The term essay hooks is the introductory part of the essay that grabs the reader’s attention. It gives him a chance to decide and make up his mind whether to continue reading your work or not. The hooks for essays are actually the baits for readers. While writing any essay, one has to make sure that the topic you choose and the overall article must be appealing to the audience. This way one will be able to grab the attention of readers. It is an interesting sentence or phrase that captures the attention and glues the reader to your piece of writing.
There is nothing brash or hi-tech about Hook Norton. Much of the brewery's intricate machinery is original - the process of brewing has been the same for over 100 years and apart from a new laboratory, stainless-steel copper and cooling system, little has changed. One of the brewery's greatest assets is the mighty steam-driven, 25-horse-power piston engine, dating back to 1899. Today the Hook Norton Brewery has 42 tied houses and 42 employees. In September 1999, 100 years after brewing began in the existing building, Princess Anne opened a new visitor centre and museum, housed in the original maltings.
It’s a thematic point that is crucial to illuminating not only Close Encounters , but also Spielberg’s work more generally. When Close Encounters becomes a special-effects extravaganza in its final act, Spielberg is, like Roy Neary, reaching for the sublime. It is what blockbuster filmmaking at its best is all about: lifting the audience out of their everyday worries and exposing them to extraordinary events. Close Encounters changes before your eyes into a different kind of movie, and its transformation is a neat metaphor for the shifting preoccupations of American cinema. The early scenes have an affinity with the gritty, working-class realities of the New Hollywood of the ’70s, while the conclusion is pure ’80 special effects blockbuster. This, more than the phenomenal success of Jaws , might be where the lingering resentment of Spielberg really started. To the extent that Hollywood blockbusters have been on an orgy of escapism in years since, they have tended to lose the taste for the low-key and everyday. The result is often distancing, as everything on screen is something the audience would never experience. The strength of Spielberg’s work from Duel to Close Encounters is the way it manages to avoid this trap and get the best of both worlds. The films are grounded in a very real world: unlike many Hollywood films, they don’t turn America into an idealised sitcom version of itself. Having established this strong foothold in reality, they then take their heroes into a heightened level of existence that is more exciting, more spectacular, more emotional than the dull lives they live out each day. Spielberg’s imitators have rarely equalled his gift, in these early years, for matching the satisfactorily ordinary hero with the thrillingly extraordinary situation, which is why so many of the blockbusters that followed – including several of Spielberg’s own – have been so wretched. Yet seen for what they are, rather than what they spawned, the impulse in these early films to look up and yearn for greater things is something to be celebrated, not scorned. In the following years, the transformation from one kind of filmmaking to another that occurs in Close Encounters seemed to permanently transform Spielberg’s work, and his next few movies would play out in unabashedly artificial movie worlds. They would both gain and lose something from the transformation.