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The Lord IN THE Wedding rings Trilogy Film Studies Essay

The world of illusion is a part of every child's being. From fairies to dragons, from wizards to goblins, your brain hasn't ceased to wander. As a boy I took to this imaginary world heartily, and I continue to achieve this task till time frame. Hence, I had not been surprised when I came across myself leaning towards The Lord of the Rings as my topic for this newspaper.

The Fellowship of the Wedding ring, BOTH Towers and The Come back of the King, displayed in the set of literature known as The Lord of the Jewelry was compiled by "typically the most popular author ever sold. " (White 6) The man that provided us 'Middle-earth', the territory of Sauron, Gandalf the Gray and Frodo Baggins of the Shire is the one and only Professor John Ronald Reuel Tolkien (1892-1973).

I am studying The Lord of the Bands trilogy to help know very well what it has contributed to the film fraternity and the literary world. Clearly, I have already been a Tolkien admirer ever since I laid my hands on the first publication of the epic trilogy. The reason why I've chosen to study it is because I'd like to attempt to unlock how a fictional epic saga just like the Lord of the Rings can influence both these fields on a global scale. I understood soon enough that it will be a problem, but after reading several literary texts by different academicians I was determined to provide it a shot.

J. R. R. Tolkien is well known the world over mostly for his successes as a writer of fantasy and the creator of GOD, THE FATHER of the Jewelry. Peter Jackson (1961), on the other palm, who's a writer, developer, acting professional and screenwriter, has been involved in projects other than fantasy that have also gained him reward. However, it was Jackson's transformation of any 'trio of catalogs' into a 'trio of motion pictures' that earned him significant appraisal. The quest of this transformation began in 1998.

Jackson reveals that a lot of fans of GOD, THE FATHER of the Rings were probably not familiar with his prior works and may have impression that he "popped out of nowhere and was abruptly directing this huge movie-project. " (Sibley vii) While researching upon this topic I have gathered that most of his acquaintances think of his original perspective as his ideal asset. Having observed some of Jackson's other videos I can say that he has a willpower to showcase even an ordinary story in a very amazing way.

As mentioned in Studying the Event Film: GOD, THE FATHER of the Rings, Jackson first mentions to Miramax of his interest in GOD, THE FATHER of the Jewelry in 1995. By July of 1998 Miramax decides to make one film out of The Lord of the Rings after which Jackson goes on to find New Range who agrees over a three part film. Shooting for the movie starts off the following season, and by the end of 2003 Tolkien's most popular The Lord of the Rings is made available to the film audience in totality. (Margolis et al xix-xx)

Jackson got to Tolkien's Middle-earth, in every its glamour, very passionately, even obsessively. He says that this was mainly the real reason for why Jackson retained driving his filmmaking skills to a level high enough to point this epic play. His goal was to make Middle-earth look like it was "shot on location" (Mathijs and Pomerance 2). As told to Sibley, Jackson confessed so it needed him around a decade of making motion pictures and learning enough about film politics to provide him the skill foundation he needed to tackle this particular project, apart from the twenty years focusing on amateur assignments. (viii)

Tolkien's GOD, THE FATHER of the Jewelry was the "longest work of Illusion ever shared. " (White 89) He started out growing The Fellowship of the Engagement ring soon after The Hobbit in 1937, but it had not been until 1954 that he posted this first area of the Lord of the Wedding rings. Here, Frodo Baggins, the hobbit, sets out on his search to demolish the all-powerful 'One Ring' with wizard Gandalf the Gray as his guide, along with a protective fellowship attracted from various Middle-earth races. The book took the globe by surprise and had folks from all age ranges spellbound.

In the 'Foreward' portion of this first booklet Tolkien creates, "Those that had asked for more information about Hobbits eventually got it, but they got to wait a long time; for the structure of GOD, THE FATHER of the Jewelry went on at intervals through the years 1936 to 1949, an interval in which I had developed many obligations that I did not disregard and a great many other hobbies as a learner and professor that often ingested me. " (5) White expresses this development as a move from a hazy sequel into an unbiased and full-blown creation where, he says, your time and effort was packed with "delays and retrogressive decisions" (171).

The second reserve in GOD, THE FATHER of the Jewelry series, The Two Towers, was also posted in 1954, a couple of months after the first. The tale proceeds with how each person in the fellowship fared "after the breaking of these fellowship, until the coming of the great Darkness and the outbreak of the Battle of the Ring" (Tolkien 10). The 3rd and last part of the series was called The Return of the Ruler which was first released in October, 1955. It really is quite possible that Tolkien thought this name appropriate because the saga ends with Aragorn ruling over Gondor, rightfully crowning him King. Tolkien ends this grand narrative with good earning over evil, revealing the opposing strategies of Gandalf and Sauron (The Deep Lord of Mordor), "until the last catastrophe and the end of the fantastic darkness. " (Tolkien 13)

The concept of Middle-earth is one of awe. Being a philologist and a Teacher of Anglo-Saxon at Oxford College or university J. R. R. Tolkien got extensive knowledge of languages, ancient cultures and mythology. His imaginative mind led him to make the world of Middle-earth "which would in the end help unveiling the knowledge fiction and dream cultural revolution that has swept european civilization since the 1960s. " (Martinez) In his article, The World of Middle Earth, Martinez creates that the name 'Middle-earth' is itself a historical archaic name for the world of Men.

This world created by Tolkien was as real and intricate as our very own. Tolkien wanted to make his imaginary world so convincing that the audience could have confidence in it much as to imagine it as genuine history. Because of this he engaged himself in map-making, creating never-ending charts marking dates and occasions, and even visited the extent of fabricating his many created languages. (Foster 1) He carefully manifested a framework of familiar geography and weather, beasts and birds enabling the reader to walk "through any Middle-earth scenery with a security of reputation that woos him on to have confidence in everything that happens. " (Kocher 2) A whole lot was his dedication for perfecting familiarity that Tolkien required the trouble of naming heavenly physiques including the 'Great Carry' as 'The Sickle', and world Mars as 'Red Borgil'. (Kocher 7)

For instance, if we were to take the hobbits under consideration, the 'prologue' of GOD, THE FATHER of the Rings informs the audience they are our distant family members even although exact nature of this blood vessels kingship is lost with time. Middle-earth, the land of hobbits, men and manlike animals, among many others, is our Earth as it was way back when. The Shire has been described as a small but beautiful and successful land, loved by its inhabitants (the hobbits), where an comprehensive agricultural system thrives preventing the ruthless means of an industrial current economic climate. Kocher compares the Shire, which is on the 'North-West of the Old World', to northwestern European countries primarily because of its environment and skies, and farmland and valleys. (4)

Irrespective of whether an example may be a illusion genre lover or not, no one can deny that "'Tolkien is Hobbit forming'". (White 224) I first read The Fellowship of the Wedding ring at years fifteen, and I have unknowingly read all the three volumes several times. With every read of Tolkien's GOD, THE FATHER of the Rings I find myself deeper involved with his "mythopoesis" (Hart and Khovacs 26), a term often thought as 'literary misconception'. This mythopoeia, matching to Tolkien, is easiest to achieve using the "fantasy/fairy story" (Hart and Khovacs 38) genre.

The Lord of the Jewelry was readily used by the 'hippies' in the 1960s. If one delves into this further one can observe that it isn't difficult to observe how Tolkien had a significant influence to them. As White writes, "It is set in an alternative solution reality where orthodox religion plays no part, where magic makes things happen. " (224) This booklet had a promotion and fascination beyond 'hippies'. It had been read by people from all age brackets, from all elements of the earth, and from different social backgrounds. Today, if one were to type the words 'Tolkien' or GOD, THE FATHER of the Jewelry into a search engine, at least half a million sites would be shown. Therefore, it is no surprise that Tolkien's fantasy has spawned host of imitators.

Soon following the Lord of the Wedding rings was made available to the globe, Tolkien found himself at the centre of all things advertising, as a cult physique; he was somewhat of an 'master'. He received appreciation from world famous personalities including Customers of Parliament. White records that even though Tolkien was delighted by the reputation of his work he was greater than a little disturbed by the reactions of some of his visitors. He was stunned to hear that a ten year old guy who played out Frodo in a dramatization of The Lord of the Bands could not come out of character for a month. (225)

Jackson's film version of this classic series in addition has held large acclaim in both, the favorite and the academic eye. As Kellner areas, "The Lord of the Bands trilogy has been the most popular, acclaimed, and fetishized film routine of the Third Millennium and has intensified and extended Tolkien readership for the novels that will be the basis of the cinematic epic, while generating a dedicated following for the videos. " (Mathijs and Pomerance 17)

Digital technology reaches the heart and soul of The Lord of the Bands, and it was this technological improvement that was a major element in its success. As stated in Studying the Event Film: The Lord of the Rings, various software improvements like the FastSCAN technology and Massive (Multiple Agent Simulation System in Virtual Environment) have managed to get easier to produce films on the size of GOD, THE FATHER of the Bands. (3)

Almost as soon as Jackson released The Fellowship of the Band, video games companies released high graphic video games based on the film. Posters, Dvd disks, music CDs, toys and games and such sold thoroughly. Even the New Zealand federal, "once it received on board The Lord of the Jewelry project, was motivated to lever all the economic benefit as you can from its investment. " (Margolis et al 10) For example, Air New Zealand painted various heroes from the films on their planes and New Zealand Post issued both international and home stamps depicting places as they came out in the movies. (Margolis et al 10)

Not only may be the Lord of the Bands an entertainment marvel, it is also being shown as a subject in universities all over the world. I, for one, have selected The Lord of the Rings as my academics paper. A couple of endless literature, articles, journals and online directories devoted to this topic. Given the bubbling global admirer discourse and the pervasive conviction that Jackson has achieved something magnificent and significant, it isn't a shock that much of The Lord of the Wedding rings has become the subject of academic literary criticism.

National Geographic has made an effort to link The Lord of the Bands to North american frontier mythology and also to presidents like Franklin Delano Roosevelt. As Mathijs and Pomerance have mentioned, an academic discourse list for a determined group of ethnic studies scholars consisted of everything gendered, cultural, classed, religious, ideological and methodological in reading the trilogy. (3-4) As mentioned earlier, Tolkien wanted to associate his dream world with our own. For this function, it has led me to think that those that write about GOD, THE FATHER of the Jewelry books and/or videos attempt to make a connection between GOD, THE FATHER of the Bands and world incidents.

In recent times links are also made between your Lord of the Bands film text messages and contemporary politics concerns like "totalitarianism, family, ecology, technology, patriarchy, and conflict and terror". (Mathijs and Pomerance 7) A quick looking at of such articles/journals will lead you to see this hyperlink; a departure from a world based on design, and an eco-friendly environment, to a global predicated on high technology steps, industrial pollution, and new divisions of labour and corrupt governments.

As Isaacs creates, Tolkien's popularity was not fostered by the mass media; it grew from appeals of his work itself and was simply reported in the mass media. His work didn't involve any promotion, nor was there a crucial bandwagon either. (1) The original reviewers were packed with praise nevertheless they also possessed a whole lot of contradictions and questions, specifically about genre. Over the years subsequent reviewers placed the praises arriving and began responding to a few of the questions. I would think that responding to some of the essential questions would help understand Tolkien's take on matters such as genre, affects, relationships, and so on.

Humphrey Carpenter reveals that Tolkien viewed himself as a 'discoverer of story' and not as an 'inventor of account'. (Nitzsche 1) Reselling on the 100 million copies worldwide (. . ) The Lord of the Wedding rings volume continues to be strongly demanded on the market. However, some critics have been very vocal to dismiss this amount as "'balderdash', 'juvenile garbage'" (Shippey 307) and confidently explained that is not a work which many individuals will read more often than once.

Jackson too has already established both positive and negative replies to his trilogy. Andrew O'Hehir says that, Tolkien's mournful, melancholic firmness was captured with authoritative vigour in the motion pictures. He

translated "the best-loved fantasy novel of our own years into a commanding display screen excursion, one with a sense of human terror and danger and grit under its fingernails, the one that makes Harry Potter and

Luke Skywalker appear to be the feeble wraiths they are simply. " (136)

All of the above mentioned is a brief introduction to the different areas that I will be elaborating on, in context of The Lord of the Bands. I am hoping to be able to addresses and answer some questions i have

had regarding Middle-earth and its own elements.

Born on the 3rd of January, 1892 in Bloemfontein, South Africa, John Ronald Reuel Tolkien was the first child and the elder kid of English parents Arthur Reuel Tolkien, a banker, and Mabel

Suffield Tolkien. (Crabbe 3) Growing up strong and good-looking, with light mane and blue eyes, Ronald (as he was then most popularly called) was always a devoted audience who liked reading mostly

tales and common myths of American Indians and of fairy tales.

For him, fantasies about dragons and ogres became more distinctive as he read. His mother introduced him to numerous of the fantastic children's literature of the day like Alice in Wonderland, The Pied

Piper and Treasure Island. (White 20) Under his mother's direction he also developed a unique style of handwriting that remained with him throughout his life, eventually cultivating his expertise in

drawing. As Crabbe records, his exact lettering and ability for pulling, especially landscapes, contributed to The Hobbit and The Lord of the Bands when he started out to illustrate his fictions. (5)

In 1894, Tolkien had company as mom Mabel gave labor and birth to an infant boy they known as Hilary Arthur Reuel Tolkien. By the time Hilary was three the brothers were participating in in the fields that

surrounded the home, going on long adventurous strolls. Without a dad figure really the only male company they had was each other, and not astonishingly became exceptionally close to their

mother. The three Tolkiens thus shared an unusually strong connection. It is observed that the young boys fantasized that a local farmer was an evil wizard who wished to transform this peaceful English countryside

into a theme park where wicked wizards such as himself battled for control of the land. The Tolkien brothers would wander in to the local woods which they called 'weird lands' to safeguard the

innocent from the bad. (White 19)

By age four, Tolkien got into a new stage in life. This was caused due to the family moving homes from Bloemfontein to Birmingham, Great britain, one of the British Empire's powerhouses

of the time. The wilderness and the distant horizon were substituted by an commercial 'jungle', terraced properties, concrete backyards and smoking of the local factories. (White 18) Tolkien was brought

up mainly in a silent English village called Sarehole. This friendly, old fashioned and pleasant pastoral community with rural inhabitants helped formed Tolkien's eye-sight of the Shire and its inhabitants.

One of the most tragic happenings in Tolkien's years as a child was the death of his mother, in the fall of 1904, before he was twelve. He never forgave his family members for mailing his mother with an early

grave and was persuaded that their rejection of his mother's conversion to the Catholic Church worsened her illness. He was sure that she died young due to this mental pain. Nonetheless,

he cherished her memory rather than forgot that she experienced created him to his "Roman Catholic spiritual faith also to the study of languages, both of which, in completely different ways suffered him

all his life. " (Stanton 3)

There is a hidden message that I really believe Tolkien was trying to address in GOD, THE FATHER of the Jewelry. In The Fellowship of the Ring, we read that the fellowship begins its mission on 25 December. By

the third area of the volume we gather that the day Frodo succeeds in destroying the engagement ring is 25 March. Matching to old English tradition we realize that 25 Dec was the time frame when Jesus

Christ was born, and 25 March was the date of the first Good Friday (Christ's crucifixion). Tolkien maintains that there is no specific Christianity in his fiction writings but one can sense that the

Christian heart is everywhere.

One of Tolkien's friend said that Tolkien was an extremely rigid Roman Catholic, old-fashioned and orthodox. As White writes, "He habitually described Christ as 'Our Lord' and possessed an

unshakable conviction in the power of prayer, thinking that he previously been 'given' testimonies after praying and this prayers had treated members of his family when these were ill. " (208) Along with

religion, his research of ancient languages made him appreciate the concept of myth and culture. With this realization, he could now begin to build his own mythology to describe a imaginary couture,

an entire imaginary universe, the origins of which lay in the dialects of different people of his fantasy world.

A further incentive to the creation of Middle-earth and its myths was given by the knowledge of warfare. During his lifetime, Tolkien witnessed both biggest wars. For Tolkien being young,

brilliant, and learning languages and books seemed like paradise, but this is shattered by the outbreak of warfare. He was still an Oxford undergraduate when battle was announced against Germany.

In 1916, during World War I, Tolkien offered as a signalling official in the challenge of the Somme. (Rosebury 125-6)

Life on the Somme was an endless have difficulties of day break in the action attacks, nights marches and fatality by German machine weapons. Corpses lay everywhere, stinking, mutilated or disfigured, with parts

completely blown away. As Crabbe state governments, World War I emerged to symbolize the difference between "the old ways and the modern, between your innocent and the ironic, between younger looking hope

and vigor and exhausted acceptance. " (15) However it was not warfare alone that educated Tolkien, for he previously learned at his mother's fatality that the entire world can be tragic.

Tolkien writes in the 'Foreward' portion of The Lord of the Bands, "You have indeed in person to come under the shadow of war to feel completely its oppression. By 1918 all except one of my close

friends were dead. " (7) Tolkien's era needed to pay a terrible cost during World Battle I, and maybe it is for this reason that The Lord of the Bands is somewhat of any anti-war report, among the

many other kind of history it is. He agrees that warfare was an important area of the storyline but it did not hold any allegorical relevance or contemporary politics reference point whatsoever.

It is essential to avoid, as Stanton implies, allegorical readings of GOD, THE FATHER of the Bands: "Mordor is not Nazi Germany, Tom Bombadil's little province is not Switzerland, etc. " (5) In 1945,

Tolkien referred to World Battle II as 'the first War of the Machines', noting that it still left everyone poorer, many maimed and thousands dead, where only 1 thing triumphant: the Machines. On the

other hand, he referred to World War I as a battle of manpower against machines where in fact the old world was fighting with each other against the new. (Garth 190-1) Many writers have identified Tolkien as having a

strong anti-modernist frame of mind. His child, Christopher Tolkien brought up that, "'He disliked today's world, '". (White 208)

It is important to bear in mind that Tolkien was a expanded man prior to the onset of World Warfare I. His thoughts and ideas were products, to some extent lately Victorian culture. They were formed

in an years that was more innocent than ours, and certainly more hopeful. As quoted in Hobbits, Elves, and Wizards: Checking out the Wonders and Worlds of J. R. R. Tolkien's GOD, THE FATHER of the Rings

Tolkien emphasizes that "I was born in 1892 and lived. in 'the Shire' in a pre-mechanical time. " (Stanton 4)

As the First World Warfare finished and life gained normalcy, Tolkien and partner Edith Bratt were parents of a son they called John, and Tolkien guaranteed his first civilian job as a junior editor on the

Oxford English Dictionary (OED) task in 1919. A year or two later in 1921 Tolkien accepted a posture as Audience of English Words at the University of Leeds. (Crabbe 16) Soon again in

1925 Tolkien delivered to Oxford, and the year that followed unveiled him to another medievalist, C. S. Lewis, most famously known for writing The Chronicles of Narnia, who almost

immediately became "an important source of friendship, steadiness, and intellectual and creative stimulus for Tolkien. " (Crabbe 19)

Tolkien and Lewis were good friends for quite some time, even though they grew apart in the old age of Lewis's life. Tolkien always credited Lewis's trust in the well worth of GOD, THE FATHER of the Rings,

and he managed that it was scheduled to his insistence that Tolkien eventually completed the work. As fellow people of the Inklings they met regular at a pub to drink beer, and read and

criticize, among other activities, one another's unpublished works. It was these friendly, supportive gatherings that Tolkien absorbed the outlines of social organizations that comprised

his sense of good in his fantasies.

Throughout Tolkien's life, he was attracted into night clubs: sets of men who had similar passions and skills. The all-male culture of King Edward College provided Tolkien the first 'clubby'

and likeable fellowships that became an essential requirement in Tolkien's life and in his fictions. However, of all the golf clubs to which Tolkien ever belonged, the Tea Golf club and Barrovian Society (TCBS)

was the main in conditions of the effect on his literary creativeness. (Crabbe 10)

Tolkien and Lewis had a great deal of common conceptions and some differences in thoughts and opinions. Both agreed that Christianity was important, though one was Anglican and the other Catholic. They agreed

that misconception was important, though one called it 'myth' and other called it 'faery'. They arranged that literary research was important, though one was 'books' and the other was 'language'. They

regarded 'news' as something fit to be overlooked, arguing that the one 'truth' are available in literature. Here, I would like to particularly honour Tolkien's form of story-telling because of his own

profound beliefs in 'history' as a vehicle of fact.

Purtill notes that a person can't be certain about whether Tolkien would attempt to picture a life after loss of life in fiction, but he indicated a solid dislike for Lewis's book, Characters to Malcolm, in

which Lewis presents some nonfictional speculations on life after fatality. (133) Also, in Tolkien's work we've pure fantasy, where 'magic' works directly by wizards and the desires, rather than by

means of spirits. In Lewis's illusion however, we've a fully animistic view, where he creates "disembodied spirits with some characteristics of angels and some of Neoplatonic Intelligences. "

(Purtill 107)

Many people have made views or guesses regarding the so this means and motives of The Lord of the Bands. To the, Tolkien informs us that the excellent purpose was the desire of any story-teller to

try his hands at a lengthy story that could hold the visitors' attention, amuse them, pleasure them, excite them or deeply move them. He says that he doesn't have any intention to place forward

any inner so this means or message through the story.

In a biographical sketch of Tolkien, White notes that for Tolkien to create Middle-earth and its star he needed more than language quality. One, he needed the type of

imagination which could mould languages and transport heroes through the imaginary realm he created. Two, he needed to be constant with his writing, and three, he needed a reason to do it.

(81) Tolkien wished to create sort of 'mythology for Britain' since there was not any previous mythical tale mounted on the land. He was a patriot and he experienced that producing and epic was

not only something he could do but something he was trained to do.

Tolkien identified two types of readers: the 'fidelis', the self-identified Christian believer, and the 'fainthearted' which could be easily misinterpreted as the vulnerable and timid reader. He wanted

to concentrate on the latter type of reader, which he considered much less 'weakened', but as that type of reader who does not have any theistic beliefs, or has lost what trust she or he had. Tolkien wished to reach this

group by the large power and grandeur of the storyplot. (Rutledge 3)

Tolkien's view of poetry was shaped by his comprehensive understanding of Old English literature, Latin and Greek poetry, Old Norse sagas. He wished to adapt his medieval muse to the Victorian

manner but cannot find a contemporary model that sounded luxurious enough for his purposes. Therefore, GOD, THE FATHER of the Bands evolved as a result of his "inability to modify to the radical

renewal of poetic traditions in the twentieth hundred years. " (Giddings 140)

Readers approach GOD, THE FATHER of the Bands from different guidelines. Some value it as a treasure upper body of imaginative languages, while others see it in terms of myth; some view it as a muted

religious statement, yet others notice as a modern-day version of heroic illusion. I found that the storyplot drew me in instantly, and I spent many hours in Middle-earth, and like I mentioned

earlier, I have already been back often since.

Although Tolkien has voiced his view on allegory declaring "I cordially dislike allegory in every its manifestations, and will have done since I grew old and wary enough to find its presence" (as

qtd. in Shippey 161), he has in fact deemed allegory as a legitimate critical tool, a means to clarify critical stands, throughout his profession. Helms uses the 1936 Beowulf lecture to describe how

Tolkien attempted allegory to demonstrate what he's about as critic. (109) Actually, Tolkien turned to allegory to make what deeply important personal statements about the genre were for him of

fantasy.

Of all the people in GOD, THE FATHER of the Bands, Harvey creates that hobbits symbolized the archetypal pre-Industrial Revolution Englishmen with simple needs, goals, and a basic lifestyle.

(114) Tolkien has reacted against the idea that The Lord of the Wedding rings can be an allegory, and it is not. That is why Tolkien dismissed those who looked at this saga as an allegory of World War II. First of all, he

points out that he started out work on it long before the doom of 1939 had yet come after the world. Subsequently, the relevancy of 'equals' symptoms were absent. Shippey shows that one could say

"that the Ring = nuclear weaponry, the coalition of Rohan, Gondor and the Shire (etc. ) = the Allied capabilities, Mordor = the Axis power, which has some standard plausibility. " (163) Here, he

goes on to question the particular damage of the Engagement ring and the refusal to put it to use equal.

Tolkien says that many confuse 'applicability' with 'allegory', but one resides in the liberty of the reader and the other in the proposed domination of the writer. (Tolkien 7) We are able to then see

that when he believes of allegory, he's thinking of philosophy or fiction clad as a tale, in which each individual and/or event stands for a particular idea/fact of the real world. It must be observed here

that if found in their proper place, either advancing an argument if not constructing simple and personal fables, Tolkien accepted them readily.

At age eighty one, after an extended and productive career spent basically in literary analysis, writing and teaching, Tolkien perished on September 2, 1973 in the British town

of Bournemouth. (Stanton 3)

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