Analysis of Genre, Stardom, Authorship and Gender Theory Essay

â€Å"Apparently no strictly logical distinctions can capture the variety of factors which create the genres we have† (Nicholas and Price, 1998) This quote demonstrates the complexity of allocating a particular genre to a film, as various aspects need to be considered. Although concrete groupings such as horror, science-fiction, crime and drama exist, the majority of movies contain more than one aspect which renders them difficult to categorise. For example, the difference between an ‘action’ and a ‘thriller’ film can be very fine. Should the length of footage of fight scenes determine them? Should the scale and intensity of adrenaline felt by the audience throughout the story line be considered? Apart from the concrete distinctions between fiction and non-fiction, many subcategories are used. Some genres are based on literature, such as ‘melodrama’ and ‘comedy’; others on the plot, for example the ‘war film’; and still others on media such as ‘the musical’. Furthermore, some genres are categorised by their budgets, censorship rating, racial identities, location, status amongst many others (Stam, 2000). Genres are a way of characterising a film in the simplest way, interpreting and judging without evaluating them. This allows viewers an easier choice when choosing which film to watch since the field has been narrowed down for them. Patterns such as in the plot, theme, and cinematographic technique and which branded star is used in the film are some of the ways the genres are often grouped. These are very commonly broadened because of the other forms of genre groups sometimes jumping in and out of a film are known as sub-genres. In the second edition (Nathan Abrams, 2010) of ‘Studying Film’ it is pointed out that not only are repetitions a requirement in identifying particular film genres, but so are their differences. Viewers take into account not only similarities but also variances between previous films they have seen. Thus when comparing a few films of the same genre, it is important to note that in spite of the recurring themes, each film will have its own individual plot. The use of genres and ‘putting films in boxes’, as it were, can lead to problems for the movie industry as story lines become repetitive, predictive and formulaic, perhaps causing some viewers to no longer hold the genre in such high regard. For this reason it is imperative that difference be a vital ingredient within categories as well as between them to provide more variation, innovation and flexibility within their general parameters. Films are automatically divided up using the genre categorisation, for example when you walk into a DVD store and looking for a film, they’ll be physically divided up through their classifications; Horror, Sci-fi, Crime, Drama, Action, Thriller, Social Realism and more. They might also classify the films by their rating, which in a sense is also a measurement of genre. Whether the film is a U classification for children, a rated 15 film or even a rated 18 film, these sub genres always crop up in promotional campaigns are also known for being genre specific; trailers in the cinema are also grouped together, like when watching a comedy, the trailers being shown in the previews will also be comedy. There are just a few examples as to how genre is divided without making overly noticeable to the audience. Martin Loop (cited in Barry, 2007) argues that genre in Hollywood does not really exist since so many films that are apparently made by an ‘auteur’ were simply influenced by society, and that Directors use different elements from different genres and the trends at the time to make their films. Taxi Driver narrates the story of Travis Bickle, an ex-marine unable to sleep at nights, so he decides to get a job as a night-time taxi driver. Played by Robert de Niro, Travis begins to date a woman working in the presidential campaign office of Charles Pallantine, but after taking her to watch a porn film they split up. Travis becomes increasingly paranoid and results in him buying an arsenal of weapons. After meeting a young prostitute ‘Iris’ played by Jodie Foster, he soon decides to make it his mission to save her from the life she leads. Thwarted in his attempt to assassinate Charles Pallantine, Taxi Driver’s climax occurs when Travis shoots and kills Iris’s pimp Matthew, played by Harvey Keitel and his henchmen. After the massacre Travis finds himself wounded and attempts to shot himself but comes short of bullets. The film ends with Travis being portrayed as a hero in the media for saving Iris’s life and taking her back to her parents. Travis’s search for to find meaning in his life is what motivates and drives the narrative forward. Taxi Driver is almost based exclusively on restricted narrative through the subjective consciousness of the narration of Travis filtering the narrative information through a single character. The camera emphasizes this by keeping a closed door to what is happening around him to a certain extent and seems to follow him almost obsessively as the film progresses. Has its genre made it more of a success? Maybe Taxi Driver being in the ‘Drama/thriller’ genre has enabled it to cross over two genres thus attracting a greater audience. Films are different from books or poems in that they are not simply constructed by a single person but require input from various people including a director, a producer, a screenwriter, actors and studio representatives to name a few. The notion of auteur theory, (translated from the French meaning ‘author’) in the filmmaking industry has therefore been heavily contended (Simpson, 2012). Andrew Sarris, the leading American proponent of the theory claimed in the 1950s and 60s that great filmmaking inspires the type of artistic expression and creativeness one would expect from a major literary author. For this reason we should be able to herald directors as ‘auteurs’, crediting them with ownership of the whole works. Critics maintain, however, that this notion completely ignores the rest of the film crew. A single ‘author’ does not appear to ascribe to movies due to the multiple actors involved. If each role plays an integral part in the process from beginning to end, how can one role claim the title of sole ‘author’? Furthermore, on what basis could ‘authorship’ be claimed? The tendency has been towards extending the title to the director; however perhaps not every director can be considered an ‘author’ if their work is not worthy. Sarris’ arguments have since been used to defend film as equivalent to the other arts; an important development considering earlier perceptions of the industry to be ‘less worthy’ of an artistic status. In this way perhaps in order to qualify as an ‘art’, a film needs an author. This label is particularly important for intellectual property rights and for status and identification. Nevertheless, the notion of ‘authorship’ also causes problems in other art forms; a composer is considered the true owner of the music he writes, but what about the music when it is used in performance at a concert or in a theatre piece? Having briefly outlined genre and authorship and their surrounding issues, this paper will seek to compare the theories to the film of Taxi Driver (1976)by Martin Scorcese to see how well they hold up and whether Martin Scorcese can shed further light on how genre and authorship should be  defined in the movie-making business. http://www. cs. grinnell. edu/~simpsone/Connections/Film/Author/index. html http://www. filmreference. com/encyclopedia/Academy-Awards-Crime-Films/Auteur-Theory-and-Authorship. html Studying film 2nd Edition, Nathan Abrams, Ian Bell, Jan Udris, Bloomsbury, 2010 Film History and Introduction, Kirsten Thomson, David Bordwell, McGraw-Hill, 1994

5 Minute Sppech

Does the thought of writing and delivering a speech terrify you? Most people share your fear. But why remain scared of public speaking when the solution to this age old problem is so simple? Follow these simple speaking tips and you'll be ready to present a decent speech next week. First, take a deep breath and relax your mind. Your challenge is to speak to an audience about a topic that you know something about. In other words, you will be sharing your knowledge in a conversational manner with people who are interested in what you have to say. Second, break down the elements of your speech.A simple technique to use in your opening is the Attention Grabber Question. Ask the audience a question that will force them to respond either aloud or to themselves. This will get people involved with your topic and provide you with the positive feedback you need to share a quality message. Decide on three main body points that you want to cover. You may even choose three stories or anecdotes to use as the body points. That will make audience sharing even easier. The goal is to make you feel like you're telling a story to a friend. The only difference is that you're telling the story to ten, twenty, fifty or one hundred friends!Finally, your conclusion must challenge, issue a call to action, or motivate your audience to do something positive with the information that you've just shared. The conclusion is the most frequently abused piece of a speech. The speaker typically hurries to finish and leaves out a profound bit of wisdom that the audience needs and wants. Speaker Beware – Don't try to memorize your speech word for word. If you lose your place and grasp for the exact word that makes up your script, you may draw a mind blank and panic. Let's look at a simple speech topic that can quickly be developed into a complete presentation.Suppose you want to talk about container gardening. An Attention Grabber Question might be, â€Å"How many of you have a green thumb? â€Å"Well neither did I until I started dropping plants into pots. † Audience members will either answer yes or no to the green thumb question. You have their involvement at this point in the beginning. Your three main body points may feature three different types of plants you have successfully grown in containers. For added impact, show pictures of your work or bring a sample of your passion for gardening. Props always add another dimension to your presentations. Let your excitement about the topic fuel your words.In the conclusion, simply tell the audience how easy it is to begin container gardening. You may even give them resources to explore for more information. This leaves the audience members with valuable advice that they can use after leaving the room. For beginning orators, consider taking a three by five note card to the lectern. The card should only feature the Attention Grabber Question, the three main body points, and the profound conclusion that sends the au dience home feeling content and fulfilled. Glance at the card only to keep order. Make an effort to look at each audience member.Use a sweeping eye movement so that you're sharing the information with everyone in the room. As you gain confidence as a speaker, you can experiment with hand gestures, vocal variety and body movement. These skills will develop with practice. When you get that next speech assignment, decide to share and not recite your wisdom. Break down the elements of the presentation. Don't let the project overwhelm you. Make sure you give the audience members something to take home. You are offering some information that they can use. With a positive, sharing attitude, you can knock out a quality presentation in only 5 – 7 minutes!

Vampire Academy Chapter 8

EIGHT BURNING WITH ANGER, I FOUGHT harder and better that day than I ever had in any of my classes with the novices. So much so that I finally won my first hand-to-hand pairing, annihilating Shane Reyes. We'd always gotten along, and he took it good-naturedly, applauding my performance, as did a few others. â€Å"The comeback's starting,† observed Mason after class. â€Å"So it would seem.† He gently touched my arm. â€Å"How's Lissa?† It didn't surprise me that he knew. Gossip spread so fast around here sometimes, it felt like everyone had a psychic bond. â€Å"Okay. Coping.† I didn't elaborate on how I knew that. Our bond was a secret from the student body. â€Å"Mase, you claim to know about Mia. You think she might have done that?† â€Å"Whoa, hey, I'm not an expert on her or anything. But honestly? No. Mia won't even do dissections in biology. I can't picture her actually catching a fox, let alone, um, killing it.† â€Å"Any friends who might do it for her?† He shook his head. â€Å"Not really. They're not really the types to get their hands dirty either. But who knows?† Lissa was still shaken when I met her for lunch later, her mood made worse when Natalie and her crew wouldn't shut up about the fox. Apparently Natalie had overcome her disgust enough to enjoy the attention the spectacle had brought her. Maybe she wasn't as content with her fringe status as I'd always believed. â€Å"And it was just there,† she explained, waving her hands for emphasis. â€Å"Right in the middle of the bed. There was blood everywhere.† Lissa looked as green as the sweater she wore, and I pulled her away before I even finished my food and immediately launched into a string of obscenities about Natalie's social skills. â€Å"She's nice,† Lissa said automatically. â€Å"You were just telling me the other day how much you liked her.† â€Å"I do like her, but she's just incompetent about certain things.† We stood outside our animal behavior class, and I noticed people giving us curious looks and whispering as they passed. I sighed. â€Å"How are you doing with all this?† A half-smile crossed her face. â€Å"Can't you already feel it?† â€Å"Yeah, but I want to hear it from you.† â€Å"I don't know. I'll be okay. I wish everyone wouldn't keep staring at me like I'm some kind of freak.† My anger exploded again. The fox was bad. People upsetting her made it worse, but at least I could do something about them. â€Å"Who's bothering you?† â€Å"Rose, you can't beat up everyone we have a problem with.† â€Å"Mia?† I guessed. â€Å"And others,† she said evasively. â€Å"Look, it doesn't matter. What I want to know is how this could have? ­that is, I can't stop thinking about that time – â€Å" â€Å"Don't,† I warned. â€Å"Why do you keep pretending that didn't happen? You of all people. You made fun of Natalie for going on and on, but it's not like you've got a good grip on your control switch. You'll normally talk about anything.† â€Å"But not that. We need to forget about it. It was a long time ago. We don't even really know what happened.† She stared at me with those big green eyes, calculating her next argument. â€Å"Hey, Rose.† Our conversation dropped as Jesse strolled up to us. I turned on my best smile. â€Å"Hey.† He nodded cordially to Lissa. â€Å"So hey, I'm going to be in your dorm tonight for a study group. You think? ­maybe? ­Ã¢â‚¬  Momentarily forgetting Lissa, I focused my full attention on Jesse. Suddenly, I so needed to do something wild and bad. Too much had happened today. â€Å"Sure.† He told me when he'd be there, and I told him I'd meet him in one of the common areas with â€Å"further instructions.† Lissa stared at me when he left. â€Å"You're under house arrest. They won't let you hang out and talk to him.† â€Å"I don't really want to ? ®talk' to him. We'll slip away.† She groaned. â€Å"I just don't know about you sometimes.† â€Å"That's because you're the cautious one, and I'm the reckless one.† Once animal behavior started, I pondered the likelihood of Mia being responsible. From the smug look on her psycho-angel face, she certainly seemed to be enjoying the sensation caused by the bloody fox. But that didn't mean she was the culprit, and after observing her over the last couple of weeks, I knew she'd enjoy anything that upset Lissa and me. She didn't need to be the one who had done it. â€Å"Wolves, like many other species, differentiate their packs into alpha males and alpha females whom the others defer to. Alphas are almost always the strongest physically, though many times, confrontations turn out to be more a matter of willpower and personality. When an alpha is challenged and replaced, that wolf may find himself ostracized from the group or even attacked.† I looked up from my daydreams and focused on Ms. Meissner. â€Å"Most challenges are likely to occur during mating season,† she continued. This, naturally, brought snickers from the class. â€Å"In most packs, the alpha pair are the only ones who mate. If the alpha male is an older, seasoned wolf, a younger competitor may think he has a shot. Whether that is true works on a case-by-case basis. The young often don't realize how seriously outclassed they are by the more experienced.† The old-and-young-wolf thing notwithstanding, I thought the rest was pretty relevant. Certainly in the Academy's social structure, I decided bitterly, there seemed to be a lot of alphas and challenges. Mia raised her hand. â€Å"What about foxes? Do they have alphas too?† There was a collective intake of breath from the class, followed by a few nervous giggles. No one could believe Mia had gone there. Ms. Meissner flushed with what I suspected was anger. â€Å"We're discussing wolves today, Miss Rinaldi.† Mia didn't seem to mind the subtle chastising, and when the class paired off to work on an assignment, she spent more time looking over at us and giggling. Through the bond, I could feel Lissa growing more and more upset as images of the fox kept flashing through her mind. â€Å"Don't worry,† I told her. â€Å"I've got a way – â€Å" â€Å"Hey, Lissa,† someone interrupted. We both looked up as Ralf Sarcozy stopped by our desks. He wore his trademark stupid grin, and I had a feeling he'd come over here on a dare from his friends. â€Å"So, admit it,† he said. â€Å"You killed the fox. You're trying to convince Kirova you're crazy so that you can get out of here again.† â€Å"Screw you,† I told him in a low voice. â€Å"Are you offering?† â€Å"From what I've heard, there isn't much to screw,† I shot back. â€Å"Wow,† he said mockingly. â€Å"You have changed. Last I remembered, you weren't too picky about who you got naked with.† â€Å"And the last I remember, the only people you ever saw naked were on the Internet.† He cocked his head in an overly dramatic fashion. â€Å"Hey, I just got it: it was you, wasn't it?† He looked at Lissa, the back at me. â€Å"She got you to kill the fox, didn't she? Some weird kind of lesbian voo-ahhh!† Ralf burst into flames. I jumped up and pushed Lissa out of the way – not easy to do, since we were sitting at our desks. We both ended up on the floor as screams – Ralf's in particular-filled the classroom and Ms. Meissner sprinted for the fire extinguisher. And then, just like that, the flames disappeared. Ralf was still screaming and patting himself down, but he didn't have a single singe mark on him. The only indication of what had happened was the lingering smell of smoke in the air. For several seconds, the entire classroom froze. Then, slowly, everyone put the pieces together. Moroi magical specializations were well known, and after scanning the room, I deduced three fire users: Ralf, his friend Jacob, and – Christian Ozera. Since neither Jacob nor Ralf would have set Ralf on fire, it sort of made the culprit obvious. The fact that Christian was laughing hysterically sort of gave it away too. Ms. Meissner changed from red to deep purple. â€Å"Mr. Ozera!† she screamed. â€Å"How dare you – do you have any idea – report to Headmistress Kirova's office now!† Christian, completely unfazed, stood up and slung his backpack over one shoulder. That smirk stayed on his face. â€Å"Sure thing, Ms. Meissner.† He went out of his way to walk past Ralf, who quickly backed away as he passed. The rest of the class stared, open-mouthed. After that, Ms. Meissner attempted to return the class to normal, but it was a lost cause. No one could stop talking about what had happened. It was shocking on a few different levels. First, no one had ever seen that kind of spell: a massive fire that didn't actually burn anything. Second, Christian had used it offensively. He had attacked another person. Moroi never did that. They believed magic was meant to take care of the earth, to help people live better lives. It was never, ever used as a weapon. Magic instructors never taught those kinds of spells; I don't think they even knew any. Finally, craziest of all, Christian had done it. Christian, whom no one ever noticed or gave a damn about. Well, they'd noticed him now. It appeared someone still knew offensive spells after all, and as much as I had enjoyed the look of terror on Ralf's face, it suddenly occurred to me that Christian might really and truly be a psycho. â€Å"Liss,† I said as we walked out of class, â€Å"please tell me you haven't hung out with him again.† The guilt that flickered through the bond told me more than any explanation could. â€Å"Liss!† I grabbed her arm. â€Å"Not that much,† she said uneasily. â€Å"He's really okay – â€Å" â€Å"Okay? Okay?† People in the hall stared at us. I realized I was practically shouting. â€Å"He's out of his mind. He set Ralf on fire. I thought we decided you weren't going to see him anymore.† â€Å"You decided, Rose. Not me.† There was an edge in her voice I hadn't heard in a while. â€Å"What's going on here? Are you guys? ­you know ­Ã¢â‚¬  â€Å"No!† she insisted. â€Å"I told you that already. God.† She shot me a look of disgust. â€Å"Not everyone thinks – and acts – like you.† I flinched at the words. Then we noticed that Mia was passing by. She hadn't heard the conversation but had caught the tone. A snide smile spread over her face. â€Å"Trouble in paradise?† â€Å"Go find your pacifier, and shut the hell up,† I told her, not waiting to hear her response. Her mouth dropped open, then tightened into a scowl. Lissa and I walked on in silence, and then Lissa burst out laughing. Like that, our fight diffused. â€Å"Rose? ­Ã¢â‚¬  Her tone was softer now. â€Å"Lissa, he's dangerous. I don't like him. Please be careful.† She touched my arm. â€Å"I am. I'm the cautious one, remember? You're the reckless one.† I hoped that was still true. But later, after school, I had my doubts. I was in my room doing homework when I felt a trickle of what could only be called sneakiness coming from Lissa. Losing track of my work, I stared off into space, trying to get a more detailed understanding of what was happening to her. If ever there was a time for me to slip into her mind, it was now, but I didn't know how to control that. Frowning, I tried to think what normally made that connection occur. Usually she was experiencing some strong emotion, an emotion so powerful it tried to blast into my mind. I had to work hard to fight against that; I always sort of kept a mental wall up. Focusing on her now, I tried to remove the wall. I steadied my breathing and cleared my mind. My thoughts didn't matter, only hers did. I needed to open myself to her and let us connect. I'd never done anything like this before; I didn't have the patience for meditation. My need was so strong, however, that I forced myself into an intense, focused relaxation. I needed to know what was going on with her, and after a few more moments, my effort paid off. I was in.

Arfa Batik

From the backyard of the founders house, our exclusive hand drawn batik is now a multi million ringgit industry with markets as far ranging as Europe and the Middle East. Our batik fashion house or haute couture combines contemporary design and traditional Malay motifs into batik of simple elegance, and are very much sought out by discerning customers from around the world. WHAT WE DO We are involve in various batik production processes from manufacturing from printing, colouring/dyeing, designing and tailoring, wholesaling, exporting to retailing of our batik products. We seek to open a chain of Noor Arfa Batik retail throughout the world through franchising. Noor Arfa is Malaysian’s largest commercial Batek producer. Noor Arfa has built a reputation as the leading manufacturer of superior hand – drawn fashion items and accessories. We also train and develop master craftsmen that consistently produce quality with excellence. We stand out as leader in our industry in the way we have perfected the art of combining distinct colour with classic designs and traditional Malay motives, to create Batek of simple elegance. The Market Noor Arfa Franchise operates in a dynamic and evolving marketplace. Consumers are presented with many options for batik textile and we see a growing interest in fashionable and contemporary batik that address the need to be trendy and yet unique in identity. We find our customers desiring the look that is Malaysian and yet global in application. Noor Arfa addresses this gap in the market by providing a more comprehensive product range that addresses the various needs of the different segment of the market for batik wear and textile. Our customers would also not have to worry about quality as we provide a consistent buying experience with our quality policy which is to produce excellent quality product that satisfy our customer needs. We also believe there are other areas of the market that would benefit from our products which we have not yet targeted. For example we see huge potential in offering our product to the trendy and fashionable young market which is looking for cool and â€Å"in† fashion wear. This is an area of the market that is fully aware of the benefits of self identity and yet contemporary.

Explain the mechanism of the money multiplier. How can the monetary Essay

Explain the mechanism of the money multiplier. How can the monetary authorities influence its size and the supply of money - Essay Example To this, there will be answering of the study question, â€Å"What is a Money Multiplier?† An economic view will be maintained in this study. The money multiplier is also known as the deposit or the credit multiplier. From the simple point of view, the term multiplier means the magnitude by which money supply expands and this is usually bigger than the rise in the equivalent monetary base. Thus, if the multiplier stands at 20, then it follows that an increase of $1 in the underlying monetary base will lead to a $20 rise in the supply of money. (moneyterms.co.uk, 2011) Money multipliers can be divided into several types. One of these multipliers is the deposit expansion multiplier. This type of multiplier measures by what magnitude money supply can be increased from the original deposit. Thus, the formula that shows how the deposit expansion multiplier works is as under; Where; Reserve requirement is the set deposit reserve for all commercial banks by the equivalent central bank. Taking that the set reserve requirement is 10%, then it follows that the deposit expansion multiplier is Thus, if the one applies the multiplier computed before, and taking that the excess reserves from the original deposit are $800. The potential money supply expansion (M1) is to be determined as follows: M1, which is the sum of the original deposit ($1,000) plus the $16,000 that has been created is, therefore, $17,000. Note that the formula presented is what is usually referred to as the simple money multiplier. (Morton and Goodman, 2003 p197) Under the deposit expansion multiplier there are various assumptions that have to be considered. This is to ensure that the explanations presented make sense. These are with the inclusion of the bank customer’s usage of cheques to pay each other as opposed to usage of cash, banks usually keep a particular deposits’ fraction to take care of the central bank’s reserve

The Loyalty Card as Promotion Tool Essay Example | Topics and Well Written Essays - 6250 words - 1

The Loyalty Card as Promotion Tool - Essay Example Humby and Hunt (2004) are of the opinion that loyalty is more of an emotional concept thus resisting the definition in terms of behavior. This, therefore, champions that loyalty is an emotional concept resulting from the trust. Others also define loyalty as emotional concept built on empathy (East 1997). Building on the idea and recognition that opinions and feelings are active, variables that include but not restricted to social, physical environments, as well as individual abilities, have been known to pre-empt action. On the contrary, this view can be seen as being loyal functionally in that customer tends to be loyal to a company only because of convenience (Barnes 2002). According to (Grisaffe 2001), loyalty does not rotate around behavior, for instance, other is the buyer who has developed the cognitive rule in that they only buy low priced products, because of this such customers will look loyal to that brand over a period of time. This will only be interrupted by the entrance of another brand which is priced lower than the previous. The customer will again change to become loyal to the new product in the market. From this, it is evident that customers are more loyal to their decision rules as opposed to the brands and thereby a proof that loyalty is more than behavior. Of several definitions, the characterization seemed most suitable when discussing the Tesco Clubcard. Suggestions that daily life of loyalty entails â€Å"emotional commitment† and â€Å"monogamy† where one choice overrides the rest has been brought forward (Humby and Hunt 2004, pg 9). To bring out the comparison, retail loyalty concentrates on achieving a bit of goodwill, a slight margin of liking, a rise in the shift in terms of buying tendency. Customer satisfaction can be described in simple terms as the measure of a customer’s expectation is met in totality or not.  

Business Decision Making Essay Example | Topics and Well Written Essays - 500 words

Business Decision Making - Essay Example Statistically speaking, there are two types of hypothesis namely, the null and the alternative hypotheses. During a statistical test, the null hypothesis is tested against the alternative hypothesis. It should be noted that "null" means nothing and that null hypothesis means that nothing is present (Hyperstat Online 2008). Statistical tests are conducted in order to test the viability of the null hypothesis. On the other hand, the alternative hypothesis is an alternative hypothesis which can be assumed if the null hypothesis is rejected. In the case of snack foods, hypothesis testing can be used in order to make business decisions. For example, the company is deciding whether to launch a healthier brand of corn chips to target weight watchers. After an intensive and extensive data gathering, the company wants to test if the introduction will have an impact in their current market share of 35%. Thus, they will need to conduct either one or two tailed test. A one-tailed test looks for an increase or decrease in the parameter under consideration while a two-tailed test looks for any change in the parameter. We will illustrate this further by applying the five steps in hypothesis testing. The first step in hypothesis testing is stating the null hypothesis. For both one and two tailed test, the null hypothesis that the market share will remain 35% can be stated as Ho: x = 36%.