Describe the difficulties you encountered when entering college.
For the incoming freshman, the transition to college may prove difficult. Research has shown that nearly 1/3 of college freshman do not enroll the following year. Why does this happen? In an article titled âThe Transition from Extrinsic to Intrinsic Motivation in the College Classroom: A First-Year Experienceâ written by Thompson and Thornton (2002), this topic is discussed. The authors suggest that high school students are extrinsically motivated by grades, attendance, detentions, and suspensions. The college student, on the other hand, is not. The authors suggest that learning is intrinsically motivating and the transition between the two experiences can be difficult.
Describe the difficulties you encountered when entering college.
Sample Solution
the photogenie of the iconicity and nostalgia of the spectacularised Paris. In the world of the movie, Amelieâs first interaction with the past occurs in the same scene as Jeunetâs temporal reference to Dianaâs death, with Amelie discovering a box of treasures hidden behind a tile of her washroom floor. The camera, located behind the tile, shoots from the point of view of the past that the box is tied to, framing Amelie outside of the wall, in the realm of the present. As Oscherwitz elaborates, âBecause this scene occurs so early in the film, it functions to force identification between the spectator and the past, not merely between the spectator and Amélie.â In this scene, as with the rest of the film, Jeunet quite explicitly exploits the photogenic mobility of cinema-cinemaâs mobility in space and time. The juxtaposition between iconicity and indexical relation through the visuals of Amélie informs the filmâs thematisation of visual representation. Jeunet, using the same tactics as advertisements, wooes the audience with his movie of a âstereotyped idea of Paris that exists in the world, rather than recording Paris as it existsâ. With an extraordinary number of shots in the film-over 300 in the prologue alone-each shot must make an instant impression. The power of the edited image to make this impression is enhanced by the soundtrack. The soundtrack emphasises the beginning and end of each shot, with almost every scene, and many individual moments, concluding with audible finality.>
the photogenie of the iconicity and nostalgia of the spectacularised Paris. In the world of the movie, Amelieâs first interaction with the past occurs in the same scene as Jeunetâs temporal reference to Dianaâs death, with Amelie discovering a box of treasures hidden behind a tile of her washroom floor. The camera, located behind the tile, shoots from the point of view of the past that the box is tied to, framing Amelie outside of the wall, in the realm of the present. As Oscherwitz elaborates, âBecause this scene occurs so early in the film, it functions to force identification between the spectator and the past, not merely between the spectator and Amélie.â In this scene, as with the rest of the film, Jeunet quite explicitly exploits the photogenic mobility of cinema-cinemaâs mobility in space and time. The juxtaposition between iconicity and indexical relation through the visuals of Amélie informs the filmâs thematisation of visual representation. Jeunet, using the same tactics as advertisements, wooes the audience with his movie of a âstereotyped idea of Paris that exists in the world, rather than recording Paris as it existsâ. With an extraordinary number of shots in the film-over 300 in the prologue alone-each shot must make an instant impression. The power of the edited image to make this impression is enhanced by the soundtrack. The soundtrack emphasises the beginning and end of each shot, with almost every scene, and many individual moments, concluding with audible finality.>
