This document summarizes several horror film posters. For Friday the 13th, the lighting creates tension and fear, the title is in red suggesting danger, and the villain wears a mask and holds a machete. For Scream, the black and white color scheme makes it seem dark and scary, and the close-up of a terrified girl's eyes uses light and color contrast. Insidious advertises its producers of popular horror films and features a drained image of a boy in pajamas with "insidious" in his eye. Paranormal Activity emphasizes its basis on a true story by showing footage from a home camera. The Woman in Black only mentions actor Daniel Radcliffe to attract fans and uses a dark
Root cause analysis is an approach for identifying the underlying causes of an incident so that the most effective solutions can be identified and implemented. It’s typically used when something goes badly, but can also be used when something goes well. Within an organization, problem solving, incident investigation, and root cause analysis are all fundamentally connected by three basic questions:
What’s the problem?
Why did it happen?
What will be done to prevent it from happening again?
Root cause analysis is an approach for identifying the underlying causes of an incident so that the most effective solutions can be identified and implemented. It’s typically used when something goes badly, but can also be used when something goes well. Within an organization, problem solving, incident investigation, and root cause analysis are all fundamentally connected by three basic questions:
What’s the problem?
Why did it happen?
What will be done to prevent it from happening again?
No "20/20 hindsight" jokes.
Just clear, concise suggestions, axioms and guidance for any business and brand's success in 2020 and beyond.
Share all you like.
Forming part of the Yoma Central project, the Peninsula Residences Yangon is a collection of luxury private homes for sale that blends heritage and modern design with the Peninsula brand’s refined elegance. The Peninsula Residences Yangon which comprises 112 units offers the choice of two-bedroom, three-bedroom, four-bedroom, and penthouse serviced residences across its 26 floors together with a unique menu of dedicated facilities and amenities.
No "20/20 hindsight" jokes.
Just clear, concise suggestions, axioms and guidance for any business and brand's success in 2020 and beyond.
Share all you like.
Forming part of the Yoma Central project, the Peninsula Residences Yangon is a collection of luxury private homes for sale that blends heritage and modern design with the Peninsula brand’s refined elegance. The Peninsula Residences Yangon which comprises 112 units offers the choice of two-bedroom, three-bedroom, four-bedroom, and penthouse serviced residences across its 26 floors together with a unique menu of dedicated facilities and amenities.
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'
s o k a
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b e a c h e s th e
y h a v e . I h a v e h e a r d th a t th e ir b e a c h e s h a v e c o r a l c lo s e
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g a b r o c h u r e f r o m B o r a - B o r a .
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1Terrorism is highly d e p e n d e n t o n c a s h f.docxeugeniadean34240
1
T
errorism is highly d e p e n d e n t
o n c a s h f l o w s f o r t h e p u r c h a s e
o f e v e r y t h i n g f r o m m u n i t i o n s
a n d s u p p l i e s t o d o m a i n s a n d
p a m p h l e t s . T r a d i t i o n a l l y , o n e o f t h e
m o r e c h a l l e n g i n g a s p e c t s o f o r g a n i z i n g
i n t e r n a t i o n a l t e r r o r i s t a c t i v i t i e s i s
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t r a n s f e r o f m o n e y a r o u n d t h e w o r l d
h a s , i n t h e l a s t d e c a d e , f u n d a m e n t a l l y
c h a n g e d t h e w a y t e r r o r i s t o r g a n i z a t i o n s
r a i s e m o n e y t o s u p p o r t t h e i r a c t i v i t i e s .
D i g i t a l c u r r e n c i e s l i k e e - g o l d , B i t c o i n ,
P e e r c o i n , a n d D o d g e c o i n p r o v i d e
c o m p l e x y e t e f f i c i e n t m e c h a n i s m s f o r
t h e t r a n s f e r o f f u n d s , a s w e l l a s t h e
d e c e n t r a l i z e d c o l l e c t i o n o f d o n a t i o n s
i n a m o r e a n o n y m o u s m a n n e r t h a n
c o n v e n t i o n a l b a n k i n g t r a n s a c t i o n s .
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t h a t t e r r o r i s t s a r e c o n s i d e r i n g a n d ,
i n l i m i t e d i n s t a n c e s , u s i n g d i g i t a l
c u r r e n c i e s s u c h a s B i t c o i n t o f i n a n c e
a c t i v i t i e s . 1 W h i l e t h e s e t o o l s h a v e
g a i n e d i n p o p u l a r i t y , i n r e c e n t y e a r s
t h e i r e x p a n s i o n i n t o v a r i o u s t e r r o r i s t
o r g a n i z a t i o n s h a s b e e n s l o w a n d
d e l i b e r a t e a n d h a s n o t m a t c h e d p a c e
w i t h t r a n s n a t i o n a l c r i m i n a l u s e s o f t h e s e
s a m e t e c h n o l o g i e s .
F o r t h e p u r p o s e s o f t h i s a r t i c l e , t h e t e r m
“ t e r r o r i s t o r g a n i z a t i o n ” d o e s n o t i n c l u d e
t h e h a c k t i v i s t c o m m u n i t y , w h i c h h a s
a l r e a d y d e m o n s t r a t e d w i d e s p r e a d
u t i l i z a t i o n o f t h e s e t e c h n o l o g i e s . H e r e ,
t h e t e r m i s l i m i t e d t o “ i n t e r n a t i o n a l
t e r r o r i s m ” a s o u t l i n e d i n 1 8 U . S . C . §
2 3 3 1 - C h a p t e r 1 1 3 B . T h i s d e f i n i t i o n
i s a n i m p o r t a n t c a v e a t a s i t f r a m e s
t h e s c o p e o f t h e a n a l y s i s t o a s p e c i f i c
c o m m u n i t y o f a c t o r s a n d a c k n o w l e d g e s
t h a t t h e u s e o f t h e s e t e c h n o l o g i e s h a s
1 This has been witnessed by tracking conversations of
jihadists within various internet chat rooms and forums.
Financing Terror Bit by Bit
By Aaron Brantly
Content.
We are engaged in an exponentially growing cyber war that we are visibly losing. Within the next 3 years it has been estimated that the global cost will equal, or overtake, the UK GDP, and it is clear that our defences are inadequate and often ineffective. Malware and ransomer-ware continue to extort more money, and cause damage and inconvenience to individuals, organisations and society, whilst hacker groups, criminals and rogue states continue to innovate and maintain their advantage. At the same time, our defences are subverted and rendered ineffective as we operate in a reactive and prescriptive, after the fact, mode with no foresight or anticipation.
In any war it is essential to know and understand as much about the enemy as possible, it is also necessary to establish the truth and validity of any situation or development. Doing this in the cyber domain is orders of magnitude more difficult than the real world, but some of the relevant tools are now available or at an advanced stage of development. For example; fully automated fact checkers and truth engines have been demonstrated, whilst situational awareness technologies are commercially available. However, what is missing is some level of context assessment on a continual basis. Without this we will continue to be ‘blind-sided’ by the actions and developments of the attackers as they maintain their element of surprise along every line of innovation.
What do we need? In short ; a Context Engine that continually monitors networks, servers, routers, machines, devices and people for anomalous behaviours that flag pending attacks as behavioural deviations that are generally easy to detect. In the case of attacker groups we have observed precursor events and trends in network activity days ahead of some big offensive. However, this requires a shift in the defenders thinking and operations away for the reactive and short term, to the long term continual monitoring, data collection and analysis in order to establish threat assessments on a real time.
The behavioural analysis of people, networks and ITC, is at the core of our ‘Context Engine’ solution which completes the triangle of: Truth; Situation; Context Awareness to provide defenders with a fuller and transformative picture. Most of the known precursor elements of this undertaken have been studied in some depth, with some behavioural elements identified on real networks and some physical situations. The unknown can only add more accuracy!
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th e e n tir e a ttitu d e th a t o u r c o u n tr y h .
InstructionsDo the following and submit the completed assignment.docxdirkrplav
Instructions
Do the following and submit the completed assignment to the dropbox.
1. Print out the "The Narcissist in All of Us".
2. Number the paragraphs in the article from 1 to 29. (“1” in front of the paragraph beginning “You think you know…”, “2” in front of the paragraph beginning “But narcissists…” etc.)
3. This article does not have section headings. Decide how this article could be divided into five to eight sections.
4. For each section, give a phrase or short sentence that could be used as an informative section heading—a heading that indicates the main point of each of these sections.
5. After each section heading, give the number of paragraphs that go with each section heading.
6. Beneath each section heading, outline the main points of that section.
The following indicates how the first two sections might be done.
1. Narcissism can be tribal as well as individual (Paragraphs 1-3)
a. “We are all narcissists” (80)
b. Can result in harmless activity (e.g. cheering for a team) or destructive activity (e.g. US invasion of Iraq)
2. Group narcissism is natural & can be easy to manipulate (4-5)
a. Humans are social creatures, which “[implies] favoring your group above all others” (81”
b. “These feelings…are dangerously easy to manipulate”
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t o w a t c h e i t h e r a s h o r t v i o l e n t o r s h o r t n o n v i o l e n t m u s i c v i d e o a n d t h e n a n a l y z e h o w t h e y a c t e d
in n u e n c e s y o u t h . A n d e r s o n d i d o n e e x p e r i m e n t w h e r e h e g o t s e v e r a l y o u n g m a l e s a n d t o l d t h e m
V i o l e n c e o f Y o u t h
"
I t w a s a n e x c e s s i v e a m o u n t o f s t u d i e s o n w h e t h e r o r n o t m e d i a v i o l e n c e
T h e f i r s t a r t i c l e I r e a d w a s d o n e b y C r a i g A . A n d e r s o n , c a l l e d
"
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i n i l u e n c e v i o l e n t b e h a v i o r ,
t h a t r a p m u s i c d o e s i n f l u e n c e
v i o l e n t b e h a v i o r , a n d t w o t h a t d i s a g r e e t h a t r a p m u s i c d o e s n o t
e i t h e r s i d e , bu t s o m e w h e r e i n b e t w e e n . 1 r e a d f o u r e x a m p l e s o f t h e s e t y p e s o f w r i t i n g s ; t w o a g r e e
b e c a u s e t h e y t r y t o J u s t i f y t h e i r a n s w e r a n d r e a s o n w i t h o u t r e a l i z i n g t h a t t h e a n s w e r i s n o t o n
p r o p o s e d w i t h t h i s q u e s t i o n , i t l e a d s t o n o t h i
n g b u t a g g r e s s i o n b e t w e e n e a c h o p p o s i n g s i d e
u n d e r s t a n d a n d r e a l i z e t h a t t h e a n s w e r i n h c t d u e s I i e s o m e w h e r e i n t h e m i d d l e , w h e n t h e y a r e
c a u s e s a n y a n d e v e r y
v i o l e n t c n m ‹ t [ 1 1t t h e r e : : I J n t h e w o r l d t.
Presented by Bruce Harwood: July 2016
Have you heard about traditional media but aren't quite sure what it is?
This session on how to plan and buy traditional media will give you some context on why advertisers use it and how you should think about it.
As each medium is different in its own way and we will explore the nuances of each and how they are adapting in today's digital landscape.
TMK.edu Traditional Media Buying Presentation: August 2015The Media Kitchen
Presented by Ludmila Palasin: August 12, 2015
This presentation provides a recap of our suite of research tools to be sure that everyone knows what is available. But there is a lot more out there – a lot of it for free. This presentation will go into depth on what these are and how to access and use them.
2. FRIDAY THE 13TH
The use of the lighting is key for this background. This has been used for audiences to recognise the
isolated locations. For example, the woods and forest with a blurry mist. The use of lighting
conforms to creating a feeling of tension and fear.
The text Friday the 13th is written in red, this suggests something dangerous
and death could be round the corner. The title of the film creates a mystery
this makes the audience question what is going to happen in ‘Friday the 13th’,
this leads the audience to watch the film and to find out what happens.
The tagline can be seen as playing with the audience as in relation to the image
and the title, it is apparent that it is a joke which would normally be in reality
seen as welcoming. However in the horror context it conveys that it is welcoming
the end of a person’s life.
The villain is wearing a mask which is a typical convention of horror films as it
hides someone's identity and makes the person unknown.
The weapon that he is holding is a machete which is symbolic al of being
associated
with death and murder.
Behind the villain there is a glimmer of light that shines directly behind him. This symbolises that there is
hope from escaping the area and the villain. As it is only a glimmer this suggests that the likelihood of
the majority dying most certain.
3. SCREAM
T h e c o l o u r s c h e me o f t h e p o s t e r i s m a i n l y b l a c k a n d wh i t e , t h i s i s ve r y
c o m m o n wi t h h o r r o r p o s t e r s a s i t m a k e s i t s e e m ve r y d a r k a n d s c a r y.
T h e c o l o u r s c o u l d r e p r e s e n t t h e d a r k n e s s o f d e a t h , o r t h e d a r k n e ss o f a
m u r d e r. T h i s m i r r o r s s h o t s wh i c h a r e u s e d i n m a n y h o r r o r f i l m s a n d
i s a ve r y c o m m o n c o n ve n t i o n wh i c h i s u s e d i n h o r r o r f i l m p o s t e r s . T h e r e i s n o t a l o t o f
l i g h t i n t h e p o s t e r, t h e o n l y l i g h t s e e m s t o b e c o m i n g f r o m t h e e ye s o n t h e p h o t o o f t h e
g i r l . F o r h e r e ye s , t h e r e i s a b i t o f b l u e u s e d wh i c h i s c o n t r a s t i n g f r o m t h e r e s t o f t h e
p o s t e r wh i c h i s i n b l a c k a n d wh i t e . T h i s i s u s e d t o g i ve t h e p o s t er s o m e e d g e t o i t , a n d
s h o w t h e a u d i e n c e t h a t t h e c h a r a c t e r we a r e s e e i n g i s h u m a n .
T h i s g i r l t a k e s u s t h e wh o l e o f t h e p o s t e r a n d i s t h e b a c k g r o u n d o f a l l t h e wr i t i n g . T h e
p h o t o g r a p h i s a n e xt r e m e c l o s e - u p o f a g i r l , t h e g i r l ’s e ye s a r e ve r y wi d e a n d s h e
l o o k s p e t r i f i e d . T h i s i s ve r y c o m m o n l y u s e d f o r h o r r o r f i l m p o s t e r s
T h e m a i n t i t l e , S c r e a m, i s i n wh i t e , wh i c h c o n t r a s ts a g a i n s t t h e b l a c k b a c k g r o u n d o f
t h e b o t t o m o f t h e p i c t u r e . T h i s c o l o u r i s u s e d t o g i ve a g h o s t l y p r e s e n c e wh i c h i s
a n o t h e r c o m m o n l y u s e d c o n ve n t i o n o f h o r r o r f i l m p o s t e r s . A s i t i s b i g , b o l d a n d
s t r e t ch e d a c r o s s t h e p a g e , t h e a u d i e n c e n o t i c e s i t . T h e l e t t e r ' M ' h a s a l s o b e e n e d i t e d
a n d t h e m i d d l e h a s b e e n s t r e t c h e d d o wn s o t h a t t h e m i d d l e h a s a s h a r p p o i n t , t h i s
c o u l d b e s ym b o l i s m f o r a k n i f e .
T h e r e i s a l s o wr i t i n g a t t h e t o p o f t h e p o s t e r o n t h e wo m a n ' s h e a d . T h i s n a r r a t i ve
r e a d s ' S o m e o n e h a s t a k e n t h e i r l o ve o f s c a r y m o vi e s t o o f a r. S o l vi n g t h i s m ys t e r y i s
g o i n g t o b e m u r d e r.' T h i s t e xt s g i ve s t h e a u d i e n c e m o r e i n f o r ma t i o n o n wh a t t h e f i l m i s
a b o u t a n d g i ve s a c l e a r er u n d e r s t a n d i n g o f i t .
4. INSIDIOUS
A t t h e t o p o f t h i s f i l m p o s t e r i t s a ys t h a t I n s i d i o u s h a s b e e n m a d e
b y t h e p r o d u c e r s o f S a w a n d P a r a n o r ma l A c t i vi t y. T h i s s t r a i g h t
a wa y d r a ws i n t h e r e a d e r s a t t e n t i o n a s t h e y wi l l a l r e a d y k n o w i t
wi l l b e a g o o d f i l m .
T h e t i t l e o f t h e f i l m s t a n d s o u t c l e a r l y a s i t i s a wh i t e t i t l e a g a i n s t a d a r k
b a c k g r o u n d . T h e s t yl e o f t h e t i t l e i s a l s o u n i q u e a s p a r t o f t h e t i t l e i s r e d . T h e
connotations of red are danger and blood. This suggests to the audience that the
f i l m h a s a d a n g e r o u s d a r k s i d e t o i t . T h e wo r d I n s i d i o u s m e a n s 'I n t e n d e d t o
e n t r a p' wh i c h g i ve s a c l u e t o wh a t t h e f i l m i s a b o u t .
T h e m a i n i m a g e d i s p l a ys a p i c t u r e o f a yo u n g b o y o u t s i d e a b i g h o u s e . T h e b i g
h o u s e i n t h e b a c k gr ound i s a t yp i c a l h o r r o r f i l m c o n ve n t i o n . T h e m a i n i m a g e i s
a l s o s h o wi n g t h e m a i n f o c u s i s o n t h e b o y a n d t h a t t h e h o u s e i s o u t o f f o c u s . T h i s
i m a g e l o o k s d r a i n e d o u t c a u s i n g a e e r i e a t m o s p h e r e . T h e yo u n g b o y’s p yj a m a s
a r e r e d s u g g e s t i n g d a n g e r t o wa r d s h i m .
I n s i d e t h e b o ys e ye , t h e wo r d i n s i d i o u s i s wr i t t e n t h e r e . T h i s c o u l d s u g g e s t t o t h e
a u d i e n c e t h a t s o m e t h i n g s u p e r n a t u r a l i s wr o n g wi t h t h e b o y.
T h e t a g l i n e ‘ I t ’s n o t t h e h o u s e t h a t ’s h a u n t e d ’ i s s a i d i n t h e t e a s e r t r a i l e r. T h i s
t a g l i n e e n c o u r a g e s t h e a u d i e n c e t o s e e t h e f i l m a s t h e y wa n t t o k n o w wh a t ' s
haunted if the house isn't.
5. PARANORMAL ACTIVIT Y
T h i s f i l m i s b a s e d o n a t r u e s t o r y. T h e m a i n i m a g e s h o ws i s t h a t i t i s i n a h o u s e
a n d f i l m e d b y a h o m e c a m e r a . I n t h i s i m a g e yo u c a n s e e t h a t t h e wo m e n i s
p o i n t i n g t o s o m e t hi ng t h a t t h e a u d i e n c e c a n n o t s e e . T h i s wi l l a t t r ac t a n a u d i e nc e
b e c a u s e t h e p a r a n o r m a l a c t i vi t y h a p p e n i n g i n t h e h o u s e wi l l s e e m m o r e r e a l i s t i c
a s i t i s f i l m e d wi t h a n o r d i n a r y c a m e r a wh e r e t h e r e c a n b e n o m a j o r e d i t i n g
i n vo l ve d .
T h e t i t l e o f t h e f i l m s t a n d s o u t we l l a s i t r e d t e xt o n a b l a c k
background. Within the horror genre black and red are used
quite a lot.
O n t h i s f i l m p o s t e r t h e y h a ve a we b a d d r e s s , h o we ve r t h i s
p o s t e r d o e s n ’ t h a ve a b i l l i n g b l o c k t h i s s u g g e s t s t h a t t h e
p r o d u c e r s o f t h i s f i l m h a ve d o n e t h i s p u r p o s e l y. I t h i n k
this is because the film is suppose to be a true story like a
h o m e vi d e o s o i t s u n n e c e s sa r y i n c l u d i n g t h e p r o d u c e r s
names.
6. THE WOMAN IN BLACK
T h e r e fo r e t h e o n l y a c t o r m e n t i o n e d i s ' D a n i e l R a d c l i ff e ' t o
a t t r a c t a wi d e a u d i e n c e , e s p e c i a l l y H a r r y P o t t e r f a n s .
A d a r k t h e m e h a s b e e n u s e d t h r o u g h o u t t h i s p r o m o t i o n a l p o s t e r.
T h i s e m p h a s i s e s h o w i t ' s a t h r i l l e r / h o r r o r g e n r e , wi t h t h e b l a c k
c r e a t i n g a m ys t e r i o u s m o o d .
T h e g r e ys c a l e r e p r e s e n t s t h e e a r l y 1 9 0 0 ' s , i n wh i c h t h i s f i l m i s
meant to be set.
T h e q u e s t i o n i n g t a g l i n e ' wh a t d i d t h e y s e e ? ' s u p p o r t s t h e t h r i l l e r / h o r r o r g e n r e , a s
it intrigues the audience. It also implies that the dark silhouette is a ghost.
T h e l a c k o f m i s e e n s c e n e wi t h i n t h i s p o s t e r r e i n f o r c e s t h e m ys t e r i o u s t o n e , a s
we a r e n o t t o l d t o o m u c h , i n t e r e s t i n g t h e a u d i e n c e .
T h e p o s t e r h o l d s a s u p e r n a tu r a l m o o d , t h a t i s e xp r e s s e d t h r o u g h t h e s m o k y
b a c k g r o u n d a s s o c i a t e d wi t h g h o s t s .
T h e l i g h t i n g s h a d e s s o m e o f D a n i e l R a d c l i ff e ’s f a c e , e m p h a s i s i n g h i s s t r i c t f a c i a l
e xp r e s s i o n . T h i s h i g h l i g h ts t h e t h r i l l e r / h o r r o r g e n r e , a s h e l o o k s f e a r f u l .
A n o t h e r f o c u s p o i n t wi t h i n t h e p o s t e r i f t h e d a r k s i l h o u e t t e o f a m a l e wa l k i n g
t o wa r d s a r u n d o wn l o o k i n g h o u s e . T h i s h i g h l i g h t s t h e t h r i l l e r a n d h o r r o r g e n r e , a s
h e i s u n k n own .
N o t a l o t o f t e xt h a s b e e n u s e d o n t h e p o s t e r. H o we ve r t h e f o n t t yp e c r e a t e s a
i n t i mi d a t i n g p o r t r a ya l o f t h e f i l m , a s i t r e s e mb l e s s c r a t c h e s i n wo o d .