Visual storytelling in films

Visual storytelling in films Literature Review Introduction In this preface section, more than a few factors that shape the art of relating visuals and stories in films will be listed down. These factors will be the root of the research in order to perform the methodology analysis of the thesis, in addition to answering the research questions as well as analyzing the obtained results from the research. Visual Storytelling in Films: What is it? The exact description of visual storytelling is hard to pin down succinctly as there are various schools of thought regarding the matter. All the same, The International Film School of Paris (EICAR) had defined it frankly as â€Å"Communicating visually in forms that can be read or looked upon. In cinema a story is most visual when ideas and emotions are expressed through performance and aesthetics as opposed to dialogue.† Based on that characterization it is not hard to understand why Monaco (2000) claims that a film is a language for it ‘communicates’ to an audience. It is not a language in the sense of English, French or Mathematic is, for there is no such thing as grammar or vocabulary that needed learning. Campsall (2002) is in agreement as he elaborated that the language of film expresses the way a film would ‘speak’ to its audiences and spectators which is why directors, producers and editors work to produce meaning from the moving still images of film, video and television. The viewers in the end are responsible in decoding these meanings in a not dissimilar way to interpreting spoken and written language. When watching a film; everyone from various age groups is able to comprehend the visuals they see. Monaco (2000) states further that there are two conclusions, that everyone can perceive and identify a visual image which leads to the above statement. Another is that even the simplest visual images are interpreted differently in by people with different backgrounds. This is because, as human beings, we don’t simply read what we see but we bring to our interpretation of moving images, a range of pre-existing expectations, information and mutual experiences that f orm the significance we take from what we see (Campsall, 2002). An essential facet of film language is its gripping temperament and its manifestation of realism also known as verisimilitude. As Campsall (2002) wrote, it is not only as if the audiences are watching a bona fide ‘window on the world’, it’s a window that they would desire to remain on watching. Through these means, films are not only capable of being entertaining, enlightening and informing to its viewers, but also enabling them to perceive the world in a particular means. Moreover this makes the film language very much recognized as semiotic what with the usage of signs, codes and conventions. Those who could understand the language are able to see the methods or conventions used for visual storytelling. Throughout this research, there were many books and articles that voiced out their opinions on methods of reading a film; each film jargons have their specific symbolism and usage depending on what the direction of the story. When one is able to properly read a film by means of identifying and understanding the conventions, one would be capable of visual storytelling (Sijll, 2005). Below is the list of the accumulated conventions used in today’s visual storytelling. Visual Storytelling: Space Space in film refers to the spatial dynamics inherent in the frame of a film. One would say that a film frame is akin to a static snapshot thus part of a moving picture. Like a painting, the static image of the frame presents inherent storytelling opportunities. Because a movie is a motion picture, the composition of the frame continuously changes. This added characteristics affords two important story elements – that of screen direction and comparison. Screen direction can suggest antagonism, individualism, and conflict, for example. A moving frame might be used to represent change, similarity or it’s opposite, stasis. Visual Storytelling: Framing a Composition The eye responds differently to various visual stimuli. Among the most important elements that have been discerned are: brightness, colour, size, shape, motion, speed, and direction. Through careful manipulations these elements can be used to guide the audience’s attention and emotional response. As always, content, juxtaposition with bordering frames, and the intersection of other elements will contribute to the viewer’s response. Visual Storytelling: Shape within the Frame Depending on use and context, shapes can be used to suggest ideas and emotions. Traditionally there are three fundamental shapes: the circle, the square and the triangle. Out of these three, many forms can be derived out of them: the half circle, the rectangle, and many others. For each shapes there are certain traditional association made of them. Block (2008) listed in â€Å"The Visual Story† some of the shape meanings. Rounded Shapes are associated with indirectness, passive, romantic, pertaining to nature, soft organic, childlike, safe and flexible. Squares however are direct, industrial, ordered, linear, unnatural, adult, and rigidness. Triangles are for aggressiveness and dynamics. Block cautions that these are not rules for new associations can always be made depending on the need of the story. Shape is merely one element in the frame. Visual Storytelling: Editing Editing is a way of constricting time and space or producing the outcome of a dream sequence or flashback. The results of editing are more often than not seamless and natural that the audiences tend not to be aware of it. In theory, editing is the constriction of scenes through assembly of shots. Different choices of editing could guide the audience’s emotional response. Pudovkin (1926) had set down five editing techniques that remain the foundation of the modern day cutting: contrast, parallelism, symbolism, simultaneity, Leit-Motif. Visual Storytelling: Time A film is a dramatic representation of life. It is made up of scenes ordered to represent the passage of film time through the assembly of edited shots. Film time is rarely paced the same as real life. With the exception of mise-en-scene, most edited sequences manipulate real time. From one cut to another, an opportunity of altering experiences of real time can be made. The reason filmmakers alter time is because they are creating a dramatic story. Only those moments that contribute to its advancement are included, all else is left out. Visual Storytelling: Sound and Music Outside of the musical score, movies rely on three kinds of sound to tell their stories: Dialogues, voiceover and sound effects. While voiceover and dialog are well understood to be writer’s tools, few screenwriters approach sound effects with the same certainty. Yet sound effects are as much the purview of the writer as are visual metaphor, sound effects can also suggest an extended aural metaphor. They can add layers of meaning to a film that are hard to achieve in other ways. Sound effects can be obvious or subtle. They can intentionally draw attention, or manipulate with stealth. They can expose, disguise, suggest establish or reveal. They can also be associated to specific events or characters. Lyrics of music can act as the voice of a character. They can reveal the inner thoughts in a way that can be more interesting than a simple dialogue scene. Lyrics can also act as the voice of the narrator. They add another delivery system with which to parcel out character and thematic information. In other times, music is symbolically used as a story element. Visual Storytelling: Transitions The movement between the end of one scene and the beginning of another is called a transition. Each transition presents an opportunity to convey story information by virtue of how the scenes are cut together. The scene can simply be cut with no intentional reference or constructed to add a story element. A matching transition is one way to exploit this opportunity and can be achieved in an infinite number of ways. Visual Storytelling: Lenses, Positions and Motions of the Camera The camera presents a scene – subjects, actions, settings – in a series of shots that render images on a screen. Instead of just placing the camera where an audience can watch the action, the camera is able to provide the audience with engaging visual experiences. Variety is important for if a scene is simply rendered by a continue series of wide shots, the eye will soon tires of repetitions. A good shot will usually contain a variety of camera framings, and angles. For example by exploiting the depth of field of the lenses, each character on scene can inhabit their own horizontal plan. In this way characters can be staged in-depth. This allows the audience to see each character reacting to one event simultaneously and in real time. Different positions also play a part. The closer the camera is to a character, the more likely audiences will sympathise with the character. Visual Storytelling: Lighting and Colour Film interprets subjects and scenes as images of light and shade. Lighting is one of the few aspects in film that has the ability to create a certain reality to the audience. There are a number of different styles of lighting, each designated as a style geared to the theme and mood, as well as its genre. Lightings can also be used to weaken subject matter. Colour on the other hand tends to be a subconscious element in film. It’s strongly emotional in its appeal, expressive atmospheric. In short, colour helps to suggest moods. Visual Storytelling: Props, Wardrobes, and Locations Props provide a dramatic way to express a characters inner world. Props speak visually, are mobile, and can be returned to throughout the movie. By purposely selecting and exploiting props, a film’s scene can be given an added layer of meaning. Wardrobes are the same as props; the decision to include wardrobe elements depends on whether it adds sufficient dramatic value be it to a character, to show character transformation or the passage of time. Another way to externalize the inner thoughts of character is to manipulate the locations. It also offers a huge storytelling potential, for a certain location can heighten drama, suggest parallels and contrast besides defining a character. All three can also serve the purpose of bringing a sense of metaphor to the film. References Arnheim, R. 1969. Film as art. Berkeley: University of California Press. Bellantoni, P. 2005. If its purple, someones gonna die. Amsterdam: Focal Press. Bordwell, D. 1985. Narration in the fiction film. Madison, Wis.: University of Wisconsin Press. Bordwell, D.; Thompson, K. (2006). Film Art: An Introduction (8th ed.). New York: McGraw-Hill Block, B. (2008). The Visual Story (2nd ed.). Burlington: Focal Press Campsall, S. (2002). Analysing Moving Image Texts: â€Å"Film Language† [Online]. Available: http://www.englishbiz.co.uk/downloads/filmanalysis.pdf [2011, January 7]. CustomFlix. (Studio). (2006). Visual Culture: Visual Storytelling [DVD]. (Available from Amazon.com) Douglass, J.; Harnden, G. (1996). The Art of Technique: An Aesthetic Approach to Film and Video Production. Boston: Allyn Bacon Dirks, T. (No date). History of Film: The Pre-1920s [Online]. Available: http://www.filmsite.org/pre20sintro.html [2011, February 25]. Duguid, M. (No date). Hitchcock’s Style [Online]. Available: http://www.screenonline.org.uk/tours/hitch/tour1.html [2011, February 25]. Ebert, R. (2008). How to read a movie. Roger Ebert’s Journal [Online], 14paragraphs. Available: http://blogs.suntimes.com/ebert/2008/08/how_to_read_a_movie.html [2008, August 30]. Freeman, D. (No date). Visual Storytelling in Batman Begins [Online]. Available: http://www2.beyondstructure.com/article_batman.php [2011, February 25]. Gelmis, J. (1970). The Film Director As Superstar. New York: Doubleday Company. Giannetti, L. (2001). Understanding Movies (9th ed.). New Jersey: Prentice Hall Green, D. E. 2003. The proper use of cinematic storytelling in biblical preaching. Hallahan, K. 1999. Seven models of framing: Implications for public relations. Journal of Public Relations Research, 11 (3), pp. 205242. Martz, M. and Hallahan, K. 2009. Filmmakers as Social Advocates—A New Challenge for Issues Management: Claims-making and Framing in Four Social Issue Documentaries. Pedagogical Posters _ 156, p. 119. Metz, C. (1990). Film Language: A Semiotics of the Cinema. Chicago: University Of Chicago Press. Monaco, J. and Lindroth, D. 2009. How to read a film. New York: Oxford University Press. Playboy (1968, September). What did Kubrick have to say about what 2001 means? Playboy Magazine, 10 paragraphs. Available: http://www.krusch.com/kubrick/Q12.html [2010, 12, December] Pimenta, S. and Poovaiah, R. 2010. On defining visual narratives. IDC Design Research Journal, 3 pp. 2546. Pudovkin, V. (1926). Film technique and Film Acting. New York: Grove Press Rosenbaum, J. 2010. Goodbye cinema, hello cinephilia. Chicago: University of Chicago Press. Sijll, J.V. (2005). Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know. California: Michael Wiese Ward, P. (2003). Picture Composition for Film and Television (2nd ed.). Burlington: Focal Press Zettl, H. 1973. Sight, sound, motion; applied media aesthetics. Belmont, Calif.: Wadsworth Pub. Co.

Cuba and Tourism Essay example -- Latin America

Cuba and Tourism Ernest Hemingway was no tourist, but his attraction to Cuba was much like that of the rest of America. The beautiful beaches and tropical climate helped him write novels, but he also loved the daiquiris at the Floridita, the fishing, and the adventurous bootleggers from Florida. Cuba has its beautiful beaches and fish-filled waters, but part of the attraction as well has historically been the plentiful rum and the "anything goes" atmosphere. The casinos and nightclubs frequented by tourists bring with them an unsavory element in the form of organized crime and prostitution. Tourism has its benefits, but in Cuba it is a clear reminder of the island's dependence on wealthy foreign nations for its survival, and the disparity in income between Cubans and their neighbors to the north. The dollar-based society a tourist economy creates is deeply stratified, and conflicts with the ideals of the Castro's socialist revolution. Yet in recent years it has proven to be a good source of hard curr ency for the struggling economy, and efforts are being made to expand the industry. By promoting tourism, Cuba is taking advantage of its beauty, but is opening itself to unfortunate exploitation. The Playground for North Americans In his essay Tourism Development in Cuba, historian Derek R. Hall describes Cuba in the early 1900's as "a playground for North Americans." Just ninety miles from the coast of Florida, Cuba's close proximity and near-perfect weather made it the premier attraction in the Caribbean for American tourists. Americans had always traveled to Cuba, even when it was still a Spanish colonial possession. Businesses in the United States had invested extensively in Cuba, and the two were big trading partners. Cu... ...om Tourism & The Less Developed Countries, Harrison, David, editor. Belhaven Press, London, 1992. Page 110. 14. Eckstein, Page 39. (handout) 15. Ibid, Page 67-68. 16. Hall, Derek R., Tourism Development in Cuba, from Tourism & The Less Developed Countries, Harrison, David, editor. Belhaven Press, London, 1992. Page 113. 17. Grossman, Cathy Lynn. Sea change for tourism in Cuba: Visitors find island in flux, USA Today, January 19, 1996, page 5D. 18. Benesch, Susan. Angling for tourists, Cuba hosts "Playboy", St. Petersburg Times, January 31, 1991, Page 19A. 19. Boudreaux, Richard., Cuba Hopes Its Doctors Can Cure the Economy, Los Angeles Times, February 19, 1991, Page 4, Column 1. 20. Lapper, Richard., It’s back on the road to prosperity: Tourism. Financial Times (London), March 24, 1999, Page 3. 21. Ibid, Page 3.

The Brandenburg Gate Speech

Speaker’s Relationship with the Audience: The Brandenburg Gate Speech Ronald Reagan, the former president of the United States from 1981 to 1989, spoke in the Brandenburg Gate. Ronald Reagan gave his famous â€Å"Tear Down this Wall† speech in Berlin. Many people in Germany were ready for freedom and others wanted it as well. Many people felt there should be peace within the city. Ronald Reagan wanted to persuade the Soviets and Communists that change and openness was a great thing. Ronald Reagan’s speech was a sort of challenge to Gorbachev, to tear it down as a symbol for increasing freedom. We welcome change and openness; for we believe that freedom and security go together, that the advance of human liberty can only strengthen the cause of world peace.President Ronal Reagan’ speech tried to persuade German people to believe that the unification of Berlin was possible, he achieved this through the use of one main rhetorical tool: the speaker’s re lationship to the audience. This tool used German quotes, the identification of shared ideas, the exaltation of cultural qualities, the distinction of political group, and the classification of groups into a political stream to persuade.Historical Background: The Brandenburg Gate The Brandenburg Gate, was built in 1791. It stands as Berlin’s arch of triumph. From 1961 to 1989 the Berlin Wall blocked the Brandenburg Gate. The wall divided Germany into two zones of ideological contention and political distrust during a time known as the Cold Was. The United States and its allies administrated West Germany; East Germany was under the control of the USSR. West Berlin was administrated by a group of allies, but was closely aligned with West Germany, which had its own government. Easter and Western Germans were denied access through the gate.On the twenty-second of December 1989 after 28 years of division. East and West Berlin were reunified and the gate was reopened. Two years bef ore the Gate was reopened, Ronald Reagan spoke in front of the Brandenburg Gate. In his speech he tried to persuade the German people to believe that the unification of Berlin was possible. He used the â€Å"wall† as a metaphor in describing oppression. Speaker’s relationship with audience through German quotes Ronald Reagan was able to build a relationship with the audience, German people, through the use of German quotes.At the beginning of his speech he communicated how he felt welcomed in Berlin and how there was a connection between him and the place. He said, â€Å"You see, like so many Presidents before me, I come here today because wherever I go, whatever I do: â€Å"I still have a suitcase in Berlin†. Comment that he said the phrase in German alsoThe connection between the place and feelings made possible that the German audience felt that there was a relationship between them and the speaker.It made feel the audience that he could understand for what they were going through at that time. President Ronal Reagan made them feel important showing them by â€Å"I still have a suitcase in Berlin† that he was going to help them to overcome that oppression by tearing down the wall. he’s not going to Moreover, the mention of an important political position like being the president of the United States, demonstrated authority showing them that even though he was in a place where he was a foreigner in Berlin, he still could help them.The importance of Berlin as a place that had politically disputes, and later on, the attribution of some qualities to this place by a foreign actor gave importance to Berlin and encouraged empathy toward German people. Speaker’s relationship with the audience through the identification of shared ideas Having a feeling of unity and understanding, Ronald Reagan moved into a political idea that was well supported by German people given the previous feelings of agreement.He used his speaker re lationship with the audience to propose the concept of a unified Berlin, and then he highlighted this idea in German words: Our gathering today is being broadcast throughout Western Europe and North America. Though the command, â€Å"Mr. Gorbachev, tear down this wall,† was to become the rally cry of western civilization, the wall actually had little to do with President Reagan's purpose. The President was there to market the American way of life.He may have put his vocal emphasis on this now famous demand, but it was the more subtle enticements that President Reagan held out to the unseen listeners, trapped behind that wall, that were the catalysts for its destruction. President Reagan says: â€Å"Today in West Berlin there is the greatest industrial output of any city in Germany busy office blocks, fine homes and apartments, proud avenues, and the spreading lawns of parkland. Where a city's culture seemed to have been destroyed, today there are two great universities, orch estras and an opera, countless theaters, and museums.Where there was want, today there's abundance-food, clothing, automobiles-the wonderful goods of the Ku'damm. † To those on the other side, the east side, it must have sounded like a beautiful world. Those behind the wall were caught in the endless cycle of poverty, and the hunger and anger it generates. Those behind the wall were controlled by a totalitarian government, and brutalized by suppression. It was to these people that President Reagan spoke. They were his targets. Then he continued speaking â€Å"in the West today, we see a free world that has achieved a level of prosperity and well-being unprecedented in all human history.In the Communist world, we see failure. Even today, the Soviet Union still cannot feed itself. After these four decades, then, there stands before the entire world one great and inescapable conclusion: Freedom leads to prosperity. † After he has described the affluence of West Berlin, the President shows a picture of life in the Soviet Union. And that is when he slips in the subtle suggestion that would, most assuredly, occupy the collective consciousness of the oppressed: â€Å"Freedom leads to prosperity. â€Å"Freedom is the product, prosperity the benefit†.Reagan made German people feel that the unification was a German idea; a hope that prevailed in the public opinion even while the political division existed. One Berlin was mainly a German desire, and something that foreign political friends supported. Thus, his ideas as a speaker were sustained because of this link with the audience. He also expressed the relationship through the media. Reagan maintained the German people from the East and West were linked through modern devices of communication and that in spite of ideological contention they were united in hope.All were gathered hoping to see the Brandenburg gate opened and Reagan’s ideas fulfilled. Speaker’s relationship with the audi ence through the exaltation of cultural qualities Emphasizing his relationship with the audience, Reagan asserted that despite the adverse political conditions there were chances to have a unified Berlin. Past political, economic, and cultural recovery opened opportunities to believe that a future unification was possible. He emphasized that the positive attitude of the German people forecasted better political conditions that ultimately would consolidate and unify Germany.From devastation, from utter ruin, you Berliners have, in freedom, rebuilt a city that once again ranks as one of the greatest on earth†¦ Now the Soviets may have had other plans. But my friends, there were a few things the Soviets did not count on: â€Å"Berliner heart, Berliner humor, yes, and a Berliner Schnauze. † The specific mention of German characteristics, associated with cultural behaviors and ideas, like humor, made German people believe that there was a connection between the speaker and th e hopes that he had about Germany. Reagan’s audience saw a normal human being: They saw themselves and friends.The manner, in which he speaks, as friends do, gives the German people a sense of fraternity. President Reagan was the most powerful man on the planet. He was a man that could speak and declare this truth, and he was a man that could encompass genuine humanness: Intimidating and stern to the enemy; relatable, and redeeming to his friends. Although President Reagan was an American, he has the ability to relate to the German people almost by becoming one. His reasons for coming to Germany are not only to perform his job, but for other, more selfish and human reasons.Reagan remarked how Germany was a country that emerged from adverse political, economic, and social conditions and became a productive and competitive nation. In this way, not only did he create a connection between the audience and himself by recognizing their characteristics, he also used this relation to suggest that current present characteristics would change the political conditions of the future. He created a relationship between the audience and himself by suggesting that Germany would pass through unfavorable political conditions.The Conclusion: Evaluating Reagan’s Persuasive Achievement Ronald Reagan persuaded the Germans in 1987 using a principal rhetorical took: the speaker’s relationship with the audience. President Reagan’s speech was greatly successful. Establishing his purpose and duty, becoming the friend to the oppressed and free. He used German expressions that put him in a position of understanding and cooperation with the Germans. He exalted German cultural behaviors, like people’s willingness to work, in orders to gain common ground where political ideas about the unification would have been accepted.He explained how foreign countries supported a future where Eastern and Western Germany coexisted as one. This understanding created a de fined identification of one political group and the possibility of acceptance of the ideas of that group. This group was the West, and Reagan was its speaker; he persuaded people to believe that the unification of Germany was possible. It is difficult to evaluate the exact degree in which Reagan persuaded German people to believe that the Brandenburg Gate would be opened again.

Law and Macro Environment Essays

Law and Macro Environment Essays Law and Macro Environment Paper Law and Macro Environment Paper Political Political macro environment factors include things like tax policies, government-issued safety regulations, the availability of government contracts, and even shifts in the controlling political party. International laws, such as trade agreements and tariffs, may affect the supply and demand chains and available markets for many different companies as well. Economic A market boom, recession, or growing inflation problem can all change the way an organization plans for the future and operates in the present. Economic factors are often difficult to assess, since economic forecasts and analyses vary widely between experts. Unemployment levels, comparative foreign exchange rates, and the state of the global economy can all help or hurt a business ability to get needed components and maintain a stable refit. Social The mood and demographics of the population make up the social area of macro environment factors. For example, a society that places an emphasis on self-guided jobs with room for creativity may cause organizations to redefine job descriptions and adapt the model of the workplace to attract workers. Social trends, such as a preference for on-demand mobile media devices, can also influence which products a company manufacturers and where it chooses to spend advertising dollars. Technological Technological macro environment factors can influence how an organization does business. A new type of machinery, computer chip, or product created through research and development can help a company stay modernized and ahead of the market curve. Owners must be able to accurately identify which new developments will be truly useful, and which are just fads. Environmental Environmental concerns are important to businesses both in the short and long term. In the short-term, things like natural disasters can disrupt production and supply operations, or even destroy company assets. Programs such as environmental risk assessment can help companies prepare to handle many of the most likely short-term crises. In the long view, over, businesses may have an interest in ensuring that their supply chains are not destroyed by unsustainable practices. Legal Legal factors can limit or change how a business operates. For example, they may have to hire additional supervisory staff or purchase safety equipment after a new health and safety law is passed. Child labor laws Often limit the hours a minor can work and require set break periods. If an organization employs several minors, it may have to hire additional help to cover the hours when the minors cannot legally work. Legal factors are determined by both legislations and regional and national laws. In some cases, companies that do business internationally are also affected by international laws. Hedging Against the Macro Environment Generally, businesses have little to no control over their macro environment. They can, however, prepare for the unexpected by using a PEST or PESTLE analysis. For example, if a business has a manufacturing plant in an area prone to hurricanes, they could hedge against the possible loss by developing an action plan to relocate employees or supplies if threatened by a hurricane. Many organizations conduct regular analyses of the macro environment actors Macro environment factors are uncontrollable external forces that affect how a business operates. They are largely out of the control of the business, and often require changes in operating, management, production, and marketing. Analysts often categorize them using the acronyms PEST or PESTLE. Broken down, PEST stands for political, economic, social, and technological concerns. PESTLE also includes environmental and legal factors. Political ahead of the market curve. Owners must be able to accurately identity, which gal factors can limit or change how a business operates. For example, they equipment after a new health and safety law is passed.

Free Essays on Management Fads

The authors of â€Å"Spotting Management Fads† demonstrated how certain qualities of management fads can contribute to short life spans for suggested styles. I agree with the theories in this article. As an example, I have found that a concept that is too simple can easily contribute to the fad’s failure as the basic building blocks are too weak to sustain the JT. It has been my experience that by not addressing the core of a problem management style, the business many times gets weaker instead of stronger. In many instances, a fad is so choreographed that it stifles management’s creative thinking. As such, management may steer away from questioning decisions and policies, therefore, not performing to their full potential. Another distinctive flaw for a fad can lie with qualities like â€Å"one-size-fits-all,† â€Å"easy to cut and paste,† and â€Å"legitimized by gurus and disciples.† These qualities will not always apply to a corpo ration in their current cookie cutter format. A principle that is a tremendous success for one business cannot be guaranteed for another. The authors of the article also point to the false hope aspect as fuel for the downfall of a fad. Relying on â€Å"rah rah† tactics, instead of true measurable success, will not sustain the whim. The traditional qualities of the fad, however, are often pointed to as successes in management styles. They are â€Å"real life† practices that have been applied to an organization seeking to change, but with the appropriate modifications for the corporation. As in the article, I have found that a corporation should always carefully analyze any â€Å"trendy† management styles for classic and/or radical qualities and determine carefully which, if any, of the fad’s characteristics would benefit their corporation. It is critical in management that you do not jump on the bandwagon of a fad that may only create a quick fix. It is important to analyze how the whole conce... Free Essays on Management Fads Free Essays on Management Fads The authors of â€Å"Spotting Management Fads† demonstrated how certain qualities of management fads can contribute to short life spans for suggested styles. I agree with the theories in this article. As an example, I have found that a concept that is too simple can easily contribute to the fad’s failure as the basic building blocks are too weak to sustain the JT. It has been my experience that by not addressing the core of a problem management style, the business many times gets weaker instead of stronger. In many instances, a fad is so choreographed that it stifles management’s creative thinking. As such, management may steer away from questioning decisions and policies, therefore, not performing to their full potential. Another distinctive flaw for a fad can lie with qualities like â€Å"one-size-fits-all,† â€Å"easy to cut and paste,† and â€Å"legitimized by gurus and disciples.† These qualities will not always apply to a corpo ration in their current cookie cutter format. A principle that is a tremendous success for one business cannot be guaranteed for another. The authors of the article also point to the false hope aspect as fuel for the downfall of a fad. Relying on â€Å"rah rah† tactics, instead of true measurable success, will not sustain the whim. The traditional qualities of the fad, however, are often pointed to as successes in management styles. They are â€Å"real life† practices that have been applied to an organization seeking to change, but with the appropriate modifications for the corporation. As in the article, I have found that a corporation should always carefully analyze any â€Å"trendy† management styles for classic and/or radical qualities and determine carefully which, if any, of the fad’s characteristics would benefit their corporation. It is critical in management that you do not jump on the bandwagon of a fad that may only create a quick fix. It is important to analyze how the whole conce...

Systems Of Kinship Emerged During The Middle Ages. Absolute And Essay

Systems Of Kinship Emerged During The Middle Ages. Absolute And Constitutional Monarchy - Essay Example There is no body of laws to govern the conduct of the monarch, therefore few or no legal constraints to their conduct. He or she is the head of government and state. Most absolute monarchs justify it by claiming they have divine rights to the throne. In the twentieth century most absolute monarchs could not withstand the wave of opposition from the people who regarded them as defeated and outdated, because of the failure of political and economic systems, which fell apart, under their rule. In the twenty first century, most absolute monarchs exist in the Arab world. They have managed to stay relevant because they have allowed technological and scientific advancement into their territories. Religion has also played a major role; hence their societies have remained relatively conservative. In theory absolute monarchs have unlimited powers, however in practice, their powers are curtailed by political leaders from other social classes such as nobility and clergy. Modern examples of absol ute monarchs are Oman, Saudi Arabia, and Swaziland. Napoleon Bonaparte is considered as a successful absolute monarch who ruled France in the sixteenth century. This was important for France at that particular time because the country was in chaos as people did not follow the rule of law and the nobility controlled the state finances. An absolute monarchy was seen as the only way out. Most countries saw a decline in absolute monarchies because they became republics after civil unrests in the nineteenth century such as the French revolution. Constitutional monarchy is also referred to as limited monarchy. The monarch is bound by the constitution of the land, which can either be unwritten or written. In constitutional monarchs, the monarch is the head of the state, a position acquired through heritance or marriage, while, a prime minister elected through a democratic process is the head of government. The powers held by this type of monarch vary from country to the other. Most constit utional monarchs exist in western European countries. Examples of constitutional monarchs include United Kingdom, Japan, Sweden, Belgium and Thailand. Governance functions fall on politicians, while monarchs perform ceremonial duties and are usually perceived as a unifying symbol of a country .This century has forty four independent monarch states of which sixteen have Queen Elizabeth of England, as their head of state. The monarch usually provides continuity because, even as heads of government change, monarchs retain their positions. Most existing constitutional monarchs in this century perform ceremonial duties and usually seen as a continuation of a country’s traditional systems, and a symbol of unity. This role was witnessed in Austria in 1977, where, there was a deadlock in the parliament. The monarch replaced the prime minister and budget proceeding went on uninterrupted. It should be noted that the monarch is neutral in political matters. The powers vested on monarchs vary from country to another, for example in Sweden the monarch is only ceremonial and in United Kingdom, the queen is the head of the armed forces. The head of constitutional monarchs are usually a male or female; however in a monarch such as the principality of Monaco, powers will be transferred to France if no male heir is born. Japan and Thailand are the monarchs with the largest population of subjects. This type of monarch is good for the people because it protects the civil rights of the

Joseph story Essay Example | Topics and Well Written Essays - 500 words

Joseph story - Essay Example the case with Joseph’s Biblical and Quran account that the readers could easily judge that the story maintains one and the same source of inspiration, depicting the holy life of Joseph, his spiritual status and position, his brother’s nefarious plan against him, his journey to Egypt as a slave, years in imprisonment and finally rising as the King of Egypt in later years. Joseph (Yusuf in Arabic) serves as one of the most important and respectable Biblical figures, who is equally revered by the Jews, Christians and Muslims without discrimination. Hebrew Bible and the Holy Qur’an declare him as the son of the third patriarch Jacob, from his wife Rachel and real brother of Benjamin. The accounts depict him not only as exceptionally handsome, but also carrying spiritual powers including his command over perception and interpretation of dreams. The jealousy of Joseph’s half brothers was actually an outcome of the former’s dream, in which he had found the sun, the moon and eleven stars prostrating before him (Genesis 37: 5-9; Qur’an, 12:4). Although, his father Jacob had warned him not to disclose his dream to his step-brothers (Genesis, 37:12-20; Qur’an, 12:7-9), the details of the dream reached the brothers, which multiplied their abhorrence of Joseph, turning them strictly against him subsequently. Since they were alr eady against him because of being Jacob’s favorite son, they started devising plans to get rid of him permanently without delay. Hebrew Bible narrates the tale of the treachery of his half-brothers, who first threw him into a pit (Genesis, 29-33) and later sold him for a very trivial amount of money at the hands of Ishmaelite traders (Genesis 37:18-20), while the Holy Qur’an also describes almost the same that his half-brothers, at the suggestion made by Judah, threw him into the dark well (12:17) and the Arab traders, passing by the well, found the little boy and took him to Egypt in order to sell him for a large amount, because of