Strategic Proposals To Enhance The Future Of Asia-sports Essay

Strategic Proposals To Enhance The Future Of Asia-sports - Essay Example Ice Hockey had been in existence since the 18th century when it was first played on frozen lakes and ponds in Western Europe. During the 19th century, Hockey began to take shape and standardize rules in the 1870s and was first formally played in Kingston, Ontario, Canada in 1885 as the first ice hockey league. From Eastern Canada, Hockey spread to Western Canada, Northern USA and across to Scandinavian and Northern European countries. The growth of hockey was due to two factors. Firstly, hockey was viewed as a spectator and team participation sport. The fast pace and exciting sport faced competition from a variety of other popular spectator sports. Asia-sports is an established private company with the majority of shares and decision-making power held by Shane Weir and Bill Gribble, 30 percent each. A Hong Kong capital venture company holds 20 percent of shares whilst 10 percent of shares are awarded to the executive director, Tom Barnes. Thirty shareholders hold the remaining 20 percent of shares. However, the financial resources of the company are limited to the contributions of the two majority shareholders and executive director, Tom Barnes. Tom Barnes and his assistant, Keith Fong who contracts out secretarial support, handle day-to-day operations of the company. Volunteers of hockey league members and their families also support Asia-sports. Figure 1 shows the exponential growth of the annual event over the past six years as the tournament. Throughout the past three years of operations, Asia-sports has established a niche position as the only provider of organized ice hockey tournaments and development programs in Hong Kong. The most popular product of the company, World Ice Hockey 5’s has seen substantial growth since its introduction in 1990’s as Hockey 5’s. The tournament consisted of five players instead of six and a smaller rink.

Presidential Nomination Races Essay Example | Topics and Well Written Essays - 1000 words

Presidential Nomination Races - Essay Example As the preferred son of Ohio, Rutherford B. Hayes had much in his favor in the 1876 race. Both reform and regular Republicans liked him. This was because he was a war hero, who had supported Radical Reconstruction lawmaking and campaigned for Negro suffrage, and emanated from a big swing state (Rutland, 1996). His repute for honesty was exceptional, and his backing of bipartisan boards of state institutions commended him to reformers. Hayes understood that "availability" was his utmost strength. "Availability" worked for Hayes since James G. Blaine, the prime candidate and the preferred nominee for partisan Republicans, was blemished by accusations of corruption. Another contender, Oliver P. Morton, Radical’s favorite, was in ill health. Mr. Benjamin H. Bristow, the favorite nominee of reformers was a denunciation to Grant and Roscoe Conkling, the typical spoils politician, was undesirable to Blaine and to reformers. This meant that none of the contenders could assemble the vo tes of the mainstream convention. Through the fifth ballot, Hayes had collected votes, and by the seventh, he had finalized the nomination. By 1875, the Republican Party was in trouble. A severe economic dejection followed the Panic of 1873 and outrages in the Grant administration had smudged the party's reputation. This led to rising unemployment, falling crop prices and corruption in high places. This augured ill for the Republicans. Ohio Republicans turned to Hayes, their superlative vote-getter, to run against the inescapable Democratic governor.

The Environment And Intensive Farming Environmental Sciences Essay

The Environment And Intensive Farming Environmental Sciences Essay By 5000 BC the Sumerians had developed core agricultural techniques including large-scale intensive cultivation of land, mono-cropping, organized irrigation, and the use of a specialized labour force. Intensive farming or  intensive agriculture  is an agricultural system that aims to produce maximum yield from available land. Besides, ità ¢Ã¢â€š ¬Ã¢â€ž ¢s also an  agricultural  production system characterized by the high inputs of  capital,  labour or heavy usage of technologies such as  pesticides  and chemical  fertilizers  relative to land area. You could say food is produced in large quantities with the help of chemical fertilizers and pesticides. The products such as eggs, meat and many agricultural products available in many supermarkets are produced using modern intensive farming. Intensive farming is practiced widely by many of the developed economies of the world. Sustainable intensive farming, intensive aquaculture, intensive live stock farming and managed intensive grazing fall under intensive farming. Environment issues of Intensive Farming Intensive farming may bring some issues to the environment. For instance:- Intensive farming includes the use of chemical fertilizers, pesticides, herbicides, fungicides and insecticides.  It is also associated with overpopulated animal farms, which are often associated with pollution and animal sickness. And even more disturbing is the fact that the majority of working farms use intensive farming. This means more chemicals on our plate at each meal. The use of such massive amounts of nitrogen based fertilizers contaminates the area lakes and rivers. Forests are destroyed to create large open fields and this could lead to soil erosion and affects natural habits in the forest. The pesticides sprayed on crops destroy pests, contaminate the crops and kill good insects. Eventually, these chemicals are passed on to the human beings.   The fruits and vegetables bought from farms that promote intensive farming are covered with invisible pesticide. These are not easily washed off. The residue of the pesticide affect the health of human beings.   Use of pesticides has numerous negative health effects on workers who applied those, people that live nearby the area of application or downstream from it and consumers who eat the pesticides which remain on their food. INTENSIVE FARMING IN MALAYSIA Livestock farming in Sabah once seen as backyard farming and pose no threat to the environment, but with the rapid development in the livestock industry, particularly in monogastric subsector, coupled with rapid expansion of urban and peri-urban area, livestock farming has become the critical issue. Excessive livestock waste as a result of intensive farming system need to be addressed. Although animal waste can be utilized as a manure to improve the physical and chemical properties of soil, it can also cause environmental hazard if not managed properly. It can caused malodour or odour nuisance to environment, surface water contamination, secondary pollution and also religious sensitivity. Table 1. Estimated Livestock Population of Sabah, 1999 Species Number (Head) Cattle 44,837 Buffalo 50,741 Goat 37,285 Sheep 1,900 Pig 100,000 Chicken 3,400,000 Duck 113,000 Source: (Anon.1999b) Livestock Species Population Waste Produce (m.t.) per Year Poultry 2.4 millions 178,000 Duck 0.5 millions 55,000 Pig 85,000 248,000 Cattle/Buffalo 97,000 1,416,000 Goat/Sheep 38,000 70,000 Total    1,967,000 Source: (Mokhtar and Chia, 2000) Table 2. Total livestock population and the wastes produced per year The rapid growth of the livestock industry caused on environmental problem-related to the livestock waste generated from the intensive farming system. Livestock waste generated from an extensive or semi extensive farming system does not seem to cause any major environmental problem as shown in table 2, cattle or buffalo wastes amount to 1.4 million metric ton compare to pig wastes about 248,000 metric ton. The problem is further aggravated with the rapid development of the urban and peri-urban area where most of the livestock farms are situated. The total livestock population and the waste produced per year for selected animal is illustrated in Table 2. Environmental problems cause by livestock farming Water Pollution Main environmental problem cause by livestock farming is water pollution, according to The Malaysian Environmental Quality Report, 12 rivers in the state were polluted with ammoniac nitrogen (NH3-N) due to livestock farming and domestic wastes in 1997. Water pollution cause by livestock farming occurred due to malfunction of waste lagoon or accidentally spill over from flooded lagoon or deliberate flushing of wastes directly into river system. Water may turn reddish brown and may destroy the fragile ecosystem. Pollution from nutrients contained in animal manure, namely phosphorous and nitrogen is one of the most serious problems, leading to excess algae growth, robbing water of oxygen which may lead to mass destruction of fish. Air pollution The anaerobic decomposition of stored animal wastes generates various volatile metabolic compounds of which a dozen contributes to odour, in particular hydrogen sulphide (H2S) and ammonia. These can cause continuous source of strong, persistent and unreasonably offensive hog/poultry odours. The resulting of air pollution is interfering with surrounding areas. Air pollution in the form of ammonia nitrogen can cause respiratory illness in the neighborhood up to two miles away from the site. Potential source of diseases Beside serious environmental problem, animal waste also may become a source of various diseases such as infectious worm larvae hatched from the worm eggs passed out with the faeces; contamination encrusted with organic matter is an ideal breeding ground of harmful bacteria. Arthropods such as flies, lice, fleas that are attracted by animal waste may trigger outbreak of infectious diseases, because they are the vectors to transmit diseases such as viruses, rickettsiae, protozoa and helminthes. WAYS TO PREVENT There are several ways to prevent Environmental problems cause by livestock farming, fr instance:- To minimize environment problem caused by pig waste there should be proper animal waste management system such as improving the housing adopting by the Pit Recharge System and Concrete Floor unit.   The adoption of the Sequencing Batch Reactor (SBBR) with an Automation, which is waste water treatment system with the function of stirring, aeration and settling.     To reduce the odour emitted from farm, a close housing system with regulated ventilation is used. Thatà ¢Ã¢â€š ¬Ã¢â€ž ¢s mean, by using high efficiency fans at one end of the building; fresh air is sucked ion from outside environment passing through the cooling pad to reduce the temperature before being delivered into the building. Livestock Farming Rules, 2001. In the meantime the Department of Veterinary Services and Animal Industry is well aware of the need to control and rectify irregularities in the livestock farming practices. Base on this, Livestock Farming Rules, 2000 (Draft) was introduced. This regulation was created under the existing Animal Ordinance 1962 (Amended 1998). Under this legislation, all livestock farms shall be operated under the permit of Department of Veterinary Services and Animal Industry, Sabah (DOVSAI).            Ãƒâ€šÃ‚   CONCLUSION Intensive farming or  intensive agriculture  is an agricultural system characterized by the high inputs of  capital,  labour or heavy usage of technologies such as  pesticides  and chemical  fertilizers  relative to land area. Intensive farming is practiced widely by many of the developed economies of the world. However, it may bring disadvantages to our environment. Livestock farming has become the critical issue. The rapid growth of the livestock industry in Sabah caused on environmental problem-related to the livestock waste generated from the intensive farming system. Excessive livestock waste as a result of intensive farming system need to be addressed. If not managed properly, it can caused malodour or odour nuisance to environment, surface water contamination, secondary pollution and also religious sensitivity.       RERERENCES http://en.wikipedia.org/wiki/Intensive_farming http://www.buzzle.com/articles/advantages-and-disadvantages-for-intensive-farming.html http://www.buzzle.com/articles/advantages-and-disadvantages-for-intensive-farming.html http://www.fao.org/docrep/007/y5019e/y5019e0l.htm http://kb.rspca.org.au/RSPCA-Policy-B2-Intensive-farming-practices_165.html http://www.sabah.gov.my/jpas/news/SITE/SITEppr12.pdf

Performance Support Systems :: Exploratory Essays Research Papers

Performance Support Systems Introduction In all of the research and documentation used to create this paper Performance Support System (PSS) and Electronic Performance Support System (EPSS) are used synonymously. The term Electronic Performance Support System (EPSS) will be used in this paper. Defining EPSS. Performance Support (PS) is the concept of integrating knowledge and learning experiences, with software tools to improve the quality and quantity of worker performance with as little support as possible from other people. PS also provides an electronic foundation to enable organizational learning. EPSS is the computer system the results from applying the concept of performance support (EPSS website). Some people may confuse EPSS with an Information System (IS), an electronic manual, or Computer-Based Training (CBT). IS are designed to help a user use the application, whereas EPSS are designed to provide support on how to do the work. An electronic manual is just an on-line book. An EPSS may contain an electronic manual, but EPSS not only shows you the information, but how to apply it. CBTs facilitates what you need to learn EPSSs facilitates performance. Why Use an EPSS? "The rate of change in organizations today is tremendous. Just when one downsizing or reengineering effort ends, the latest business software is released and there is something new to learn. The result? An environment in which employees are continuously novices again" (Dawson 29). An EPSS can be used to continually train and retrain employees while providing task specific assistance and training at the touch of a button. An EPSS can also provide assistance to infrequently encountered problems as well as create a consistent set of answers to customers’ frequently asked questions. In many corporations today, the time, length, and cost involved in training is excessive. EPSS solves those problems. First, EPSS provides a cost effective way to train employees. Although the initial setup cost of EPSS can be expensive, these cost normally relate to start-up and maintenance. "Instructor led class where teaching time takes roughly 3 times longer compared with computer based instruction. The overhead costs of instructor led training are also much higher. [Also] with instructor led courses, the more students use the program, the more the program costs. Technology based alternatives eliminate these costs" (Winslow & Caldwell 76). Secondly, EPSS provides an alternative to training where employees are absent from work by bring the instruction to the employees.

Consider how succsesful sheriff conveys the realities in war situations Essay

The play called Journey’s end is all based on real events of WW1, it is written by R.C.Sherriff, the title of the play shows us the play is about a journey but has to come to an end quite obvious but very important, In Act one scene one we get an insight where Osborne is having a conversation with Hardy which leads onto the important part of the play the big German attack, ‘By the way, you know the Big German attack is expected any day’. Surely you would expect that you would be very shocked to hear of this news but Osborne simply plays it down saying ‘It’s been expected for the last month’ as if to say will they ever do it? Now Osborne and Hardy have a long conversation and the audience must think now this is unusual would they have time to that and if you’re asking what that is then ‘Ever ad earwig races?’ ‘ no’ ‘I will give you a tip’ ‘what’ ‘if u dip them in whiskey they go li ke hell’ This I think shows typical men gambling and competition but it also shows us the joy of the war how close the soldiers are together which points out they have spent a long time in the trenches together so it’s showing us that its long ‘ When Hardy finally leaves Osborne alone, the cook Mason comes in to talk about dinner but Mason is the sort of character who eve though there is war he can still is very funny. ‘Soup sir cutlets’ ‘Just kidding ordinary rationary meat sir looks like liver but it has not got that wet smooth look that liver has got and it has a noo shape. After this the new soldier has arrived and Osborne is there to greet him, the new soldier is Raleigh but he is also still a schoolboy ‘Oh no you see I only left school at the end of the last summer term’ this shows us just how bad the war situation was the fact that they were now forcing schoolboys in. In act two scene one again we find out about the food and how you have to save it ‘well take the lumps out of my porridge, good keep the lumps and use um for dumplings next time e ave boiled beef. Then they talk about the big attack again ‘the boche is up to something. The big attack is soon’ Then Raleigh says something strange which makes the audience think but there your enemies ‘those germans are well decent. there is a joke next where mason says ‘ would you like some sardines’ no I would loathe it sir’ very good sir’ this show the audience that mason gives it him as it is the only thing for him to eat and even though he hates it he has no choice but to eat it to built up his strength. The main focus is Act three scene 3 starts off with great imagery ‘The candles are no longer burning’ the intense darkness of the dug out is softened by the glow of the Very lights in the sky beyond the doorway. There is no sound except for the distant mutter of the guns. ‘Putting the mug on the table’ shows it is a very big dug out as it can have all those things in the dug out, which shows us that they must have some importance. Its dawn ‘Towards dawn’ which sets the scene just another old day. ‘OT teaâ€℠¢ they have tea which shows that they have a jolly morning meaning there is two sides to the war. ‘Trotter is singing a long long trail’ which means its joyful there is still humour in the middle of a war, there is also humour because Stanhope says ‘Has the milkman been yet in French’ ‘The faint whisper of shells hitting the dug out’ It shows the big attack has started, intensifying ‘three more shells hit rapidly’ building it up. ‘Trotter’s hand is quivering’ which shows he is scared out of comfort. ‘Stanhope is still writing in his book’ which means that he isn’t taking much notice he is staying calm ignoring the fact he could probably die any minute. ‘Only corporal Ross hit’ showing us the other side of the war that it is not all peace and happiness. ‘Red glow of dawn’ Sort of angry colour, Then Raleigh is shot in the back. ‘Bit of shells got him in the back, Fraid it’s broke his spine, sir can’t move his legs. This is where Stanhope realizes how much he likes Raleigh, normally Stanhope would get them took down to the big dug out on the right but not Raleigh, ‘Bring him down ere’ which shows Stanhope is saying Raleigh is important my best friend, ‘Raleigh wakes from unconsciousness ‘Hullo——Dennis’ which shows us that he is weak from the attack and he is slowly dying, but Raleigh thinks he is ok ‘Im okay now (he tries to rise) then they are talking about the gun noise ‘Nah it is mostly their guns’ showing that they know the war is half lost and there isn’t a lot of hope left in it at all. We have an awful conversation that is so sad about Raleigh is going to die but Stanhope is trying to keep up the hope and then he dies and it is all so sad. Then Stanhope leaves and a shell hits the dug out causing it to collapse snuffing out the candle leaving Raleigh in darkness, we can only think none of them survived.

David Lynch as a Cult Auter

David Lynch as a Cult Auteur David Lynch has long been known for his abstract, surrealist, highly ambiguous, and often confusing films. Since his first film, the bizarre and depressing Eraserhead, Lynch has become synonymous with the word â€Å"baffled. † He has been responsible for heady acid trips such as Lost Highway, Mulholland Drive, and Inland Empire. He has created a bizarre examination of sex and violence in Blue Velvet and a quiet, emotional character study in The Elephant Man.Lynch has always been the artsy type; throughout high school, he was a keen painter, with a very abstract style, and after leaving school, he studied painting at the Museum of Fine Arts, Boston in 1964. However, he left after only a year, stating that â€Å"I was not inspired AT ALL in that place†. He then proceeded to travel around Europe to study the works of Austrian expressionist painter Oskar Kokoschka. He returned to America, however, after only 15 days. He then studied Fine Arts at the Pennsylvania Academy of Fine Arts in Philadelphia, before moving to Los Angeles in 1971 to study filmmaking at the AFI Conservatory.It was at this time that Lynch began winning grants in order to fund his films, including one for $10,000 which he received from AFI in 1970 to make his debut feature-length film, Eraserhead. Over his lengthy career, Lynch has been nominated for four Oscars, but has yet to win. Four of his films have been nominated for the Palme d’Or at the Cannes film festival; 1990? s Wild At Heart won the prestigious award, and Lynch also won Best Director at the festival for his 2001 film Mulholland Drive. Lynch, like many other burgeoning directors, started his audio visual career making short films.From 1966-1974, he created four of film history’s arguably most memorable shorts, leading up to his breakout, oft-critiqued feature, Eraserhead (1977). His style is defined by the dark, the grotesquely physical, and the straight out bizarre. Many of h is shorts included animation of his paintings. Sound and music for films was also of utmost importance to the paranoia-filled atmosphere of his works. The dark and the bizarre were aspects he would carry over to his television show, Twin Peaks, which aired for two seasons in 1990 and 1991.Lynch is valuable because he explodes conventions, both cinematic and psychological, but it’s not enough for him to be as strange as possible—even an approach based on throwing off the fetters of the conventional and the logical demands a kind of discipline. The trick is to allow one’s imagination free play, but to be able to recognize what is genuinely strange and unsettling, rather than merely bizarre, to distinguish between the rare specimens you’ve unearthed from the darkness of the ocean floor and the seaweed clinging to you when you emerge from the water.It’s a completely unscientific process, and one that can’t be forced, so in a sense it’s ac hievement enough that Lynch has remained devoted to exploring his own subconscious, however successful he’s been in conveying his findings to the screen. Leading film critics Le Blanc and Odell state that Lynch’s films â€Å"are so packed with motifs, recurrent characters, images, compositions and techniques that you could view his entire output as one large jigsaw puzzle of ideas. One of the key themes that they noted was the usage of dreams and dreamlike imagery within his works, something they related to the â€Å"surrealist ethos† of relying â€Å"on the subconscious to provide visual drive. † This can be seen in John Merrick’s dream of his mother in The Elephant Man, Agent Cooper’s dreams of the red room in Twin Peaks and the â€Å"dreamlike logic† of the narrative found in Eraserhead, Mulholland Drive and Inland Empire. Another defining pattern of Lynch’s films is that he tends to feature his leading female actors in mul tiple or â€Å"split† roles, so that many of his female characters have multiple, fractured identities.This practice began with his choice to cast Sheryl Lee as both Laura Palmer and her cousin Maddy Ferguson in Twin Peaks and continued in his later works. In Lost Highway, Patricia Arquette plays the dual role of Renee Madison/Alice Wakefield, while in Mulholland Drive, Naomi Watts plays Diane Selwyn/Betty Elms and Laura Harring plays Camilla Rhodes/Rita and in Inland Empire, Laura Dern plays Nikki Grace/Susan Blue. By contrast, Lynch rarely creates multi-character roles for his male actors.In a short film titled â€Å"How to Make a David Lynch Film† a group of young film makers explored just that. In the short, the group highlight a number of definitive features found in Lynch’s films. They mention that â€Å"the people who like David Lynch do so because he is the master of mood, or because he’s all about atmosphere† and that â€Å"the ‘art sier’ the fan you speak to, the more they pretend to understand Lynch’s nonexistent plots. † Other Lynchian traits mentioned in the short include: * Unneeded tension brought about by dramatic pauses between dialogue * There must be ominous ounds or music in every scene to create a mysterious atmosphere * There must always be a character that goes by the name of Mr. , followed by a common first name (eg. Mr. Jimmy) * When in doubt, add close ups of eyes and lips * Phone calls to add suspense * Halfway through the film, change the actor/actress playing the lead character * In between scenes always fade in and out of black * There should be nudity for no apparent reason * Random shots of out of focus movement * Lots of kissing * Painted fingernails * Lesbian love scenes At least one sex scene, often overexposed * Infantilism (eg. Dennis Hopper as Frank Booth in Blue Velvet) * Use of black and white * Abrupt endings and loose ends Lynch is an established auteur; in f act, not only does he write his screenplays, but he has been involved with every level of his films production at one point or another: sound design, editing, camera work, lighting, casting, special effects, music, etc. His hands-on approach to every aspect of his films has helped to tie them all together with a common thread.Lynch has sufficient strength of identity within his work and peculiarity of world view to warrant his position as auteur, and David Foster Wallace, in his ‘Premiere' article for Lost Highway, said : â€Å"Whether you believe he's a good auteur or a bad one, his career makes it clear that he is indeed, in the literal Cahiers du Cinema sense, an auteur, willing to make the sorts of sacrifices for creative control that real auteurs have to make – choices that indicate either raging egotism or passionate dedication or a childlike desire to run the sandbox, or all three. As Orson Welles said, â€Å"Cinema is the work of a single man, the directorâ₠¬ . Lynch's films, good or bad, successful or not, have been the work of a film-maker in control of his medium, aware of his position as auteur and willing to assert it within his texts. Many of Lynch’s works have developed a cult following over the years. Of note are Eraserhead, Blue Velvet and Mulholland Drive.There are also many in the Lynchian â€Å"cult† who are not film specific. That is, they are fans and followers of David Lynch himself, and are intrigued by all things Lynchian. The major reason that Lynch’s films stand the test of time is due to their very nature; because his innovative style is so surreal and cryptic, a selection of viewers are compelled to delve further into understanding his films.That’s the beauty of Lynch; his films deeply intrigue his audiences, igniting a thirst in the niche, cult followers to decipher meaning in films where others see none. In most cases, a director cannot really foresee whether or not a film will develo p a cult following over time. However, a further urge to make sense of his works is almost inherent of Lynch’s style, and some may argue that Lynch has constructed his films with the intention of being labelled by society as ‘weird’, or ‘strange’.It almost gives his loyal followers an excuse to be self righteous of their involvement in the cult community; â€Å"Hey look at me, I study Lynchian films, aren’t I cultured? † It can give them a sense of intellectual snobbery. Lynch’s most recent feature, Mulholland Drive was initially scripted and filmed as a television pilot, however, the project was turned down by several networks, and so, after some deliberation, Lynch decided to finish the text as a feature film.As a pilot, the story didn’t have a proper ending, and it took Lynch quite some time to formulate an ending for the film; however he says that it all came to him one night when he sat down on a chair and closed his eyes. In Mulholland Drive, Lynch dwells upon the theme of duality of identity, set in the world of Hollywood. After the failure of both her movie career and her love affair, the main protagonist, Diane, imagines a fantasy of her as another character named Betty, by recreating her ruined career and failed relationship with the woman she loves.To further expand on his main themes of identity, fantasy and reality, duality of things and Hollywood, Lynch uses contrasted filming techniques for each of the parts of the movie, creating a visual dichotomy between Diane’s fantasy (where everything is embellished in a way, highly illuminated, colourful and visually striking) and reality (which is almost completely dark and uses very little lighting, making it seem quite surreal), thus blurring the edges between the two. In her fantasy, Diane loses her identity, as her dream presents another aspect of herself. One ight argue that this fantasy is actually Diane’s attempt at self-id entification, but it is also another representation of her own personality. In the end, Diane must understand that she is comprised of, and capable of, both light and dark, good and evil, naivete and deep mystery. Therefore, she cannot escape or ignore the darker parts of herself – her failure, her hatred, her jealousy. Lynch has explained duality in his films in this way: â€Å"You must have the contrasts. Films should have power. The power of good and the power of darkness, so you can get some thrills and shake things up a bit.If you back off from that stuff, you’re shooting right down into lukewarm junk. †¦You have to believe things so much that you make them honest†. In other words, he argues that in order for films to be strong and powerful, they need to present both sides of a coin, an unrestricted view of life with all of its light and all of its darkness. However, according to him, there is no need to fear the darker side because it is a part of all of us: â€Å"Fear is based on not seeing the whole thing and, if you could get there and see the whole thing, fear is out the window†.Hence he argues that once we come to terms with these darker things and accept them as a natural contrast in all of us, rather than try to hide and escape them, we will be able to face and understand them. In an interview with The Denver Post during the release of Mulholland Drive, Lynch says: â€Å"we know that when we're walking around we see the surface of things, but sometimes we sense something more, sometimes what we sense approaches a kind of dreamlike state.Those feelings take on a life of their own; they are just as real as anything else. † This echoes Breton’s lecture that these often dichotomous forces of inner and external reality â€Å"are the one and the same thing. † However, Lynch does make note that we do approach these various layers of reality in different ways: â€Å"We have waking, sleeping and dreami ng—for most people that's what we deal with. So all of them are real, though the brain functions in a different way for each. The final movement of Mulholland Drive asks its viewers to reinterpret the first 100 minutes of screen time as now being a universe fabricated in the consciousness of small-time, failed-actor Diane Selwyn, who lies dying (or dead) somewhere in a run-down apartment in Hollywood. Linking the narrative material of the film’s final movement to the material that preceded it becomes critical in terms of how one understands the workings of the film. Of course, crucial as it may be to connect narrative information to the film’s internal structures, it is not this alone that makes Mulholland Drive such a unique experience.As in much of Lynch’s other work, the film asks its viewers to attend to every aspect of its construction, from colour schemes to camera movement, from music and sound to performance, from lighting to editing patterns, fro m set design to costume and make-up. In short, every element of the film’s construction can be a container of possible meaning. Because of this, most viewers miss much of the film’s meaning, and walk out of the theatre complaining that it made no sense. Others, however, may pick up on certain symbols or motifs, and are intrigued to decipher their meaning after viewing.What’s especially interesting in Lynch’s films is the way the entire mise-en-scene is presented as meaningful and significant. The hierarchy of significance that we associate with most movies, where some things are to be attended to more than others, is abandoned. We can never tell while watching a scene – at least the first time around – what its most significant features are. It’s possible that a seemingly minor detail will turn out be of critical importance. Everything is presented on the same level of significance.Over the years, Mulholland Drive has developed a cult following in a niche audience, and many of its devout followers are continuously attempting to decipher elements of the film. The website mulholland-drive. net is an extensive database of information regarding the film, where the film’s loyal followers can discuss the film and share their understanding of certain elements of the movie. Since all of the posts on the site are by members of the niche audience, it gives everyone a chance to see what other people thought of the movie and their analysis of its meaning.The website epitomises the commitment of members of a films cult following. To conclude, it is fair to say that David Lynch has well established himself in society as a cult auteur to be reckoned with. His abstract style often leaves his viewers with more questions than answers, and for some viewers, a desire to learn more. It is this factor that has essentially led to Lynch’s grandiose cult status. His followers are intrigued by his ambiguity. Although his ti me as a director will inevitably come to an end, the legacy of his films will last forever through their cult status. ——————————————- [ 1 ]. Lynch and Rodley, 2005, p. 33 [ 2 ]. David Lynch. (2013, March 16). In  Wikipedia, The Free Encyclopedia [ 3 ]. Le Blanc and Odell, 2000, p. 08 [ 4 ]. Lynch and Rodley, 2005, p. 148 [ 5 ]. Cook, 1986 [ 6 ]. David Lynch On Mulholland Drive, DVD Extra [ 7 ]. Lynch and Rodley, 2005, p. 150 [ 8 ]. Lynch and Rodley, 2005, p. 244 [ 9 ]. â€Å"Lynch composes cerebral symphony†, Rosen, 2001 [ 10 ]. Breton, ed. Fotiade 2000, p. 04