The Relationship Between Cinema And Literature Film Studies Essay

The Relationship Between Cinema And Literature Film Studies Essay Introduction: CINEMA and LITERATURE are connected /related to each other but still they are different in their own ways.It has always been one of the most fascinating forms of knowledge which has made great impact on human psyche. From the early magical experiments till the recent release of Ron Howards Angels Demons the relationship between cinema and literature has always been closely intertwined. It has proved on the whole a successful symbiosis, a relationship that remains to this day as inextricable as it is fruitful. Some half century ago, even one French film critic proposed the question as to whether the cinema was capable of surviving without the twin crutches of literature and theatre and the answer was no. Cinema is a nascent art, and as such, it has sought in its most vulnerable years succour from the previous generations of theatre and literature. This Borgesian library traversing ages, cultures and continents, written in a thousand languages, incorporating multitudinous philosophies and wildly incompatible theologies is the rich and fertile soil in which cinema has firmly planted its roots and has ever since flourished because it has recourse to the literature of millennia. Cinema has been a thousand years in the making. The literature of antiquity has provided endless inspiration for cinematic epics likeThe Bible has spawned such films as The King of Kings (1961), David Bathsheba (1951), The Robe (1953), Samson Delilah (1949), and The Greatest Story Ever Told (1965) there are countless others. The story of the prophet Moses was most memorably filmed by Cecil B. DeMille as The Ten Commandments (1956), a film that was an amalgam of several novels that were themselves based on the written word of the Hebrew Prophet himself Hindi cinema portrays women in more risquà © clothing, but that doesnt signify progress.   If anything, in their visual and story portrayal of women, most movies seem to be taking India backwards. The British may have left India long ago, but the obsession with fairness and the idolization of foreigners hasnt lessened.   There are an overwhelming number of non-Indian women in dance numbers and landing roles, as in the case of the Brazilian actress in Love Aaj Kal.   Even most of the stars who make it are increasingly the Western ideal: fair and blue-eyed or the ramp model  no Sridevis or Madhuri Dixits to be found. Movie stars represent idealized visions of female beauty, which does change through generations.  Secondly, movie plots are riddled with the outdated virgin or vamp characters.   The vamp is overtly sexual, as if that alone shows strength.   But, if sexuality is to be empowering, it has to be owned, not just the fantasy of men in an item number.   Though stories may demand certain types of characters sometimes, most of the time in Bollywood, the modern, and often bad, woman becomes the one in less clothes and the good woman is the sacrificing, loyal one, even if it means being humiliated.   Even in comparison to decades ago, the handling of wives and affairs is offensively regressive in movies, like No Entry and Biwi No. 1. There were more powerful female characters 30 years ago as in Sharda. Movies like Salaam Namaste may feature strong women but the story unmarried couple deciding to have a baby is so far removed from average Indian society that they might as well be fantasies.   Women fare better in the indie cinema scene, like Dor or Fashion. Since the inception of cinema, literature has attracted all creative filmmakers. In India, pioneers like Pramathesh Barua and Debaki Basu have based their films on the works of writers such as Sarat Chaterjee,. Satyajit Rays film Pather Panchali, which first brought Indian cinema international acclaim, was based on the great work of literature, by famed writer Bhibuti Bhusan Bandopadhyay. Eminent directors across the world are still making films based on the works of Shakespeare, Dickens and Hemingway. This proves, beyond doubt, the irresistible charm literature holds for filmmakers! PROPOSED CHAPTERIZATION- First chapter: How cinema and literature are related It is said that if youre going to see a movie based on a book you think is worth reading, read the book first, you can never read the book with the same imaginative responsiveness to the author once you have seen the movie. Cinema is also used in a response to poetry. The tapes and films were chosen out of the American experimental tradition to exemplify various techniques of marrying the two arts. Poetry as the art of utterance and cinema the art of showing, both whole on their own, dont easily make a good couple. But these film and video makers have taken up the challenge anyway by responding to the spirit and the letter of the poet, creating an original cinematic writing. Cinema and language meet head on, not unified as in conventional film, but remaining distinct and dancing, stepping on toes, wooing each other with the charms of mouth and eye and mind. Youll see images own syntax shuffled, blended, chafing and dovetailing with language; youll hear and read poets work while seeing and hearing filmmakers. The advent of cinema in the early 1900s rapidly led to a link between film and literature, the confluence of both medium becoming especially significant during the early 1930s, and a period that is often referred to as the classic cinematic period. Although the relationship between film and fiction has been largely beneficial, often resulting in increased recognition for novels that were previously unpopular, critical study of the convergence has frequently focused on the drawbacks of this adaptive and interpretive partnering. In recent years, the tie-in between literature and cinema has seen an intense and sustained revival, but discussion continues among critics and reviewers regarding the credibility of film adaptations from texts of fiction. Studying the relationship between film and fiction, critics have noted the value and limitation of each medium. A major point of discussion among scholars is the ability of the written word to convey multiple layers of meaning and consciousness, in contrast to the usually linear progression of events portrayed in film. In fact, some theorize that because of the sheer depth and intensity of novel-length narratives, the novella or short story is more often the right length for adaptation to feature film. Although controversy surrounds the adaptive methods employed by the screenwriters for both texts, there is consensus about the success of both the text and film versions of these works. The second chapter: Cenimatic Adaptations- In this chapter ,try to project some of the best adaptations of literary works that have ever happened.In India, whose Hindi language film industry is nicknamed as Bollywood. Which routinely picks up movies and novels from around the world and copies them without credit and usually end up mangling them. But, sometimes, just sometimes, they get it and end up doing adaptations that are better than the originals they are based on. I do not know why. Basically, Hollywood almost always ruins literary adaptations. There is probably something in the methods of Bollywood that suits these works. Some of the best known works in Bollywood are- No.1 is PINJAR, title means Skeleton and this movie was based on Amrita Pritams novel who is also an anti-socialist.. NO.2 OMKARA is Vishal Bharadwajs take on Othello is set in rural UP, where gun-toting gangsters fight with each other for turf control. Bharadwajs adaptation is very close to the original, differing only in little plot details.. NO.3 SURAJ KA SATWAN GHODAN which means the seventh horse of the sun,is another interesting film NO.4 UTSAV is Girish Kannads movie is based on an ancient Sanskrit play called Mricchakatika. But, Kannad fills his movie with so many extras and have them debate theory of aesthetics that this movie becomes a succesful example of making your adaptation say what the original never said The third chapter: ADAPTATIONS of- 1)Pinjar film based on a Punjabi novel by the same name, written by Amrita Pritam is a story of Puro, a young woman of Hindu background, finding herself living a lovely life in a period circling the time of the Partition of 1947 with her family. All is well for Puro,the main protagnst who finds herself betrothed to a wealthy, sweet young man, from a promising family akin to her own background. Her family lives in Amritsar but journeys to their ancestral village of Chattovani to search for prospective grooms. They finally engage Puro to Ramchand from Rattoval, near her ancestral village. Although her life seems to be well-charted, Puros bliss is shattered one day as a leisurely trip in the fields beyond her home with Raj her younger sister turns traumatic as she is kidnapped by a mysterious Muslim man, who turns out to be Rashid. 2)Omkara Omkara Shukla is a baahubali, a sort of political enforcer, leader of a gang which carries out political crimes for the local politici with Langda Tyagi and the movie starts with Langra trying to and stop Omkara from abducting the bride where on the other hand,Dollys father an advocate, mostly referred in the movie as vakeel saab (lawyer sir), is furious and confronts Omi.He puts gun on omkaras head so,to bring a final solution to this issue, Dolly is made to appear in front of her father and clarify that she eloped with Omi rather than being abducted forcefully. She also tells the events of how she fell in love with Omkara. The father leaves feeling betrayed and ashamed. Later in the story when Langda is disappointed with Omkaras poor judgment and jealous of Kesu, his younger, less-experienced, superior; hatches a plot to avenge both his offenders.He On one hand, playing the role of a concerned friend Langda convinces Kesu to appeal to Dolly, Omis lover and bride-to-be to m ollify Omi. On the other he starts to disrepute Dolly by implicating Kesus visits to ask Dolly for her help as meetings in an illicit love affair between the two. During the climax, on the night of their wedding, Omi is convinced that Dolly and Kesu have been having an affair behind his back. In utter rage, he smothers his new wife to death. Langda shoots Kesu with a silent approval from Omi. Kesu is hit with a bullet on his arm. Hearing gunshots and in shock, Indu enters the room where Omi is sitting next to Dollys corpse in remorse. Indu notices the kamarbandh and mentions stealing it, they both understand the fatal misunderstanding and Langda as its root cause. Both the movies are adaptations of the novels .One of them written by an Indian writter and the other by a Britisher.They have their own styles of writing and the way they presented it.But there is one common point on which both the adaptations are similar and that is The role of a women ,it seems that it is a male dominating society and both the adaptations portray it clearly.So the next chapter would be dealing with this only. The fourth chapter: FEMALES SUBJUGATED BY MALES- The portrayal of women in Indian cinema is the biggest clichÃŽÂ ¹ that the discourse on gender has to address. But the more specific aspect of this clichÃŽÂ ¹ i.e. the representation of the female body and the time and space that accommodate it is worth elaboration. Society was very patriarchal during earlier times; men were in control of all monetary assets. When a man died, his money was actually passed on to the closest living male heir and the women were left penniless. While men and women were allowed to choose their own partners, money/wealth/status was very important and often marriages were made on those grounds alone. Both the plots deal with a very different story line but it shows the condition of a women. In pinjar the very first line says Tu janam mein hi mar gayee hoti. Marriage is the only possible course for the heroines life, and the main proagnist does not seem to expect anything more. We even get a hint of the heroiens abduction and the resulting doubts about her sexual purity when her would be husband sings a song about the agnipariksha (trial by fire) that proves Sitas chastity after her abduction by Ravan. In omkara women is used as a commodity,not given any importance.The girl who is ready to leave everything for Omkaras sake is in the end killed by him only.She is treated badly by her husband as she is no more trusted by her husband. This shows that women are only sacrificing and are always at the receiving end.They are always dominated by males starting from the age of Chaucer till 21st centuary.

The Mandala Archetype in Intertidal Life by Audrey Thomas :: Audrey Thomas Intertidal Life

The Significance of the Mandala Archetype in Intertidal Life      Ã‚  Ã‚  Ã‚  Ã‚   Audrey Thomas' novel Intertidal Life, is an account of a woman's struggle for Emmersonian self-reliance and identity. The main character, Alice Hoyle, is forced by her husband to undertake a perilous, painful, and chaotic journey into her subconscious, in order to find her "self". This struggle to obtain a new "self" identity and self-reliance is symbolized throughout the novel by the Jungian archetype of the Mandala; a circular image with a center that represents the: "wholeness of personality, [and] the center of the whole... It is the archetype of inner order; and it is always used in that sense, either to make arrangements of the many, many aspects of the universe-a world scheme-or to arrange the complicated aspects of our psyche into a scheme " (Psych,86). Therefore, in Intertidal Life, the Mandala is an archetype arising "when there is a great disorder and chaos in a [woman's] mind... It appears to bring order, showing the possibility of order and centeredn ess" (Psych,86) Alice Hoyle first experiences chaos and despair when Peter admits to Alice that he no longer loves Alice, and he wants to seek out and find himself. She interprets that the move to the island was simply a tact to get Alice easily out of Peter's life. As Alice says,"It's so strange. I've felt so close to you these last few months. I saw the new room, the move over here as something wonderful, a new beginning to our marriage. I guess what I saw as a sunrise, you saw as a sunset" (20). Moreover, as Alice realizes that her husband, Peter is having an affair with Anne-Marie, and her worldly values and ambitions are tossed upside down, she encounters her first Mandala type dream: one night, Alice had a dream of apples. She was holding Flora in her arms and people were pelting at them both with fruit... She was calling and calling for help (24).    In this dream, Alice is the focus of the center of attention, surrounded by people pelting her with apples. A schematic image is presented which is in the form of a Mandala. Out of this dream, she comes to the realization for the first time, that "the other woman" in Peter's life is Anne-Marie (24). Thus, this Mandala represents, that she is unwanted by Peter, must find away to protect herself from her emotions, and she must seek help, in redefining her life. The Mandala Archetype in Intertidal Life by Audrey Thomas :: Audrey Thomas Intertidal Life The Significance of the Mandala Archetype in Intertidal Life      Ã‚  Ã‚  Ã‚  Ã‚   Audrey Thomas' novel Intertidal Life, is an account of a woman's struggle for Emmersonian self-reliance and identity. The main character, Alice Hoyle, is forced by her husband to undertake a perilous, painful, and chaotic journey into her subconscious, in order to find her "self". This struggle to obtain a new "self" identity and self-reliance is symbolized throughout the novel by the Jungian archetype of the Mandala; a circular image with a center that represents the: "wholeness of personality, [and] the center of the whole... It is the archetype of inner order; and it is always used in that sense, either to make arrangements of the many, many aspects of the universe-a world scheme-or to arrange the complicated aspects of our psyche into a scheme " (Psych,86). Therefore, in Intertidal Life, the Mandala is an archetype arising "when there is a great disorder and chaos in a [woman's] mind... It appears to bring order, showing the possibility of order and centeredn ess" (Psych,86) Alice Hoyle first experiences chaos and despair when Peter admits to Alice that he no longer loves Alice, and he wants to seek out and find himself. She interprets that the move to the island was simply a tact to get Alice easily out of Peter's life. As Alice says,"It's so strange. I've felt so close to you these last few months. I saw the new room, the move over here as something wonderful, a new beginning to our marriage. I guess what I saw as a sunrise, you saw as a sunset" (20). Moreover, as Alice realizes that her husband, Peter is having an affair with Anne-Marie, and her worldly values and ambitions are tossed upside down, she encounters her first Mandala type dream: one night, Alice had a dream of apples. She was holding Flora in her arms and people were pelting at them both with fruit... She was calling and calling for help (24).    In this dream, Alice is the focus of the center of attention, surrounded by people pelting her with apples. A schematic image is presented which is in the form of a Mandala. Out of this dream, she comes to the realization for the first time, that "the other woman" in Peter's life is Anne-Marie (24). Thus, this Mandala represents, that she is unwanted by Peter, must find away to protect herself from her emotions, and she must seek help, in redefining her life.

Pramoedya Anata Toer Essay

Inem, is a short story written by Pramoedya Anata Toer. He was a Indonesian short story writter and a novel writer, born in a village called Blora. Blora was the village in short story where (Gus Muk), his mom, and Inems family lived in. The author refers to his culture and events about his life in the story. His father in real life is a activist who ruined his family by obsessive gambling. Pramoedya writes alot of Indonesian literature. The aspects of culture in â€Å"Inem,† is the tradition of child marriages. In some parts of the world child marriages was a tradition. Girls at a young age were supposed to marry an older boy. The story also shows the reader some of the cultural aspects such as popular entertainment and dances in her area. The characters in the story are, Gus Muk (age6) a boy, also the narrator who basically trails Inems life. Inems father who is a criminal and gambles alot, her mother who lives off batik work and helps the family, and Markaban (age17) who is Inem’s husband. Lastly theres Inem (age 8) a so called beatiful girl in the neighbor hood who had great manners. Inem is in search of happiness with her new life and husband but ends up being a beaten divorcee. Overview/summary It’s a story told in second person perspective about a beautiful young girl (Inem) who is a servant to a boy (Gus Muk) and his mother. In the story Inem is so beautiful and respectful and able to do many things but is only eight years old and Gus Muk is six. Eventually her mother found a man named, Markaban who is seventeen years old. Her mom did not want to let this marriage go so she wants Inem to get married so she can help her familly at home. Inems family and the husband family both accept the marriage. Inem’s father was a criminal who robbed people in the forest, but was never arrested. Inems mother had a talk with Gus Muk’s mother to try and get her to come home. The boys mother disapproves of the marriage and does not want Inem to go on with this. Gus Muk’s mom said † It’s not right to make children mary repeatedly.† Inems mother said that it would be a shame for her not to be married at such a old age. Inem was later taken home to prepare for her wedding day. Gus Muk’s mom did not want him playing with Inem but that did not stop him from going over to play. The day before the wedding Gus Muk sent her family five kilos of rice and twenty-five cents as a gift. The day of her wedding came, and everything was going well, the house was decorated, the tajuban dancing girls was the entertainment, and finally Inem and her husband get married. Inem was officially married and worked with her mom making batik. Every night Gus Muk and his mother listen to screaming and crying when Inems husband wrestles with her. She comes crying to Gus Muks mom and tells her that Markaban beats her and she tells her to go back home and serve Markaban faithfully. Inem comes back again but finally divorced with her husband, and asks if Gus Muks mother can taker her back, but Gus Muks mom denies her request and sends her back home. Inem gets beaten by anyone who wanted to, her family and neighbors could because she was a burden to the family. Although she cries and screams she never came back to Gus Muk’s house.

Microbiology Chapter 1 Study Guide Essays

Microbiology Chapter 1 Study Guide Essays Microbiology Chapter 1 Study Guide Essay Microbiology Chapter 1 Study Guide Essay Chapter 1 Notes * Robert Hooke * Discovered Cellulae (Cells) * Formed Basis of Cell Theory * 1. Cell basic unit of life * 2. All living organisms are made of cells * 3. Must have living cells to make more cells * Anton Von Leeuwenhoek * Father microbiology microscopy * Discovered microorganisms (animalcules) * Disproved microorganisms were heaven sent * Put clean bowl out during rainstorm no microorganism * Let sit * Days later microorganisms formed from air * Ferdinand Cohn Discovered endospores (enable some bacteria to survive adverse environmental conditions) * Why growth occurred in experiments that disproved/proved SG * Louis Pasteur * Definitive experiment that disproved SG * Fermentation * Pasteurization: heat liquid to temp. that kills the most heat resistant pathogen but NOT all (milk) * Vaccination against Rabies (Rhabdovirus), anthrax (bacillusanthracis), Chicken Cholera (bacterium) * Silkworm industry * Disease (protozoan) was killing silk moths * Developed a method to detect diseased moths and separate * Lady Mary Montagu * Wife British Ambassador to Turkey * Developed Smallpox Observed Turkish women engrafting * Spread mild small pox to other by injecting into their veins * Patient would then be immune to smallpox * Reject because she was woman not doctor/scientist * Carl Linnaeus * Developed science of taxonomy * Scientific Nomenclature * Binomial nomenclature * Process of giving all organisms 2 scientific names * Genus species * Edward Jenner * Discovered process of vaccination * Worked with cowpox milkmaids * Milk cowpox scrap pustal scratch skin w/ needle develop mild cowpox immune to smallpox * John Snow * First epidemiologist Traced Cholera epidemic to common H2O pump that was contaminated * Ignaz Semmelweis * Puerperal Fever (child bed fever) major cause of mortality to mothers and infants * Death in midwife ward = low ; death in doctor/med student ward = high * Doctors/med students contact w/ cadavers that previously died from disease * Spread disease to living mothers * Required hand washing with chlorite of lime * Joseph Lister * Concerned with incidence of infection and mortality from surgery * Aseptic Surgery = used carbolic acid (phenol) on incision site, instruments, and bandages * John Tyndall Boiling was not sufficient to sterilize broths and agar * Tyndallization Process: * Liquid is heated to boiling (100Â °C) allowed to sit and cool for 24hours * Liquid is reheated to boiling (100Â °C) and then allow to cool and sit for another 24 hours * Repeat * Robert Koch * Developed concept of causative agent of disease (MO cause disease) * Germ Theory of Disease – developed many microbiological techniques, media and procedures * Tuberculin – thought founded vaccine (incorrect) .. use as first step to determine if person has TB * Fanny Hesse * Worked for Robert Koch Used Agar to convert liquid brother to slid medium * Koch’s Postulates (Identifying which bacteria causes which disease) * MO m ust be present in every case of the disease. Every host must have the same signs and symptoms of the disease * Isolate the microorganism and grow it in pure culture outside the host * Pure culture must be inoculated into a healthy susceptible host. Experimentally infected host must exhibit the same signs and symptoms of the disease * The Microorganism must be reisolated from the experimentally infected host and shown to be identical to the original MO * Paul Ehrlich Concept chemotherapy * Syphilis – Treponema palladium * Compound 606-Salvarsan (Arsenic containing compound) * Alexander Fleming * Accidently discovered antibiotics * Antibiotics = naturally produced compounds that inhibit the growth of other MOs * Working with Staphylococcus aureus (opportunistic pathogen- must be proper conditions to cause infection) * Most antibiotics produced by bacteria, followed by fungi * Martinus Beijerinck * Concept of Viruses * Soil microorganisms-isolated the first soil MOs * Sergei Win ogradsky * Sulfur metabolism by microorganisms * Concept of nitrogen fixation * Biochemical cycles Symbiotic relationships * Barbara McClintock * Transposons – cause Maize (jumping genes- genes move themselves and create different color kernals) * James Watson, Francis Crick, Rosalind Franklin and Maurice Wilkins * Structure of DNA * Molecular biology and genetics * Thomas Brock * Thermophilic microorganisms (high temperature loving microorganisms) * Thermus and Sulfolobus * Lynn Margulis * Endosymbiont Theory * Big prokaryotic cell engulfs little prokaryotic cell * Little survives insides but loses many functions (energy conversion, protein synthesis) * Little becomes mitochondria or chloroplast Eukaryotic Cell evolved * Carl B. Woese * Molecular systematic based on 16sRNA * Improved ability to identify MO * Stanley Prusinier * Discovered Prions * Protenaous Infectious Particles * Luc Montagnier * Discovered human immunodeficiency virus * Barry Marshall and Robin Warren * Ca usative agent of gastric peptic ulcers * MO colonize in stomach * Disbelieved b. c stomach is so acidic and has enzymes * Antibiotics cure ulcers * Demonstrated effect pharmaceutical industry practice of gastroenterology against 2 men

Commercial Drivers License Guide Maine, Vermont, and New Hampshire

Commercial Drivers License Guide Maine, Vermont, and New Hampshire If you live in Maine, Vermont or New Hampshire, check this round up of state guidelines and see what you’ll need to do to be certified to drive safely behind the wheel of a commercial rig!  If you want to learn about earning a CDL at other states, we have put together a comprehensive guide on how to get a commercial driver’s license in every state of the country. MaineTo obtain a CDL:You must have a valid noncommercial license from your current stateYour license cannot be under suspension or revokedYou must not have been convicted of a disqualifying crime in the last 5 years.You can get an application from any Maine Bureau of Motor Vehicles office or online.Written and Skills ExamsYou  will schedule separate appointments for your written and skills exams. You will receive a notice with the date, location, and time for your written test, which will include additional testing for each endorsement you hope to obtain.On your testing day, you must  take an eye exam. If   you successfully pass the written and eye exams, you’ll receive a learner’s permit and a skills exam request card.You must self-certify your type of vehicle operation with the Maine BMV in one of the following driving categories:Non-Excepted InterstateExcepted InterstateNon-Excepted IntrastateExcepted IntrastateIf you choose Non-Excepted Interstate, you must provide the BMV with a federal medical certificate.New HampshireDrivers who currently hold a valid New Hampshire operator’s license and wish to add commercial classifications may appear at any DMV office between the hours of 8:00 a.m. and 3:00 p.m. to begin testing. On that day, you must bring:A current valid New Hampshire licenseAn  applicationA valid, up-to-date  medical cardEvery applicant is required to pass a  vision test and the CDL General Knowledge Test. Based on the desired  classifications and endorsements, you will be asked to take additional knowledge tests. Make sure you know everyth ing you will have to take before you arrive on your testing day.Once you have passed your  required knowledge tests, you will schedule a  road skills test for the appropriate endorsements and classifications.VermontRequirementsYou must be at least 18 years old and hold a valid Vermont Class D Operator’s License to obtain a Commercial Learner’s Permit.You must be at least 18 years old to obtain a CDL and operate a commercial vehicle within Vermont (Intrastate commerce).You must be at least 21 years old to operate a commercial motor vehicle between Vermont and another state (Interstate commerce).You must be 18 years old to obtain the Hazardous Materials Endorsement for Intrastate commerce and 21 years of age to obtain the Hazardous Materials Endorsement for Interstate commerce.What to BringAll Driver Licenses or Learner Permits issued to you by any stateBirth certificateProof of residencyProof of legal presence, if applicableSocial Security NumberDepartment of Transp ortation (DOT) Medical Card, if applicableThe vehicle used for the skills test must have a valid inspection sticker and meet all inspection requirementsYou must also file for a CDL Medical Self-Certification.Good luck!

Emergency Medical Services Research Paper Example | Topics and Well Written Essays - 2000 words

Emergency Medical Services - Research Paper Example It is necessary to immediately begin appropriate resuscitation and at the same time arranging for possible hospital care. Clinically, the presentation of a patient with cardiac arrest is that of sudden loss of consciousness accompanied by loss of pulsation in any major artery such as femoral or carotid. The speed of pre-hospital care is the key since even very minor delays may adversely affect prognosis (Ewy, 2007). It has been recommended that the time taken to assess the circulation in such patients should not exceed more than 10 seconds, and wasting time for noting other confirmatory clinical features would be waste of time without any contribution to the diagnosis. In fact taking care of the patients with cardiac arrest in the pre-hospital settings is one of the defining characteristic EMS of professionals since they are trained to recognize and manage the undifferentiated patient with cardiac arrest, although this can be most effectively accomplished through an appropriate understanding of the pathophysiology of cardiac arrest and developing ability and skills to correlate the principles behind the resuscitation of these patients to those pathophysiological events. ... Clinically, the presentation of a patient with cardiac arrest is that of sudden loss of consciousness accompanied by loss of pulsation in any major artery such as femoral or carotid. The speed of pre-hospital care is the key since even very minor delays may adversely affect prognosis (Ewy, 2007). It has been recommended that the time taken to assess the circulation in such patients should not exceed more than 10 seconds, and wasting time for noting other confirmatory clinical features would be waste of time without any contribution to the diagnosis. d. Implications of emergency pre-hospital interventions in transit In fact taking care of the patients with cardiac arrest in the pre-hospital settings is one of the defining characteristic EMS of professionals since they are trained to recognize and manage the undifferentiated patient with cardiac arrest, although this can be most effectively accomplished through an appropriate understanding of the pathophysiology of cardiac arrest and developing ability and skills to correlate the principles behind the resuscitation of these patients to those pathophysiological events. Although a qualified physician is always involved in such resuscitation teams, the care is delivered by the paramedical staff. e. Modification the prognosis of cardiac arrest However, that does not in any way lead to compromise in the quality of such services since modern cardiopulmonary resuscitation techniques such as closed chest cardiac massage, mouth-to-mouth ventilation, advances in external defibrillation techniques, and development of other relevant noninvasive techniques that can be suitably delivered in the pre-hospital settings have improved the skills of the EMS professionals to an astronomical degree in comparison to the earlier times.

Choosing a Health Care Provider Essay Example | Topics and Well Written Essays - 250 words

Choosing a Health Care Provider - Essay Example He needs a flexible insurance medical cover to allow him contribute premiums according to his financial capabilities. The cover should allow his dependents to access medical care from different hospitals and subsequently cover a range of diseases. Further, it should cover both inpatient and outpatient services in addition to covering minor surgeries and accidents at an affordable cost (Bowers, Swan, & Koehler, 2011). A good provider has certified qualifications in his area of specialization. He has the necessary academic qualifications and experience in health care services. An experienced provider can handle most illnesses without referrals that add cost to the subscriber. The subscriber’s care philosophy should match that of the provider. The philosophy of care relates to how serious the provider takes his role especially in making decisions on treatment. The subscriber should ask about availability of hospital privileges such as personal doctors and 24 hour services. A bad medical provider doesn’t have a sustainable financial record and may stop the medical coverage anytime (Bowers, Swan, & Koehler, 2011). A provider who limits a subscriber’s choice of doctors and hospitals is a bad provider. A provider is also bad if he doesn’t offer a comprehensive cover with numerous benefits. The cover should be affordable over the years regardless of external economic factors and