Are organizations rational Assignment Example | Topics and Well Written Essays - 1500 words

Are organizations rational - Assignment Example ncy and reliability of the system (Miller, 2012).  The desire to achieve efficiency forms the major part of rationality and organisation is considered as a mechanism where different parts are used to achieve the desired results. Since managers work towards achieving the best results, rationality is based on the efficiency of systems to achieve the desired outcome. This paper attempts to reveal how organisations show rationality in the decisions that are made in management level and the rationality of organisation through its independence and formation. Rational system involves two main elements that include goal specificity and formalisation. Rationality in organisations is related to formalisation of activities and decisions that form the daily systems of the organisation. This means that the organisation behaviour is shaped by standardisation and regulation of all activities in the organisation to achieve efficiency (Sapru, 2011). Through formalisation, stable expectations in production and results acts as the main focus of the company and this is one of the preconditions of rationality. An organisation offers an environment where employees are expected to perform to achieve certain goals and objectives of the company through a formal system thus resulting to rationality. It is therefore important to note that many organisations are rational owing to the fact that they operate with an objective to achieve desired results through formalised principles that are not based on emotions or superstitious beliefs (Catino, 2013).   Goal specificity involves the fact that organisations are formed for a specific objective or goal. Organisations focus on certain goals as their main purpose of operation. Specific goals are used as equipment for supporting rational behaviour in an organisation where they provide guidelines on the structural design, and this points on what specific tasks need to be carried out to ensure great performance and how to allocate resources to

Service Quality and Customer Satisfaction Research Paper

Service Quality and Customer Satisfaction - Research Paper Example Customer satisfaction is the outcome felt by those who have experienced a company’s performance that met or exceeded their expectations. Some researchers highlighted the importance of customer satisfaction and do see that customer satisfaction has a positive effect on organization’s profitability. Evidence also shows the positive connection between customer satisfaction, loyalty and retention. Customer loyalty refers to a deeply held commitment to re-buy a preferred product or service in the future despite situational influences and marketing efforts having the potential to cause switching behavior. The aim of this research is to study the impact of service quality on both customer satisfaction and customer loyalty and the overall effect on business and profitability. Chapter One: Introduction 1.1 Problem Statement This research studies the impact of service quality on customer satisfaction which in turn affects the overall business performance and accordingly the overa ll organizational profits and its market value. 1.2 Importance of the study In today’s dynamic market, competition has become very tough and the product no more became the competitive advantage, in contrast the service quality became the driver of today’s business and what differentiates organizations as today’s customer became more sophisticated and much more knowledgeable with access to global markets and information, accordingly, customer satisfaction became the center of attention and organizations heading more and more towards a customer centered perspective 1.3 Research Questions Does service quality really matter? What kind of competition exists in today’s marketplace? What is customer satisfaction? Can it be measured? Does customer satisfaction lead to customer loyalty? What is the relation between quality of service and customer satisfaction? How can customer satisfaction impact the business performance and company value? Chapter Two: Service qua lity 2.1 Service Quality in a Nutshell Service quality is a concept that defines the relationship between expectations and performance of a business. It is based on the knowledge that a company with high quality of service will fulfill the needs of the customer while retaining their economic competitiveness (Jean, 2000). Economic rivalry is increased by the improvement in the quality of service. This objective may be attained by comprehending and developing the operational methods, recognizing the problem swiftly and categorically creating an authentic and dependable service delivery measures and assessing the satisfaction of customers and other performance output. In other words, service quality is a term that is applied by a company’s administration to define the success in service. It replicates at every service delivery. Customers draw their anticipations from their previous experiences, adverts and from word of mouth (Anand, 2010). Universally, consumers contrast the ser vice obtained with anticipated whereby in case the former is underachieved compared to the latter the consumers get dissatisfied. 2.2 Is Service Quality that Important? One of the significant parts of the quality management is giving the customer service required. The business has faith in giving

The issue of tragedy Essay Example for Free

The issue of tragedy Essay The term, tragedy, by dictionary definition, can be defined as A story with a sad or unhappy ending. (Arthur Miller, Tragedy and the Common Man). Although there is some truth to this, the true definition of tragedy goes much deeper. The notion of tragedy has been a part of English literature since the beginning of the Classical times. Tragedy is available in almost all literary forms, such as, novels, play wrights, film, etc. Shakespeare, for example, has written numerous world renowned tragedies since the turn of the seventeenth century. Four centuries later, with all the changes to the world of literature, tragedy continues to prevail, as a popular form of literature. Through comparing and contrasting William Shakespeares, Hamlet, with Arthur Millers, Death of a Salesman, it is clear that tragedy continues to have many of the same features as it did so long ago and it continues to appeal to audiences today. This is demonstrated through the tragic hero, the heros tragic flaw, and the catharsis. With these three elements included, a more exact definition of tragedy is defined by Aristotle as, the imitation of an action that is serious, complete, and of a certain magnitude, in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the playthrough pity and fear effecting the proper purgation of these emotions. (Aristotle, The Poetics). Although each and every tragedy is slightly different or even quite dissimilar, every true tragedy includes the presence of a tragic hero. The tragic hero can be defined as man as both beautiful and terrible (Class notes, Tragedy and The Tragic Hero). It is most often the heros unjustified life which turns his story into a tragedy. The tragic hero has been a critical role since the beginning of tragedies and it continues to be today. However, views of how the hero should rank in society, have changed over time. According to Aristotle, it is thought that the heros position in society is to be much above the average man. Aristotle defines the hero to be a character of noble stature and has greatness. (Aristotle, Aristotles Idea of Tragedy). This can be seen in Shakespearean time, through such plays as, Hamlet. Hamlets noble stature comes from his position as a prince; he is the son of  the late king and nephew to the new king. Hamlets strong loyalty and dedication to his family has been interpreted as his greatness by many critics. This can be seen as Hamlet learns the truth about his fathers death, and his father asks him to seek revenge on his uncle, the new king, Haste me to knowt, that I, with wings as swift As meditation or the thoughts of love, May sweep to my revenge. (Shakespeare, Hamlet, III, v, 23-24). Hamlet reveals that he will do whatever it takes to seek revenge upon his uncle and is not worried about the consequences. With this quote, It becomes obvious that Hamlet is in fact the tragic hero of the play. Although it is partly the consistency of tragic heroism that attracts viewers to tragedy today, the status of the tragic hero has been viewed differently by great philosophers today, than it was hundreds of years ago. Arthur Miller, for example, believes that the common man is as apt a subject for tragedy in its highest sense as kings were. (Arthur Miller, Tragedy and the Common Man). The tragic hero, Willy Loman, in Arthur Millers, Death of a Salesman , unquestionably conforms to this description. Willy Loman is a common man, which is evident through his family life, his career as a salesman, and his position in society. Viewers can easily identify with him, which further classifies him as a tragic hero. Although Willy is a common man, he still has some greatness. His greatness lies in his struggle to claim some shred of dignity. He fights back against a system that is bigger than he is, that destroys little men like him. He demonstrates an ability for self sacrifice. (Class notes, Death of a Salesman- Is it a Tragedy). This is demonstrated through Willys discussion with Howard about getting further ahead in his business, You cant eat the orange and throw  the peel away-a man is not a piece of fruit. (Arthur Miller, Death of a Salesman, pg. 84). Willy is attempting to justify his position in society and fight back against the system, which he inevitably fails miserably at doing. By comparing Shakespeares Hamlet with Willy Loman in Arthur Millers, Death of a Salesman, it is evident that the tragic hero is a key element to every tragedy. Although their positions in society are slightly different they  both posses qualities of greatness and will eventually be doomed by these qualities. A tragedy would not be a true tragedy without the presence of the tragic hero, which is why audiences are still attracted to tragedies after hundreds of years. Although the tragic hero is acclaimed to be deemed with the qualities of greatness, the tragic hero is certainly not perfect. In fact, this strong imperfection is know as the heros tragic flaw. The heros tragic flaw is what distinguishes him from any other character. This can be seen in both Death of a Salesman and Hamlet. It may be exactly this unique tragic flaw which continually attracts audiences to tragedies today. The heros tragic flaw is unique to each character and it is what makes him/her a true tragic hero. In Shakespeares, Hamlet, Hamlets tragic flaw comes from his boundless loyalty to his family. It is because he strives to follow his fathers orders to the absolute fullest that he eventually causes his own demise. Hamlet is overly passionate, indecisive, excessively intellectual, and overly infantile. He has never grown up. Hamlet suffers from oedipus complex and cannot accept the reality that he has a mother with sexual needs. It is his tragic flaw which make Hamlet bound for destruction. This becomes evident to the audience when Hamlet is in his mothers room and hears a scream, without looking he assumes it is the voice of Claudius, How now, a rat? Dead for a ducat, dead. [Makes a pass through the arras, Polonius falls and dies]. (Hamlet, III, iv, 72) This is Hamlets character flaw, he doesnt think before he acts, he simply wants to follow his fathers commands to the fullest and so he acts with excessive passion. The tragic hero always has the potential to excel in his greatness but he/she inevitably succumbs to his/her weaknesses/tragic flaw. (Class notes, Tragedy and the Tragic Hero). The tragic hero, Hamlet, is very different from Death of a Salesmans tragic hero, Willy Loman, yet the tradition of the tragic flaw continues. Willy Lomans tragic flaw differs dramatically from Hamlet, yet audiences are still attracted to the tragic flaw today as much as they were in Shakespearean time. In Arthur Millers, Death of a Salesman, Willy Lomans tragic flaw comes from the unnecessary, immense importance he puts upon success, class, and respect through the eyes of society. Willy becomes  obsessed with obtaining a high position in society that it becomes his only reason for living. It is his tragic flaw which eventually leads him to his own death. As Arthur Miller comments, the tragic feeling is evoked in us when we are in the presence of a character who is ready to lay down his life if need be, to secure one thing- his sense of personal dignity. (Arthur Miller, Tragedy and The Common Man). This describes Willy Loman exactly. The feeling of pity is evoked in viewers because Willys tragic flaw is so easy to identify with. Willys flaw has good intentions, for he wants Biff to follow in his footsteps and benefit from his values, but Willys true flaw is his blindness to see that his obsession with these values is causing his own demise. This is demonstrated when Willy gives his two sons advice about getting ahead in the world the man who makes an appearance in the business world, the man who creates a personal interest, is the man who gets ahead. Be liked and you will never want. (Miller, Death of a Salesman, Pg 33) Obtaining a high position in society and being respected in the business world are what Willy feels are the most important aspects of life. As Bradley writes, [The tragic hero] need not be good, but should have so much of greatness that in his error and fall we are vividly conscious of the possibilities of human nature. (Class notes, Tragedy and The Tragic Hero). The feeling evoked is that if waste. Both Hamlet and Willy had great possibilities in life but the blindness of their tragic fall caused them to waste their chances and waste their life. This expected tragic feeling has remained constant over time and is what continues to appeal to audiences time and time again. Tragedies are literary works which are continually filled with suffering, destruction, and most often death. However, through this suffering, the tragic concept is that man endures and gains through suffering. (Class notes, Tragedy and the Tragic Hero) The destruction in each tragedy is never meaningless, it has significant relevance. Although, emotions are aroused, tragedy does not leave viewers feeling depressed. The goal of a tragedy is to leave viewers in a state of catharsis. The word catharsis implies that tragedy purges, removes, or unclogs negative emotions, such as pity and fear that build up within the human spirit. (Some thoughts About Tragedy, both  literary and mundane) Tragedy cleanses, purifies, and thus rids viewers of negative emotions, such as, anger, pity, and fear, and turns them into something good. Viewers endure the tragedy but then gain through suffering by purifying their unhealthy emotions into something healthy. Catharsism is evident in both Hamlet and Death of a Salesman and it continues to attract viewers to tragedies today, as it did hundreds of years ago. At the end of Hamlet, viewers are left with a very negative scene of blood, and many meaningless deaths. As depressing as it may seem, it is not meant to leave the audience feeling depressed. The audience is left with a feeling of cleansing, ridding any feelings of revenge. Viewers accept a feeling of a new beginning, due to the prior line of madness being destructed. Hamlet displays a portion of this optimism just before his death, Give me the cup. Let go. By heaven, Ill havet. O God, Horatio, what a wounded name, Things standing thus unknown, shall live behind me! If thou didst ever hold me in thy heart, Absent thee from felicity awhile, And in this harsh world draw thy breath in pain To tell my story (Hamlet, v, ii, 120). Although Hamlet is dying, he asks for his story to be told so others can benefit from the story of his life. It turns a depressing notion into something optimistic. Arthur Millers Death of a Salesman follows this same trait. Without personally reading or viewing, Death of a Salesman, one might think that Willy Loman taking his own life is a very depressing notion. However, like Hamlet, Death of a Salesman leaves the audience with the feeling of a catharsis when Willys life tragically ends. Audiences can easily relate to Willy Loman in his time of despair, as he fails again and again to obtain recognition from society. It is his entire reason for living until he eventually gives up and lays down his life in order for Biff to benefit. The tragedy allows the audience to purge themselves of feelings of pity and fear due to the strong connection with Willys character. Happy realizes what Willy has done for Biff and as he stands at his fathers funeral, Happy defends Willy by saying Im gonna show you and everybody else that Willy Loman did not die in vain. He had a good dream. Its the only dream you can have-to come out number-one man. He fought it out here, and this is where Im gonna win it for him. (Miller, Death of a  Salesman, Pg. 138-139). The audience realizes that Willy has almost turned his own defeat into a triumph, which replaces any negative emotions, with positive ones. There is no doubt that in every tragedy, there is endless suffering and destruction, however it is ones recognition with these feelings which allows the audience to cleanse themselves of these emotions and gain through the suffering. These qualities have been a large component of tragedy since tragedy began and continue to attract and appeal to audiences today. Tragedies are often extremely varied and each one is slightly different. The content of tragedies can be extremely diverse and often have nothing in common with any other tragedy. However, there are a few components which must be present in every true tragedy. Three important aspects which are contained in every true tragedy is the tragic hero, the heros tragic flaw, and the catharsis. This becomes evident through comparing and contrasting William Shakespeares, Hamlet, with Arthur Millers, Death of a Salesman. It is these features which allow tragedy to appeal to audiences today, just as much as they did hundreds of years ago. Tragedies have been popular for centuries and they will continue to be popular for centuries to come.

The Marginalisation of Women in Animation Roles

The Marginalisation of Women in Animation Roles The relationship between modes of production, and individual practice in women’s independent animation. Feminist film critics such as Laura Mulvey have suggested that classical film narration has always had a male perspective and positioned the viewer as male. Her 1975 essay â€Å"Cinema Visual Pleasure and Narrative, is a key work in feminist film theory and a turning point in the understanding of the representation of women in film and animation. She highlighted the lack of female filmmakers, writers and protagonists in Hollywood films. She contends that a female voice is sorely absent from mainstream cinema. Thus the depictions of women and the female identity in film are always a male interpretation. Further more she suggests that the language of film itself is masculine. The essay asserts claims that classical film narration assumes that the audience is male through objectifying female subjects within the frame. She contests that a position of power is almost always given to the male subject through a series of looks. The male characters are in possession of the ‘look,’ while the females are looked at. They are often objectified by focusing on specific parts of the anatomy. The woman is thereby idealised and sexualised into a male fantasy or marginalized into a stereotype or narrative function. This marginalisation of women is evident in Animation from the same period with figures such as Minnie Mouse, who dutifully played house wife to Mickey. The overtly sexual, (and disturbingly child-like,) Betty Boop. Or the extremely curvaceous Red Hot Riding Hood, who was a prototype for Jessica Rabbit. The identification of this imbalance provoked an immediate reaction to address it. â€Å"At this point the main demand was to replace on female role model by another, stronger and more independent. Or to find images of women that were realistic and relevant to women’s real life experience.† (Mulvey, 1978, p204) After WW2 16mm equipment that had been used to make newsreels, became available cheaply, and progress in sound technology in the sixties made synchronised sound recording much easier. The end result was to give people outside the commercial arena the ability to make films. This independent scene emerged at a highly politicised time and gave people the opportunity to make politicised films which addressed issues of the time such as the women’s movement. Not only feminist filmmakers emerged, but feminist readings of unconsciously feminist art. As Sharon Couzin’s definition demonstrates, the defining parameters are very broad. â€Å"Feminist art is which acknowledges that difference of being a women – i.e. what it is to be a woman – and then integrates that consciousness into the art.† (Law, 1997, p 67) Mulvey points to the avant-garde as genre through which feminist filmmakers and animators could express their concerns free from classical Hollywood representation. In her own words; â€Å"the avant-garde poses certain questions which consciously confront traditional practice, often with a political motivation, working on ways to alter modes of representation and expectations in consumption.† (Mulvey, 1978, p200) By breaking away from traditional and accepted systems of narration, the audience is forced to decipher the meaning of the films from the films aesthetics and semiotic signifiers, thus foregrounding the films intended message in the minds of the spectators. Animation has a lot in common with the avant-garde in as much as it is a largely abstract form of representation and expression. That is that unlike live action cinematography, which tends towards mimesis (the desire to accurately reproduce the ‘real’ world,) animation is usually concerned with the suggestion of concepts and the representation of ideas. The processes of animation allow Mulvey’s concerns to be addressed directly. The flexibility of the medium for using different drawing styles, colour schemes, animation techniques lend animation an immense imaginative potential that is only limited by the imaginations of the animators themselves. Animators can use these techniques to challenge dominant modes of narration and aesthetic expression. Secondly animation has been described as an auteurist medium. The vast degree of collaboration necessary to make a photographic film is greatly reduced in an animated medium. Indeed it is possible for animators to create completely individually and in doing so, create art with an entirely subjective perspective and articulate feminist concerns unfettered. A fine example of both these principles in action is Karen Watson’s Daddy’s Little Piece of Dresden China. In the film Watson marries scratch animation, line drawings, collage and puppetry to tell a deeply subjective story about domestic abuse. The different puppets are made from different materials to symbolise their characters. The father is metallic with a razor blade mouth and glass head. He is drunk, cold, dangerous and extremely harmful. The mother is made of a wooden spoon and dried flowers; this shows her domestic role and her bygone fertility. The daughter is bandaged and has a china head. She is damaged, though not yet broken but extremely delicate. The use of puppets removes the spectator from full identification with the characters, leaving them to quietly ruminate on the effects of domestic abuse on real people. Although the film is essentially one extremely powerful account of one woman’s own unspeakable domestic problems, the use of collage places the events in a wider social context and makes the spectator wonder about the greater extent of such problems. Alison de Vere’s film The Black Dog is devoid of any dialogue, and is entirely reliant on aesthetic symbolism and visual narration. The flexibility of the medium allows visual shifts in landscape which invite comparisons with stream-of-consciousness narration. The spectator is invited to come along with the protagonist’s through the wilderness on a journey of spiritual death and rebirth. Her walk through the desolate wilderness is apparently ended when an oasis appears in the form of the complex fata, a small complex comprising of boutique, a club and a restaurant. In the boutique she is dressed and adorned to make her ‘beautiful’ before going to the club. It is her where she becomes the object of desire for a room full of lecherous men. She catches sight of her self in a mirror, and decides to reject her designated engendered role, and false identity of seductress within the microcosm of the complex. At this point she finds that the price she pays for leaving of staying is her brain, her heart and her hands. The implication is that a woman must betray her own intelligence, desires and abilities to conform to the engendered roles that society expects of her. Death becomes a recurring motif of the complex such as the butchering of animals in the kitchens; the use of animal furs in the boutique; and drunken brawls that escalate into murder in the night club. All these images paint a portrait of a brutal and uncaring society and also serve as a visual motif that matches the protagonists fall from innocence and brief loss of individual identity. She flees the complex by diving into a river and being rescued by the eponymous Black Dog. The imagery here suggests a loss of innocence and an attempt of cleansing through water. The malleability of the medium is often explored through metamorphosis of characters of objects from one thing to another. In his book Understanding Animation (1998) Paul Wells argues that the use of metamorphosis is a ‘particular device which is unique to the animated form, and some would argue is the constituent core of animation itself.’ (Wells, 1998, p69) However computer animation techniques have been blended with ‘real’ footage to achieve the same effect in ‘live-action’ cinema, blurring the distinction between the two art forms. Meaning is derived from the fluid change of one form to another in the same way that Eisenstein creates meaning from editing one photographed image with another. ‘Metamorphosis also legitimizes the process of connecting apparently unrelated images, forging original relationships between lines, objects, and disrupting established notions of classical story-telling.’ (Wells, 1998, p69) It is a way of connecting abstract ideas into a narrative form. Joanna Quinn’s films Girls Night Out and Body Beautiful use metamorphosis to directly confront the issue of the sexualized female aesthetic, and reclaim the female form as something to be appreciated in all shapes and sizes. However it does so by using the method within the confines of a traditional narrative structure. The protagonist of both films is a large, working class woman called Beryl, who is completely at odds with the Betty Boop and Red Hot Riding Hood figures. Quinn uses line drawings with immense kinetic energy. The lines are dynamic allowing them to fluidly change shape. The fluid movement of the lines of Beryl’s body extenuates her generous curves, and the wobble of her breasts is particularly prominent as an expression of femininity. In this way her shape and size are celebrated through the animation process. In contrast her husband is completely static, bored, uninterested and uninteresting, a completely unsympathetic character. In Body Beautiful the dynamic lines are used to completely morph Beryl’s shape into symbolic expressions of her subjective experience. These metamorphoses are determined by her own perception of her self. When looking at the models in a fashion magazine she disappears into thin air, as a representation of her marginalization. She does not conform to societies given values of female beauty and as such feels negated. In a scene where Vince is commenting on her appearance she transforms into a pig. She is publicly humiliated and made to feel ashamed of herself, and as such reluctantly accepts the ‘fat pig’ mantle that is forced upon her. The film resolves itself with Beryl learning to appreciate her own figure on her own terms, during a rap song she lists a multitude of body types and transforms into them one by one. She rejects all of them and literally steps out of them as an affirmation of her own femininity. Beryl is representing all the women who do not have the perfect hour-glass figure and as such she is a figure to be identified with as opposed to one who is objectified. She is a celebration of the female body as opposed to a fetishist examination. She is desexualised as a male fantasy of female perfection, but re-sexualised in terms of her gender and defined by her feminine figure. In contrast to Joanna Quinn’s kinetic line, Candy Guard uses a simple, economical and direct aesthetic style in her animated films such as Wishful Thinking and What about me? In both these films two women ask each other questions about their, own appearance, but are never satisfied by the answers they are given and continue to worry and obsess over the matter, to the point of near torture. The figures themselves are comprised of a handful of black lines, they are largely shapeless and aesthetically at least, virtually androgynous. The characters are identified as female through voice and dialogue. In the mouth of Bernard manning jokes about women worrying about clothes or hair may come across as sexist, offensive and dismissive of women. But Guard is showing us how these women are torturing themselves in their attempts to conform to the modes of conduct and appearance that society enforces upon them. The women themselves are complicit in their own torture by their attempts to conform to preset notions of beauty. They never challenge the expectations put upon them and as such they are doomed to forever be enslaved by their own attempts to conform. Guard breaks from narrative tradition by having no resolution to her films. The women of the film will continue to worry about their appearance, just as the female spectators of the film have felt pressure to look their best. It is here where the realism lost aesthetically is regained, as the realism resonates emotionally. The uber-simplistic 2d line drawing style is also thematically fitting, by attempting to conform to societies given notions of female beauty the women are caricaturing themselves. The films discussed in detail here all offer different perspectives on issues of female identity, and engendered roles within society but they all â€Å"explore, through their use of imagery, the existence of the female form as something that is malleable and whose femaleness can be enhanced or reduced. They illustrate that femininity, as it is traditionally represented, something that can be put on and taken off at will.† (Furniss, 1978, p243) This demonstrates that despite differences in subjective experience all the animators discussed were expressing the need to break away from the rigid definitions enforced by classical film narration. We can see clearly that the various modes of practice available to animators have allowed female practitioners a platform on which to address feminist concerns of cinematic representation, as well as commenting upon the lager problems facing women within a modern patriarchal society. Paul Wells has neatly summarized the properties of Animation that have made it an ideal medium with which to redress the balance. â€Å"Animation has the capability of rendering the body in a way which blurs traditional notions of gender, species and indigenous identity further complicating debates concerning the primary political agendas of men and women, and enabling revisionist readings which use the ambivalence and ambiguity of the animated form to support the view that traditional orthodoxies in society itself must be necessarily challenged.† (Wells, 1998, p188) Of course an all encompassing feminist definition of ‘women’s experience’ or femininity is impossible and any attempt to do so is every bit as false as the fantasy representation offered by classical Hollywood. As Maureen Furniss explains in her own theories on representation. â€Å"One can argue that the media is dominated by images representing the priorities of a white male culture, but how does one go about depicting an alternative? How does one define ‘women’s experience’? And, even if it were possible to come up with a definition, could it encompass the realities of women across the world?† (Furniss, 1998 p 243) What these animators have been able to do is break the masculine bias of film narration and spectatorship, and contribute to the woman’s movement by creating a feminine aesthetic based upon individual subjective experience as opposed to tired patriarchal stereotypes. Bibliography Furniss, Maureen. Isuues of Representation(Chapter 12), in: Art in Motion. Animation Aesthetics. London: John Libbey, 1998, pgs.231-249 Law, Sandra. Putting Themselves in the Pictures. Images of Women in the Work of Joanna Quinn, Candy Guard and Alison De Vere, in: Pilling, Jayne(ed.) A Reader in Animation Studies. London: John Libbey, 1997, pgs. 49-70 Mulvey, Laura: â€Å"Cinema Visual Pleasure and Narrative† 1975 in Penley, C. Feminisim and film theory. London: BFI 1988, pgs, 57-68. Mulvey, Laura: Film, Feminism and the Avant-Garde, in OPray Michael. The British AvantGarde Film 1926-1995. Luton: Luton University John Libbey Press, pgs. 199-21 Wells, Paul. Understanding Animation. London: Routledge, 1998. Films Black Dog, The. (Alison de Vere, 1987) Body Beautiful. (Joanna Quinn, 1989) Daddy’s little bit of Dresden China (Karen Watson, 1987) Girls Night Out (Joanna Quinn, 1986) Red hot riding hood (Tex Avery, 1943) What about me? (Candy Guard) Whishful Thinking (Candy Guard) Who framed Roger Rabit? (Robert Zemeckis, 1989)

Frankenstein - Societal Changes in Film Essay -- Essays Papers

A Look at the Story of Frankenstein and the Societal Changes in Film Frankenstein’s monster, a misunderstood creation fabricated by Victor Frankenstein in Mary Shelley’s classic story, has been terrorizing readers and audiences alike for well over one hundred and fifty years. Since the story was first written in 1818, there have been numerous plays, and over one hundred films, each adaptation trying to portray its own vision of the original story. Mary Shelley came to create â€Å"the prototype of a new literary genre – science fiction† (Hardwood 14) while James Whale crafted his beautiful film creation, Frankenstein, to portray conservative values and civil rights while still telling the classic story. Other versions of Frankenstein and modern films such as Blade Runner and The Terminator use the â€Å"Frankenstein myth† to show how technology must be contained. Yet the most popular and admired of these variations incorporate changes to the original story that connect not only with the audience’s fear s, but societal fears including the Great Depression and evolving technology. Mary Shelley and Her Monster While an entire book can be written on Ms. Shelley and her life, I am choosing to focus solely on her social and family contacts and issues surrounding her life that pertain to the writing of Frankenstein. These issues include her parents and lovers, the social crowd in which she entertained with, the contest and dream that lead to the story’s creation, the science that prompted the story to involve an unnatural creation of life, and some theories touching on the social and political agenda of the story. Mary Shelley was born to William Godwin and Mary Wollstonecraft, both influential writers and intellectuals of the... ...e still is only a mother and really serves no other purpose. Both these movies came out in the early 1980’s, a time in which computers and technology was first being researched and discovered. These directors tapped into the their audience’s fear of machines like Mary Shelley tapped into her audiences fear of creating life. Concluding Thoughts Mary Shelley came up with an idea for a story while having a nightmare in the middle of the night. That nightmare was then transferred onto paper and then to the silver screen, each new adaptation changing the original story to get the most fear or response from the audience. I feel that we have not seen the last of Frankenstein or the themes he carried with him for the last 187 years, and as Martin Tropp states, â€Å"Something about the story is never exhausted, always current, always able to attract a new generation† (2).

Essay --

On July 22, 1987, President Ronald Reagan signed the McKinney Homeless Assistance Act (now known as the McKinney-Vento Homeless Assistance Act) into law and was later reauthorized by the No Child Left Behind Act in 2001. This act establishes several programs to provide essential services to people experiencing homelessness, including emergency shelter, transitional housing, job training, primary health care, education, and permanent housing. This policy analysis will focus specifically on Title VII-B of the McKinney-Vento Homeless Assistance Act, which authorizes the federal Education of Homeless Children and Youth program, and its attempt to remove barriers to public education faced by homeless children and youth. Nature and Scope of the Issue According to the National Coalition of the Homeless (2007), families with children are among the fastest growing segments of the homeless population (pg. 1). The Institute for Children and Poverty (2004) estimated that approximately 1.35 million children are likely to experience homelessness over the course of a year in the United States. Homelessness has a devastating impact on all aspects of children and youth’s lives, including their educational opportunities. Residency requirements, guardianship requirements, delays in transfer of school records, lack of transportation, and lack of immunization records often prevent homeless children from enrolling in school. In 1987, Congress established Title VII-B of the McKinney-Vento Act, the Education of Homeless Children and Youth program (EHCY), in response to reports that only 57% of homeless children were enrolled in school (NCH, 2007). In addition to difficulties with enrolling in school, the high mobility associated with homelessness also... ...s accessing emergency shelter and transitional housing programs of the course of one year (as cited in NCH, 2009) Meanwhile, 71% of responding cities reported increases in households with children accessing emergency shelter. More than 42% of those accessing emergency shelter are families, and, on average these families remain in emergency shelters for 70 days (as cited in NCH, 2009). Alternative policies that strive to provide more affordable housing options and more preventative support services must be implemented in attempts to prevent the causes of homelessness rather than addressing the symptoms associated with it. Homelessness, including its devastating impact on children and youth’s educational outcomes, will not end until policy makers and society at large begins to take a deeper look at these structural, root causes of homelessness impacting our society.

Marketing in Global Environment Essay

Pre school children usually become angry when they are frustrated and they get frustrated when they cant comprehend what is going on and what they have to do in that current situation. Thus when they feel helpless and are unable to express their feelings verbally, they show anger. This is basically the positive sign in a sense that this aggression enables the child to create their own personality, which signals that they are getting growing up because of the learning they obtain from new circumstances. According to Lewis & Michalson, (1983) there are three components of anger; emotional state of anger, expression and then understanding of anger. In the first stage of emotional state the child feels that their needs are not fulfilled or their goal is unattainable. In daily classroom activities there may be conflict over possession of children’s accessories, like some children don’t like to share their things with other children. Moreover there may be fights between children, verbal taunt or teasing, or circumstances when children feel that they are being ignored with peers, parents or teachers and when kids don’t like to do what is ordered by the teacher or parents. All these are the reasons that cause children to get frustrated. The second stage is expression of anger, which children normally display through their facial expression, by crying and sometimes they become stubborn and do not bother to resolve the issue. Some children express their anger by taking revenge physically or through verbal taunting, complain to the teacher what he dislikes or by fighting with his other friends. The third stage address the understanding of anger, it involves understanding, interpreting and then evaluating the emotions because expression of anger is basically linked with the understanding of emotions. At this stage children learn from their teachers and parents on how to manage their feelings of anger, and how to react in those situations. Now I would like to explore the understanding and then managing anger, according to the (Lewis & Saarni, 1985), there is a cognitive process of children’s gradual development which includes memory, language and self referential and self regulatory behaviors. At the initial ages, children always remember in their memory; the situations and their solutions that what they have done at that prevailing situation and then it become very difficult to wash their brain if they are grow up with the wrong perception. Thus the teacher plays an important role in the growing of children because they are the ones who guide them on what they have to do in the situation they come across. Then comes language, as every child thinks differently and they have different perceptions, therefore the teacher has to be very careful and keep in mind the differences when teaching them on anger. The third and last one is self referential and self regularity behavior, now self referential behavior means seeing them as separate, independent and active, while self regulation refers to controlling their wishes and tolerating the consequences. What the teacher is supposed to do to deal with the anger, the most important task is to create a friendly climate where children can express their feelings and problems without being scared, listen to them, motivate them and they must help the children to develop self regulatory skills. Also, let them participate in all the classroom activities to increase their confidence, they can do so by telling them moral stories, with the help of role play or through games and different competitions, and the most important task is to involve parents as they are the ones who remain with them all the day. Hence teacher and parent both must coordinate to better understand the children. Purpose of Study: The purpose of this study was to examine the child psychology, as every child is different. Furthermore, to understand how to treat children, in a way they want to be treated so they can be a better groomed for their future ahead. References: †¢ Marion. M. (April 27, 2009) Helping Young Children Deal with Anger. Retrieved 26th June 09. From the website: http://www. athealth. com/Consumer/issues/childsanger. html †¢ The Parent Report Radio Show. Aggression and Anger in Young Children. Retrieved 26th June 09 from the website: http://www. theparentreport. com/resources/ages/preschool/development/650. html †¢ Center for Mental Health Services. Helping the Child Who is Expressing Anger. Retrieved 26th June’ 09 from the website: http://parentingteens. about. com/cs/youthviolence/a/childanger. htm †¢ Can Anger in Children be a Sign of Something Serious? ( 2008 ). Retrieved 26th June 09 from the website: http://www. help-your-child-with-anger. com/anger-in-children. html †¢ Managing and Coping with the Angry Child. Retrieved 26th June 09 from the website: http://www. angermgmt. com/children. asp