Mathematics : asked on Darkwynd11791

18.02.2023

Compare the area of the bases. if a base has a greater area, it will take up more space on the shelf. base area of box 1: 3x2 base area of box 2: 4x2 – x which box is likely to occupy more space on the shelf? explain. try substituting different values for x.

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Bibin (Bibi) P B

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Box one is likely to contain more space because if x is greater than or equal to 2 then box 2 doesn't have more room than box. so box 1 will most likely hold more space.

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Mathematics

Compare the area of the bases. if a base has a greater area, it will take up more space on the shelf. base area of box 1: 3x2 base area of box 2: 4x2 – x which box is likely to occupy more space on the shelf? explain. try substituting different values for x.

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P Answered by PhD

146

Base area of box 1: 3x2= 6 (this value remains constant)

base area of box 2 if x=0
4x2-0= 8>6

base area of box 2 if x=1
4x2-1= 7>6

base area of box 2 if x=2
4x2-2= 6

base area of box 2 if x=3
4x2-3=5<6

base area of box 2 if x=4
4x2-4=4<6

base area of box 2 if x=5
4x2-5=3<6

base area of box 2 if x=6
4x2-6=2<6

base area of box 2 if x=7
4x2-7=1<6

box 2 is more likely to occupy more space on the shelf. It has a probability of 5/8 of occupying more space on the shelf.

Mathematics

Compare the area of the bases. If a base has a greater area, it will take up more space on the shelf. Base area of Box 1: 3x2 Base area of Box 2: 4x2 - Which box is likely to occupy more space on the shelf? Explain. Try substituting different values for X.

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P Answered by Master

5

Box 1 answer is 6 and b 2 is 8 multiply them

Mathematics

Imran is paid ?286 per week Every week he puts 20% of his wage into a savings account How much does he put into his savings each week

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P Answered by PhD

The answer is in the image

The answer is in the image

Mathematics

An ice cream shop offers 5 different flavors of ice cream and 9 different toppings. How many choices are possible for a single serving of ice cream with one topping?

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P Answered by PhD

For 1 flavor there are 9 topping

Therefore, for 5 different flavors there will be 5*9 choices

No of choices= 5*9

=45

Mathematics

A new school randomly assigns a six-character student code to every prospective student. The school uses the characters 1, 2, 3, 4, 5, X, Y, and Z. If none of the student codes contain a repeated character, what is the total number of codes that can be randomly assigned?

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P Answered by PhD

The total nom of code that can be used is equal to 5+3 = 8

Mathematics

In a parking lot, for every 8 cars there are 7 trucks. What is the ratio of cars to trucks? A)7 : 8 B)8 : 7 C)8 : 15 D)15 : 8

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P Answered by PhD

For every 8 cars there are 7 trucks

Therefore,

Cars:Truck=8:7

Answer is B)8:7

Mathematics

The ratio of tables to chairs at the furniture store is 1:6. There are 30 chairs. How many tables are there?

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P Answered by PhD

The solution is in the following image

The solution is in the following image

Mathematics

A 4300-N force from a car s engines produces an acceleration of 3.3 m/s2. What is the mass of the car? A. 4300 kg B. 1300 kg C. 14,000 kg D. 390 kg

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P Answered by PhD

F=ma

where F=force

m=mass

a=acceleration

Here,

F=4300

a=3.3m/s2

m=F/a

=4300/3.3

=1303.03kg

Approximately it is aqual to 1300kg

Mathematics

If a salesperson makes 6% commission, how much would they make from a $1,800 sale?

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P Answered by PhD

Salesperson will make 6% of 1800

=(6/100)*1800

=108

Salesperson will make $108 in $1800 sales

Mathematics

Stefania pure 2 liters of orange juice and 1.5 liters of pineapple juice into a punch bowl how many kiloliters are in the punch bowl

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The answer is in the image

The answer is in the image

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peer edit this paper
Caroline Hiers
Caroline Baker
THTR-218-01
26 October 2023
The Standard of Historical Fashion Accuracy in Film: Rules are Meant to be Broken. An Analysis of Sofia Coppola's Marie Antoinette (2006) as a Costume Film
In Sofia Coppola's 2006 film "Marie Antoinette," the costumes seem to say, "Let them eat cake, but make it couture!" As we dive into the world of powdered wigs and pastel silk, we must ask: does historical accuracy really matter, or is this a cinematic confection best enjoyed with a pinch of creative license? When watching a period piece, the first thing you notice is the costuming. It's what sets the scene, immerses you into the era, and breathes life into the film. For years, there has been a set standard in filmmaking that if you are to make a period film, it has to be accurate. “The main priority is to always ensure the clothes are believable for the time period…When the attire…stands out by looking like something from another era, it creates a jarring effect…that can heavily disturb the believability of the film,” (Long Para. 1). What happens when you break the rules? Just like Marie Antoinette herself, Sofia Coppola rebelled against societal norms in the name of fashion and self expression.
Historically accurate costuming is a vital component of period pieces, as it plays a pivotal role in transporting the audience to a specific time and place. It functions as a time machine and helps establish a visual and emotional connection between the audience and the past, enhancing the overall storytelling experience. It gives the film believability and credibility. The attention to detail in costuming is a testament to the commitment of filmmakers and theater professionals to honoring the past, preserving its legacy, and educating the present. An example of films with incredible historical accuracy would be “Pride and Prejudice” (1995), “Little Women” (2019), and “Dunkirk" (2017). These films are known for their prestigious costuming and ability to portray the time period with precision.
When directing “Marie Antoinette,” however, Coppola wanted to remain close enough to accurate costuming to allow viewers to connect with the time period, while also allowing her creative liberty shine. The costume designer, Milena Canonero, wanted to simplify and stylize the extravagance of 18th century fashion while also maintaining the believability of the era. Coppola wanted to use the costuming to emphasize the naivety of Marie Antoinette. To emphasize that she was only fourteen years old at the beginning of her reign, they used a pastel and confectionary inspired color palette, as opposed to the popular jewel tones of the 18th century. KK Barrett in an interview with the New York Times said:
“[She] is a naive and impulsive teen who loves clothes, jewelry and sweets…a palette of light blues, pinks and greens reflects her youthful spirit…We freshened the whole palette…pastel vision. We didn’t want to get into the darker, somber colors that Sofia calls the ‘jewel tones.’ We…overemphasize[d] the fact that she was 14.”
Instead of the matronly wear and heavy makeup the real Marie Antoinette adorned, Coppola and her team kept the character fresh faced and used organza and netting frills as opposed to the historically accurate heavy lace, making her ruffles look fresher and softer. They also excluded the use of opulent jewelry because they felt it made her look too mature, and instead used ribbons around her neck to emphasize her youthfulness and naivety as monarch. Another whimsical touch Coppola added was the inclusion of Converse sneakers in Marie’s wardrobe. This was extremely frowned upon by the public at the film’s initial release, but I believe it helped enhance the film even further. Despite this, the costume designer Milena Canonero was awarded an Oscar for Costume Design.
The purpose of this film was to depict Marie Antoinette as not just a monarch, but also a teenage girl thrusted into an entirely different world. The decision to infuse inaccurate details and costuming, specifically the integration of Converse, was deliberate and, in my opinion, enhanced the film. By deviating from strict historical accuracy, Coppola managed to humanize Marie Antoinette. This made her character more relatable to modern audiences. It bridged the gap between the 18th century and the present, inviting viewers to see the young queen as more than just a distant historical figure. She was not only a symbol of decadence and opulence, but a woman struggling to navigate the complexities of power and privilege. The color palette and stylized costuming was geared towards a strongly feminine audience and was a cinematic display of hyper femininity and a female perspective on the life of Marie Antoinette. The decision to blend historical and modern elements breathed fresh life into the period piece, ultimately enhancing the film's impact and resonance. This is not the only film that benefited from historical inaccuracies. We have seen other period pieces become highly successful and publicly adored due to its inaccuracies. For example, many believe that the “Pride and Prejudice” (2005) film was more entertaining than the “Pride and Prejudice” (1995) adaptation. The 1995 film was extremely meticulous with its costuming and was flawless in its accurate costuming. The 2005 film, however, stylized the costumes to have a fresher and more modern appeal. “Unfortunately, with its prim and stiff costuming and direction, [it] lacks any notable stylistic flair, making it a somewhat dull visual experience,” (Long Para. 2).
In my opinion, there should be a balance between strictly following historical accuracy and creative liberty. You must know the rules of historic costuming before you can break them. If the costuming is used to enhance the plot, character development, and marketability, then I see no issue with it. Historical accuracy should not be such a strict and hindering guideline for directors to follow. If we keep hindering directors from expressing their creativity in the name of accuracy and fear of critic backlash, we will be stuck with movies that all seem similar and depict the same unoriginal storytelling. Letting creativity and freshness shine in the film industry is just as important as historical accuracy, and we have seen the patterns of recent successes that prove this to be true, “Marie Antoinette” being a prime example.

Works Cited
Brown, Anastasia. “Sofia Coppola's Marie Antoinette & Its Masterful Costume Design.” Anastasia Brown, December 2021, https://anastasiabrownn.medium.com/sofia-coppolas-marie-antoinette-its-masterful-costume-design-84b8145ed79d. Accessed 23 October 2023.
Coppola, Sofia, director. Marie Antoinette. 2006. Amazon Prime Video, https://www.amazon.com/Marie-Antoinette-Kirsten-Dunst/dp/B000NGYLOM. Accessed 23 October 2023.
King, Susan. “Versailles, done over in pastel.” Los Angeles Times, 10 September 2006, https://www.latimes.com/archives/la-xpm-2006-sep-10-ca-marieset10-story.html. Accessed 23 October 2023.
Le, Mina. “i don’t care that Marie Antoinette (2006) is historically inaccurate!” YouTube, 22 February 2021, https://www.youtube.com/watch?v=6yRmkAe43EA. Accessed 23 October 2023.
Long, Annaliese. “How important is historical accuracy in costume design for period pieces?” The Brantley Banner, 24 October 2022, https://brantleybanner.com/12093/opinions/how-important-is-historical-accuracy-in-costume-design-for-period-pieces/. Accessed 23 October 2023.

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