive aviation industry by recognition and recompense for a mission well accomplished. Apt reward system forms the key policy for motivation in an industry. ... Explain. I am comfortable in working with students from different cultural, political, social, racial, and religion backgrounds. My past experiences have helped me in coming up with several ways of adopting with people from different backdrop. In my initial stage of coping with students from diverse background, I will create a conscious decision aimed at establishing tangible friendship. In developing a substantial friendship with people from different background, I will make sure that, I understand the cultural diversity of people in my presence. After identifying the existing background, I will place myself in a situation which will facilitate meetings with students from different cultural settings. Attending meetings, celebrations as well as looking for other resourceful means of meeting students from different background will assist me in interacting with many students from different cultural background. I will then identify the biasness and misconceptions relating to different c ultural background. To facilitate cordial relationship with people from different cultural backgrounds, the understanding of cultural misinformation is extremely crucial. The understanding of other student’s cultural misconception will help me in asking relevant question concerning their views, customs, and culture. To get a deep understanding on cultural background of different students, reviewing of their culture and history literature is also vital. On the other hand, to cope well with people from different cultural background, it is important to listen to other people history, show a sense of caring, understand different communication values and styles, make a risk of making mistakes as well as

Mohandas Karamchand Gandhi Essay Example | Topics and Well Written Essays - 500 words

Mohandas Karamchand Gandhi - Essay Example For him, Hinduism was a religion that he knew better than other religions and he found it non-violent and peaceful. One aspect that Gandhi used to search in religions was their nonviolent attitude towards different aspects of life. He found nonviolence in Christianity, Buddhism and other religions.Gandhi practiced Hinduism by continuing to be a vegetarian all his life, he read and acted upon the teachings of Gita and he preached about non-violence and peace (Mahatma Gandhi: Hinduism at its Best). He was an inspiration for the Hindus. He believed in all the teachings of Hinduism and practiced those that seemed suitable to him.He emphasized on reading Gita and also informed that when he used to read it, it soothed him. Gandhi showed liking for the concepts of protection of cow, peace and non-violence but he showed disliking for the concepts of murti puja, intolerance to touch by Brahmans, virgin widowhood and spoilage of virgins (1961; Mahatma Gandhi: Hinduism at its Best).Gandhi held his own opinions about other existent religions. He considered all the religions equally. According to him, he belonged to all religions and also said that all religions of the world helped him in self-realization. According to Gandhi, all religions consist of positive values that should be considered and followed in order to be a good human being (Mahatma Gandhi: Hinduism at its Best). Gandhi once said, â€Å"I am also a Christian, a Muslim, a Buddhist, and a Jew†, which described about his neutrality towards other religions except Hinduism.

A History of Pottery

A History of Pottery The production of pottery is one of the most ancient arts. The oldest known body of pottery dates from the Jomon period (from about 10,500 to 400 BC) in Japan; and even the earliest Jomon ceramics exhibit a unique sophistication of technique and design. Excavations in the Near East have revealed that primitive fired-clay vessels were made there more than 8,000 years ago. Potters were working in Iran by about 5500 BC, and earthenware was probably being produced even earlier on the Iranian high plateau. Chinese potters had developed characteristic techniques by about 5000 BC. In the New World many pre-Columbian American cultures developed highly artistic pottery traditions. TYPES OF WARES Pottery comprises three distinctive types of wares. The first type, earthenware, has been made following virtually the same techniques since ancient times; only in the modern era has mass production brought changes in materials and methods. Earthenware is basically composed of clayoften blended claysand baked hard, the degree of hardness depending on the intensity of the heat. After the invention of glazing, earthenwares were coated with glaze to render them waterproof; sometimes glaze was applied decoratively. It was found that, when fired at great heat, the clay body became nonporous. This second type of pottery, called stoneware, came to be preferred for domestic use. The third type of pottery is a Chinese invention that appeared when feldspathic material in a fusible state was incorporated in a stoneware composition. The ancient Chinese called decayed feldspar kaolin (meaning high place, where it was originally found); this substance is known in the West as china clay. Petuntse, or china stone, a less decayed, more fusible feldspathic material, was also used in Chinese porcelain; it forms a white cement that binds together the particles of less fusible kaolin. Significantly, the Chinese have never felt that high-quality porcelain must be either translucent or white. Two types of porcelain evolved: true porcelain, consisting of a kaolin hard-paste body, extremely glassy and smooth, produced by high temperature firing, and soft porcelain, invariably translucent and lead glazed, produced from a composition of ground glass and other ingredients including white clay and fired at a low temperature. The latter was widely produced by 18th-century Europea n potters. It is believed that porcelain was first made by Chinese potters toward the end of the Han period (206 BC-AD 220), when pottery generally became more refined in body, form, and decoration. The Chinese made early vitreous wares (protoporcelain) before they developed their white vitreous ware (true porcelain) that was later so much admired by Europeans. Regardless of time or place, basic pottery techniques have varied little except in ancient America, where the potters wheel was unknown. Among the requisites of success are correct composition of the clay body by using balanced materials; skill in shaping the wet clay on the wheel or pressing it into molds; and, most important, firing at the correct temperature. The last operation depends vitally on the experience, judgment, and technical skill of the potter. DECORATING TECHNIQUES In the course of their long history potters have used many decorating techniques. Among the earliest, impressing and incising of wares are still favored. Ancient potters in Egypt, Mesopotamia, Greece, northern India, and the high regions of Central Asia (where primitive terra-cotta figures associated with religious cults were produced) frequently decorated wares with impressed or incised designs. A notable incising technique developed more recently was that of Korean potters working in the Koryo period (918-1392). These artisans began by ornamenting their celadon wares with delicately incised and impressed patterns and later developed elaborate inlaying by filling incised lines with colored slip (semiliquid clay). Black and white slip was used most effectively for inlaying colored porcelains. Decoration of this sort generally depends more on the skill of the artisan than on the complexity of the tools being used. An especially popular type of decoration involved the sgraffito, or scratched, technique used by Italian potters before the 15th century. This technique, which is thought to have reached Italy from the Near East, was probably derived from China, where it was first used during the Song (Sung) dynasty (960-1279). By the 16th century Italian potters working mainly in Padua and Bologna had developed great skill in sgraffito, which entailed the incising of designs on red or buff earthenware that had been coated with ordinary transparent lead glaze, usually toned yellow or, sometimes, brown, copper, or green. After firing, the wares were dipped into white clay slip so that a dark pattern could be cut on the surface. By cutting through the white slip, the artist produced a design on the exposed red or buff body. Pigments were also sometimes applied. After a further coating of lead glaze the ware was fired a second time. A sound knowledge of glazesboth utilitarian and decorativeis vital to the potter. The origin of glazes and glazing techniques is unknown, but the fine lustrous glazes developed in China surely began with a simple glaze that served to cover earthenware and render it watertight. Chinese potters used two kinds of glazes, one composed basically of feldspar, and another produced by fusing silica of quartz or sand by means of a flux, generally of lead oxide. Chinese potters regarded glazes and glazing techniques as having prime importance; under the Han emperors they made great efforts to improve this technology. The use of lead glaze increased, and wood ash was incorporated to impart a dullish brown or gray green coloring, somewhat blotchy and occasionally iridescent. These effects were entirely natural, as no coloring matter was added to the composition. Glazing techniques were modified under successive dynasties. Colored glazes were developed and used to brilliant effect by Tang (Tang) and Song potters, and a great diversity of brightly hued wares appeared over the centuries. Many connoisseurs feel that the pure white porcelain, called blanc de chine, which first appeared during the Ming dynasty, is the most serenely beautiful of all Chinese ceramics. Dehua (Te-hua) potters in Fujian (Fukien) province, working during the 17th century, produced their blanc de chine masterpieces in the purest white porcelain coated with a thick white glaze. Salt glaze, used by English potters during the early 1700s, may well have been known to the Chinese but was not used by them. Near Eastern potters glazed wares in ancient times. Potters in Mesopotamia and Iran commonly used an alkaline glaze made of quartz mixed with sodium and potassium. An admixture of colored metallic oxides, mostly lead, was introduced later. Painting on pottery and porcelain became richly colorful in many regions and periods. Decorative brush painting directly on the baked clay reached its zenith in China during the Ming dynasty (1368-1644), whose artists were highly skilled at painting in fired colors. For a long period Chinese ceramic artists had used only black or brown pigment to decorate wares that were then covered with clear glaze. It is believed that the appearance in China of 13th-century brush-decorated wares from Persia sparked a change. These works, painted in blue cobalt under the glaze, inspired the brushwork of the Chinese and the resulting so-called blue-and-white style. Ming artists also excelled in painting over the glaze, using brilliant enamel colors. The overglaze technique, which evolved over two centuries, demanded correct preparation of the enamels, skill in application, and the proper (low) firing temperature. The overglaze enamel decorations executed during the reign of Chenghua (1465-87), which were never surpassed in China, incorporated flowers, foliage, and figure subjects against backgrounds of arabesques and scrollwork. Designs enclosed within dark blue outlines were filled in with brilliant color. Enamel decoration of superb quality was also executed in Japan during the Edo period (1615-1868) by celebrated artists and potters of the caliber of Kenzan, Kakiemon, and Ninsei. In the ancient Aegean the potters art developed continuously from the Neolithic period and through the periods of the Minoan and Mycenaean civilizations, culminating, in ancient Greece, in a unique type of painted pottery, which reached its height between the 6th and 4th centuries BC. The finest Greek pottery, especially Attic vases, was exquisitely proportioned and often decorated with finely painted relief work. Unlike artisans in Egypt, Mesopotamia, and Persia, the Attic potters did not apply heavy glaze to their wares. The unique gloss commonly seen on Attic pottery and similar wares made elsewhere in Greece still baffles those who have tried to determine its formula and method of application. Neither a glaze nor a varnish, it is more marked on some areas, such as those painted black, than on others. Some experts conjecture that it may be attributed to illite or a similar clay mineral in a weak solution that was thinly applied to the surface of wares or mixed into the black paint used by the artists. In the Islamic world ceramic decorative art flowered with the creation of a great diversity of painted wares. Painted luster decoration on pottery originated in Mesopotamia and spread to ancient Egypt; later, under Islam in Persia, this type of decoration on white-glazed wares became incredibly brilliant. Islamic luster-painted wares were later imitated by Italian potters during the Renaissance. MAJOR TRADITIONS IN THE WEST After the fall of the ancient Roman Empire potters in Europe produced little other than repetitive utilitarian wares until the end of the Middle Ages. Earthenware A distinctive type of earthenware known as majolica, which was derived from Chinese porcelain, appeared in Italy during the last quarter of the 14th century. It is now believed that this type of painted earthenware was inspired by the Hispano-Moresque luster-decorated ware of Spanish origin introduced to Italy by Majorcan seagoing traders. Majolica ware, whether thrown on the wheel or pressed into molds, was fired once to obtain a brown or buff body, then dipped in glaze composed of lead and tin oxide with a silicate of potash. The opaque glaze presented a surface that was suitable to receive decoration. A second firing after decoration fixed the white glaze to the body and the pigments to the glaze, so that the colors became permanently preserved. Frequently, the beauty of these wares was increased by dipping them in a translucent lead glaze composed of oxide of lead mixed with sand, potash, and salt. When certain luster pigments and enamels were used in all-over painting, wares had to be specially fired at low temperature. Application of metallic luster pigments required great skill because these colors were extremely volatile and needed special handling. Luca della Robbia (see della Robbia, family) did not, as has been held, invent the enamel tin-glazing process; nevertheless, his work raised majolica production from a craft to high art in Italy. Not only did he use blue and white enamels in decorative work, but, as a sculptor, he also used the majolica technique to add brilliance to the surface of his productions. By the beginning of the 15th century Italian potters had abandoned the old familiar processes, and a revolution in style and techniques was under way. The severe style as followed principally in the school of Tuscany continued to the end of the 15th century, but rules and principles slackened until the inclusion of human figures in designs, previously frowned upon, was accepted. At the end of the 15th century Faenza became the thriving center of a reinvigorated pottery industry in Italy. A new, rich decorative style, known as istoriato, fired the imagination of potters, reaching its zenith in the workshops of Urbino. In early 17th-century England attractive slipwares were produced, including the slip-decorated earthenware that was a speciality of the Toft family of potters. A kind of tin-glazed earthenware was also produced in the Netherlands, principally at Delft, beginning in the mid-17th century. Termed delftware, it was among the first European wares to be decorated with motifs inspired by Chinese and Japanese models. Continental Porcelains Eventually, European potters, who much admired the porcelain of the Far East, attempted to imitate it, but the formula remained elusive. Francesco de Medici, grand duke of Tuscany, produced an inferior type of soft-paste porcelain in his Florence workshop during the 16th century. In March 1709, Augustus II of Saxony announced that his ceramist Johann Bottger (1682-1719) had discovered how to make porcelain. The first European royal porcelain manufactory was consequently established at Meissen (see Meissen ware) near Dresden, Germany. Throughout the century following the discovery of the porcelain formulawhen, despite the utmost precautions at Meissen, the secret leaked outmany rival factories were set up in Europe. Germany, Austria, Italy, France, and England soon had factories engaged in the production of wares much like those of Meissen. Porcelain figures were first produced in Meissen as table ornaments; the earliest examples were formed as part of sweetmeat dishes. Many splendid wares issued from the royal factory, but none were more admired than the finely modeled and decorated porcelain figures imitated by almost every German, Austrian, Italian, and English factory of note. Widespread interest in figures of both pottery and porcelain has continued to the present. Johann Joachim Kandler (1706-75), a master modeler, was the most notable of the artisans engaged in this work at Meissen and rivaled the famous Franz Anton Bustelli (1723-63) of Nymphenburg (see Nymphenburg ware). The methods used to produce porcelain figures as developed by Kandler imparted a new dimension to the art. German porcelain figures were usually produced from molds, which, in turn, were cast from an original master model made of wax, clay, or, occasionally, wood. The use of molds facilitated unlimited reproduction. Because the figures shrank during firing, allowances had to be made in their sizes; they were also provided with a small venthole in the back or base to permit excess heated air to escape. Because different factories placed these holes differently, their positions help determine the provenance and authenticity of given pieces. When considerable undercutting was necessary, porcelain figures were usually made in sections, using separate molds. Portions of elaborate groups and single figures were later joined by a specially trained assembler (known as a repairer) who usually worked from a master model. Europes second hard-paste porcelain factory began operations at Vienna in 1717. In the late 1700s at the royal Sevres (see Sevres ware) factory in France, potters experimented until they developed a remarkably white, finely textured body. Sevres wares were painted in unique colors that no other European factory could duplicate. The bleu de roi and rose Pompadour of Sevres wares captivated all Europe and, with the products of Meissen and Vienna, inspired English potters. English Wares The finest English porcelainboth soft- and hard-pastewas made between about 1745 and 1775. The first English porcelain was probably produced at Chelsea (see Chelsea ware) under Charles Gouyn, but his successor Nicholas Sprimont, a Flemish silversmith who took over management in 1750, was responsible for the high-quality wares, especially the superb figures, for which the factory became famous. Factories at Worcester (see Worcester ware), Bow, and Derby also produced wares that rival those of the Continent. Led by the ambitious, energetic, and enterprising Josiah Wedgwood and his successors at the Etruria factory, English potters in the late 18th and early 19th centuries became resourceful and inventive. Wedgwoods contributions consisted mainly of a much improved creamware, his celebrated jasperware, so-called black basalt, and a series of fine figures created by famous modelers and artists. After Wedgwood, other potters of the first half of the 19th century developed a number of new wares. Of these, Parian ware was the most outstanding and commercially successful. The name of this ware was derived from Paros, the Greek island from which sculptors in ancient times obtained the creamy or ivory-tinted marble that Parian ware resembled. The first examples of this new product, described as statuary porcelain, issued from Copeland and Garrets factory in 1842 and were immediately acclaimed. Two varieties of Parian ware were produced: statuary parian, used in the making of figures and reproductions of sculpture, and hard-paste, or standard, parian, from which hollowware was made. Statuary parian, incorporating a glassy frit, is classified as soft porcelain. Standard parian, with a greater proportion of feldspar in the composition but no frit, is hard porcelain. Early parian statuary was ivory-tinted due to the presence of iron in the feldspar devoid of iron silicate. Suitable deposits were eventually located in Sweden and Ireland. Both English and American potters either obtained details of the original formula or worked out their own, and the resulti ng production of Parian wares on both sides of the Atlantic was enormous. Among the most beautiful and successful wares invented by 19th-century potters were those decorated in what came to be known in England as pate-sur-pate, a paste-on-paste technique devised sometime after 1870 by Marc-Louis Solon (1835-1913) of Mintons in England. Pate-sur-pate, involving both modeling and painting techniques, was stained Parian ware decorated with reliefs in translucent tinted or white slip, the colors being laid one upon the other. Solon was inspired by a Chinese celadon case decorated with embossed flowers that he had admired in the museum at Sevres, where he worked for a time. At first his slip painting on biscuit porcelain simply peeled off; he was successful, however, when he applied layers of slip to a damp surface. Minton wares decorated with pate-sur-pate became the most costly and coveted ceramic ornaments produced in England in the last quarter of the 19th century. Only a few English potters mastered Solons complex technique, although the work of his pupil, Alboin Birks, rivaled that of the master. 20th-Century Developments By the late 19th century, with the development of machinery and the introduction of new technologies, the age of mass production dawned and the potters art consequently suffered. Western ceramic wares declined markedly in quality of materials and decoration. Florid designs, gaudy coloring, and inartistic shapes became fashionable, and the resulting decadence continued into the 20th century. Not until the 1930s were signs of revival in the form and decoration of ceramics discernible, principally in the productions of artist-potters who were active in Western Europe and the United States. Many of these artist-potters arrived at their innovations by way of continuous experiment with materials and techniques. Others sought inspiration from primitive types of Japanese pottery or in the forms of ancient American Indian traditions. Since the end of World War II the design and decoration of ceramics in both Europe and the United States, especially ornamental wares, has been largely influence d by individual artist-artisans. Commercial products, such as tablewares, have tended to reflect the styles and patterns developed by these potters, whose work has often shown striking originality.

Essay --

Red Eye Our senses are very important because they allow us to see, hear, smell, taste, and touch. The most important sensory organ is the eye. It is the organ of vision, and it is very sensitive. Due to that, we should protect our eyes from diseases; such as, macular edema, cataract, macular dry enteration, and red eye. We have all experienced red eye from time to time, affecting one or both eyes. Red eye is cardinal sign of ocular information. It accrues when the vessels in the eye become swollen or irritated. Red eye accrues as a consequence of eye allergies, dry eye syndrome, or conjunctivitis. Â   Â   Â  First, Red eye accrue due to conjunctivitis. Conjunctivitis, which is commonly called pink eye, is an infection or swelling in the eye area. The effect of viruses, bacteria's, and allergies, is pink eye disease. Viral conjunctivitis is contagious, and it is the result of infection from herpes simplex virus (HSV), varicella zoster virus (VZV), or human immune deficiency virus (HIV). Bacterial conjunctivitis has common causes including taphylococci, streptococci, gonococci, and Chl...

The Success or Failure of Baz Luhrmann’s Movie, The Great Gatsby

Baz Luhrmann’s The Great Gatsby attempts to recreate the novel, but fails miserably. F. Scott Fitzgerald’s The Great Gatsby is very different in meaning from Luhrmann’s filmic adaptation. The film, unlike the novel, makes Gatsby seem like a fool in love, and fails to show the idealism behind Gatsby’s dream. Baz Luhrmann’s The Great Gatsby attempts to recreate F. Scott Fitzgerald’s themes, but ends up failing miserably. The film tried to juggle too many themes at once, rather than focusing a couple crucial ones throughout the movie. The film was unable to convey the failure of the â€Å"American Dream† that Fitzgerald so aptly analyzed throughout his novel. Fitzgerald, unlike Luhrmann, was able to make the reader see that Gatsby’s vision (all of his wealth and grandeur had a purpose: to win over Daisy), which parallels the â€Å"American Dream† that many people strive for. The impossibility of this dream is keyed in on through the dialogue between Nick and Gatsby during Luhrmann’s film, but it does not even come close to achieving the same effect that Fitzgerald did in his novel. Luhrmann focuses on how Gatsby’s hope and determination to repeat the past in this one scene, but fails to tie this in throughout the movie. This important theme is forgotten by the end of the film because of how gaudily the film is stylized. The film may have accurately portrayed the imagery of the extravagant parties that Fitzgerald vividly described, but the glitzy diversions detract from the central themes. The disjointedness of the film, as a result of these distractions, cause the viewer to forget the content of the film. Luhrmann’s attention to the visual and musical aspects of the film prevented the film from exploring the themes that Fitzgerald was able to do by ensuring that the imagery served a greater purpose (not just to become a box office success in Luhrmann’s case). Also, the changes to Nick’s character are significant as it shifts the focus from Gatsby to Nick. Fitzgerald purposefully leaves Nick’s life ambiguous, but Luhrmann attempts to give Nick’s departure from the East an edge by turning him into a drunkard. By doing this, Luhrmann emphasizes the excesses of the time, and ends up