Film Analysis: Enhancing the Experience

Originally written October 4, 2010

“The fact is I am quite happy in a movie, even a bad movie. 
Other people, so I have read, treasure memorable moments in their lives.”

~ Walker Perry

For those of us who love the movies, it can sometimes be easy to think of the experience of watching a film simply in emotional terms.  If we like the way the film makes us feel then we rate it highly.  However, like a painting, a novel or even a poem, films are complex works of art which can and should be analyzed and appreciated on the many levels and layers that comprise it.  In fact, rather than diminishing or encumbering the movie-watching experience, I believe that film analysis enhances it, making it richer and more meaningful.  The following is an examination on the best practices for analyzing a film, how this analysis allows the viewer to find and interpret meaning in the film and also my own personal criteria for evaluating movies.

When we think of the magic of film, the theme of the film is usually what comes to mind.  “…Theme refers to the unifying central concern of the film, the special focus that unifies the work… A filmmaker may choose to focus on ideas but is just as likely to emphasize one of the four other major elements (Boggs 2008).”  These four elements are plot, mood, character and structure.  A film has all of these elements but one is usually the main focus.  A good movie will have clear and presentable theme that doesn’t change as the film progresses.  A movie that does not have a clear theme or one that switches between themes loses critical importance and artistic integrity.

Of these four, the most natural to analyze is plot.  Plot pertains to the idea of what is going to happen next.  Because plot usually follows the who, what, when, and how aspect of storytelling, the best examples are action films like Terminator, and Avatar.

 

The mood of film is just as important as plot in terms of theme.  While the plot might state that something is scary, the filmgoer will not feel it unless the film oozes that mood.  Directors such as Wes Craven are masters at eliciting the reactions they want their audience to feel with films such as Nightmare on Elm Street and Scream.  Analyzing the mood of a film is to feel it as the film intends and seeing how effective it is.  It is important to realize that feelings as brought on by a film might be subjective, however in order to analyze the effectiveness of the mood one must be objective in understanding what the filmmaker is trying to achieve.

Focusing on character is different from the others elements of the theme of a film.  “Some films, through both action and dialogue, focus on the clear delineation of a single unique character.  Although plot is important in such films, what happens is important primarily because it helps us understand the character being developed (Boggs 2008).”  The best examples of this are biographic pictures since historical figures are unique individuals that deal with unique events, like Elizabeth or Capote.  However, it would be remiss not to note that character films can be about fictional characters as well and not just an individual.  The best example of this being Twelve Angry Men, a film that features 12 individuals that are at the core of the thematic story being told.

If plot is the who, what, where of a film, mood is the feeling being explored and character is focusing on the protagonist, then structure is the style of the how and why that is important to the storytelling.  Films like Memento or Inception shows the style of the film overcoming all the other elements in becoming the primary focus the filmmakers take.  Inception uses the style of dreams within dreams to make a run-of-the-mill caper story more intellectual stimulating and impacts our mind about what is real and what is not.  Thematically, structure/style can create images and ideas that an audience might not allow themselves to think about until seen on screen.

Theme is not the only primary way to analyze a film.  The story being told by the filmmaker is just as important as the theme.  However, one must look beyond the idea of the story and start to analyze and understand the components that make the story a complex and rich work of art.  A film that is a good example of this is Orson Welles’ Touch of Evil.  On paper, it is a B-movie detective story set in a border town in Texas.  Yet, once watched, the depth of what Welles was really trying to state slowly dawns on the viewer.  Welles accomplishes this by structuring the story in a way that brings out conflicts not just from the protagonist/antagonist relationship between Vargas (Charlton Heston) and Quinlan (Quinlan), but also from the characterization and symbolism presented.  

Dramatic structure is “the aesthetic and logical arrangement of parts to achieve the maximum emotional, intellectual, or dramatic impact (Boggs, 2008).  This can be achieved via either a linear (chronological) structure for the story or a non-linear one.  Touch of Evil uses a linear structure that provides the exposition (introducing the protagonist Miguel Vargas and his wife Susan as well as Quinlan, the antagonist), the complication (the car bomb as seen in the first scene) and the climax.

Non-linear structure has been used effectively in modern film storytelling.  By dropping viewers in the middle of a story and later providing the exposition and climax via flashbacks or dialogue, the filmmakers can create a style that gives a stronger dramatic arrangement.  This in turn engages the viewer to the theme the filmmaker wishes to create.  Directors like Quentin Tarantino (Pulp Fiction, Reservoir Dogs) and Christopher Nolan (Memento) have used non-linear storytelling to create intimate, highly stylized films that engross their audience.

Conflict is what makes the world go ‘round.  In the dramatic arts, there is no truer statement.  Films are no exception.  Without conflict there would be no story to tell, no protagonist vs. antagonist relationship, no obstacles to overcome, no relationships to be built.  In Touch of Evil, you have one major conflict, Vargas vs. Quinlan but like most good to great films, it also has a couple of minor conflicts that enhance the main story.  Conflicts can be internal (self vs. self) and external (self vs. outside force).  A great film usually has both, with one being the center or main conflict.  When evaluating a film, the conflict has to be something that cannot just be an easy obstacle to overcome.  It must complex enough to hold the interest of the viewer yet not stretch their suspension of disbelief to ridiculous levels.  Orson Welles uses the main conflict in Touch of Evil to delve into police corruption and, as the minor conflict facing the protagonist, society’s view of interracial marriage (Charlton Heston plays a Mexican police officer that is married to an American played by Janet Leigh).  Considering that this film was released in 1958 shows the genius of Welles’ cinematic techniques to wrap a detective story around a more taboo subject.

The idea of character is what attaches the audience to a film in an emotional level.  Protagonists usually have good qualities or if they are an anti-hero, some sort of redeeming quality.  Filmmakers use different methods to characterize their subjects.  Dialogue and actions are the easiest ways to create character impression with an audience.  A good evaluator of film uses this as well as internal actions and visual appearance to analyze how the filmmaker wants their subjects to be seen and felt.  Quinlan, the antagonist in Touch of Evil, was played by Orson Welles himself.  From the minute the viewer sees his disheveled and almost grotesque look, the feeling one gets from that character is a negative one.  In the meantime, Vargas, the protagonist, is well dressed and newly happily married.  Even as his world dissolves around him, his ideal of justice allows the audience to continuously root for him.

 

Analyzing the story around a central theme is key to understanding and evaluation a film on its merit.  But it is not the only thing that creates a memorable film.  The word movie comes from a shortening of moving picture and the medium is invariably tied to the visual.  Cinematography and visual design are important to, not only the enjoyment of the film, but to understanding the story being told.

 

Cinematography is the first aspect of film that can hit us with full force.  The spectrum of visuals can be anything from vast western vistas to intimate close ups.  The cinematographer works closely with the director to create the visual statement they want for each scene or even frame.  Selecting the camera angles, the type of lightning, the filters or even the stock of film used invariably leads to the creation of specific feel or emotion to what is being seen by the audience.  Each of these aspects can be analyzed in order to gain a better understanding of what the film is trying to get the audience to feel or think about.  Movies such as John Ford’s The Searchers, Welles’ Citizen Kane, and Akira Kuorusawa’s Rashamon all use the visual spectrum to enhance the stories within the film.  Touch of Evil shows how Welles uses wide-angle lens and tracking shots to create a 3-miunte long continuous opening shot that establishes the story between the characters.  “Welles… elaborated his techniques, using innovative and unprecedented longer takes, hand-held cameras, depth staging, zoom lenses and extreme wide-angle filming with distorted imagery (Cousins, 2004).”

 

Visual design works in tandem with the cinematography to create the visual the director wants.  Under various departments that include makeup, costume design and production design, the entire visual design team helps to bring alive the vision the filmmaker had in mind.  In Touch of Evil, Welles uses his visual design team to create a realistic look and feel to his border towns between Mexico and the USA.  Charlton Heston was transformed by the makeup team to see more swarthy compared to his co-stars Welles and Janet Leigh.  Welles used this realistic approach to his sets and production design that added layers to the story along with a gritty realism. 

The editing process is the most important aspect of post-production since it connects all the disparate parts to create a work of art.  “The craft of editing consists of choosing between two or more takes of the same shot, deciding how long each shot should last and how it should be punctuated, and matching the soundtrack carefully with the edited images (Monaco, 2000).”  A director and his editors are able to create a fully-formed story from hours of raw film by adding special effects, music, sound effects and titles.  The editing process, when used correctly and without overwhelming the story on the celluloid, can be as important to the style and theme.

A filmmaker can have a flawless script, can hire the correct cinematographer, and can have all the post-production skill available to them, however, without actors that can coax the type of performance needed to bring all those thing to life, it is all for naught.  An actor does not just there to speak the lines on the page; they portray the feelings and emotions and in turn allow the audience to experience the film on a more visceral level.  In films like Touch of Evil, the acting performances are not the primary vehicle in terms of telling the story, but they are important.  Without strong performances, the gritty realism of the film would be lost and the subtle themes involved would not get through to the viewer.

None of this would matter if not for the director.  The director takes the script and turns it into a visual and auditory experience that can either tickle the soul or frighten the mind.  It is no question, that when analyzing a film, one is analyzing that vision.  After all, the director must have a clear vision that they want represented.  If this is not done, the film will not be enjoyable to one with a discerning eye and mind.  All of the aspects previously touched on deal with the style of the director.  Touch of Evil is the type of movie that Orson Welles uses to push himself with.  As previously mentioned, he used this “B-movie” to try new styles and new techniques, all with the idea to elevate the simple detective story to a higher plane.

 

So, all these parts and peoples, what do they create?  The simple answer is a film.  But what kind of film; a good one, a crowd-pleaser, an intellectual art house film?  To answer this, one must determine the goal of the film when analyzing a film.  A movie like G.I Joe the heavy action and obvious characterization achieves the goal in creating an easy popcorn-style movie.  However, a film like Requiem for a Dream asks a lot more of its audience.  The goal of the film is to create dirty reality that pushes the audience’s ideals and beliefs beyond their comfort levels.

 

Film analysis is not just about whether or not a filmmaker used linear structure or tracking shots.  It can be about find meaning behind the celluloid.  Meaning can be the theme of the whole film.  This can be a political, emotional, artistic or eclectic experience for the viewer.  Touch of Evil is on paper a genre film but once watched and analyzed it is a subtle political experience that really gives the film meaning.

My own personal search for meaning in a film and the overall evaluation of film is simple.  Did it meet my expectations?  When I go to see a film like Iron Man 2, I expect to be blown away by the special effects, to enjoy Robert Downey Junior’s portrayal of Tony Stark and not to worry too much of the hopefully inconsequential plot holes.  I do this, because I know what to expect.  However, when I go see a David Fincher or a Christopher Nolan film, my expectations are raised.  I might not expect the special effects as seen in Inception, but I do expect a tight story, with strong acting performances and excellent use of post-production that elevates the experience.  I also leave the theatre having a good intellectual discussion with my husband and I leave fully satisfied.  I truly try to judge a film on its merits because it adds and can fulfill the viewing experience.

In the film Le Petit Soldat, the French director Jean-Luc Godard stated, “Photography is truth.  The cinema is truth 24 times per second.”  A film can open eyes and create new truths.  That is what art is supposed to do.  And film, like art, needs to be analyzed in order to get behind the meaning and theme of the filmmakers.   Every filmgoer evaluates films differently, and by doing so they add a deep understanding to their own experience.

References

Boggs, J., and Petrie, D. (2008). The Art of Watching Films (Ashford Custom 7th ed.). Mountain View, CA Mayfield.

Monaco, James (2000). How to read a film: Movies, Media, Multimedia (Oxford University Press 3rd Ed.).  New York, NY

Cousins, Mark (2004).  The Story of Film (Pavilion Books/Thunder’s Mouth Press) New York, NY

Secure Attachment as the Basis for Healthy Development

 

Originally written April 14, 2012

 

As the famous Harlow experiment with the rhesus monkeys tells us, attachment is as vital to survival and healthy development as food and water.  Scientific research on caregiver and child relationships shows that two primary types of attachments can form: secure attachments and insecure attachments.  Secure attachment is considered healthy attachment, and insecure attachment is associated with psychological, emotional and behavioral problems.  The following paper discusses the components of healthy/secure attachment, the importance of the healthy bonds of attachment in infants and toddlers, analyzes the ethological theory of attachment, and outlines insights and suggestions of how parents and caregivers can foster the healthy bonds of attachment with their children.

Components of Healthy Attachment

Healthy, secure attachment is characterized by a few key components: children who are securely attached respond positively in their interactions with parents, and upon being reunited with parents after leave-takings; they greet their parents actively and positively and exhibit mild distress when parents leave; they readily explore their environment, secure that parents are close by; they seek contact with parents when upset and trust in their parents' appropriate responses to them (Rathus, p. 115-117).  Although secure attachment can be more readily observed by a child’s reactions to the absence and return of a parent, the healthy bonds of attachment permeate all areas of infant and toddler behavior.  “Securely attached infants and toddlers are happier, more sociable, and more cooperative with caregivers (Rathus, p. 117).”

The Importance of Healthy Attachment

“That most babies are no longer in danger of instant death from predators matters little; a strong mother-baby bond, properly called attachment, will always be needed to keep babies safe, physically and psychologically, and will remain a part of our evolutionary heritage destined never to change (Heller, p. 55).  Freud believed that the quality of early attachment with the mother provided the basis for all other attachment relationships to follow in a child’s life, and Erikson believed that secure attachment in the first year of life is critical for ensuring a sense of trust in the mother, which is essential for healthy social and emotional development.  In fact, all studies on attachment show that children who are securely attached fare better in all aspects of life than children who display insecure attachment.  Perhaps this is because “the quality of this early dyadic communication has an impact on the infant’s growing view of himself and of his world as he enters toddlerhood and beyond (Tolan & Tomasini, p. 10).”    Children who are secure in their attachments more freely explore their environment and are able to learn with confidence, tend to be more popular with peers and exhibit more positive social interaction with other kids, tend to be more emotionally stable and able to express and manage their feelings well, demonstrate greater ability to handle stress and help others handle stress.

 The Ethological Theory of Attachment

Although the psychoanalytic theory of attachment has its appeal and I agree with Erikson’s view that attachment builds trust, which is essential to healthy social and emotional development, the ethological theory of attachment more closely integrates with my own views of attachment.  I believe that this is in part because I believe that the emotional realm is also tied to biology, Mother Nature’s realm.  And Mother Nature and evolution have refined what works for optimal survival and well-being in all animals, including humans.  “Ethologists note that for many animals, attachment is an inborn or instinctive response to a specific stimulus (Rathus, p. 119).”  Bowlby, “defines attachment behavior as behavior that has proximity to an attachment figure as a predictable outcome and whose evolutionary function is protection of the infant from danger, insisting that attachment has its own motivation and is in no way derived from systems subserving mating and feeding (Bretherton, p. 20).”  So indeed, it may be true that part of the attachment equation is embedded in our genetic code, but it would follow that human, as the thinking species, would also need to develop conscious behaviors to support this instinct.  Mother Nature was right to set the stage for strong attachment.  “the strength of character of our first relationship reverberates in our later relationships.  When things go well, we’ve a better chance for development to run smoothly: to learn to love ourselves and other people, to elicit good feelings from others, and to weather setbacks (Heller, p. 56).”    

Fostering Healthy Attachment

Given the vital importance of attachment, it would follow that parents and caregivers who want their children to thrive would seek to form close, strong and enduring bonds of attachment.  It is not enough to simply attend to children’s basic needs.  “Institutionalized children whose material needs are met but who receive little social stimulation from caregivers encounter problems in all areas of development (Rathus, p. 121).”  It is necessary to be present with the child, to listen to the child, to get to know their cues and respond to them with adequate urgency.  This is especially important when children are crying and upset.  Ignoring a child’s cries or letting them “cry it out” is a surefire way to derail healthy attachment.  “It turned out that secure attachment was significantly correlated with maternal sensitivity.  Babies of sensitive mothers tended to be securely attached, whereas babies of less sensitive mothers were more likely to be classified as insecure. Mothers’ enjoyment of breast-feeding also correlated with infant security (Bretherton, p. 15).”  Parents must go beyond feeding and diapering and stimulate all of their children’s senses in a caring and nurturing manner, especially touch, which is extremely sensitive in babies.  This includes cuddling with baby, rocking with baby, talking to baby, singing to baby, playing with baby, smiling and laughing at and with baby, and enjoying breastfeeding as the first choice for feeding baby if the mother is able.

Conclusion

As seen above, healthy attachment is reflected in the happy, well-adjusted child, who will likely to grow up to be a happy, well adjusted adult.  The importance of this healthy attachment is underscored by the myriad of problems that can arise when attachment fails, and that the ethological theory of attachment posits that we not only benefit from secure attachment but that we are biologically and evolutionarily programmed for it.  Further, it is important to note that parents can consciously affect their attachment relationships with their children by making an effort to be sensitive, perceptive, caring, and nurturing in all their interactions together.        

References

Bretherton, I. (1992) The origins of attachment theory: John Bowlby and Mary Ainsworth.  Developmental Psychology (1992), 28, 759-775.  Retrieved from http://www.psychology.sunysb.edu/attachment/online/inge_origins.pdf

Heller, S. (October, 1997) The vital touch: how intimate contact with your baby leads to happier, healthier development. (Eds.) New York, NY: Holt Paperbacks 

Rathus, S.A. (2011) CDEV 2010-2011 Edition. Wadsworth, Cengage Learning.

Tolan, W. & Tomasini, L. (March, 1977) Mothers of "Secure" Vs. "Insecure" Babies Differ Themselves Nine Months Later.  Retrieved from http://www.eric.ed.gov/PDFS/ED135495.pdf

12 Principles of Effective Leadership

Originally written August 7, 2009

Leadership, like love or confidence, is one of those intangible ideas or concepts that people can spend a lifetime trying to quantify and define.  In today’s tumultuous world of economic uncertainty, corporate scandals and apparent end of “business as usual” we have never had greater need for poised, decisive, truly effective leadership: in our governments, in our schools, in our communities and in our organizations.  The following is a discussion on what constitutes effective leadership and steps that can be taken to improve one’s effectiveness as a leader.

“Leadership is not a position or a title but a living influence where a person or persons move others into the unknown.” (Service, 2009, p. 125)  From an organizational perspective, the character and skills - especially communication skills - leaders bring to the table determine the way problems are handled and ultimately solved as well as how day to day tasks are accomplished.  Therefore, organizational leaders determine the ultimate effectiveness and success of the organization.  So what makes a leader effective?  How does a leader provide proper guidance and ensure the success of his team or organization and how can he or she continually improve upon their performance?

One can look to other recognized leaders, try to identify patterns and behaviors that make them effective and attempt to replicate them.  This year's recipient of the Excellence in Communication Leadership (EXCEL) Award given by the International Association of Business Communicators is Brian J. Dunn, president and chief operating officer of Best Buy Co. Inc., the electronics giant.  “According to Tim Connelly, director of internal communications at Best Buy, who nominated Dunn for the award, “one of Brian's greatest gifts as a communicator is his self-deprecating style.  He is willing - and eager - to make light of himself and his role, is the first to acknowledge that senior executives do not have all the answers, and is genuinely interested in listening to and learning from all of the people with whom he interacts. He personally participates in leading-edge communications activities, and is always accessible and engaged regarding real-time company announcements and discussions” (Anonymous, 2009, p. 125).  This description gives a sense of a leader who is active in his corporate community and cares about what kind of experience those in the organization have on a daily basis.  This is the kind of leader that is regularly “tuned-in” to his employees and places great value on honest and open communication.  “Nowhere is communication competency more important than when individuals attempt to lead and establish vision and direction for organizations”  (Shockley-Zalabak, 2009, p. 235)

Looking to successful leaders such as Brian Dunn for inspiration on how to increase our own effectiveness as a leader is extremely important, but there may also be more straight forward approaches to help us in this quest.  In a landmark research study that later became a book, Robert Service set out to determine and measure the characteristics, actions and traits that led to effective leadership.  Much like the measurements IQ and EQ, this is the LQ: Leadership Quotient.  “The Leadership Quotient helps one, realize the traits, abilities, and behaviors that one naturally has and does not have and how to adapt those to followers and environments.”  (Service, 2009, p. 130)  Where does the process begin?

As Socrates said, “Know Thyself.”  “Self-awareness is a key to leadership effectiveness.  Understanding personal preferences, behaviors, and problem situations is fundamental to discovering why some leadership efforts succeed while others fail.” (Shockley-Zalabak, 2009, p. 244)  However, it is more than just identifying your own patterns and frameworks.  “… beyond understanding of self and others there must be the willingness and desire to: a) identify real issues, not the presenting complaints—which are simply manifestations of real issues, b) admit the state of reality for the leader and the situation, c) define and plan an approach, d) take action, e) measure, f) improve, g) and go back to step a) again.” (Service, 2009, p.131)

In the quest to evaluate and therefore improve leadership abilities, Service identified 12 primary characteristics or quotients that can be focused on to increase leadership effectiveness.  It is important to note first that these quotients are not separate concepts, but that they act interdependently.  The author also attempts to make distinctions between characteristics that are likely natural or part of the leader’s “personality” and characteristics that are likely learned over time, or nurtured.  At the same time keeping in mind that the lines between “nature” and “nurture” are not clearly defined but variable and sometimes blurred.  For each quotient the author also identified the negative side of those same characteristics as barriers to leadership effectiveness.  For the purposes of this examination I will focus on the positive manifestation of each for leadership improvement.

“Desire Quotient: Effort, drive for results, persistence - basically a willingness to do whatever it takes.” (Service, 2009, p. 144)  This relates to a leader’s ability to demonstrate passion for his purpose and mission.  Society tends to reward and respect those who have been pursuing a specific goal for long periods of time and those who have not given up despite difficulties and obstacles.  A leader with a high desire quotient will passionately and openly care about their organization and inspire others to do the same.

“Reality Quotient: Correctly clarifying inclusiveness, consensus, objectives, forward-sightedness, and visions.” (p. 144)  This relates to a leader’s ability to display an realistic and accurate view of themselves and their environments.  Leaders with a high reality quotient will be more likely to communicate freely with followers about negative or unpleasant issues and less likely to create unreasonable expectations.  In a time where companies are being forced to make very tough decisions, leaders with an elevated reality quotient should be highly valued.

“Emotional Quotient: Self-awareness, social awareness, empathy, exhibited mood, ability to control first impressions of self, and level of validity of assessment of self and others.” (p. 145)  This relates to a leader’s ability to sense and control their own emotions and sensing the emotions of others.  Such a leader is sensitive to intangible qualities of organizational life such as the level of employee motivation and the importance of recognizing employee success.  With companies’ less able to provide monetary rewards, “emotional motivators” need to be explored even further.

“Intelligence Quotient: Best known of the quotients.  LQ©’s IQ replaces the IQ of academic fame with successful intelligence.” (p. 146)  In organizational life this translated to a leader’s perceived competence with not only his own tasks and responsibilities but also his understanding of the roles and responsibilities of employees in other levels of the organization.

“Communications Quotient: Verbal, written, and body language, tone, dialect, clarity, conviction, command, use of silence, volume, vocabulary, presentation skills, and listening effectiveness.” (p. 147)  As the main focus of this course and my chosen field of study, this relates to a leader’s ability to effectively convey thoughts, ideas, intention in a compelling and persuasive way that will inspire others to work toward organizational goals.  One of the most important pieces of the communication puzzle, which is often ignored, and related directly to the ability to develop skills in most of the 12 quotients, is effective listening.  When all members of the organization feel they are properly listened to by their leaders they are much more likely to feel committed to their jobs and their organizations in general.

“People Quotient: Ability to relate with people; includes relationships, social skills, poise and demeanor, teaming, networking, etc.” (p. 148)  This can also be seen as the “popularity quotient.”  However, it is more than just being charismatic and engaging.  A leader with a high people quotient will also be the one with the ability to inspire trust and make other feel connected to organizational purpose.

“Behavioral Quotient: Exhibited external focus, ethics, values, credibility, direction, flexibility, savvy, social graces, timing, inspiration, and dependability.” (p. 148)  A leader with a high behavioral quotient will lead by example.  They will command respect for their display of courage and self-discipline.  They will be seen as fair-minded and consistent.  Consistency is a key ingredient for a sense of organizational stability.

“Appearance Quotient: Manifestation of the correct level of confidence; goes on to include voice, appropriate dress, vitality, alertness, mannerisms, physical appearance, posture, poise, demeanor and fit with the environment from the perspectives of the followers.” (p. 149)  This relates to a piece of popular wisdom I have heard many times – “dress for the job you want, not the job you have.”  Although appearance here does not refer solely to one’s apparel, the perceived effort one puts into their own presentation and grooming at work directly relates to their level of commitment to their positions and their organization.

“eXperience Quotient: Accomplishments, mistakes, seizing the moment, discernment, maturity, insights, intuition, judgment, decisiveness, learning by example, understandability, adaptability, and people and organizational savvy.” (p. 150)  This is usually the quotient which most recent graduates are said to be lacking in.  Unfortunately this quotient can only grow through practice, trial and error, and with age.  However, young professionals can leverage their experience outside the organizational environment in ways that indicate they would translate to organizational life.  For example, many concepts of team sports and student government can be used in corporate settings as well.

“Knowledge Quotient: Leader’s ability to learn, pay attention, recognize, imagine, and keep up to date on technologies. It also includes adaptability, innovativeness, and the ability to evolve.” (p. 150)  A leader with a high knowledge quotient thinks outside the box and comes up with creative solutions for problems.  They are constantly on the lookout for new and better ways to conduct business and is fully aware at all times of the general state of their organization.

“Situational Quotient: Ability to interpret cues and develop appropriate strategies for addressing.” (p. 151)  The leader with a high situational quotient thinks well on the fly, does not get paralyzed by unexpected events or surprises, is always prepared for the inevitable and constant change that is organizational life and maintains composure under any type of crisis.  This is another quotient which is particularly valuable in today’s society where the next crisis is just around the corner.

“Management Quotient: General admin(istrative) skills for systems and procedures, planning, organizing, controlling, staffing; teaming, process, ability to motivate, evaluate and manage, information and knowledge management.” (p. 151)  This is the quotient which reflects attributes most often associated with organizational leaders.  Leaders with highly developed managerial skills will be a valuable resource to employees in helping them get their day to day tasks completed.  These leaders provide employees with essential tools that they need to be successful in their positions.

As seen herein, effective leadership is a complex framework of many attributes, skills and situations working independently to create positive or negative results.  The 12 quotients mentioned do not represent a complete and absolute formula for determining leadership effectiveness, but rather a guide or map with practical, real-world application that can be used by anyone in a variety of situations to help boost the probability that their leadership attempt may be successful.  By simply attempting to evaluate oneself in each of the categories we are already gaining valuable knowledge about ourselves that even without further effort will yield results in providing more insight into our communications with others in organizational life.

In turn, as another important characteristic of leadership we can use this knowledge and insight to evaluate the patterns and characteristics of others and be more able to adapt to different styles of communication as well as assist them in developing their own leadership abilities.  Regardless of what style or approach to leadership you prefer, this guide contains useful information for a variety of purposes – from those attempting to take a more active role in their organization and beginning to take part in leadership activities to those with larger plans like opening their own business.  I firmly believe that everyone is a leader in at least one area of their lives and the practical lessons that can be learned from the twelve quotients can be useful to anyone including parents, working professionals and even as a tool to lead oneself to reach personal goals.  After all, we must first lead ourselves before we can lead others.

References

Anonymous, (July 2009).  Best Buy leader knows how to communicate. Communication World, 26(4), 6-7.  Retrieved August 1, 2009, from ABI/INFORM Global

Service, R. (2009).  The Leadership Quotient: Measuring toward Improve. Business Renaissance Quarterly, 4(1), 125-157.  Retrieved August 1, 2009, from ABI/INFORM Global.

Shockley-Zalabak, P. (2009). Fundamentals of Organizational Communication: Knowledge, Sensitivity, Skills, Values. Boston : Pearson.