Visual storytelling in films

Visual storytelling in films Literature Review Introduction In this preface section, more than a few factors that shape the art of relating visuals and stories in films will be listed down. These factors will be the root of the research in order to perform the methodology analysis of the thesis, in addition to answering the research questions as well as analyzing the obtained results from the research. Visual Storytelling in Films: What is it? The exact description of visual storytelling is hard to pin down succinctly as there are various schools of thought regarding the matter. All the same, The International Film School of Paris (EICAR) had defined it frankly as â€Å"Communicating visually in forms that can be read or looked upon. In cinema a story is most visual when ideas and emotions are expressed through performance and aesthetics as opposed to dialogue.† Based on that characterization it is not hard to understand why Monaco (2000) claims that a film is a language for it ‘communicates’ to an audience. It is not a language in the sense of English, French or Mathematic is, for there is no such thing as grammar or vocabulary that needed learning. Campsall (2002) is in agreement as he elaborated that the language of film expresses the way a film would ‘speak’ to its audiences and spectators which is why directors, producers and editors work to produce meaning from the moving still images of film, video and television. The viewers in the end are responsible in decoding these meanings in a not dissimilar way to interpreting spoken and written language. When watching a film; everyone from various age groups is able to comprehend the visuals they see. Monaco (2000) states further that there are two conclusions, that everyone can perceive and identify a visual image which leads to the above statement. Another is that even the simplest visual images are interpreted differently in by people with different backgrounds. This is because, as human beings, we don’t simply read what we see but we bring to our interpretation of moving images, a range of pre-existing expectations, information and mutual experiences that f orm the significance we take from what we see (Campsall, 2002). An essential facet of film language is its gripping temperament and its manifestation of realism also known as verisimilitude. As Campsall (2002) wrote, it is not only as if the audiences are watching a bona fide ‘window on the world’, it’s a window that they would desire to remain on watching. Through these means, films are not only capable of being entertaining, enlightening and informing to its viewers, but also enabling them to perceive the world in a particular means. Moreover this makes the film language very much recognized as semiotic what with the usage of signs, codes and conventions. Those who could understand the language are able to see the methods or conventions used for visual storytelling. Throughout this research, there were many books and articles that voiced out their opinions on methods of reading a film; each film jargons have their specific symbolism and usage depending on what the direction of the story. When one is able to properly read a film by means of identifying and understanding the conventions, one would be capable of visual storytelling (Sijll, 2005). Below is the list of the accumulated conventions used in today’s visual storytelling. Visual Storytelling: Space Space in film refers to the spatial dynamics inherent in the frame of a film. One would say that a film frame is akin to a static snapshot thus part of a moving picture. Like a painting, the static image of the frame presents inherent storytelling opportunities. Because a movie is a motion picture, the composition of the frame continuously changes. This added characteristics affords two important story elements – that of screen direction and comparison. Screen direction can suggest antagonism, individualism, and conflict, for example. A moving frame might be used to represent change, similarity or it’s opposite, stasis. Visual Storytelling: Framing a Composition The eye responds differently to various visual stimuli. Among the most important elements that have been discerned are: brightness, colour, size, shape, motion, speed, and direction. Through careful manipulations these elements can be used to guide the audience’s attention and emotional response. As always, content, juxtaposition with bordering frames, and the intersection of other elements will contribute to the viewer’s response. Visual Storytelling: Shape within the Frame Depending on use and context, shapes can be used to suggest ideas and emotions. Traditionally there are three fundamental shapes: the circle, the square and the triangle. Out of these three, many forms can be derived out of them: the half circle, the rectangle, and many others. For each shapes there are certain traditional association made of them. Block (2008) listed in â€Å"The Visual Story† some of the shape meanings. Rounded Shapes are associated with indirectness, passive, romantic, pertaining to nature, soft organic, childlike, safe and flexible. Squares however are direct, industrial, ordered, linear, unnatural, adult, and rigidness. Triangles are for aggressiveness and dynamics. Block cautions that these are not rules for new associations can always be made depending on the need of the story. Shape is merely one element in the frame. Visual Storytelling: Editing Editing is a way of constricting time and space or producing the outcome of a dream sequence or flashback. The results of editing are more often than not seamless and natural that the audiences tend not to be aware of it. In theory, editing is the constriction of scenes through assembly of shots. Different choices of editing could guide the audience’s emotional response. Pudovkin (1926) had set down five editing techniques that remain the foundation of the modern day cutting: contrast, parallelism, symbolism, simultaneity, Leit-Motif. Visual Storytelling: Time A film is a dramatic representation of life. It is made up of scenes ordered to represent the passage of film time through the assembly of edited shots. Film time is rarely paced the same as real life. With the exception of mise-en-scene, most edited sequences manipulate real time. From one cut to another, an opportunity of altering experiences of real time can be made. The reason filmmakers alter time is because they are creating a dramatic story. Only those moments that contribute to its advancement are included, all else is left out. Visual Storytelling: Sound and Music Outside of the musical score, movies rely on three kinds of sound to tell their stories: Dialogues, voiceover and sound effects. While voiceover and dialog are well understood to be writer’s tools, few screenwriters approach sound effects with the same certainty. Yet sound effects are as much the purview of the writer as are visual metaphor, sound effects can also suggest an extended aural metaphor. They can add layers of meaning to a film that are hard to achieve in other ways. Sound effects can be obvious or subtle. They can intentionally draw attention, or manipulate with stealth. They can expose, disguise, suggest establish or reveal. They can also be associated to specific events or characters. Lyrics of music can act as the voice of a character. They can reveal the inner thoughts in a way that can be more interesting than a simple dialogue scene. Lyrics can also act as the voice of the narrator. They add another delivery system with which to parcel out character and thematic information. In other times, music is symbolically used as a story element. Visual Storytelling: Transitions The movement between the end of one scene and the beginning of another is called a transition. Each transition presents an opportunity to convey story information by virtue of how the scenes are cut together. The scene can simply be cut with no intentional reference or constructed to add a story element. A matching transition is one way to exploit this opportunity and can be achieved in an infinite number of ways. Visual Storytelling: Lenses, Positions and Motions of the Camera The camera presents a scene – subjects, actions, settings – in a series of shots that render images on a screen. Instead of just placing the camera where an audience can watch the action, the camera is able to provide the audience with engaging visual experiences. Variety is important for if a scene is simply rendered by a continue series of wide shots, the eye will soon tires of repetitions. A good shot will usually contain a variety of camera framings, and angles. For example by exploiting the depth of field of the lenses, each character on scene can inhabit their own horizontal plan. In this way characters can be staged in-depth. This allows the audience to see each character reacting to one event simultaneously and in real time. Different positions also play a part. The closer the camera is to a character, the more likely audiences will sympathise with the character. Visual Storytelling: Lighting and Colour Film interprets subjects and scenes as images of light and shade. Lighting is one of the few aspects in film that has the ability to create a certain reality to the audience. There are a number of different styles of lighting, each designated as a style geared to the theme and mood, as well as its genre. Lightings can also be used to weaken subject matter. Colour on the other hand tends to be a subconscious element in film. It’s strongly emotional in its appeal, expressive atmospheric. In short, colour helps to suggest moods. Visual Storytelling: Props, Wardrobes, and Locations Props provide a dramatic way to express a characters inner world. Props speak visually, are mobile, and can be returned to throughout the movie. By purposely selecting and exploiting props, a film’s scene can be given an added layer of meaning. Wardrobes are the same as props; the decision to include wardrobe elements depends on whether it adds sufficient dramatic value be it to a character, to show character transformation or the passage of time. Another way to externalize the inner thoughts of character is to manipulate the locations. It also offers a huge storytelling potential, for a certain location can heighten drama, suggest parallels and contrast besides defining a character. All three can also serve the purpose of bringing a sense of metaphor to the film. References Arnheim, R. 1969. Film as art. Berkeley: University of California Press. Bellantoni, P. 2005. If its purple, someones gonna die. Amsterdam: Focal Press. Bordwell, D. 1985. Narration in the fiction film. Madison, Wis.: University of Wisconsin Press. Bordwell, D.; Thompson, K. (2006). Film Art: An Introduction (8th ed.). New York: McGraw-Hill Block, B. (2008). The Visual Story (2nd ed.). Burlington: Focal Press Campsall, S. (2002). Analysing Moving Image Texts: â€Å"Film Language† [Online]. Available: http://www.englishbiz.co.uk/downloads/filmanalysis.pdf [2011, January 7]. CustomFlix. (Studio). (2006). Visual Culture: Visual Storytelling [DVD]. (Available from Amazon.com) Douglass, J.; Harnden, G. (1996). The Art of Technique: An Aesthetic Approach to Film and Video Production. Boston: Allyn Bacon Dirks, T. (No date). History of Film: The Pre-1920s [Online]. Available: http://www.filmsite.org/pre20sintro.html [2011, February 25]. Duguid, M. (No date). Hitchcock’s Style [Online]. Available: http://www.screenonline.org.uk/tours/hitch/tour1.html [2011, February 25]. Ebert, R. (2008). How to read a movie. Roger Ebert’s Journal [Online], 14paragraphs. Available: http://blogs.suntimes.com/ebert/2008/08/how_to_read_a_movie.html [2008, August 30]. Freeman, D. (No date). Visual Storytelling in Batman Begins [Online]. Available: http://www2.beyondstructure.com/article_batman.php [2011, February 25]. Gelmis, J. (1970). The Film Director As Superstar. New York: Doubleday Company. Giannetti, L. (2001). Understanding Movies (9th ed.). New Jersey: Prentice Hall Green, D. E. 2003. The proper use of cinematic storytelling in biblical preaching. Hallahan, K. 1999. Seven models of framing: Implications for public relations. Journal of Public Relations Research, 11 (3), pp. 205242. Martz, M. and Hallahan, K. 2009. Filmmakers as Social Advocates—A New Challenge for Issues Management: Claims-making and Framing in Four Social Issue Documentaries. Pedagogical Posters _ 156, p. 119. Metz, C. (1990). Film Language: A Semiotics of the Cinema. Chicago: University Of Chicago Press. Monaco, J. and Lindroth, D. 2009. How to read a film. New York: Oxford University Press. Playboy (1968, September). What did Kubrick have to say about what 2001 means? Playboy Magazine, 10 paragraphs. Available: http://www.krusch.com/kubrick/Q12.html [2010, 12, December] Pimenta, S. and Poovaiah, R. 2010. On defining visual narratives. IDC Design Research Journal, 3 pp. 2546. Pudovkin, V. (1926). Film technique and Film Acting. New York: Grove Press Rosenbaum, J. 2010. Goodbye cinema, hello cinephilia. Chicago: University of Chicago Press. Sijll, J.V. (2005). Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know. California: Michael Wiese Ward, P. (2003). Picture Composition for Film and Television (2nd ed.). Burlington: Focal Press Zettl, H. 1973. Sight, sound, motion; applied media aesthetics. Belmont, Calif.: Wadsworth Pub. Co.

Physics of Rifle Recoil :: physics recoil gun guns

Missing figures Recoil, commonly referred to as "kick," occurs as a result of Physical properties at work. However, it is often undesirable because it can be uncomfortable for the shooter and can reduce accuracy. The purpose of this webpage is to discuss the physics involved with rifle recoil in order to address various methods of minimizing it. Rifle recoil is most simply explained by Newton's First and Second Laws of Motion. When a rifle is fired, a force is exerted on the bullet that projects it forward. By Newton's 1st Law, it can be inferred that and opposite force will be imposed on the rifle. From Newton's 2nd Law it can be deduced that this force can cause an acceleration (linear or angular) which results in velocity and therefore kinetic energy. Energy is also transferred into the marksman in the form of work. The total of this energy is called Recoil Energy and can be calculated. When a gun is being held at rest, there are three forces acting on it. The weight of the gun pushes downward, and the shooter's hands exert a normal force upward on the gun as shown in Figure 2 below. The point P represents the point of contact between the stalk and the marksman's shoulder. Image - Torque 2 [Figure 2] When the gun is fired, the bullet is projected forward by a force, and an opposite force (F) pushes backward on the gun. Since the barrel where the force is acting is slightly above the point of contact with the shooter's shoulder, torque is created. The normal forces put on the gun by the shooter's hands momentarily become negligible.* The forces acting on the gun directly after the gun is fired can be simplified as in Figure 3. R is the perpendicular distance between the recoil force and the point P. L is the perpendicular distance between the location of the force due to gravity and the point P. The resulting linear and angular acceleration can be seen in Figure 4. Image - Torque [Figure 3] Image - Torque 3 [Figure 4] The elevation caused by the angular acceleration can decrease accuracy by altering the trajectory of the bullet, and the horizontal acceleration causes a force to be exerted on the shooter's shoulder which can be painful. *This suggestion is not completely accurate because the shooter's grip will put a downward force on the gun when the gun is fired.

The Beauty of Language Essay -- Personal Reflection Essay

Your heart cannot be simply defined as an anatomical organ. Although it functions to pump blood throughout the body, the true essence of the heart is much deeper than science. The true essence of the heart lies somewhere within the limitless realm of art; submersed in the passion that runs through your veins, it fiends desperately to be admired. My heart is filled with a love for writing. Besides writing to complete tasks and assignments, I write to unveil the beauty of language. This beauty, created simply with words, meaning, and punctuation, is one that is uniquely crafted by its author. I, like many writers, have learned what it means to truly craft a piece of work. Before entering college, I had become accustomed to writing one draft essays. I never appreciated or understood the need for multiple drafts and peer review. Interestingly enough, in my Introduction to Rhetoric course with Dr. Mary Lamb, we discussed the difference between one-drafters and multi-drafters. One-drafters, as the name might imply, usually complete writing tasks in one shot. They revise and edit during the writing process and oftentimes consider their work to be complete; multi-drafters, on the other hand, write multiple drafts of their work and are continuously revising. As I have learned, neither writing style is necessarily better than other. This is because both types of writers are actively thinking about ways to better their work, whether it is by correcting grammatical errors or creating new ideas. Needless to say, I was a devoted one-drafter, but for some of the wrong reasons. I was always convinced that my first draft was always my best work. This was mainly because I did the majority of my revising and editing while writing (as I am doing ... ...elpful start to building my professional writing career. With each of these projects, I was given at least some, and in many cases, a lot of flexibility to be creative. I learned the functions of different types of documents and audiences. I now appreciate and understand the significance of rethinking my work and allowing change. I know that there is always room for improvement as every writer strives for some kind of perfection. Since entering college I have definitely witnessed my growth as a writer. I understand how words, grammar and usage each play a part in the meaning of language. However, as I continue to write, I know now that the true essence of writing comes from the heart. It is the passion that guides language; although the brain allows us to function, it is the heart that keeps us alive; and my heart while forever be filled with a love for writing.

Is Macbeth a Tyrant or a Tragic Hero? Essay

A tragic hero is someone whos fatal flaw, combined with other external factors, bring about ones demise, which is demonstrated by Macbeth in Shakespeares play Macbeth. Macbeth is portrayed as a courageous, brave and noble man who was haunted by superstition and an overpowering ambition. Factors that contributed to the degeneration of Macbeth include the prophecies told to him by the witches, the influence and manipulation of his wife, Lady Macbeth, and finally, Macbeths deep driven intent to become king. Although seen as a daring and valiant hero at the beginning of the play, Macbeths evil desires and long time ambition causes his downfall. Even though Macbeth seems like a malevolent and murderous tyrant towards the end of the play, he is ultimately a tragic hero. The prophecies given by the witches contributed to the degeneration of Macbeths character. The witches foretold that Macbeth would become Thane of Glamis, Thane of Cawdor and the King of Scotland. If not for the prophecies, Macbeths curiosity and ambition to become King might never have aroused. To be king stood not within the prospect of belief to him before he had heard the prophecies, however, when hearing the prophecies of becoming king, horrible imaginings of murder, though fantastical, had come across his mind. As the play progresses, Macbeth increasingly relies on the prophecies given by the witches stirring up Macbeths curiosity and ambition which factor in corrupting his character and sending him to his dusty death. The manipulation and influence of Lady Macbeth was also a factor of Macbeths downfall. When Lady Macbeth reads her husbands letter, she is afraid that Macbeth is not evil enough to do what he must to seize the crown. She wishes her husband a quick return so that she can pour her spirits in his ear and chastise with the valour of her tongue. Although Lady Macbeth seems like a lovely and polite lady, she is in fact a vicious and manipulative woman full of malice. She is also a horrible influence on Macbeth telling him to look like the innocent flower, but to be the serpent undert as well as telling him he was a coward when he was afraid to murder King Duncan. After Macbeth had slaughtered King Duncan, he was filled with a guilty conscience, regretting his wrong. His wife however, thought he was infirm of purpose. This was the first murder that Macbeth had experienced, however after the first murder, killing seemed to be the only solution to maintain his reign as king.

Probation: Crime and California College Attended

John Augustus is credited with being the father of probation. A Boston shoemaker, Augustus spent his spare time observing what took place in the courts. Disturbed that minor offenders and common drunks were often forced to remain in jail because they had no money to pay off their fines, he convinced authorities to let him pay their fines and offered them friendly supervision. When the defendants later came into court for sentencing, Augustus would report on his progress toward reformation. Augustus efforts encouraged his home state of Massachusetts to pass the first probation statue in 1878. Four more states had followed suit by 1900. Probation was thus established as a legitimate alternative to incarceration. The first juvenile court was in Cook County, Illinois in 1899. The enabling legislation eventually passed at state and federal levels not only enacted statutes that permitted probation, but eventually defined specific categories of offenses for which probation could not be granted. It is clear that the legislators enacting probation statues intended juvenile offenders and misdemeanants to be its beneficiaries, not hard core criminal offenders. Probation is a sentence serves while under supervision in the community. Its goal is to retain some control over criminal offenders while using community programs to help rehabilitate them. Today, probation is the most common form of criminal sentencing in the United States. Those sentenced to probation must agree to abide by court mandated conditions of probation, with a violation of conditions possibly leading to probation revocation. Two types of conditions are general and specific. General conditions apply to all probationers in a given jurisdiction and usually require that the probationer obey all laws, maintain employment, remain within the jurisdiction of the court and possess no firearms. Specific conditions may be mandated by a judge who feels that the probationer is need of particular guidance or control. Depending on the nature of the offense, a judge may require that the offender surrender his or her driver’s license; supply breath, urine, or blood samples as needed for drug or alcohol testing. The judge may also dictate special conditions tailored to the probationer’s situation. The rapid growth of serious and violent crime in America during the 2980’s contributed to prison overcrowding and spurred a movement toward the increase in the use of felony probation. Prison overcrowding and bulging jails forced the correctional administrators to take a close look at some other categories of felons for relief of an over taxed system. Front end solutions are alternatives sentences such as probation and intermediate punishments that include house arrest, deferred prosecution, electronic monitoring. Back end solutions refer to ways used to reduce prison populations, after the offender arrives in prison. Often viewed as â€Å"early out† or â€Å"extended limits† options: parole, shock parole, expanded good time credits to count against minimum sentence, work and educational furlough, prerelease to halfway houses. Name: Essie Stevens Position: Probation Officer, San Bernardino, California College Attended: Howard University (BS, Criminal Justice) What criminal justice related jobs have you held? Straight out of high school, I took a job as a security guard at the local mall. I had no experience but they took a chance with me. I learned a lot from working there. After about 9 months, I left for college. After college, I pretty much had it in my mind I wanted to be a probation officer. I read on the internet that a small California town needed members of their team. I scheduled a meeting and I’ve been here ever since. How would you describe the interview process? It actually was pretty easy. I stood before three members of the Department of Corrections. I was asked a few questions. I was hired on spot. To this day, I still do not know if it was because my resume was excellent or if it was because they were in desperate need of staff. Please describe your job I am a probation officer for about 115 men, women, and juveniles. My role is to keep tabs on their progress, make sure they are heading down the right paths. I attend court with most of them every 3 weeks to inform the judge of their progress. I also see each of them at least once a week in order to ensure they are complying with all conditions of the program. What is the typical starting salary for this position? $17. 35 per hour What qualities or characteristics are most helpful for this job? You have to be strong and you must have a backbone. I’m not saying you have to be tough all the time but you need to let the offender know you may be nice but you’re about business. You have to be firm in making decisions. Do not let the offender walk all over you. It’s okay to have friendly conversations but always keep it professional. Get to know the offender. I have found that it’s easier for the offender to open up to you when you show interest in their lives. What is a typical day like for you? From the time I come into work (9am) to the time I leave (10pm), I am either meeting with my new juvenile offenders or checking up on the older ones. I usually break for half an hour to review paperwork. What career advice would you give someone in college beginning studies? Pay attention. Trust me; you’re learning some real important material. Apply for internships; they will help in the long run. Network! Now is the time to get in good with as many professionals as possible.

Behavior is hereditary Essay Example for Free

Behavior is hereditary Essay The whole issue of nature and nurture is complex with potential debates centered round their influences on human development. Nature refers to the traits inherited from parents while nurture refers to the influence of the environment to an individual’s behavior (Lippa 2005, p. 26). Psychological research shows that both nature and nature have a general influence on the physical and behavioral characteristics of people. This paper seeks to explain the factors which affect nature and nurture. The nature theory holds that human behavior is hereditary. True to the theory, some traits such as blood type and eye color are known to be predominantly genetic. It can therefore be asserted that genetic variation of people affects the development and characteristics of the next generation (Lippa 2005, p. 28). Nurture on the other side holds that the environment in which an individual is brought up in influences his or her behavior. In this context therefore, it can be acknowledged that the ability of an individual to interact and conform to the societal requirements and the environment at large affects the degree to which the environment can influence the individual’s behavior (Lippa 2005, p. 28). Still to be noted here is the effect of age on the influence of nature and nurture. Inherited traits are first noticed when a child is born. As the child grows up to teenage, behavioral characteristics are predominantly influenced by the environment because of the interactive nature of people at this stage of growth as well as the ability to conform to peers and the society at large (Lerner & Bearer 2004, p. 86). At adult stages, people tend to become more independent hence less influenced by the environment. At this stage therefore nature prevails but the nurture traits acquired at early stages of growth remains effective. In conclusion therefore, nature and nurture are undoubtedly influential to human development. Nature gives inborn traits while nurture takes these inborn abilities and changes them with age to fit the individual’s environment. ? Bibliography Lippa, R 2005, Gender, nature, and nurture, Lawrence Erlbaum Associates, Inc. Lerner, R, & Bearer, E 2004, Nature and Nurture: The Complex Interplay of Genetic and Environment. Routledge: New York. Behavior is hereditary. (2016, Sep 12).

Pro's and Con's of the Chain of Command Essay Example | Topics and Well Written Essays - 1000 words

Pro's and Con's of the Chain of Command - Essay Example It is largely based on the organizational hierarchy and the size of the business. The aspect of ‘Chain of Command’ is termed to be essential for an organization due to the fact that it assists the employees to understand their roles and responsibilities in the organization. It also assists the top managerial team to supervise the organisational operations in a systematic and organized form (Schulman, M. & Kowadlo, B. F., â€Å"Working Smart†). On the contrary, due to the changing scenario of business in the modern era, various disadvantages and complexities are arising in maintaining a specified ‘chain of command’ within an organization. With this concern, the paper shall aim at identifying the various pros and cons of ‘chain of command’ in the managerial aspect. 2. Advantages of ‘Chain of Command’ In the managerial perspective, the aspect of ‘Chain of Command’ is termed to be one of the crucial factors of organi zational behavior. It not only determines the organizational hierarchy but also signifies the roles and responsibilities of every associate in a specified manner. On the whole, it assists the executors of a business to form a well-structured organizational chart, which considers three aspects, i.e. line of authority, line of responsibility and line of communications in the internal environment of the organization (Schulman, M. & Kowadlo, B. ... Hence, it assists the top level managers of the company to organize the company’s operations in a systematic manner (Schulman, M. & Kowadlo, B. F., â€Å"Working Smart†). 2.2. Lines of Responsibility The ‘Chain of Command’ also assists the organizational structure by defining the lines of responsibility. To be precise, the line of responsibility signifies the responsibilities of every participant according to their power of authority and position in the organizational hierarchy (Schulman, M. & Kowadlo, B. F., â€Å"Working Smart†). 2.3. Lines of Communication Apart from determining the lines of authority and responsibility, the ‘Chain of Command’ also specifies the lines of communication, i.e. the flow of information from the top level management to the lower level workers in the organizational hierarchy; and the flow of accountability from the lower level worker to the top level management group (Schulman, M. & Kowadlo, B. F., â€Å"Wo rking Smart†). 2.4. Other Advantages Other than these basic advantages, the implication of ‘Chain of Command’ also has many other pros to benefit the organization and its stakeholders at large. They are as follows: By providing a firm structure of the organizational hierarchy and demonstrating the various lines of authority, responsibility and communication, the ‘Chain of Command’ assists the organization to utilize its resources with minimized wastage It also assists the employees to enhance their managerial, leadership and generic skills Helps eradicating confusion uprising in terms of authority, responsibility and communication in the internal environment of the organization Source: (Mukherjee,