Review of Top Grammar-Checking Software

Like everything related to computers and smartphones, grammar-checking software has improved over the last 10 years. However, it still needs be used in an appropriate manner. The software should not be a substitute for your own knowledge of English grammar, but rather a check on it that highlights possible errors. There are two reasons for not solely relying on grammar-checking software. First, it still makes mistakes. The grammar-checker in Microsoft Word, for example, continually tells me I should use â€Å"it’s† instead of â€Å"its†, and vice versa, in cases where the software is clearly in error. Second, English is a rich language and often there are different ways of saying the same thing, usually with slightly different meanings. For example, the Microsoft Word grammar checker continually harasses me when I use the passive voice. While routine use of the passive voice is undesirable, there are times when it is appropriate. For example, if the actor of a sentence is unknown, then the passive voice is usually more efficient and effective. Nevertheless, even the best humans make mistakes, so there is role for grammar checkers to play in writing today. Top Grammar-Checking Software Below is a review of some of the top programs. The list is alphabetical because user preference is often based on subjective features. However, rest assured that these programs are some of the best, with any pros and cons discussed as applicable. CorrectEnglish does a solid job of checking grammar. In testing, it has been found to have problems correctly identifying run-on sentences and pronoun agreement. However, at a cost of $120, it seems to have one deal breaker, at least for some users—it requires continuous connection to the Internet. Grammar Expert Plus has the benefit of mirroring Microsoft Word’s grammar function, so if you use Microsoft’s word processor, there won’t be much of a learning curve. It costs about half ($60) as much as some of its competitors, but has also been found to occasionally miss subject-verb agreement and incorrect suggestions for correction. Grammarly is a top-notch grammar-checking program. It also has two features that many users will find valuable. Not only does the software program indicate grammatical errors, it highlights writing that although technically correct, could be better. It also has a grading function that grades the grammar of your writing. The intent is that you can check your grades over time to see if the writing has improved. Drawbacks include cost (about $140) and lack of compatibility with the Mac version of Microsoft Office. PaperRater is a free online tool that does a decent job checking grammar. It also has a couple of additional useful features. First, it checks title to make sure they make sense and are concise like titles should be. It also has a plagiarism checker, which has improved over the last year, after a bumpy start. WhiteSmoke excels at basic grammar coverage but also checks grammar of the language in the context in which it is written. It’s also simple to use—all the user does is hit the F2 key to analyze the text of his/her document. Drawbacks include the cost ($80-$120) and lack of plagiarism monitor. Writer’s Workbench has top-notch grammar-checking capability, but stands out because it gives lucid but detailed explanations for the grammatical errors it has found. Furthermore, the intent of the software seems to be to help the writer improve with time, not just to relay on automatic acceptance of the program’s recommendations. There are few minor issues. The software only works with Microsoft Word, it takes some time to get comfortable with the interface, and is expensive ($120). Grammar-checking software these days not only reviews grammar, but many programs also help improve writing and check for plagiarism. Nevertheless, a writer’s best tool for flawless grammar is a thorough understanding of it.

The Civil War Essay - 3736 Words

The Civil War In this meeting of the Southern Historical Association great emphasis has been placed upon a re-examination of numerous phases of our history relating to the Civil War. While several papers have dealt with certain forces which helped bring about the Civil War, none has attempted a general synthesis of causes. This synthesis has been the task assumed by the retiring president of the Association. Before attempting to say what were the causes of the American Civil War, first let me say what were not the causes of this war. Perhaps the most beautiful, the most poetic, the most eloquent statement of what the Civil War was not fought for is Lincolns Gettysburg Address. That address will live as long as Americans retain their†¦show more content†¦A systematic study of both northern and southern opinion as expressed in their newspapers, speeches, diaries, and private letters, gives irrefutable evidence in support of this assertion. Their ideology was democratic and identical. However, theoretical adherence to the democratic principles, as veil we know all too well in these days of plutocratic influences in our political life, is not sufficient evidence that democratic government exists. I believe that I shall not be challenged in the assertion that the economic structure of a section or a nation is the foundation upon which its political structure must rest. For this reaso n, therefore, it will be necessary to know what the economic foundations of these sections were. Was the economic structure of the North such as to support a political democracy in fact as well as in form? And was the economic structure of the South such as to permit the existence of free government? Time does not permit an extended treatment of this subject; it will be possible only to point out certain conclusions based upon recent research. By utilizing the county tax books and the unpublished census reports a group of us conducting a cooperative undertaking have been able to obtain a reasonably accurate and specific picture of wealth structure of the antebellum South, and to some extent that of the other sections. We have paid particularShow MoreRelatedThe War Of The Civil War921 Words   |  4 PagesThere are no doubts that acts of war can have a negative impact on the individuals involved. There are countless stories of the soldiers’ experiences in the war, and how it affected their lives, families, and attitudes. However, there is a large demographic that is hardly accounted for: children, specifically during the Civil War era. Understanding the children that lived in the time of the Civil War is important because it affected their future careers, shaped their attitudes towards race, and affectedRead MoreCivil War And A Revolution1196 Words   |  5 Pagesthat a civil war is going on there. On the other hand, others argue that it is a revolution against oppression that has been brutally responded to. Evaluating the situation in Syria requires solid understanding of specific terms of a civil war and a revolution. Also, is there a general consensus on what a civil war or a revolution is? Can the situation in Syria simply be classified into one of these two? The first important thing to know is that there is no single definition of a civil war that historiansRead MoreThe War Of The Civil War964 Words   |  4 Pageswasn’t one sole cause of the Civil War but there were many events that took the country to war and put brother against brother and states against states. Abraham Lincoln wanted to preserve the union and that could only be attained by civil war. Slavery which was an underlying cause for the war played its role in the division that divided the North against the South. Ultimately the preservation of the union, slavery and the consequences and conflicts leading to the Civil War all rested on President Lincoln’sRead MoreThe War Of The Civil War1522 Words   |  7 PagesCosts The war produced about 1,030,000 casualties, including about 620,000 soldier deaths—two-thirds by disease, and 50,000 civilians. The war accounted for roughly as many American deaths as all American deaths in other U.S. wars combined. Based on 1860 census figures, 8% of all white males aged 13 to 43 died in the war, including 6% in the North and 18% in the South. Union army dead, amounting to 15% of the over two million who served, was broken down as follows: Notably, their mortality rateRead MoreThe War Of The Civil War1540 Words   |  7 PagesOver the course of the Civil War, approximately three million men (and a handful of women disguised as men) served in the armed forces. By comparison, before the war, the U.S. Army consisted of only about 16,000 soldiers. The mobilization that took place over the four years of the war touched almost every extended family North and South and affected the far reaches of the country that had split in two. By war’s end, approximately 620,000 men had died, an estimate that is currently undergoing scrutinyRead MoreThe War Of The Civil War777 Words   |  4 PagesThe widespread violence that turned into the Civil War began with the election of 1860. Abraham Lincoln won the election of 1860 without a single vote from the states below the Ohio River. South Carolina was the first state to respond to Li ncoln’s election. On December 20, 1680, South Carolina seceded from the Union. South Carolina was the first of the â€Å"Original Seven† who seceded from the Union, including Mississippi, Florida, Alabama, Georgia, Louisiana, and Texas. This became known as â€Å"secessionRead MoreThe War Of The Civil War1039 Words   |  5 PagesThe civil war is by far the bloodiest war in American history. In the four deadly years of war, over six-hundred thousand Americans were killed. Many disputes that led to the civil war. These conflicts started under President James Buchanan who was a Democrat elected in the election of 1856. The issue of slavery, states’ rights, the abolitionist movement, the Southern secession, the raid on Harper’s Ferry, the election of Abraham Lincoln all contributed to the start of the civil war. The civil warRead MoreThe War Of The Civil War1284 Words   |  6 PagesEnglish 30 January 2015 The Civil War There are many facts most people generally do not know about the Civil War, so much research is needed to improve one’s knowledge about the Civil War. Authors such as: Robert G. Lambert, Rustle B. Olwell, and Kay A. Chick were all helpful in this research. Many people think that everyone on the Union side of the war believed that blacks should be equal to whites. Most people also think that everyone on the Confederate side of the war believed in slavery. SomeRead MoreThe War Of The Civil War Essay1444 Words   |  6 PagesThe story of this outlaw originated during the Civil War years, April 12,1861-May 9, 1865. The War were the rich sat and watched, while the poor died. A War that wanted to keep black people as slaves permanently by the South (Confederates). Newton Knight quickly grew unhappy with the situation that the people of Jones County, where he was originally from were in. He also did not approved of slavery at all. Newt was the Outlaw who freed Jones County s people, whites and blacks alike when they mostRead MoreThe War Of The Civil War1723 Words   |  7 PagesThe Civil War is by far the bloodiest war in American history. In the four deadly years of war, over six-hundred thousand Americans were killed. Many disputes that led to the civil war. These conflicts started even before the presidency of James Buchanan, who was a Democrat elected in the election of 1856. The issue of slavery, states’ rights, the abolitionist movement, the Southern secession, the raid on Harper’s Ferry, the election of Abraham Lincoln all contributed to the start of the Civil War

Documentary Aspects on Kieslowski Fiction Free Essays

Winter 2012-13 – Free written home-assignments (To be uploaded to Absalon – 1 copy only). (Uploades til Absalon i et eksemplar) Navn (Name) Katarzyna Inez Dawczyk Studienummer (Student ID) qtw401 Telefon (Telephone) 27632783 e-post (e-mail) k. inez. We will write a custom essay sample on Documentary Aspects on Kieslowski Fiction or any similar topic only for you Order Now dawczyk@gmail. com Ved gruppeopgave anfores ovrige navne (Names of other participants in group essays) Navn (Name) : __________________________ Navn (Name) : __________________________ Navn (Name) : __________________________ Navn (Name) : __________________________ Studienummer (Student ID)__________ Studienummer (Student ID)__________ Studienummer (Student ID)__________ Studienummer (Student ID)__________ If the information concerning length below is not filled in correctly, the assignment will be rejected and you will be graded as a †no show†. ANTAL NORMALSIDER: 25 (Number of standard pages of 2400 keystrokes) ANTAL TYPEENHEDER: 60 178 (Total number of keystrokes, including spaces and notes but not cover pages, bibliographies and appendices). OMFANG AF OPGAVER: L? ngden af en opgave er en del af opgaven – hverken for lange eller for korte opgaver accepteres. LENGTH OF THE ASSIGNMENT: Neither too long nor too short assignments are acceptable. S? T KRYDS (Mark) S? T KRYDS: (just Danish students) Individuel opgave X (Individual essay) Intern censor__________ se i studieordningen) Gruppeopgave _________ (Group essay) Ekstern censor X (se i studieordningen) Studieelement/Modul (Study Element/Module) 47790313-01/ Module 3 (f. eks. 47790316 Modul 4: Skriftlig formidling) Emne (Subject) : Between Documentary and Fiction (f. eks. Japansk Film) Er opgaven fortrolig (s? t kryds) JA___ (Is the essay confidential? ) (mark) Studieordning (s? t kryds): (Curriculum) (mark) : NEJ X (Yes) EKSAMINATOR: Arild Fetveit (Examiner) (No) __ Anden studieordning: _________________________ __Gymnasierettet Kandidattilvalg 2008-ordningen __Grundudd. i Film- og Medievidenskab 2005 – eller 2012__ __BA-tilvalg i Medier og Kultur, Tv? Hum. 2007 __Gymnasierettet tilvalg i Film- og medievidenskab 2007 __Enkeltstaende tilvalg i Film- og Medievidenskab 2007 (Curriculum for Elective Studies in Film and Media Studies 2007) __Kandidatuddannelsen i Filmvidenskab 2008 (Curriculum for the Master’s Programme in Film Studies) x__Kandidatuddannelsen I Medievidenskab 2008 (Curriculum for the Master’s Programme in Media Studies) __Master i Cross Media Commun ication __Tv? rhumanistisk Tilvalgsfag i Digital Kommunikation og ? stetik 2007 Dato og ar 1. 01. 013 Date and year DOCUMENTARY ASPECTS ON KIESLOWSKI? S FICTION ABSTRACT This paper examines different concepts of documentary and the influence of documentary dispositions on Kieslowski? s fiction that might be found by analysing his selected feature films. Different definitions of documentary in cinema created by various critics and cinematographers will guide the discussions of the ways in which Kieslowski comments on filmmaking, particularly how his fiction might carry the echo of reality which is recorded by documentaries. The paper is an attempt of describing the pattern, where realism is a dominant factor that might create an illusion of reality. This project is important to provide the theory about documentary aspects on Kieslowski? s fiction in order to find similarities and connections between two genres of film that are on the opposite poles. The study provides the unit of analysis about which the information were collected in order to create an understanding of the context. The assignment has got theoretical dimension and analyses. KEYWORDS: documentary, fiction, film studies, Kieslowski, realism, representation Before starting evaluate documentary as a form of film, it is necessary to replay on fundamental questions: what is a film? ; and how film can be understand? The elementary definition of film says that film is a story or event recorded by a camera as a set of moving images and shown in a cinema or on television. †1 Furthermore, it is a medium and an art and a very complex technology undertaking . 2 Film belongs both to recording media and representative media. The spectrum of film looks like: -the performance art, which happen in real time -the representational art, which depends on the established codes and conventions of language – the recording art, which provides a more direct path between subject and observer: media not without their own codes but qualitatively more direct than the media of representational arts. 3 1 2 www. oxforddictionaries. com James Monaco, â€Å" How to read a film†, 3rd Edition, Oxford University Press, 2000, p. 17 3 Inbid. ,p. 27 Every film contains a range of various messages, which are not always apparent. However, by analysing film, messages can be discovered. Film makes absence presence. Moreover, the special techniques of film-the concentrated close-up-and the special qualities of film projection, make intimate experience of face as the sole, cause impression of living reality. 4 DOCUMENTARY John Grierson, a father of documentary used the phrase â€Å"documentary value† in reviewing Robert Flaherty? s â€Å"Moana† in 1926 for a New York newspaper. It was the first occasion on which the word â€Å"documentary† was applied in English language, to this specific kind of film. In English language, the adjective â€Å"documentary† was invited quite late as in 1802 with the modern meaning of its source word â€Å"document† as something written, which carry evidence or information. The contemporary use of â€Å"document† still carries the connotation of evidence. Besides, from the beginning of documentary, a photograph was received as a document and therefore as an evidence. 6 Documentary film has begun in the last years of the IXX century. It seems that, its beginning had many faces, as for some scholars the first documentary was â€Å" Nanook of the North† (1922) about Eskimo life ; some claimed that it was Joris Ivens? â€Å" Rain† ( 1929) a story about a rainy day; for another â€Å" Man with a Movie Camera† (1929) made by Dziga Vertov. 7 So what is a documentary then? A simple answer might be that is a movie about real life. However, it sounds to be too simplified, as there is not such a real life, as a camera can see just a part of real, just a small piece. Irritating are arguments that the camera is a window of world. On which worldthe question is rising? The camera can see just a part of the world, the part of real, the part of life. As a result, it could be said, that documentary movie does its best to represent a part of real life and it does not manipulate about it. 4 Philp Simpson, Andrew Uttern and K. J. Shepherdson, â€Å"Film Theory. Critical Concepts in Media and Cultural Studies†, Routledge, London, 2004, p. 70 5 Brian Winston, â€Å"Claiming the real. The Griersonian Documentary and Its Legitimations†, British Film Institute, 1995, p. 8 6 Inbid, p. 11 7 Patricia Aufderheide, â€Å" Defining the Documentary† in â€Å" Documentary Film. A very short introduction†, Patricia Aufderheide, Oxford University Press, New Your 2007, p. In other words, it could be said that â€Å"documentary is defined and redefined over the course of time, both by makers and by viewers. Viewers certainly shape the meaning of any documentary, by combing our own knowledge of and interest in the world with how film-maker shows it to us. †8 From another point of view, Plantiga claims that documentar ies are moving picture texts of affairs represented in the world hold in actual world. Sobchack claims that documentary is a subjective relationship to a cinematic object. Patricia Aufderheide arguments in documentaries, â€Å"we expect to be told things about the real world, things that are true (†¦) we expect that a documentary will be a fair and honest representation of somebody? s experience of reality†. 9 Additionally, she points out â€Å"the truthfulness, accuracy, and trustworthiness of documentaries are important to us all because we value them precisely uniquely for these qualities. † 10 According to Eric Barnouw â€Å"some documentaries claim to be objective-a term that seems to renounce an interpretative role. The claim may be strategic, but it is surely meaningless. The documentarist, like any communicator in any medium, makes endless choices. He selects topics, people, angels, lens (†¦). Each selection is an expression of his point of view. †11 John Grierson defined documentary as the â€Å"autistic representation of actuality† 12, additionally as â€Å"the creative treatment of actuality†. 13 It seems that, by using the term â€Å"creative treatment†, he meant that the documentary go beyond simple recording of reality, as documentary is fulfilled by sort of material creatively. It could be said that, documentary is based an authentic recordings with realist tendency, construct on fascination with a visible evidence. The evident share about the discussion of documentary has got Bill Nichols. He arguments that the documentary tradition relies on being able to conduct the impression of reality, â€Å"(†¦ ) a powerful impression. It began with the raw cinematic image and the appearance of movement: no matter how poor the image and how different from the thing photographed, the appearance of movement remained indistinguishable from actual movement. 14 Nichols claims, filmmakers often use in documentary modes of representation, in aim to make questions that are directly depend on historical world, narrative has existed in every known human 8 9 Inbid. ,. 2 Patricia Aufderheide, â€Å" Defining the Documentary† in â€Å" Documentary Film. A very short introduction†, Oxford University Press, New Yor k, 2007, p. 3 10 Inbid. , p. 4 11 Stella Bruzzi ,â€Å" Introduction† in â€Å" New Documentary. A Critical Introduction†, Routledge, London, 2000, p. 4 12 Patricia Aufderheide , â€Å"Defining the Documentary† in â€Å"Documentary Film . A very short introduction †, Oxford University Press, New York, 2007, p. 3 13 Brian Winston,â€Å" Claiming the real. The Griersonian Documentary and Its Legitimations†, British Film Institute 1995, p. 11 14 Bill Nichols, â€Å" Introduction to Documentary†, Indiana University Press, 2001, p. XIII society. 15Moreover, Nichols offers the theory that describes every film as documentary. Even the most fantastic fiction, as it gives evidence of the culture that is reproduced of the people who perform within. As well, he divides documentaries on two kinds: (1) documentaries of wish- fulfilment nd (2) documentaries of social representation. 16 Documentaries of wish- fulfilment are on the shape of fictions, that give expression of people? s dreams and wishes and a sense what people wish, or fear, reality might be or might become. And documentaries of social representation are non-fiction that make the stuff of social reality visible and give representation to aspects of the shared world. Moreover, they deliver a sense of what might be understand as reality, of what is now, or what might become. Documentaries of social representation offer ideas on common world to explore and understand it. Documentaries offer the sensuous experience of sounds and images organized in such a way, they come to stand for something more than mere passing impressions: they come to stand for qualities and concepts of a more abstract nature. †17 15 16 Edward Branigan, â€Å"Narrative, Comprehension and Film†, Routledge, London, 1992, p. 1 Bill Nichols, â€Å" Introduction to Documentary†, Indiana University Press, 2001, p. 1 17 Inbod. , p. 65 According to Nichols, every documentary has its own distinct voice that has got a style. In order to analyse those styles, he provides a typology that enables various modes of documentary. He identified six modes of representation that function as like sub-genres of the documentary as genre itself. These six modes are: the expository mode- emphasizes verbal commentary and argumentative logic, has got more rhetorical and argumentative frame, addresses the viewer directly often with a narrator-voice over commentary (a voice of God, voice of authority) the poetic mode- is more subjective with artistic expression that moves away from objective reality of a given subject, situation or people to take at inner â€Å" truth† can be possessed by poetical manipulation, characters are with psychological complexity he observational mode- coming close as it possible to objective reality, observation of what happens in front of camera and recording it, the filmmakers takes a position of observer and makes impression of not intruding on the behaviour of characters the participatory mode- direct engagement between a filmmaker and subject, the filmmaker becomes a part of the rec orded event using the methods of anthropology of going into the field the reflexive mode- increases awareness of the sample of representation in film that shows not just historical world, but also the problems and issues that call into questions. It is the most selfconscious and self-questioning mode of representation the performative mode- direct engagement between a filmmaker and subject, the filmmaker as a participant Presented above modes are well knew in a documentary discussion. However, the critic with Stella Bruzzi towards them, it seems to be well argumentative. She criticises Nichols for suggesting that filmmakers doing documentaries, aim for the ‘perfect representation of the real? and that would fail in this impossible aim as all types of documenters exist at different time. Moreover, his typology of modes seems to be quite weak, cause documentaries very often has got mixed styles of modes. There is not such a one mode for one movie. As the result, the question of necessity labelling documentary on modes, arises. Documentary might be also defined as an organised arrangement of images that construct metaphors. Metaphors in movies help in defining and understanding matters in terms how they look or feel with involvement in physical and experiential encounter. Metaphors draw on basic structures of personal experiences to assign values to social concepts. The selection and arrangement of sounds and images are sensuous and real; they provide an immediate form of audible and visual experience, but they also become trough their organization into larger whole, a metaphorical representation of what something in the historical world is like. † 18 Types of Kieslowski? s documentaries psychological portraits In a documentary film about himself â€Å" I`m so-s o†, Kieslowski admits that his early films, were made in order to get a common portrait of Polish mental condition. In â€Å"From the City of Lodz†, he presented people and their sad faces with a dramatic expression in their eyes in order to portray the reality of this city. Lodz is presented as a grey mass of ruins with its citizens lacking of vitality. He shows a factory and an old women who is going to retiring, however she says she would like to continue the work, but she cannot; workers who complain about a lack of support for their orchestra, in streets some men who seems to wander aimlessly. Another movie within psychological portrait is â€Å"The Railway Station†. A movie begins with television news broadcast â€Å"Nasz Dziennik† about production figures on the rise. The presented news is on the contrast to the sad and stony faces of people who are waiting in the station. There is a picture of a slice of Polish reality with so many trains delayed and cancel with not much care about passengers. Crucial is a detail of a camera at the station, with its reference to communist system which seems to be this camera-eye. recording metaphors Kieslowski interest in metaphor, appears also in his documentaries. For example in the one called â€Å"The Office† ( 1966) that deals with intimate burdens in an impersonal routine manner office. In an insurance office in spite of dialogue, there is not people? s lips moving. The emphasis is on what kind of rubber stamps are needed on form. A clerk acts impersonal. The movie is not just a 18 Bill Nichols,â€Å" Introduction to Documentary†, Indiana University Press, 2001, p. 74 picture on bureaucracy, but clearly stands for the whole communist system. Especially the last scene which shows a room filled with documents about everyone. The last scene might be used as a clear metaphor for communist system, where everyone was checked and a state tried to know everything, what a single man did. The communist system seemed to be as this office, an executor of strict control. Another metaphor on society, he used in a documentary â€Å"Factory†, where in close-up shots, he presents the disproportion between the workers and those in power. Also the movie shows the Poland? s economic limitations that time when factory was lacking equipment due to bureaucracy. Personal stories In â€Å"I was a Soldier he interviews 7 men who lost their sight during the war. In this simple story the characters sit and talk about their feelings, in close up shots. Every scene ends by fading to white. Although, the movie ends by fading to black that might be seen as deliver of personal ant-war message. It seems to, be one of the most powerful documentaries, not only for a subject that men presented in movie are blinded during military service in World War II. It is powerful for its understated treatment. The war is a subject of blame of movie? s anti-war expression. The next documentary, where Kieslowski uses the same technique of interviewing people is movie called â€Å"Talking Heads†, which serves also his interest in human faces. In the movie, he interviews 40 people (he begins with a toddler and ends with a 100 years old women), asking them few elementary questions: Who you are? , Where were you born? , What matters most for you? It seems that, the majority of people sound quite idealistic and overwhelmingly democratic. However, the irony punches a line in a replay of 100-year old women who just simply wishes to live longer. It could be said that the ethnics of Kieslowski? s documentary are based on respect for a single character. He tried to interfere as less as possible in order to respect his character? s privacy. To achieve it, he applied various methods of implementation as like: the documentary observation or interviews. REALSIM- RECORDED PATERN BY DOCUMENTARY Realism is a contentious field of debates across scholars of philosophy, social science, and aesthetics in on-going dialogue about the role of representation: in fine art as like photojournalism for example, and written forms as reports or autobiographies. It would seem that, there are two tendencies in realism. The one extensive tendency goes into some material aspect of the physical or social world, the other intensive that penetrates further into the recesses of the soul. 19 The term â€Å"realism† came to cinema from literary and art movement of the IXX century and went against the solid tradition of classical idealism in order to portray the life as it â€Å"really† is. The focus was on ordinary life, indeed the lives of socially deprived people. It seems that, questions of realism in the art came before the discovery of the cinematographic process by brothers Lumiere. The creation of photography brought about realism many different assumptions, precisely about possibilities of realistic representation on pictures. Fox Talbot, one of the precursors of photography, reminisces about seeing in a camera obscura â€Å" the inimitable beauty of the pictures of nature? s painting† (†¦) It could be said that, Talbot uses the phrases â€Å" nature? s painting† and â€Å" natural images† in order to refer the invention derived from earlier observations. Later â€Å" natural images† were patented by Daguerre that could bring out in daguerreotype photographs â€Å"One positive view held photography to be a medium of absolute truth; the negative estimation saw demonic powers at work in this strange apparatus. Both views are closely connected: one is merely the flipside of the other. Both are alike in that they view the outcome of any daguerreotype to be completely independent of human agency. † 20 The important pattern is perhaps, the world â€Å" truth† that is used to describe a photographic image. There is a tendency for perceiving photographic images as displaying something about truth and real word. And film shares with moving photography as a part of its most obvious technical process. Watching those moving pictures make in people feelings different than watching paintings on the grounds of reproducing reality. Somehow, photography and film have a special place in the debate of realism. Williams claims that film â€Å"combines elements drawn from pre-existing forms of still photography, painting, the novel (†¦) and the theatre, and all welded together on a specific technological base. 21 Realism in cinema might mean different things. There are various ways of defining and exploring 19 20 Arthur McDowall, â€Å" Realism. A Study in art and thought†, E. P. Dutton Company, New York 1852, p. 24 http://home. foni. net/~vhummel/Hawthorne/hawthorne_1. 3. html 21 Christopher Williams,â€Å" Realism and the Cinema†, A Reader, London: Routledge 1980, p. 2 cinemati c realism in debates. Cinema Verite filmmakers perhaps hope to produce something that is more or less â€Å"true to nature†. Jean-Luc Goddard comments that cinema is not the reflection of reality, but the reality of the reflection. Andre Bazin considers that in order to be realistic, a film must be located its characters and action in historical and social setting. It also worth mentioning that Grierson founded in British documentary movement, three basic principles: -a documentary should photograph the living scene and the living story – it should use original actors and scenes -â€Å"the materials and stories thus taken from the raw can be finer than the created article† 22 Allied to the more formal concept of realism is the notion of truth telling. Realism seems to be obliged to represent social reality and make sense of this realty. Jakobsen discusses five ways to make sense of realism: – – – – Realism can be an artistic aim, the artist considers his work to inhabit Realism can be something perceived ( by others than artist) as realistic Realism can refer to specific periods in history defined by historians and critics Realism is defined by convinced narrative techniques ( customs of spending time on actions) Realism is defined by the way it motivates style or narrative 23 It could be said, the steam of realism was adapted to cinema well, as camera seems to be natural tool for realism as it reproduces what is there, in the physical environment. Cinema makes absence of presence and puts reality up on the screen. Besides, cinema might be an attempt to present a direct and truthful view of real world through its presentation of the character and environment of realm functions in film both on the narrative level and the pictorial and photographic level. Through the narrative structures, physical realism goes into psychological one to address social issues. Scholars, Lapsley, Westlake and Williams divide two types of realism with regard to film: the first one with ideological function that concealment the illusion of realism and the second one with naturalizing function that attempts to use a camera in a non-manipulative way. However, Andre Bazin supports conversely ideas. Bazin? s argument illustrates that realist discourses not only 22 23 Inbod. , p. 17 Anne Jerslev,â€Å" Realism and Realty in Film and Media†, Museum Tusculanum Press University of Copenhagen 2002, p. 16 suppress certain truth, but also produce other truth. The realist aesthetics recognise the reality-effect produced by cinematic technique in such a way that provides a space for the audience to read the message for themselves. The critical approach to realism in film studies is briefed by two strands of thought, both with roots in formalist conceptions about how film texts which are arranged on abilities to comprehended artistic products. One strand espouses debates in which realist films are departing from the codes and conventions of film practice as like commercial film practice and mainstreams. Another one is modulate by ideological approaches, which treat all mainstream film texts as versions of the classic realist texts which developed in the XIX century novels. 24 According to these approaches, realism cannot be confined to a particular style of representation as is contingent, in alternation. Important was the development of photography made painting become obsolete, changed the impressionistic mimesis by the empirical objectivity of the photographic image. From the other side, in literature, the early realists called themselves as careful painters of human life, asserting that `art always aims to represent reality?. 5 Although, George Eliot, the realist writer Adam Bede ( in chapter 17) demonstrated her appreciation of difficulty, in particular, how a writer is able to translate the truth into words? Writers took different positions on realism. Guy Maupassant suggests that realists are illusionists, but Henry James favours of terms as impression of life and air reality . In film studies, the post- structuralism position on realism is presented by Collin MacCabe in his well know essay called â€Å"Realism and the cinema: notes on some Brechtian theses†. MacCabe argues in some conventional documentary films, there is metalanguage in the form of voce over narration which provide different versions of reality presented by numerous voices in order to perform a truth-telling function. 26In turn, he claims that fiction film is similarly structured, just with images taking precedence over words. The photographs show to the spectator what happens; the camera provides the metalanguage by situating the spectator within the fictional narration of the film. He also argues that the truth of the situation is created by the images: we as an audience believe what we see rather than what we are told about. In contrast, Bazin advocates a realist cinema that upholds the freedom for spectators to choose their own interpretations of an object, narrator and story. This concept of realism respects 24 25 Julia Hallam, Margaret Marshment,â€Å" Realism and popular cinema†, Manchester University Press, 200, p. 4 Julia Hallam, Margaret Marshment,â€Å" Realism and popular cinema†, Manchester University Press, 200, p. 4 26 Inbid, p. 11 perceptual time and space, advocating depth of field and the long take techniques which seem to be at the level of recording as they take place. However, he also adds that just techniques cannot guarantee that a realistic cinema will be a result from its use. 27 Jakobsen discusses five ways to make sense of realism: Realism can be an artistic aim the artist considers his work to inhabit Realism can be something perceived ( by others than artist) as realistic Realism can refer to specific periods in history defined by historians and critics Realism is defined by convinced narrative techniques (customs of spending time on actions) Realism is defined by the way it motivates style or narrative 28 REALITY CAPTURED BY KIESLOWSKI? s CAMERA It could be said that, for some â€Å"the real is the same thing as the true. Others describe reality to what exists or happens in the surrounding physical world and at the heart of realism, in all its variations seems to be the sense of actual existence, an acute awareness of it, and a vision of things under that form. 29 Descrates with his theme,† I think, therefore I am†; began the first of many attempts in order to explain reality in terms of mind. Pascal said, man is but a reed, yet he is a thinking reed. 0 â€Å"The reality represented in film is constituted by the so-called represented objects. †31 Plesnar writes that the represented reality of film consists in four ontological levels. The first level comprises represented events-individuals. The second level consists of represented things, which depend on represented events; the third level is designed for represented process and the fourth for strictly relative cat egories. As cohesion to his four levels, the represented reality in film must be defined as a set of all represented events. Slavoj Zizek presents â€Å"Kieslowski? s starting point was the same as all cineastes in the socialist countries: the conspicuous gap between the drab social reality and the optimistic, bright image which pervaded the heavily censored media. The first reaction to the fact, in Poland, social 27 28 Inbid, p. 15 Anne Jerslevâ€Å" Realism and Realty in Film and Media†, Museum Tusculanum Press University of Copenhagen 2002, p. 16 29 Arthur McDowallâ€Å"Realism. A Study in art and thought†, E. P. Dutton Company, New York 1852, p. 3 30 Inbid, p. 5 31 Lukasz Plesnar â€Å" Represented Space in film† in â€Å" The Jagiellonian University Film Studies†, Wieslaw Godzic, Universitas Krakow 1996, p. 77 reality was unrepresented, as Kieslowski put it, was, of course, the move towards a more adequate representation of real life in all its drabness and ambiguity-in short, an authentic documentary approach. †32 In the interview with Danuta Stok, Kieslowski says: â€Å"At that time, I was interested in everything that could be described by the documentary film camera. There was a necessity, a needwhich was very exciting for us-to describe the world. The communist world had described how it should be and not how it really was. We-there were a lot of us-tired to describe this world and it was fascinating to describe something which had not been described yet. It is a feeling of bringing something to life, because it is a bit like that. If something has not been described then it does not officially exist. So that if we start describing it, we bring if to life. † 33 After the Second World War, the political atmosphere in Poland was extremely tense. Siegel, quoting Norman Davies? work called â€Å"Heart of Europe: A short History of Poland†, adds: â€Å"Poland became a Stalinist one-party. By 1946 the State had taken away over ninety present of Poland? s industrial production, and sweeping land reforms broke up the pre-war Polish estates. Heavy industry was given precedence over agricultural production, and the general standard of living declined as the private sector was abolished and worker were exploited†¦ Anyo ne suspected of disloyalty was interrogated, censored and put in prison. † 34 The situation in Poland definitely caused Kieslowski? s pessimist in his movies which was dictated by communist. In the same interview with Stok, he provides examples when he was forced to edit part of reality that he recorded, particularly when the reality in film did not impose the reality that government wanted to provide. However, he tried always to find methods in order to present â€Å"the truth† by tricking the censors, he adds. Realism was what Krzysztof Kieslowski concentrated on, and his fictions have a documentary feel to it. In his movies there is a shift from using the observational camera-work associated with documentary with classical conventions of continuity as like in a questions session in Decalogue 1, between Pawel and his auntie. This questions session becomes the focus of narrative interest through the use of medium/ close ups and shot of dramatically the curious face of Pawel. 32 33 Slavoj Zizekâ€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 71 Danuta Stok,â€Å" Kieslowski on Kieslowski†, faber and faber, London 1993, p. 54, 55 34 Annette Insdorf,â€Å" Double Lives, Second Chances†, MIRAMAX, New York 199, p. 9 DOCUMENTARY+/= FICTION When documentary aspects can be visible in Kieslowski? s fiction? How these aspects influence on his fiction? Are these aspects make similarities between his documentaries and fictions? Kieslowski started with documentary as an attempt to describe reality that surrounded him and later moved from describing form of reality to expressing form of reality, in his fiction. However, it seems that, there is number of corn similarities between his documentaries and fictions. Firstly, he shifted his interest about a man from documentaries to fiction. â€Å"Even the short documentary films were always about people, about what they? re like. † 35( †¦) In addition, in documentaries and fictions his main interest was inner-life. Secondly, almost all his work, apart from this feature Short Working Day ( 1981) that shows the worker? strikers from 1976; are set in the present, although they might have got some links to the past. Kieslowski focus on the present, on the stories of ordinary people, demonstrate them on the grounds of importance. In addition his focus on individual character, an observation of a small portion of reality is well seen not just in documentaries , but also in his fictions. In â€Å"Blue† a melting cube of sugar which proves Kieslowski? s obsession of close up, shows that the main character is not interested in something else then in this cube of sugar. For her, important is what is in front of her, her inner world. He achieved this technique by close-up zooming which creates an illusion of isolation a person of object from the wider context. The same techniques can be notice in his documentary called â€Å"Hospital† where details also play a significant role. A detail has got a significant role to evoke feelings in the audience as it delivers also a metaphysical context. Closing-up on doctors who hold and smoke cigarettes is seem to be reaction that in hospital they do not have medical tools to heal their patients and they use some building tools. The realist paid attention to redundant detail, which often meant writing dialogue that accurately reflected a character? s social identity, as well as, or instead of, forwarding the plot. In production, realist effect was created through props and sets that reproduced everyday life in great detail. † 36 35 36 Danuta Stok,â€Å" Kieslowski on Kieslowski†, faber and fab er, London 1993, p. 144 Julia Hallam, Margaret Marshment,â€Å" Realism and popular cinema†, Julia Hallam, Manchester University Press, 2000, p. 20 Furthermore, from his documentaries, he brought kind of simplicity of presenting subjects or person, much avoiding authorial intervention. He never used both in documentaries and fictions his voice over commentary. It would seem that he believed that shooting in close-up characters tell story enough well without the need of commentary. Also from his documentaries, he gained the skills of photographing people? s feelings as like happiness, sorrow, tiredness, hopeless, indecision and hope ( most evident â€Å" I was a Soldier, â€Å" X-Ray†, â€Å" Talking Heads†), and adopted them into his fiction, Clearly seen in the scene of Decalogue 1, when Krzysztof lost his son, when he runs to the church to protest and despair. Thirdly, Kieslowski also used the documentary technique to raise tension and attention in his fiction. This statement supports the view in Blue, when Julie asks the housekeeper lady, why she is crying and when she hears â€Å"because you are not†. Julie who is normally unresponsive to others; reacts by embracing. And what a camera does in this particular moment? The camera is moving in close, reframes. The camera fallows the action rather than leading it. It seems that the moment might feel as documentary, as cameraman was surprised by Julie? s sudden reaction as audience might be. 7 By using this documentary technique in fiction he was more to fallow â€Å"the focus†. As in documentaries, noticed event that just happened is a part of what makes a documentary feels real. Fallow feeling with the character, not purely indemnification with him or her, but the kind of recognition of what the character feels in his/her world. His fiction (especially Camera Buff, Personel or Decalogue) provide feelings of authenticity and naturalness. Moreover, he often uses â€Å"deep focus† which is a technique that depends on a wide depth of field. Depth of field is a cinematographic practice, whereas deep focus is a technique in a film. Depth of field refers to the facial length and is achieved by a wide-angle lens. Deep focus, Bazin arguments as a greater objective realism possible. Besides, Kieslowski use to start the first scenes of showing the setting which carry information of the plot. In his documentary â€Å"From the city of Lodz†, at first a spectator sees the fabric, which is a basic and corn place for the characters of movie. The spectator, can observe the same technique in his fiction, for example in Decalogue 1, when at first sees the lake, the place of catastrophe. Kieslowski represents a creation as a form of suffering, an urgency that nothing can impede, like solitary cry before indifference of ? deals. †38The tendency of showing the setting first in movie might be a shadow what is a film about. The same tool is in Decalogue 7, when a movie starts from the off-screen scream of a child who is a main matter of the movie. 37 Steven Woodward, â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan, 2009, p. 154 38 Annette Insdorf,â€Å" Double Lives, Second Chances†, MIRAMAX, New York, 1999, p. 3 In addition, there is also characterisers melancholy which seem to be started in documentaries and was continued in fictions, which has got some philosophical reflections. There is a tendency in both his fiction and documentaries to show the same kind of man who does not how to life and for what reasons. Consequently, cyclical nature of his fiction movies had background in documentaries. For example the documentaries such as: Hospital, Office, Station, Factory might be put in one cycle, as all of them tell the story about Polish national institutions. The documentaries such as X-Ray, I was a Soldier , The Talking Heads might create another cycle. There is a same technique in fiction with the cycles as Blind Chance, Decalogue, Three Colours. In many interviews, Kieslowski pointed out that he makes movies in order to register. In 1976 he remarked: â€Å"I started to combine elements of both filmic genres- documentary and fictionfrom the documentary taking the truth of behaviour, the appearances of things and people, and from fiction, the depth of experience and action- the driving force of this genre. †39 39 Marek Haltof, â€Å" The cinema of Krzysztof Kieslowski†, Wallfower Press, London, 2004, p. 27 KIESLOWSKI? S AESTHETICS â€Å" Critics, particularly Polish film critics, usually debate the distribution between the ? early realist „and ? mature „metaphysical Kieslowski, and majority of them clearly favour `Kieslowski the realist?. †40 The argument for that might be, he started from detailed representation of reality, later moved this realist form of observations of people to his fictions. , the most evident in Decalogue, where he keeps a camera on a character, often working class character. Kieslowski believed that trough the documentary he can describe the world around him. His documentaries and early fictions show Poland and all its ugliness. He used very cold form of showing the grimy period of Poland under the communist regime whit a main focus on every day? s life of ordinary Poles. The world in which he grow up as an artist, the world with he continually dialogued in his movies, was not stable, free and economically successful like in Western Europe. The suffering of his country in many ways appears in his work. In Decalogue ( 10 parts that refer to the Biblical Ten Commandments), the ugliness of grey urban setting dominates the filmic landscape, together with close-ups of characters who endure these harsh conditions. Kieslowski? s observation of desperate characters, struggled for a better tomorrow, entanglement to the system, living in a communal way of life in grey, tenement blocks give Decalogue the feeling of documentary film. It seems that an inspiration for Decalogue were â€Å"chaos and disorder ruled Poland in the 1980s-ever-where, everything, practically everybody? s life. Tension, a feeling of hopelessness . 41 However, the Decalogue combines both; realism and hallucinatory style, as there is a mysterious zone in this cycle which is represented by a mysterious stranger who appears at crucial moments in different parts. The mysterious stranger is the silent witness and appears symbolically. He brings the element of mystery, something inexplicable also the tone for the series by dr amatizing the conflict between the rational and the spiritual. Moreover, in Decalogue, Kieslowski preoccupied with issues of chance, fate, alternative possibilities, and the tentative suggestions of a providential esign to the arc of human life quite similar as Ingmar Bergman. His characters suffer from dislocation, a displaced orientation, a disappear identity. In many ways, Decalogue is a set of the dramatic conditions and tone of isolation, despair, longing what cannot be recovered. â€Å"Chaos and disorder ruled Poland in the mid. 1980s-everwhere, everything, practically everybody? s 40 41 Inbid. , p. XI Danuta Stokâ€Å" Kieslowski on Kieslowski†, faber and faber, London, 1993, p. 143 life. Tension, a feeling of hopelessness, and a fear of yet worse to come were obvious (†¦) I am not even thinking about politics here but about ordinary, everyday life (†¦) I was watching people who did not really know why they were living. † There is also kind of tendency for them going round and round in circles, without achieving what they wish to achieve. The series of Decalogue is also a compact about such questions as what is right, what is wrong? how to be honest? .how to live with the acceptance to the nature? However, considering these questions, it seems that in movies Kieslowski avoids easy answers. Slavoj Zizek argues that Kieslowski? interest in Decalogue is ethic not morality. This is showed by breaking the moral code in each film that the ethical path is to be found. † 42 Moreover, Kieslowski used a form of ethical questioning as opposite to the strict moral code based in religious principles in 10 Commandments. It as an attempt to narrate ten stories about different individuals, caught in some struggles of difficulties of Polish life. The Decalogue is â€Å"the virtualisation of (†¦) life experience, the explosion/ dehiscence of the single ? true` reality into multitude of parallel lives, is strictly correlative to the assertion of the pro-cosmic abyss of a chaotic. 43 Decalogue has got an authentic recording of reality, but also has got acting and stimulation which offers still authentic imagery. â€Å" The major staples of Catholic thought-moral law, sin, guilt, free will, angels; infuse Kieslowski? s world† 44 in Decalogue. The first Decalogue episode presents the death of a child. The film opens with a picture of the frozen lake, suggesting a winter. It seems that the camera surveys this elemental image in order to avoid the human habitation, depicting despoil universe. A young man seats beside a smoking fire. He is a part of this landscape, the furry collar of his coat add animal look. The same returns at least 4 times in this part of Decalogue and returns in another part. He has no influence on action, however he leads the characters. Again in the first episode of Decalogue, there is the same technique, which Kieslowski used in his documentaries, called the technique of details. For example, Krzysztof is upset when ink that suddenly stains on his paper. It is like liquid is out of the control. This detail is reference to moment when Pawel his son is on the ice and this liquid functions as a foreboding liquid of out of control. 42 Steven Woodward , â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†, Wayne State University Press, Michigan 2009, p. 44 43 Slavoj Zizek,â€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 95 44 Steven Woodward, â€Å" After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan 2009, p. 186 In the third Decalogue episode, there is the same technique of playing with light as for example in his documentary X-Ray. In this documentary light presses on characters? hope and fears. The first shot is of blurred light that comes into focus when a drunk appears. Light is significant foreground here. Later when a police car is fallowing Janusz in stolen taxi, the scene is shot with close-ups of flashing blue light. As in other segments of the Decalogue, close-ups with wider shots filled with variations of lighting tend to isolate characters. If one character is in shadow, the other in light present the formal separation on emotional state. In X-Ray, light press characters? desires. Shots of a wood at sunrise follow, with a mysterious fog rolling through the scene. The abstract impulse is clearly in these shots and they act as a suggestion of eternal space cut against images of facing death people. Also the stark contrast between the pastoral rehabilitation centre and the smog-ridden city is showed by visual rhetoric of lighting as well. From the other side, Decalogue can be also analysed trough the terms used by Joseph G. Kickasola: the mosaic structure and Multivalent Consciousness. The mosaic structure is a kind of film composed with small pieces of narrative. Mini narratives come together to form a larger narrative. Narratives are related, and the drama of the film is contingent on these relationships developing and changing throughout the course of the film. The watching elements come together to form a whole. 45 In Decalogue all 10 episodes take place in Warsaw, the same blocks- tenements arrangement, among neighbours who may know each other. There is the connection between characters within the theme. Kieslowski realised argument that â€Å" We perceive our environment by anticipating and telling ourselves mini-stories† about that environment based on stories already told†. 46 Multivalent Consciousness takes a place when one person in some ways or another has got two or more simultaneous modes. It presents the idea of two people who might be the same person. In Decalogue, there is a mysterious man who once is a man sitting by lake in another part he takes different role. Somehow, there is an experience of a sense of mysterious connection between this one character to another character in particular episodes of Decalogue. â€Å"Tim Pulleine writes that Kieslowski? s perception of the world is saturated with â€Å" East European sinisterness. Even if one agrees with this comment-suggesting that the characters in Decalogue are themselves the products of specific East-Central European historical, political and 45 Steven Woodward , â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan, 2009, p. 168 46 Edward Branigan, â€Å"Narrative, Comprehension and Film†, Routledge, London, 1992, p. 1 cultural circumstances- one also has to notice that they face universal, truly Bergmanesque dilemmas. †47 The open structure in Decalogue which is also in Bergman? s movies invite to fallow the action of his characters written in symbols, allusions, ambiguity and a number of motifs such as bottle of milk- sipped, frozen, spilled and delivered. In Decalogue 1, the frozen milk in a bottle seems to be a signal that the ice is thick enough for Pawel to go skating. Ironically, the ice cracks as the water was too warm in a lake, may it be a motif of the bottle of milk de-freezing itself? Furthermore, when Pawel is on the ice-skating, the ink bottle spills on his father? s table, makes uncanny spot. Is that can be read as melted milk? In addition, the motif of milk appears later in another parts of Decalogue. In Decalogue 2, the old doctor goes to buy a bottle of milk when in Decalogue 4 is very similar scene, when father goes to buy a bottle of milk. And the same bottle of milk is prominent in Decalogue 6, when young boy Tomek distributes milk in order to contact with Magda. Magda spills the bottle of milk on a table. Might the spilling of milk occurring as an echoed red stain of blood that fills the washbasin after Tomek? s suicide attempt, when he cuts his wrists? It could be said that, the bottle of milk is a sublimation of the detail which gives a meaning for another scenes as a simple trick of theatrical play. However, Kieslowski says â€Å"When it spills, it means milk? s been spilt. Nothing more (†¦ ) And that is cinema. Unfortunately, it does not mean anything else. 48 Anyhow, this statement does not mean that he disagreed with metaphorical ability of cinema, but he simply found it more difficult for cinema than for example for a novelist to capture the inner life. One of the Kieslowski? s famous actor Jerzy Stuhr says that Kieslowski used a method of perfect dialogue. Two people on the screen are silent, and a thir d one in the audience knows why. From documentaries, he avoided in his movies over informative dialogue. He weaved the information through character? s behaviour and details which were always important tools of information in his movies. 9 Idziak one of his famous cameraman said about Kieslowski: â€Å"He strongly believes that the look is more important than anything else, he understand to what extent the style affects the story. He understand that the style is the story itself. † 50 Also memories are important part of his movies. This approach to memories, dreams is visible already in his documentaries ( â€Å" I was Soldier†, â€Å" X-ray†) and it is much developed and 47 48 Marek Haltof,â€Å" The cinema of Krzysztof Kieslowski†, Wallfower Press, London, 2004, p. 79 Danuta Stok, â€Å"Kieslowski on Kieslowski†, aber and faber, London 1993, p. 127 49 Steven Woodward, â€Å" After Kieslowski. The Legacy of Krzysztof Kieslowski†, Wayne State University Press, Michigan, 2009, p. 70 50 Steven Woodward , â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan, 2009, p. 150 questioned in his fiction. In his documentaries, dreams were treated more as portraits of characters; in fictions they have got more metaphysical and spiritual aspects. From time to time Kieslowski characters confess to odd feelings, strange dreams that dived them in a certain direction. Torkovsky once wrote: â€Å"Time and memory merge into each other; they are like two sides of a medal. Memory is a spiritual concept†¦ Bereft of memory, a person becomes the prisoner of an illusory experience; falling out of the time he is unable to seize his own link with the outside world-in other words he is doomed to madness. †51 51 Andrei Tarkovsky, â€Å" Sculpting in Time†, trans. Kitty Hunter-Blair, Austin: University Texas Press, 1986, p. 58 WHY RETRACTION FROM DOCUMENTRY? In the switch to fictions, it is quite clear that Kieslowski started to see the limits of the realist aesthetics. He discovered there was still much in life to be explored. â€Å"Not everything can be described. That is the documentary? s great problem. It catches itself as if in its own trap†¦ If I am making a film about love, I cannot go into a bedroom if real people are making love there†¦ I noticed, when making documentaries, that the closer I wanted to get to an individual, the more objects which interested me shut themselves off. That is probably why I changed to features. † 52 In the interview with Stok, Kieslowski gives example about one documentary that he was making during Polish martial law in the early 1980s. He received permission from the lawyer Krzysztof Piesiewicz ( his co-scriptwriter of Decalogue). The case for it was, expose the brutal and unfair sentences of the Polish judges were passing on Piesiewicz? worker clients. â€Å" The moment I started shooting†¦ the judges did not sentence the accused. That is, they passed some sort of deferred sentences which were not in fact, at all painful. † 53 It seems that judges did not want be recorded on film passing unjust sentences. Kieslowski understood that this causes false visions of real ity behind him. According to the interview with Stok, Kieslowski claims that he made his films on documentary principles. These principles reflected not to â€Å"unmediated truth, but the premise that films â€Å"evolve trough ideas and not action. 4 However, he still believed in human experiences and describing the reality as his artistic territory although, at the end of his carrier, he moved from social focus to more universal metaphysical ideas of life. It could be said that the instruments of authenticity which he used in documentaries, went toward the task of metaphysical exploration which still caused thrust to his all movies, just in this case metaphysical thrust of portraying human feelings. Another reasons, seems to be more ethical. Probing into other? s intimacy by referring to the right. â€Å" I managed to photograph some real tears several times. It is something completely different. But now, I have got glycerine. I am frightened of real tears. In fact, I do not even know whether I have got the right to photograph them. At such times I feel like somebody who has found himself a realm which is, in fact, out of bounds. That is the main reason why I escaped from documentaries. †55 52 53 Slavoj Zizek,â€Å" The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 72 Danuta Stok, â€Å" Kieslowski on Kieslowski†, faber and faber, London 1993, p. 127 54 Joseph G.. Kickasola â€Å" The films of Krzysztof Kieslowski†, Joseph G. Kickasola,continuum, London 2004, p. 3 55 Slavoj Zizek, â€Å"†The fright of real tears. Between theory and post-theory†, British Film Institute, 2001, p. 72 Zizek argues that Kieslowski supplements the prohibition to depict the intimate moments of real life with false images of fiction. He adds that Kieslowski moved from documentaries as when somebody films real life scenes in documentary, people ( actors) play themselves and he claims that the only way to depict people beneath their protective mask of playing it, paradoxically is making them directly play a role into fiction. It seems that, in Zizek? s augment fiction is more real than the social reality of playing roles. He supports the view that if in Kieslowski? s documentaries, the characters seem to play themselves, then his fictions cannot but appear as documentaries about the brilliant performance. 56 Zizek also makes very crucial questions in order to analysing Kieslowski? s. He asks; if his escape from documentaries to fiction was dictated by the ? fright of real tears? , by the insight into obscenity of directly performance real life intimate experiences? How fictions are even in a way even more vulnerable than reality? If documentaries show the hurt the personal reality of the character, that fiction intrudes into and hurts dreams themselves? Documentary has got its limits; â€Å"not everything can be described†, he said in â€Å" Kieslowski on Kieslowskim†. Turning camera on external events cannot capture the intimate experiences such as making love or dying he said. Analysing his fictions, the question this arises: â€Å"Could a feature describe better than a documentary? † The dominant characteristic of the fiction film is that it represent something what is imaginary of the director. However, the feature representation seems to be more realistic then in another field of art such as painting or theatre as those show effigies of objects, their shadows. When in a fiction, the setting and actors represent the â€Å"real† situation even if they played it of the certain number of filmed conventions which we recognize from our life. In â€Å"Blind Chance† , Kieslowski composed three version, which seems to begin as a dream; the young man running to catch the train to Warsaw. The movie starts, that the main character is screaming as he lost his father who wished that he becomes a doctor, however he loses his wishing whist he was dying, he tells to Witek: â€Å"You do not have to do anything†. And somehow his father? death frees him from necessity. Later in the same part he becomes a Party activist, in the second part he gets lost and in third one, he got marry, become a doctor and suddenly die in an aircraft explosion. â€Å" Witek 1 is shot with a Tarkovskian adherence to ? real time? : no time is edited out of any of the 56 Slavoj Zizek,â€Å" The fright of real tears. Between theory and post-theory†, Briti sh Film Institute, 2001, p. 75 sequences. The life of Witek 2 is edited more conventionally, highlighting the â€Å" key† moments† (†¦) The final version of Witek? life is edited most conventionally from all, virtually in the no-nonsense manner of a television movie. † 57 The end of the movie confers a sense of fantasy. â€Å" By beginning Blind Chance with Witek? s scream and by developing opposite scenarios that logically require a middle one to complete and close them, Kieslowski gives to his film a structure that preserves it from succumbing entirely to the dictates of chance. † 58 Start with a close-up of a man who screams â€Å" No† with a moving camera into darkness of his throat. This might be a scene of Witek? s flashback. Witold? s scream at the beginning, might be a replay on the end of the film, when a plane? s explosion occurs. Blind Chance seems to be more of the same elevated to an iconic Munch-like open-mounted scream with which the film starts, and exactly this scene realises at the conclusion of the film, when it means the death of the main character. As the result, the movie might be described as the binary of â€Å"catch† or â€Å" miss† the train: missing the train with positive outcome, missing the train with negative outcome, corresponding to the third story when he caught the plane. Catching or missing, determined his death. 59 The term Forking Paths created by Joseph G. Kickasola, where one character proceeding along a particular narrative trajectory that divides in several directions. One path might be a true, and the others just are alternative endings. 60 This term suits for Blind Chance as outcome the moment of contingency. Alain Masson refers to the construction of Blind Chance as a dilemma or trilemma, where Kieslowski invites the audience to puzzle over whether Witek? s experiences device from choice, chance or perhaps destiny. As he said in â€Å" I? m So-So`, â€Å" We are sum of several things, including individual will, fate and chance which is not so important. It is the path we choose that is crucial. †61 57 Paul Coates, â€Å" Kieslowski, Politics and the Anti-Politics of Colour†: From the 1970s to the Three Colours Trilogy† in The Red and The White. The Cinema of People? s of Poland†, Wallflower Press, Great Britain, 2005, p. 191 58 Inbid. , p. 192 59 Steven Woodward, â€Å"After Kieslowski. The Legacy of Krzysztof Kieslowski†,Wayne State University Press, Michigan 2009, p. 122 60 Inbid. , p. 69 61 Annette Insdorf,â€Å" Double Lives, Second Chances†, MIRAMAX, New York 199, p. 59 CONCLUSION In Poland in mid-1970s and 80s, Kieslowski was a leading documentary film- maker with the following output :The Office ( 1966), The Photograph ( 1968), From the City of Lodz ( 1969), I Was a Soldier ( 1970), Factory ( 1970), Before the Rally ( 1971), Refrain ( 1972), Betwe en Wroclaw and Zielona Gora ( 1972), The Principles of Safety and Hygiene in Copper Mine ( 1972), Workers? 71: nothing about us without us ( 1972), Bricklayer ( 1973), X-Ray ( 1974), Curriculum vitae ( 1975), Hospital ( 1976), From a Night Porter? Point of View (1977), I don? t know (1977), Seven Women of Different Age ( 1978), Station (1980), Talking Heads ( 1980),Seven days a Week ( 1988). Kieslowski started from documentaries as a fight for a representation of the lack of an adequate image of social reality in Polish cinema caused by Communist regime. It seems that, he moved into fiction, as he noticed that when he let go of false representation and directly approach of reality, he lost reality itself in his documentaries. Notably, his documentary achievement has got unquestionable reflections on his fiction. Precisely, to feature films, Kieslowski moved â€Å"a criterion of authenticity† visible for example in â€Å" Personel†, where he made significant remark toward â€Å" authentic cinema†. For this production, he used improvised dialogue within the tradition of Italian neorealists, to cast non-actors for majority of roles. In the interview with Stok, he describes, how characters are true as they contradict the conventions of filmic stereotypes. Moreover, the next important tool in his movies is the tool of detail. Kieslowski, already started using this tool in his documentaries, whereby he developed within fiction. A detail in Kieslowski? s films, it is not just a construction of reality, but the detail plays crucial role in the transmission of reality. Furthermore, analysing Kieslowski? s films on the grounds of its documentary elements in his fiction, it is also important to interlace them with the term of naturalism which is closely associated with realism and which was not mentioned before in the paper. Naturalism fist came in the theatre of the nineteenth century with the work of Andre Antonie. He created a method of acting in order to get the actors to move away from the theatrical gestural. It means that the actors supposed to act as the audience was not there and audience feels as if it witnessing slice-of-life realism, which was also crucial for Stanislavsky? s method of acting. Actors enter the personae of their characters in order to not represent themselves. The essays describes the importance of naturalism, as Kieslowski? s actor appears to play in very natural and realist way and Kieslowski precisely stylised a life in a film. Especially, the Decalogue delivers naturally the conclusion for Poles- â€Å"they speak just like us†. The reality of what that might be seen in front of eyes, can drives nto the illusory nature of representation. It could be said that in this way, naturalism has got also an ideological effect of naturalizing. Therefore, it gives a surface image of reality. Always, aesthetic, social and moral concerns work together to deepen Kieslowski? s films. â€Å"Kieslowski? s work was prescient in all kinds of ways, that developed innovative n arrative forms and stylistic methods to address pressing existential, moral and political issues ( †¦) with references to his social context and the tensions and conflicts that surrounded him. † 62Emma Wilson describes Kieslowski as a director of intimacy and interiority. Kieslowski in his movies guid How to cite Documentary Aspects on Kieslowski Fiction, Essay examples

Kit’s Case and Explanation of Case Decisions

Question: Discuss about the Kits Case and Explanation of Case Decisions. Answer: Residence An Australian permanent resident describes a non-citizen who is the holder of a permanent visa. A person who holds a permanent resident visa can live, study as well as work in Australian unrestricted in any way. Such an individual enjoys the most rights as well as entitlements of citizen (Shaw 2014). However, there exist few differences exist between a permanent resident and a citizen of Australia. Unlike a citizen who enjoys an automatic right to entry to Australia, a permanent resident is restricted to international travel and can only do so with a valid travel authority in case a permanent resident wishes to return to Australia. Another difference relates to the right to vote in Australian Government elections (Shaw 2014). A permanent resident in most cases is restricted and has to be enrolled to vote as British subject prior to 1984 to be eligible to vote. In the present Kits case, the features and conditions for a permanent resident are met by him (Shaw 2014). Accordingly, Kit i s a resident of Australia since he holds a permanent visa. Owning a permanent visa in Australian is a critical requirement to becoming a citizen of Australia. Kit has lived in Australia together with his family in the past four years legally, and has met all the requirements to even apply for Australian citizenship. Nothing hinders Kit from becoming a citizen since he has met the requirement that dictates that one has to be a permanent resident prior to applying for citizenship. It can be asserted with no sensible uncertainty that Kit holds a perpetual visas which has conceded him a lasting living arrangement from the data given. Kit has the privilege to stay in Australia inconclusively. Kit will, subsequently, not infringe upon any law and can actually stay in Australia until the end of time. It ought to be noticed that Kit is not a citizen of Australia. Citizenship varies from lasting home. Once an individual has gained the lasting inhabitant of Australia, he has the alternative, in the event that he meets every one of the necessities, to end up a citizen of Australia (Robertson 2008). Nonetheless, as displayed for Kit's situation, he is by all accounts living in Australia for all time, however not as a citizen since he has held his Chilean Citizenship. Kit can in any case live in Australia as a perpetual inhabitant as it were. Kit is, subsequently, a migrant inhabitant of Australia, who hold a permanent residence visa and has the decision to stay in Australia uncertainly (Shaw 2014). One can move to Australia through family, humanitarian status or occupation. The visas of Australia are given in augmentations of five years, and they then are citizen subject to recharging. Since Kit's visa is legitimate, he has the privilege to enter or leave Australia at will. From the discussion, it is apparent that Kit is legally allowed to stay in Australia indefinitely. Consequently, it is at the discretion of Kit to decide whether he will go back to Chile or stay perman ently in Australian since he has met all the conditions required of him to become a permanent resident and can even apply to become an Australian citizen. Sources of Income Australian government dictates the eligibility to its services and benefits for both non-citizens and citizens. The government does this through the agency with the policy responsibility for the benefit or service. The examples of the benefits and services include social security and national health scheme (Medicare). In determining the sources of income for Kit, there is a need to take into consideration the taxation law of Australia. Assessable income in Australian has to be determined before understanding the income of an individual. From the data given, the both Kit and his wife possess a consolidated bank account with Westpac Bank. The spouse gets his pay straight into his financial balance. In any case, whatever is left of their speculations, for example, offer portfolio that produces profit income, stay in Chile. Kit gets his income from different sources. Sine Kit is a permanent resident of Australia, but owns investments overseas, he gets income from capital gains on oversea s assets. This income from abroad are taxable according to Australia Tax law. Kit will be required to declare income from Chile in his Australian tax return. However, in case Kit continues to pay tax on any of his investments in Chile, he can claim a foreign income tax offset in Australia thereby getting income (Ewing 2010). In any case, he gets his wage from the compensation being paid straightforwardly to his bank account from his employer where he deals with an oil rig for a United States organization in Indonesia. Being a permanent occupant, Kit is ineligible for the Living Away from Home Allowance in spite of investing the vast majority of his energy far from home. However, he will be liable to Medicare Levy and in addition an extra charge (Ewing 2010). Kit will be that as it may, increase such advantages as government disability framework, procuring a Medicare card and additionally access to the Australian free wellbeing framework. The second wellspring of Kit's wage is the ab road property (Cassidy 1994). The data gave demonstrates that whatever is left of their ventures, for example, offer portfolio that produces profit wage stay in Chile. Kit will, along these lines, have the capacity to guarantee the negative equipping on the property they claim with his better half abroad against his Australian income (Ewing 2010). Negative outfitting follows where Kit's expense of holding property surpass his income from it, for example, rent. He can and also assert the interest costs caused for the outside property as obligation reasoning (Carbone 2010). Kit additionally gets revenues from the offshore trust which is assessable as a component of his Australian duty. Kit and his wife likewise own a joint bank account in Westpac Bank, which likewise gives them an interest pay. Kit, therefore, earns income from the interest that the Bank pay on the cash deposits in the Westpac Bank. The income from the bank is, therefore, a critical source of income for Kit. Depositin g more money in the bank will give Kit and his family more accruals which will earn them income. Californian Copper Syndicate Ltd v Harris (Surveyor of Taxes) (1904) 5 TC 159 The ruling of this case was given by the Lord Justice Clerk that has made a point of reference or guideline in the determination of resulting cases. The settled guideline was that in tending to the issues of Income Tax, in cases in which the proprietor of the common venture chooses to acknowledge it, and gets a higher cost for the same past the initially acquired cost, there expanded cost does not sum to benefit which is assessable to Income Tax. The judge set up that the improved qualities obtained from the acknowledgment and also the change of the securities could be so assessable whereby whatever is done is not simply an acknowledgment or modification of the speculation (Pillai 2013). For this situation, what is done could be what is really the going ahead or out of an organization. Every case is, in this manner, tended to in light of the truths since it was trying to characterize the line which isolates the two classes of cases. The purpose of the center is, along these lines, to decide the total of the advantages which has been accomplished an insignificant improvement of qualities through the acknowledgment of the asset. The other purpose of the center is to figure out if the upgrade of value is an addition made in an operation of the organization in the endeavor plan of benefit era. Scottish Australian Mining Co Ltd v FC of T (1950) 81 CLR 188 This case went for deciding the issue of corporate income and also regardless of whether the subdivision nearby offers of land which had been used as a mine by the Scottish Australian Mining Company was assessable as assessable income or was a merely acknowledgment of a capital resource. The ruling was that a citizen's activities were never viewed as close to the acknowledgment of the capital resource. The unimportant acknowledgment of property at a benefit does not naturally render the benefit assessable. The benefit needs to rise up out of undertaking a business or a benefit producing a plan (Young 2007). The small extent of the acknowledgment does not consequently change over such a benefit into a business, plan or undertaking (Hamilton and Downie 2008). The size of the acknowledgment activities is a proper issue to be considered in the determination of the way of the acknowledgment. It is useful to the determination of whether the truths warrant an insignificant acknowledgment of a benefit making, capital resource, and business action. Statham and Anor v FC of T 89 ATC 4070 The Court was contented that the proprietors did not take part in the matter of offering land after applying different standards of law to set up the certainties. The Court ruled that the acknowledgment of the land through deal did not sum to wage being earned by the proprietors for subsections 25(1). The Court additionally held the perspective that it was not an instance of benefit which rose up out of the continuing or completing any benefit producing plan or undertaking. The Court was fulfilled past any sensible uncertainty that the actualities that what unfolded were an unimportant acknowledgment of the benefit which the proprietors had on their properties at the time they relinquished the goal of cultivating the citizen property. The candidate's allure against the wage charge forced for the wage year 1982 must be allowed. The Court made three requests. The initial request was the appeal permitted, and the protest against evaluation was maintained. The second request was that the Commissioner was to pay the expense of claim acquired by the candidates. FC of T v Whitfords Beach Pty Ltd (1982) 150 CLR The issue that was to be resolved for this situation identified with whether the benefits were assessable pay off the citizen. If such an impact be ruled for the Commissioner, extra inquiries emerge. For instance, whether the land stayed focused on a benefit making a plan or undertaking in 1967 or at a later time. Another issue that emerges is whether the land was totally dedicated, or submitted piece by piece as the subdivision or created took after. The gatherings to this case were in understanding that noting the main issue in backing of the Commissioner would be desirable over transmit the inquiry to the Federal Court to permit the backup issue to be tended to. It was held that any benefit created from the offer of an advantage could be dealt with as assessable income under the Income Tax Assessment Act of 1936. In this way, ought to the benefit be considered as income in accordance with the customary use and ideas of mankind, such benefit would stay assessable under sec. 25 (1) of the Act. Plainly the citizen utilized the land as a capital of the endeavor to make the returns of that specific business assessable income under the comprehension of sec. 25 of the Act. The advance was discarded by this conclusion since it was the aim of the Commissioner that such benefits delighted in by the citizen were assessable pay as accommodated in sec. 25. Moana Sand Pty Ltd v FC of T 88 ATC 4897 The Court embraced the feeling that it was apparent that the sum got by the Company, despite that it was gotten because of a solitary and in addition a sense, prohibited exchange, and stayed assessable wage in view of the common ideas. Once the finding costs caused in the procurement of the land, the additional was properly conveyed to assessment. The judges considered the topic of the use of the second limb of section 26 (a) to figure out if it was fundamental for the citizen to have predominant motivation behind the benefit creating through the deal preceding the use of the second limb (UNDER 2008). In the court's sentiment that citizen to the different accommodation promptly to be tended to, on the premise of the actualities found by the Tribunal, the powers focuses to the decision that surplus rising out of the offer of the land was a benefit earned because of the continuing or out of benefit creating plan by the Company with the outcome that the measure of the surplus was succes sfully conveyed to assess compliant with the second limb of section 26 (a). The court held that the necessary procurement was an achievement of the possible motivation behind the Company on the land. Casimaty v FC of T 97 ATC 5135 The choice of the Court was that any understand an addition on the offer of the land should be a capital increase. The determination of whether the Rulee's exercises concerning the subdivision of land amounts to a business or business exchange with a goal to produce benefits (Carbone, 2010). It ought to likewise concentrate on figuring out if the Rulee's activities are no more the acknowledgment of the capital resource (Hart, 2007). For this situation, the land was at first obtained and in this way used for cultivating purposes for quite a long while before being subdivided. This case showcases that in connections in which the benefit making goal is truant (by resale) where the property was gotten, the likelihood of any benefit acknowledged on a definitive offer of the hidden land by respected by legal powers to be wage in view of the normal terms is exceedingly rejected (Cassidy, 1994). The citizen for this situation sold a large piece of his property through eight unmistakable subd ivisions. The land had initially been obtained in two unmistakable land acquisitions in 1950's. These subdivisions were accordingly embraced more than 20 years and propelled by the citizen's obligation and sick wellbeing. It was held by the Federal Court that the citizen did not embrace the matter of subdividing and also offering land. The Commissioner concurred that the exercises of the Rulee were close to the acknowledgment of any capital resource. Likewise, any acknowledged advantages on the exchange will be a capital addition as accommodated in subsection 104-100 (4) of the ITAA 1997. McCurry and Anor v FC of T 98 ATC 4487 The court held that the evaluation was appropriate and, along these lines, the application must be rejected. The court requested that the application be rejected with the expenses. The choice depended on the dispute set forth by the bookkeeper which did not accord with the Bradley and Brett's McCurry proof in the procedure. It, consequently, gave the idea that this dispute was the wellspring of the concession that the increases or benefit emerging from unit one was assessable pay. Crow v FC of T 88 ATC 4620 The Court held that this organization existed only for the reasons for undertaking the business. The citizen obtained colossally to buy five huge squares of land and along these lines embraced cultivating on it and sold some segment of the land. The court decided that the citizen was assessable on the benefits since he was attempting business of land improvement. The aim of the citizen was simply to use the land in any event some period as a ranch. The citizen realized that he was conferred fiscally to his loan creditors and, in this manner he would have certain segment of the land to reimburse his obligations (Black 2012). The courts likewise considered an unfathomable scope of components in the determination of regardless of whether a citizen was carrying on a business nearby the scale and size of the exercises he locked in. The court likewise evaluated whether such exercises were done in both precise and business premise. References Black, S.T., 2012. Capital Gains Jabberwocky: Capital Gain, Intangible Property, and Tax. Hofstra Law Review, 41(2), p.5. Carbone, D. 2010. An Extraordinary Concept of Ordinary Income? The Significance of FCT v Montgomery on What is Income According to Ordinary Concepts. Revenue Law Journal, 20(1), 1. Cassidy, J. 1994. The Taxation of Isolated Sales under Section 25 (1) ITAA: TR 93/2 v Joint Submission. Revenue Law Journal, 4(1), 2. Ewing, R. 2010. The arts and Australian education: realising potential. Camberwell, Vic, ACER Press. Hamilton, C. and Downie, C., 2008. The state of the Australian middle class. Australasian Accounting Business and Finance Journal, 2(3), p.1. Hart, G. 2007. The Limited Impact Of Whitfords Beach In Urban Land Development. Revenue Law Journal, 17(1), 4. Manyam, J. 2011. Taxation Of Gains From Banking and Insurance Businesses In New Zealand. Revenue Law Journal, 20(1), 6. Meldman, R.E. and Weine, N.S., 1976. Federal Tax Consequences of Ordinary Transactions in Real Estate. Marq. L. Rev., 60, p.61. Ola, C. S. 2012. Income tax law for corporate and unincorporated bodies in Nigeria. Heinemann Educational Books. Pillai, S. 2012. Non-immigrants, non-aliens and people of the commonwealth: Australian constitutional citizenship revisited. Monash UL Rev., 39, 568. Pillai, S. 2013. Rights and Responsibilities of Australian Citizenship: A Legislative Analysis, The. Melb. UL Rev., 37, 736. Robertson, S. K. 2008. Residency, citizenship and belonging: choice and uncertainty for students-turned-migrants in Australia. IJAPS, 4(1), 97-119. Shaw, K. 2014. Internationalization in Australia and Canada: Lessons for the future. College Quarterly, 17(1), 5. Teo, S. T., Segal, N., Morgan, A. C., Kandlbinder, P., Wang, K. Y., Hingorani, A. 2012. Generic skills development and satisfaction with groupwork among business students: Effect of country of permanent residency. Education+ Training, 54(6), 472-487. UNDER, A. O. P. P. T. 2008. Yushau Shaikh Uthman Registration No: Llm/Law/37457/2002-2003 (Doctoral Dissertation, Ahmadu Bello University). Young, N. J. 2007. Historical Significance of the High Court's Decision in Federal Commissioner of Taxation v the Myer Emporium Ltd, The. Melb. UL Rev., 31, 266.

Impact of Free News on Print Media and Readers Preferences

Abstract This paper answers the questions about implication of free news on print media with an effort of considering readers’ preferences, which are also a cause for emergence of free newspapers. The Effect of electronic media and availability of online news on print media and to what extent that will be a cause for the emergence of free newspapers finds place in review and analysis in the research.Advertising We will write a custom essay sample on Impact of Free News on Print Media and Readers’ Preferences specifically for you for only $16.05 $11/page Learn More The different types of free newspapers and their effect on mainstream newspapers and the complementary nature of the free newspapers will be examined to differentiate the readers’ preferences about mainstream newspapers and free news. The aspects other than online availability of news and the free newspapers acting as prompters or marketing agents for online franchisees are reviewed and analyzed to decide the nature and extent of effect on mainstream newspapers. As a whole the readers’ preferences are considered along with the effect of free newspapers on mainstream media and the division between readers of mainstream newspapers and free newspapers and the people who read both of them. Introduction The aim of the paper is to find out the impact of free news and readers preferences for the newspapers which offer it. To have enough understanding about the topic and to know about the readers preferences, the following research questions will be answered in the dissertation. Relation to previous research The relation to previous research finds place in the paper through answering the following questions and the literature review that reviews the opinions and results of the previous researches on the topic and the related topics. To define and identify implication of free news in Print Media. Why the newspapers that offer free news are focusing on certain sections of readers? Do the free newspapers offer competition to traditional or mainstream newspapers or just go together with them? If they are doing so, how it happens? f. If they don’t the reason. Is there any link between readers’ preference for free newspapers and more updated news? Closed End Questions Do you prefer free Newspaper? Yes No Is the content of free newspapers is holistic or they differ from mainstream newspapers? Yes No Is your main intention to read free newspaper is to know the news? Yes No If Yes for the above question, do you find the news in free newspapers and its presentation as well as analysis is at par with mainstream newspapers? Yes No If No for the question number three, what makes you read the free newspaper? Marketing b. Life style stories c. to pass time in travelling to know about new products you are interested in e. none of the above Literature Review The literature review of the dissertation explains what free news is and cites the situations that prompted the emergence of free newspapers. The availability of news for free due to changes in technology can be known as ‘free news’ as the readers may find the news online for free while browsing.Advertising Looking for essay on communications media? Let's see if we can help you! Get your first paper with 15% OFF Learn More This resulted in a situation that prompted some companies in print media to offer free newspapers, which is termed as biggest threat to companies in print media in terms of profit and revenues. Eventually the firms in newspaper industry found many threats and risks involved in managing a company and to release a newspaper. However, the response of these companies to readers’ preferences results in a threat or an opportunity for their business to stay sustained.1 Availability of News on Internet Publishing is the activity that has been severely affected by the advent of internet. The n ewspaper publishing has been still more affected due to the significant changes implied by digital media in the sector of news publishing. Regarding this aspect, the analysis of key factors that affect the preferences of readers in reading digital newspapers is necessary. Thus while focusing on preferences of readers and the existence of free newspapers as well as their emergence; it is fair to focus on usability of digital newspapers and the choice of digital dailies by readers. To explain these affects the following text can help in understanding the relevance of newspaper sector on Internet. â€Å"The advantages of the new digital media in terms of both supply and demand have brought a revolution in modern Journalism. The use of these new systems is characterized by the speed in which news reach the reader, the low cost of distributing information, the possibility to update news constantly, and the opportunity to establish more direct contact and interact with users, who have co me to play an important role in the design of journalistic offer.†(Flavian C., Gurrea R, 1). As per the above quote, Flavian C., Gurrea R., mention the enormous advantages of the new digital media that have boosted the service of offering news in both qualitative and quantitative terms. The authors opine that this resulted in proliferation of increasingly, specialized electronic journals and resulted in a new communication media.Advertising We will write a custom essay sample on Impact of Free News on Print Media and Readers’ Preferences specifically for you for only $16.05 $11/page Learn More In this regard, Flavian C., Gurrea R (2008, p. 1) cite Nielson (2003) about news sites and digital newspapers, which are widely demanded by internet users worldwide. Going an extra mile in this regard, the authors cite Kaye and Johnson (2004), who affirmed that the main aim of accessing internet by users is to read breaking news and to search the most updated information. Advertisement Revenue Just before reviewing the emergence and sustenance of free newspapers, it is necessary to mention the threats to advertisement revenues faced by newspapers. Regarding advertisement revenues, the newspapers get them from a diversified customers ranging from the people giving small personal advertisements selling consumer goods to the advertisers who give advertisements about luxury products, which are sold on a wider market when compared to the people giving small advertisements. Both types of revenues are important in sustaining the profitability of newspapers and losing any of them is a major jolt to the profitability. The threat to the advertisement revenues is not only from online news portals but also from websites like e-Bay, which sell diversified products online and deliver them at the doorstep of the customers. These types of websites and online marketing agencies normally tie up with big companies as well as small sellers and sell their products online. This not only relieves the seller from showroom expenditure but also the small advertiser to be free from giving costly advertisements in newspapers. This type of marketing of products resulted in drop in advertisement revenues and the report of Trinity Mirror in 2006 that its advertisement revenue has been dropped by 10 percent. Hence, there should be an alternative to cope up with the damage done by websites and electronic media. The advent of internet also challenged the monopoly of print media and the newspapers should fight with news portals as well as online marketing websites to stay in the gray and to enhance their advertising revenues.2Advertising Looking for essay on communications media? Let's see if we can help you! Get your first paper with 15% OFF Learn More Coming to the point of emergence and sustenance of free newspapers, the analyses and interpretations of policies of governments by newspapers come to the fore as they can influence the readers. The influence of the content on the people matters here. The influence is due to interaction of media with its audience. The influence is also due to flow of information offered by a Newspaper to its readers and the way it is being presented. Regarding the influence of print media on people, Andrew King John Plunkett (2005) state as follows: â€Å"The French Revolutions of 1789, 1830 and 1848 were all perceived as caused by unchecked floods of print through the social body: flow of media into the lower classes was considered a major problem.†(King Plunkett 35) In the contemporary period the necessity to penetrate (flow of media) into lowers classes or the target classes resulted in emergence of free newspapers.3 In the age of proliferation of free news on internet, the newspapers hav e no other way except to offer free news in print to counter the competition from news portals or other forms of online news. In this regard New York Times wrote about a newspaper in Hong Kong ‘The Standard’, which is a 58 year old English language daily that joined the ranks of free newspaper. In 2007, when this paper has been offered for free in Hong Kong, initially the distributors gave a print run of 1,20,000 copies by tripling its last paid circulation run to outperform its major competitor ‘The South China Morning Post’. As it is for free, the first day public snapped all the copies within one or two hours and the publishers’ response is that it is better than they expected. Only the attempt of the management to outperform its nearest competitor has been mentioned here, but the act of changing a print media newspaper into free newspaper is to compete with the Internet news portals and to retain their readers who are shifting from print to onlin e media. Hence, the readers’ preference for online news and media can be termed as one of the causes that prompted some print media organizations to turn free. In this point of view, it can be termed that the internet and online news are drivers of emergence of free newspapers as internet eroded the readership as well as advertising revenue of newspapers in markets worldwide. The companies like ‘The Standard’ responded faster than their peers who succumbed or suddenly fallen victim to web. Though there are free newspapers before that, the case of ‘The Standard’ is the one that decided to shift from paid to free distribution of its publications. In this context, ‘The Standard’ relied on target readers of Hong Kong stock exchange as the 90 percent of its advertising revenue is from it. As the exchange started offering companies the less expensive alternative of posting notices on Internet, the print media like the management of ‘The Standard’ started to oblige the same less expensive alternatives for the companies even in print and in an attempt to get advertisements they tried to increase circulation by offering the newspaper for free. So, it can be termed that the compulsion of managements of print media to scramble for alternative ad revenue resulted in ‘free news’ even in print. The emergence of free newspaper is due to the logic that the free newspaper can have more circulation than the paid ones. To consolidate the ad revenue as well as the readership, the free newspapers are acting according to readers’ preferences by targeting certain section of readers like ‘The Standard’ targeting the investors of Hong Kong Stock Exchange.4 In a similar manner, different free newspapers have to act according to readers’ preferences. The increase of popularity for online news after 2000 is evident from the article named ‘Newspaper Circulation up! (For Free Papers)â⠂¬â„¢ published in mediacrit.com. The article also mentions about the decline of circulation as well as revenue for print version associated with the slow and constant growth of online editions and indirectly underlines the readers’ preference for online news. This type of changes in growth regarding publication of news resulted in creation of a segment in newspaper industry, which has to offer free news to increase circulation. The free newspapers are sold by hawkers on carts at all busy public places and in some cases are delivered to target customers in some neighborhoods and this is an attempt from the managements of print media to act according to the preferences of readers. This resulted in emergence of free magazines also in countries like US, which are published weekly once but the context of free newspapers is different as the free magazines do not have a corresponding website as one of the readers’ preferences as mentioned earlier is to resort to online sourc es for news. The article cites Piet Bakker, a communications professor at the University of Amsterdam. He is an expert on the free newspaper industry and explains the sustenance of free newspapers by increasing circulation as well as advertisement revenues. Bakker mentions that the 36 million copies of free dailies are being circulated in 49 countries. These countries include Korea, Chile, Austria and Botswana. Even in Europe, the circulation of free newspapers has grown five times in period 2000-05. The combined circulation of 125 free dailies in Europe is around 26.5 million. This indicates that though there is growth in free newspaper segment, the market is highly competitive as there is more number of newspapers in a particular area. These free newspapers are compact when compared to their paid versions and come as tabloids to meet the preferences of readers. The reason is that they offer these tabloids to the commuters who are mostly employees and workers and offer news mostly read by them as well as the articles about the issues and things they want. As they are targeted on commuters they can be read by the time the readers while they are in journey. In the age of growth of online and digital news, the free newspapers are often used by mainstream newspapers to advertise themselves and to become popular among the readers. That means the paid newspapers are using the free versions as secondary sources and in the time being, the online news websites are also using the free newspapers as the ones to increase their popularity.5 Proposed Methods/Methodology The methodology in this paper involves initially the survey results of some readers of free newspapers and mainstream newspapers. The analysis and discussion followed after the presentation of survey results will discuss and analyze the answers of readers in some academic researches and will be presented as a content that has answers for the questions taken as research questions for this dissertation. The n ext part of the methodology is to fortify the analysis and discussion chapters with analysis of useful and important literature regarding free news and the consequences as well as causes for its emergence. At this stage the selected sources will be different forms of news, readers’ preferences, academic research papers or any type of news article or paper that is useful in analyzing the content that is useful for academic purposes. Analysis The most affected sector due to the developments in technology is Journalism as the ways and means of presentation of news has been changed with the advent of technology. The proliferation of electronic newspapers resulted in availability of free news for readers and this resulted in pressure on print media that offers newspapers in print as their advertisement revenues have come down due to the availability of cheaper space in electronic news portals. Hence, the motivations of the readers to read newspapers need to be observed by free new spapers to know the preferences of readers and to make them visitors of their corresponding websites. This results in a competition between news portals (digital news) and newspapers (print media).6 Digital versus Traditional Newspapers The growing interest in the analysis of duality of channels that present latest news to readers or visitors results in competition between digital and traditional newspapers. This makes the study of free news as the one that makes readers to read the press despite availability of free news online. When readers read free newspapers, the influence of motivations that make them to read them or the situations that result in reading them by the readers come to the fore. While studying these influences, press identified the following motivations; To search for specific information to get updated news for leisure reasons as a habit (Carlos Flavian., Raquel Gurrea, p.1) are the reasons to read the newspapers either free or paid. Consequently, the analysis of duality of media that is available in the form of newspapers should be made from supply-side perspective as the advantages of internet as a medium boosted the supply of news in digital form. To overcome or withstand the competition, it is necessary for print media to find an alternative to make the newspapers attract the readers. This can be made by using different distribution channels that reach readers in different forms and ways. One such example is to offer free newspapers to commuters going to offices. In addition to this, the free newspapers find many other distribution channels that find enough readers.7 Effect of Free Newspapers Before discussing and analyzing the readers’ preferences and their links with the trends of free newspapers, it is important to know whether they are able to compete with the traditional ones or denting their revenues. This aspect might sound irrelevant to discussion and analysis of readers preferences, but the success and failure of any n ewspaper either it is free or paid depends on readers’ preferences. If the free newspapers are cannibalizing the traditional ones, they are according to the readers’ preferences and are consolidating the readership. If they are not they must be targeting some sections of readers to sustain and to get profits through advertisement revenues and thus act as complements to main stream newspapers. In this regard according to Dr. Kathleen P. Mahoney., Dr James H. Collins (2005), â€Å"the free tabloid newspapers have become serious media players in less than 10 years by having 2 million circulation in US. And now, traditional paid newspapers facing an already difficult marketplace are asking: is free dailies competition or opportunity? This paper will provide some guidance to newspaper companies either considering introducing a free offering or being confronted by one, by examining whether the free dailies are competitive or complementary to the traditional paid newspaper.à ¢â‚¬  (Mahoney. K. P. et al., p.1) However, the observation of Mahoney K.P. etal., did not find any cannibalization of paid dailies by free dailies as both are following different strategies for their business. The intention of free tabloids is to capture non –readers and thus their strategies may not affect the paid newspapers’ business much. This is due to the fact that the free tabloids’ strategies rest on the expectation that the readers buy the franchisee’s paid products. Though the free tabloids are not denting much into the readers’ base of traditional newspapers, they are capturing the non readers, who are elusive to the traditional newspapers till now. The effect of free tabloids on traditional newspapers lies on the extent of period the former hold the young readers. Normally, the readers of free tabloids do not stick to a newspaper for long time unlike the traditional ones. Hence, the traditional newspapers have to consolidate their rea dership, whereas the free newspapers have to search for new readers on continuous basis. Moreover, a section of young people, who read free tabloids for a particular period of time may not leave their traditional newspaper if they are part of the latter’s readers’ base. Eventually, the free newspapers may make the task of traditional newspapers difficult but cannot completely cannibalize them as the strategies as well as readers are different and even common readers also do not desert one for the other. Hence, it can be termed as the presence of free newspapers is making it difficult for traditional ones to sustain, but cannot make them irrelevant in the present scenario.8 Long term Perspective of Free Newspapers After analyzing the effect of readers’ preferences on strategies of business now it is time to analyze the needs of long term developments for free newspapers. In this regard, Piet Bakker (2002) mentions the strategies that are applicable in the long ru n that consider readers’ preferences. The important concern the author put forth is that the reaction of the reader to the free daily, which is not a novelty but just an established product. As the academic research on free newspapers is not widely available, the publications like reports by newspapers, organizations, business publications and press releases as well as the researches of free newspapers to frame strategies need to be used here to have an idea of scenario that is a result of the strategies of free newspapers that frame strategies according to the preferences of the readers they are targeting. The important aspect, which is bone of contention, is about the circulation claimed by free newspapers as the audit for circulation followed for paid ones is different from that of the free newspapers. Eventually, the publishers of free newspapers claim their circulation and the reliability of that claim depends on certain sections that the publishers of free newspapers wa nt to target. In this context, the effect of free newspapers is supplementary or complement for the traditional newspapers as the strategy of them to approach is different from that of free ones. Hence, the existence or emergence of free newspapers and their sustenance in long-term is independent of the adverse situation faced by traditional newspapers as that is a result of availability of content or news more on online than in the print and the access to online content being easy. In this regard Piet Bakker (2002) states that â€Å"So far, 80 free daily newspapers have been introduced in 26 countries. The majority have been launched in the last three years. In some markets like Stockholm, Cologne, Buenos Aires, The Netherlands, Zurich, Basle, Bern, Toronto, Newcastle more than one free newspaper was published..†( Bakker, 181). In support to the above facts Piet Bakker quotes the facts claimed by the free newspapers and finds that daily 20 to 25 million people all over the g lobe are reading free newspapers and another aspect of these newspapers is that they published in Metropolitan areas and the editions come out only on weekdays. This further brings forth the preferences of readers in metro areas as well as the growth of newspapers in Metro in the presence of free newspapers as well as the advent of internet.9 Growth of Metro Newspaper The emergence of free news also results from the fact that there is little scope of growth for metro newspapers as the advent of internet has decreased the profits of newspapers particularly in metro areas the people in these areas have more internet accessibility than their peers of rural areas. The availability of entertainment as well as advertisement alternatives are denting the profits of print media by decreasing their advertisement revenue either by decreasing the number of advertisements or the tariff for them. In addition to that the increase in prices of newsprint and decrease in readers interest as well as p rofitability prompted some newspaper managements to offer newspapers free to make their niche in the digital news channels as the free newspapers attract readers to the corresponding news portals and that results in increase of hit rate, which in turn increase the prospects of getting advertisements for online editions. In spite of managing all the just mentioned aspects, the publishing of a newspaper needs greater levels of managerial discipline when compared to the publishing the same online. This is due to the fact that the printing operations need the assembly of first rate products with right advertising inserts with narrow production windows.10 Free Newspapers as complementary to Mainstream ones In this situation of assembling first rate products with right inserting of advertising slots with lean production management techniques are necessary, but the traditional newspapers can use the free newspapers concept to increase the popularity for their online versions. In doing so, they can minimize the loss of advertisement revenue in print edition due to the advent of internet. Hence, free news or free newspapers not only pose a threat to the traditional newspapers revenues, but also can be used as the ones that boost the revenues for their online editions. This strategy makes creating an online edition a compulsion for all traditional newspapers in print. As the free newspapers target some sections of readers, the print editions can launch complementary free newspapers to target the sections of readers on which the free newspapers, which are not complementary for any print editions are targeting. Thus the traditional newspapers can use the welfare enhancing by new good complements to existing goods principle put forth by Michal Masika (2010, p. 2). When the new goods, which are substitutes and are in the form of complementary newspapers for traditional newspapers are capable of replace the competitive free newspapers, the traditional newspapers can minimize the damaging effects of free newspapers their advertisement revenues. This principle indirectly suggests to traditional or mainstream newspapers to offer the services for their readers, which are being offered by free newspapers through their online editions. To do that, the mainstream newspapers not only should develop the appearance of website and presentation of news on that, they have to offer products online or should post advertisements of online marketing agencies for cheaper prices when compared to advertisement tariff in print edition. Though this strategy may not increase the advertisement revenues considerably, they damage can be controlled and in long-term, the traditional newspapers can bring down the free newspapers to the standard of pamphlets for franchisee websites, thus drawing a clear line between their readers and the readers of free newspapers.11 Reflections It was found that the emergence of free newspapers initially is due to availability of online news as we ll as advent of internet. In the next stage, the free newspapers are used to as promoters for news portals or marketing web sites for certain products. Hence, the free newspapers can be differentiated into two types; the first being the ones that target a section of readers to promote their products and the other type, which act as promoters to the online news portals that are independent or belong to a mainstream newspaper. The potential and empirical obstacles found while doing research for this paper is that it is difficult to estimate the number of online news portals that are affecting the print media. As the news portals popularity is determined by hit rate and has no physical evidence, I found that the estimation of damage to mainstream newspapers is difficult in terms of circulation as circulation and hit rate cannot be compared. Another potential aspect is that the differentiation of free newspapers, which are completely based on news and the ones that act as franchisees fo r online marketing sites. There is third type of free newspapers also, which act as publicity things for online news portals. The fourth type of free newspapers are that come out weekly once or twice as a complementary from the publisher of a mains stream newspaper to withstand the competition of free news and to have publicity for the mainstream newspaper as well. Regarding conceptual and theoretical problems, it is difficult to draw a line between mainstream newspapers and free newspapers. In other words paid newspapers and some free newspapers are difficult to differentiate except for the price. The theoretical problem that exists in the case of free newspaper is to authenticate the circulation claims. In the context of paid newspapers, there is a system of auditing and related organizations to declare the circulation of each newspaper. However, in case of free newspapers, as the publishers offer money to the people or shops who put their newspaper in stands, the more money the p ublisher can spend, the more claims for circulation may exist. Hence, I found that this aspect makes it difficult to calculate circulation of free newspapers. From ethical point of view, commenting or criticizing on ethical standards of free newspaper do not have any theoretical or moral base. This is due to the fact that the free newspapers are not hiding any business activity they are doing and everything they are resorting to is legal and though it cannot be termed as moral, but can’t be called as immoral. These points impact a study of a researcher to differentiate between complete newspapers and the papers that work as franchisees for online marketing sites. Moreover, as the free newspapers, which are used as tools for the marketing agencies also offer news and the absence of a system in print media to marginalize those type free newspapers from mainstream free newspapers will make the work of a researcher a difficult thing. Conclusion The conclusion in the dissertation will be in a way that reveals the importance of readers’ preferences in the emergence and trends of free newspapers. After differentiating the free newspapers from the traditional and mainstream ones, the way the latter frame strategies to rein in the free newspapers to consolidate their advertisement revenue will find place. At the end how the free newspapers can also act complementary for traditional newspapers even in the presence of individual free newspapers in the market will be pointed out. Works Cited Andrew King John Plunkett. Victorian Print Media: A Reader. New York. Oxford University Press. 2005. Carlos Flavian., Raquel Gurrea, â€Å"Digital Versus Traditional Newspapers; Influences on Perceived Substitutability†. International Journal of Market Research, Vol. 51. Issue 5. 2009. P.1-3. Carlos Flavian., Raquel Gurrea. â€Å"Perceived Substitutability between Digital and Physical Channels: The case of Newspapes†. Online Information Review. Vol. 31, no .6. 2007. P. 1-3. Carlos Flavian., Raquel Gurrea, â€Å"Reading Newspapers on the Internet: The Influence of Websites’ attributes†. Internet Research. Vol. 18, no. 1. 2008. P. 26-45. Donald Greenlees. â€Å"Hong Kong Newspaper takes gamble on free distribution†. Nytimes.com. published on 10th September 2007. Web. Flavian, C Gurrea, R 2006, ‘The choice of digital newspapers: influence of reader goals and user experience’, Internet Research, vol. 16, no. 3, pp. 231-247. Christensen. â€Å"API discovers â€Å"good enough† is better then best†. Strategic Direction. Vol. 24. Issue 9. 2008. Pp. 19-21. Piet Bakker. â€Å"Free Daily Newspapers-Business Models and Strategies†. The International Journal on Media Management. Vol. 4, no. 3. (2002), p.180-187. John Sterling. â€Å"Strategy Development for the Real World†. Strategy Leadership. Vol. 30, issue 1, 2002, p.10-12. Kathleen P. Mahoney., Dr James H. Collins. â€Å"Consumer Newspaper Choice in Markets with Free Print Options: Are Free Daily Newspapers Competition or Opportunity for Traditional Paid Products?†. Session -The Symposium of Publishing. 2005. Michal Masika. â€Å"Free Commuter Newspapers and the Market for paid –for Daily Newspapers†. University of Munich. 2010 Footnotes 1 Flavian, C Gurrea, R 2006, ‘The choice of digital newspapers: influence of reader goals and user experience’, Internet Research, vol. 16, no. 3, pp. 231-247. 2 Christensen. â€Å"API discovers â€Å"good enough† is better then best†. Strategic Direction. Vol. 24. Issue 9. 2008. Pp. 19-21. 3Andrew King John Plunkett. Victorian Print Media: A Reader. New York. Oxford University Press. 2005. 4 Donald Greenlees. â€Å"Hong Kong Newspaper takes gamble on free distribution†. Nytimes.com. published on 10th September 2007. 5 NA. â€Å"Newspaper Circulation Up! (For Free Papers)†. Mediacrit.com. NA. 9th June 2007. Web. 6 Carlos Flavian., Raquel Gurrea. â€Å"Perceived Substitutability between Digital and Physical Channels: The case of Newspapers†. Online Information Review. Vol. 31, no.6. 2007. P. 1-3. 7 Carlos Flavian., Raquel Gurrea, â€Å"Digital Versus Traditional Newspapers; Influences on Perceived Substitutability†. International Journal of Market Research, Vol. 51. Issue 5. 2009. P.1-3. 8 Dr. Kathleen P. Mahoney., Dr James H. Collins. â€Å"Consumer Newspaper Choice in Markets with Free Print Options: Are Free Daily Newspapers Competition or Opportunity for Traditional Paid Products?†. Session -The Symposium of Publishing. 2005. 9 Piet Bakker. â€Å"Free Daily Newspapers-Business Models and Strategies†. The International Journal on Media Management. Vol. 4, no. 3. (2002), p.180-187. 10 John Sterling. â€Å"Strategy Development for the Real World†. Strategy Leadership. Vol. 30, issue 1, 2002, p.10-12. 11 Michal Masika. â€Å"Free Commuter Newspapers and the Market for paid –for Daily Newspapers†. University of Munich. 2010. This essay on Impact of Free News on Print Media and Readers’ Preferences was written and submitted by user Trey Dillon to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.