Down Syndrome Essay Example | Topics and Well Written Essays - 1000 words

Down Syndrome - Essay Example Down believed that those suffering from the condition could lead a better life if given a chance (Bowman-Kruhm 11). The condition came to be referred as Down syndrome in the early 1960s (Margulies 8). Dr. Jerome Lejeune and Patricia Jacobs, in 1959, identified the link between DS and the presence of an extra chromosome (Bowman-Kruhm 12). Symptoms Those suffering from DS exhibit both physical abnormalities as well as health complications. They have delayed cognitive development during early infancy, leading to mental retardation and reduction in intelligence quotient (IQ) from early infancy to late childhood (Rachidi & Lopes). They experience deficiency in speech and language production. The low IQ persists in adulthood and is coupled with a decline in cognition, which is a result of accelerated ageing. By the fourth decade of life, there is often an early onset of neurohistopathology, resembling Alzheimer’s disease (Rachidi & Lopes). Patients with DS have deficient spatial lea rning, behavioral defects, and memory deficits due to development and functional impairments in neurogenesis, myelination, synaptogenesis, etc. in the brain (Rachidi & Lopes). Patients with DS often have some or many of the commonly recognizable traits commonly associated with the condition. They lack normal muscle tone, giving them a â€Å"floppy† appearance (Griffith, Moore and Yoder 270). The head is often abnormally shaped, with an unusually shaped skull. They also have unusual facial features such as flattened nose, large tongues, small mouths, abnormally shaped ears, broad hands with large palm creases, and slanting almond shaped eyes with an abnormal iris... Those suffering from DS exhibit both physical abnormalities as well as health complications. They have delayed cognitive development during early infancy, leading to mental retardation and reduction in intelligence quotient (IQ) from early infancy to late childhood (Rachidi & Lopes). They experience deficiency in speech and language production. The low IQ persists in adulthood and is coupled with a decline in cognition, which is a result of accelerated ageing. By the fourth decade of life, there is often an early onset of neurohistopathology, resembling Alzheimer’s disease (Rachidi & Lopes). Patients with DS have deficient spatial learning, behavioral defects, and memory deficits due to development and functional impairments in neurogenesis, myelination, synaptogenesis, etc. in the brain (Rachidi & Lopes). Patients with DS often have some or many of the commonly recognizable traits commonly associated with the condition. They lack normal muscle tone, giving them a â€Å"floppy† appearance (Griffith, Moore and Yoder 270). The head is often abnormally shaped, with an unusually shaped skull. They also have unusual facial features such as flattened nose, large tongues, small mouths, abnormally shaped ears, broad hands with large palm creases, and slanting almond shaped eyes with an abnormal iris (Griffith, Moore and Yoder 270). It is also observed that the inner corner of the eyes in patients with DS has a rounded fold of skin called the epicanthial fold (Griffith, Moore and Yoder 270). Apart from these, they also often suffer from gastrointestinal and heart defects. Some patients with DS are found to possess normal intelligence, while most others suffer from intellectual deficiencies (Margulies 5).

Scenario Consider Essay Example for Free

Scenario Consider Essay Operant conditioning is based on the premise that behavior can be formed and even modified with the aid of consequences. The main defining difference between operant conditioning and the classical or Pavlovian conditioning is the fact that it is concerned with change or development of voluntary behavior (Kirsch, Lynn, 2004). It is important to note that under operant conditioning the main variable of concern is the environment that is acted upon and is affected by given variables (Dalla, Shors, 2009). The consequences of the operant therefore play an important role in ensuring that a behavior that has been developed or modified is maintained. Under operant conditioning reinforcement and punishment are the key factors that determine the direction that behavior will be redirected to. Negative Vs Positive Reinforcement a) Similarities The core similarity between positive and negative reinforcement is that they are all aimed at ensuring high frequency of target behavior The use of a stimulus that is introduced into or removed from the environment under consideration is another factor that is shared by the two forms of reinforcement (Wenger, Schmidt, Davisson, 2004). It is important note that the key goal in both forms of reinforcements is to increase the frequency of the expected or observed behavior b) Contrast The key difference between the two modes of reinforcement is the type of stimulus used. In positive reinforcement the stimulus used is favorable and negative reinforcement employs an aversive stimulus (Myers, 2004). Another notable difference is that in most cases negative reinforcement involves removal of a stimulus whereas positive reinforcement involves its introduction. Most Effective Reinforcement Positive reinforcement is more effective than negative reinforcement. This choice is guided by the fact that reinforcements though included in the operant conditioning set up may in fact lead to forced adoption. It is important to note that the key goal in operant conditioning is to impact on the environment and not the organism being observed (Myers, 2004). Thus negative reinforcement which is in most cases included in the set up when behavior is being observed and removed once frequency has been heightened may lead to wrong results by impacting on the organism. On the other hand, positive reinforcement is not aimed at avoidance of a negative effect and therefore the behavior observed is likely to be of high level of accuracy. Â  a two year old who is continually crying with minimal provocation. Crying is behavior and provocation is a stimulus that impacts on this behavior The main aim in this scenario is to reduce the frequency of his or her outbursts with the introduction of a stimulus and a form of reinforcement. The stimulus under this consideration is to continually tell the child that crying is bad and may attract dangerous animals into their home. This may impact on the child perception of crying by affecting his sphere of thought or more accurately the environment. A reinforcement may also be required to increase the frequency with which a child responds positively (does not cry with minimal provocation). Reinforcement Schedule Candies are any childs favorite and will therefore play an important role in reinforcing behavior It is important to note that candies are not within the environment when a child is provoked and therefore do not impact on behavior rather it is introduced later. After the first lecture, the child is presented with a candy when he resists crying after being slightly provoked. This cycle is continued with no increase or decrease in the number of candies that the child is presented with. It is important to note that the form of reinforcement used under this scenario is positive due to the age of the subject and ethical concerns. Reference Dalla, C. , Shors, T. J. (2009). Sex differences in learning processes of classical and operant conditioning. Physiology Behavior, 97(2), 229-238. Kirsch, I. , Lynn, S. J. (2004). The role of cognition in classical and operant conditioning. Journal of Clinical Psychology, 60(4), 369-392. Myers, D. G. (2004). Exploring Psychology. London: Worth Publishers. Wenger, G. R. , Schmidt, C. , Davisson, M. T. (2004). Operant Conditioning in the Ts65Dn Mouse: Learning. Behavior Genetics, 34(1), 105-119.

Politics Essays Gender Stereotypes Tudor

Politics Essays Gender Stereotypes Tudor Gender Stereotypes Tudor To what degree were gender stereotypes a factor in Tudor politics? The first thing to say is that Tudor monarchy was not idealistic, like all governments it was primarily pragmatic in approach, and the great changes in the relationship of Crown and Parliament in this period were a result of immediate needs and evolving precedent. Cromwell steered Parliament towards a considerable extension in its competence to include issues of religion, the succession and the unity of the Realm. I n doing so, he allowed MPs to declare Royal Supremacy and established a new focus of sovereignty, the King-in-Parliament. Edward’s minority made the nature of Cromwell’s Royal Supremacy clear. It was through Parliament that objections to Somerset’s rule were overridden and it was Parliament that was used to transform the official doctrine of England. Respect for statute was a key reason why so many leading Protestants accepted Mary as Queen in 1553. After Mary’s death, Elizabeth and William Cecil inherited a position in which Parliament was growing into a genuine political forum and the use of parliamentary consent became the norm but it is wrong to see in these developments the origins of Parliament’s seventeenth-century attack on divine right kingship. Parliament supported the Crown with money, counsel and by passing its laws. When unrequested advice was offered by MPs on matters which plainly concerned the royal prerogative, the Queen simply refused to be drawn into conflict and avoided a crisis. The Tudors had very clear expectations of men and women, and in general men were expected to be the breadwinners and women to be housewives and mothers. On average, a woman gave birth to a child every two years and having a child was considered a great honor to women, as children were seen as blessings from God, and Tudor women took great pride in being mothers. Many women in this period were highly educated. Women were not allowed to go to school or to university, but they could be educated at home by private tutors. Elizabeth I was tutored by the famous Tudor scholar Roger Ascham. Women were not allowed to enter professions such as law, medicine, politics, but they could work in domestic service as cooks, maids and were also allowed to write works of literature, providing the subject was suitable for women: mainly translations or religious works. Women were not allowed to act on the public stage or write for the public stage. Acting was considered dishonorable for women and women did not appear on the stage in England until the seventeenth century. In Shakespeares plays, the roles of women were often played by young boys.   Women, regardless of social position, were not allowed to vote (however, only men of a certain social position were allowed to vote). Neither could women inherit their fathers titles. All titles would pass from father to son or brother to brother, depending on the circumstances. The only exception was Royalty. The Crown could pass to a daughter, and this allowed Mary, and then Elizabeth, to reign. In some cases women could not inherit estates, but women could be heiresses to property. A man was considered to be the head of a marriage and was expected to look after his wife and children. There was no divorce in Tudor times and marriage lasted until one of the couple died. An Annulment could be obtained, which would mean the marriage was not lawful, but extensive evidence would have to be provided if this was applied for. Henry VIII only ever regarded Jane Seymour and Katherine Parr as his legal wives. The stereotypical idea of a Tudor woman being weak, frail, feeble and foolish has been drilled into our heads for centuries. Even Elizabeth Tudor is said to have appeared on the political stage apologetic for her femaleness. The purpose of this essay is to see to what degree gender stereotypes where an issue in the political factor of the Tudor times, and to what extent this has, if at all, changed. What roles did men and women take on and why where they different, or indeed, segregated? Do the ideals of the Tudor times affect society today? These factors will be seen during my conclusion. Women and their involvement in politics has always been an intriguing to those interested in the history of politics. Women linked with the Royals, or Nobility, -albeit wives, mothers, mistresses, offspring or siblings-have always been the subject of investigation, regarding the power the held over those the ruled, and even the authority they exercised from their concealed places behind those who ruled. Yet, even in the face of this focus, today’s historians seem cautious about laying the notion of power and influence, at the door of the female persuasion. To begin with an example of how gender was an issue, regardless of rank or station, we can look to the monarchy. In the Tudor century, two types of queen had control of the court. They were called Consorts and Regnant. A consorts’ role was one of reproduction. She would be married to a king, but because giving birth to a male heir defined the success of her reign; her inability to reproduce sometimes endangered her position as consort, as Henry VIIIs wives discovered. The consorts’ life narrowly reflected that of noblewomen: those who were expected to produce a male heir to continue their husbands line, to overlook the day’s work in the household, and to support the numerous charities and religious institutions that were seen as appropriate for women to support. A consort’s royal status allowed her opportunities to engage in court politics. Mary and Elizabeth Tudor were exceptions to this rule, as even though they took the title from marriage and succession, they were still expected to rule as monarchs. A Queen Regnant was one whose royal status was a birthright and not an outcome of marriage. These queens where seen as actually reigning and controlling the kingdom, and not with menial activities such as overseeing the running of the household. The notion that women were not able to govern their land, led to the idea that they must take their male councilors’ advice to avoid disaster. There were even concerns about whether Philip II would dominate the decision making during Marys reign. Traditionally speaking, women in politics during the Tudor century where very marginal and hidden figures. Their domain was the household, and work was domestic, as opposed to the male world, a world of very public politics and business ventures. Women were awarded no accreditation for the parts played by them during an event of importance. Indeed, to George Bernard referred to Anne Boleyn as â€Å"nothing more than a flirt and loose living lady†, even after the controversial ideas of her religious influence, alleged adultery and consequential fall. Tudor society was patriarchal, meaning that men were considered to be the leaders and women their inferiors. Women were regarded as the weaker sex, in both physical and emotional values In general females, whether married or single, were seen as unable to think in political factors and were seen as genetically inferior to their male counterparts. Unmarried women would be chaperoned constantly by male relatives and guardians, as it was thought that without a husband to guide them, they would be incapable or looking after their household affairs. Women would spend most of their lives in the house attained by them through marriage. They would focus on the interests of their husbands, children and grandchildren, and those without children would often focus on the interests of siblings, especially sisters. On first perception, it is easy to perceive a woman’s world as narrow and confined to a small space, when in reality, their daily activities and contacts spread further than most could imagine. Built upon a woman’s family and complex network of friends and contacts, was weaved great resource and political influence that allowed these women to perform their motherly, wifely and widows duties with great flair. Their martial family gave them the power they needed to succeed in everyday life, while their birth families provided a safety net for them, if their marriages ever failed. A woman’s birth family was usual the most important in the line of contacts she kept. Her father would be involved with her life extensively, even after she was married to aid them as wives and mothers and to help them with financial issues. In contrast, the males in the Tudor times, held an authority which was officially known as â€Å"political†, although this could entail anything from attending the House of Lords, to arranging their sisters marriages and seeing to a respective suitor. The main parliamentary figure though, was the king, or Queen regnant. Elizabeth I was one of these queens, who took her political power seriously, and without a husband to guide her, much to the distress of Parliament. She gave the House of Commons control over certain authority but made it clear, that as the head of the institution, certain matters would be left to her and her Privy Council. When parliament demanded that she be married in 1571, she told them in no uncertain terms, that they had no right to discuss matters that directly affected her. Although Elizabeth didn’t allow the fact that she was a woman affect her working life, it did seem as though being female was an issue, as she constantly fought to portray herself as male. Rank seemingly played no part in the gender issues of the Tudor age. Upper-class and lower-class women alike attained authority through social standing, relationships and contact with those in higher power and woman’s incorporation into politics, although not the electorate, was the result of increased literacy skills-especially the ability to read- in women allowing them more access to news, information and ideas. In regard to the â€Å"political† goals, most men and women shared the same ideals. To make an advantageous match in marriage would secure money holdings and status which allowed both genders to equally gain influence over such factors as land accumulation, the holding of their reputation and status, and the ability to further family members in terms of careers and marriage. Professor Barbara Harris’s research into gender and Tudor times has been able to show that what was considered domestic, public, political and private where very hard to distinguish from each other during this time. The family was the quintessential political base for women. If you were a wife or mother, this would be considered your â€Å"career† which was politically significant. Women were constantly involved in activities which allowed them to build and maintain relationships with others, such as arranging marriages. Professor Harris rethought this â€Å"domestic chores† Of course, the issue concerning gender where not just rife in the household and in business ventures. Gender was a very common influence on sentencing a criminal as well. Tudor punishments were very severe and entailed hanging, burning to death, torture, whipping, being chained to stocks you would have all sorts of rubbish and rotten foods thrown at you before you eventually starved to death(if you were lucky),or some passing animal decided to have a bite, dunking in a river or branding with a hot iron. These are only a few examples of how a â€Å"criminal â€Å"would be treated. Whipping was sentenced for serious offences such as robbery with violence and begging. For this act, a â€Å"pillory† was often used. A pillory was made of two upright posts and two boards which were held together with each other. These boards had circular openings for the neck and wrists of the prisoner. The pillory had a roof, open sides and was placed on a platform. The prisoner would stand through his whipping, being fully exposed to the public. This form of punishment was usually reserved for male offenders. Women who were accused of being â€Å"scolds where taken to a device called a â€Å"ducking stool†, a highly popular form of punishment for the time. Historians have argued the meaning of the term scold relentlessly and have discussed its implications at length. The same questions always come to rise. Where these women independent, and was this type of punishment one brought by men to keep their women in check? After all, social conformity was extremely important during the Tudor times, and it was often felt that men had to keep their women at hand to save themselves from the embarrassment of having an unruly wife, mother, etc. For Women though, the most common crime was of witchcraft. It was common practice during this period to blame someone for cursing your cattle if one or more of your livestock died without an obvious reason. Witchcraft was considered a serious offence, and was punished in the most serious ways. The Witches of Warboys is an example of those involved in witch-hunting. The Witches of Warboys refers to Alice Samuel and her family between who where accused, taken to trail and then executed on charges of witchcraft in the village of Warboys, England. The accusations were first made by Jane Throckmorton, who had started having fits. She accused the 76 year old Alice Samuel of enchanting her and Jane’s four sisters and some household servants begin reporting similar symptoms. In 1590, Lady Cromwell, (the grandmother of Oliver Cromwell,) came to Warboys to visit. During this time, she met Mrs. Samuel and too accused her of being a witch. At one point, an argument ensued, which was quickly dissolved when Lady Cromwell cut off a lock of Mrs. Samuels’s hair. Lady Cromwell later became ill and later died in 1592.In 1592 Alice Samuel confessed to witchcraft, and was taken to Huntingdon where she was imprisoned with her daughter Agnes and her husband John. All three were tried on April 5th 1593 for the murder, by witchcraft, of Lady Cromwell, and were found guilty. They were sentenced to be hanged. In conclusion, it seems that in the Tudor Century, men and women were segregated in just about everything, from the way they performed daily duties, to what crime was applicable to them. Tudor politics was no different, with the exception of certain women given power in some circumstances, but they still had to appease male advisors and peers, if their influence was to go ahead. Queens such as Elizabeth I made up for her lack in a husband or any other close male relative with her dealings with her male councilors and through the image of her personality as male during contact with the public. In response to the Parliamentary request she marries, 1559: ‘I am already bound unto a husband, which is the kingdom of England and that may suffice you.’ This proved to society that although she was a woman, she was not ruled by her male peers. Gender issues were a factor in Tudor politics, but they were not totally oppressive. It seems that for some people, the gates where open to them, as long as they adhered to certain rules and conduct. It is probably fair to say that, despite the limitations, women had more freedom in the Tudor period than they had had previously and would have again for some time. The Renaissance brought with it a new way of thinking.   Elizabeth being on the throne also encouraged men to educate their daughters, in the hope that it would secure them a more advantageous match in marriage, further widening their political influence. References: Reed, K â€Å"Selected Writings of John Knox: Public Epistles, Treatises, and Expositions to the Year 1559† Presbyterian Heritage Publications, (1994) Carol Levin, the Reign of Elizabeth I (Palgrave, 2002). www.tudorbritain.org Elton, G.R. England under the Tudors. Routledge(1955) Daybell, J. Women and Politics in Early Modern England, 1450-1700 Ashgate.(2004)

Free Essays - The Themes of Oedipus the King (Rex) :: Oedipus the King Oedipus Rex

The Themes of Oedipus the King In the play Oedipus the King, by Sophocles, two themes appear; one that humans have little control of their lives because fate always catches up with them and the theme that when someone makes a mistake, they will have to pay for it. The theme that the lives of humans are controlled by the gods, in Oedipus, show that everything humans do are futile and result in no gain but only loss. This theme is mainly shown by the character Oedipus, king of Thebes. In the beginning of his life, Laius the king planned to kill his son by leaving him on Mount Cithaeron to die. "...at the moment I was your savior." From the very beginning, Oedipus was destined to fulfill Apollo's prophecy of killing his father. Even though King Lauis tries to kill Oedipus to stop the fulfillment of this shameful prophecy, fate drives the Corinthian messenger to save Oedipus. What the gods fortell will come true and no human can stop it from happening, not even the kings. Oedipus is once again controlled by this power when he leaves the place of his child hood after he hears that he is to kill his father and marry his mother. "I shall shrink from nothing...to find the the murderer of Laius...You are the murderer..." Oedipus tried to stop the prophecy from coming true by leaving Corinth and only fate can make Oedipus turn to the road where he kills his true father. Leaving Corinth makes Oedipus lose his childhood by making him worry of such issues young people should not have to worry about and becoming a king of a strange land. Last of all, Oedipus carries the last part of the prophecy out, marrying his mother. " I would... never have been known as my mother's husband. Oedipus has no control over the outcome of his life. Fate causes Oedipus to have known the answer to the Sphinx's riddle and win his marriage to his mother, Jocasta. Had fate not intervened, the chances of marrying Jocasta would have been small since there is an enourmous number of people and places to go. Oedipus loses his sense of dignity after he discovers he is not only a murderer, but also that he had committed incest.

Improving Employee Productivity

As you may already know, improving the employee productivity is one of the most important goals In any business. But, In spite of this, a lot of human resources professionals do not consider this field very relevant. Even though most of the human resources professionals do admit that their job Is all about establlshlng schedules and rules concerning people management, only a few of them succeeds in bonding all these connections, in order to be able to increase productivity.John Sullivan (2011) refers in his article to several factors divided in a few categories, which are onsiderably influencing not only the individual productivity, but also the team productivity. Employee productivity is the main leading power behind a company's profitability and Its growth. Momentarily, the demand for employee productivity Is Increasing more and more, making this a feature that Is actually missing In todays workforce and also leaving most of the managers wondering what they should do next and what the causes are.This is the result of all the distractions and all the separate activities happing in the work environment. Nowadays, it seems that mployees are too busy tweeting, updating their statuses or chatting on Facebook, or simply texting. Because of that, most employees are not taking their tasks to an end, they are not finishing their work and they miss their deadlines. Another key aspect of this problem concerns the employee training tools. unfortunately, this aspect receives too little attention.Most of the time, the provider with the lowest costs is often chosen, even though the most effective provider is recommended. As a result, the recruitment is also poor, because of having as a main goal to minimize costs as uch as possible, but without enough consideration of the quality and the capability of each employer. No matter how you think it, the drawn conclusion here Is that the human resources department, Instead of being more Interested In finding solutions for Increasi ng the productlvlty, they are actually less Interested In doing transactions and more interested in cutting off the expenses.In order to increase the employee productivity and the performance of the workforce, considering the help you can expect from the human resource department, you must know and understand the factors that are influencing this rocess. Overall, taking In consideration John Sullivan's article, I have selected the most Important 16 factors from four main categories, which are going to be discussed next. As for the categories, the first one taken In consideration Is â€Å"Foundations of Productivity. According to John Sullivan (2011), a first factor mentioned here is â€Å"High- performing and Innovative employees are the foundation of productivity.By working together, managers and human resources professionals can find, hire, grow and keep high performing employees. It was proved that the most important factor in orkforce and productivity is hiring and keeping emp loyees with the best capabilities. Unfortunately, even the best people may sometimes need help. Without the head managers, much-needed resources and proper guidance, It's very hard to achieve your goal. Another factor measured in this category, according to John pawns are the second most important productivity factor because they play a very important role in defining the roles and the goals of the workforce.More is the pity that many managers are the weak ring in the productivity chain, therefore most of the time not only the employees needs guidance and education, but also their eaders. The second category taken in sight is â€Å"Direction and Guidance†. According to John Sullivan (201 1), a first mentioned factor here is â€Å"A corporate strategy and plan that builds commitment†. Most of the time, a very good business strategy and planning will increase the chances of having a successful and committed organization.Moreover, if the strategy is very clear and very we ll communicated, your employees will be more focused and their motivation will considerably increase. Another factor measured in this category, according to John Sullivan (201 1), is â€Å"A defined purpose for teams makes roles clear†. The managers need to develop a clear communicated purpose that has to be persuasive and also has the role to make their employees from their department to feel important. Employees sometimes can contribute even more to their work and tasks if they had a role in creating and understanding the main purpose.Still according to John Sullivan (201 1), next factor mentioned here is â€Å"Team and individual goals†. Defining some clear goals will let everyone know what is expected and what really has to be done. Also, giving some heads up on some perfect clear goals will also contribute for their employees to nderstand exactly what is and what is not important. Another factor measured by John Sullivan (2011) in this category is â€Å"Prioritiz ation for impactful resource allocation†. Establishing some clear priorities will help to better assign resources and funds, in order to achieve more important objectives.Next factor mentioned by John Sullivan (2011) here is â€Å"Performance metrics for continuous improvement†. Measuring performance in a successful way strengthens both individual and group goals. This will provide more attention, better feedback and better results for an ongoing improvement. Last factor measured in this category, according to John Sullivan (201 1), is â€Å"Effective rewards drive performance†. When the rewards are more connected to one goal, you double the strength of the message related to the importance of the Job that needs to be done.The third category taken in consideration is â€Å"Support Factors†. According to John Sullivan (201 1), a first factor mentioned here is â€Å"Team member support increases individual performance†. Only a few tasks can exclusivel y be done by an employee. If the employees are not working together with other people in a group as a team and if they are also not receiving all he necessary support from their managers, productivity will be lost. Next factor measured in this category by John Sullivan (2011) is â€Å"Best-practice sharing and collaboration improve productivity'.Productivity will considerably improve when the other people outside the team collaborate and brainstorm together. When the employees are using the â€Å"trial and error† method, all the growth of your business will slow down. Another factor mentioned here, according to John Sullivan (201 1), is â€Å"Support for innovation can dramatically increase productivity'. Having in mind as a oal to be on top of their business environment, companies struggle to achieve a double digit percentage improvement in their productivity (at least 10%, sometimes even goes to 25%) for every year.In order to reach this, a sustained level of sometimes no t enough in order to provide a double digit rise. Because of this, the human resources department must develop training measures, good processes, and stimulants that help the innovation. Still according to John Sullivan (201 1), next factor measured in this category is â€Å"Control and authority can result in a better decision aking process†. When there is a certain balance between freedom and control, so that employees have the authority to take most of the operational decisions, at that point we can talk about maximum productivity.Another factor mentioned here by John Sullivan (2011) is â€Å"Non-monetary factors that can also excite employees†. In addition to the usual rewards (as money), the managers can also provide a few non- monetary rewards, such as: feedback on their Job, appreciation for their work and so on. This is one of human resources department's most important responsibilities to e sure that the managers are using all of these methods in a right way, in order to increase the productivity process. The fourth category taken in sight is â€Å"Skills, Communication and Information Factors†.According to John Sullivan (201 1), a first factor mentioned here is â€Å"Employee skills and knowledge must be continually updated to maintain productivity'. Because of the changes brought by the high level global competition, the expectations of the employee's skills are much higher. The main role of the human resources department is to develop a plan that helps in an ngoing increasing employee's knowledge and training. Next factor measured by John Sullivan (2011) in this category is â€Å"Effective communications and feedback reduce errors and frustration†.As feedback is one of the most important strategies in the process of motivation, the failure of providing good feedback will lead to a poor work quality and maybe errors. You can best avoid this kind of situation if a company comes up with a well-organized internal communicat ion channel (like an intranet). The last overall factor mentioned here, according to John Sullivan (201 1), is â€Å"Providing he right information improves decision-making†. In order to take the best decisions and to increase the productivity, the managers and the employees will have to use the right information and to process the data.

Analysis Of The Hounds Of Tindalos Essays - Hounds Of Tindalos

Analysis Of The Hounds Of Tindalos Essays - Hounds Of Tindalos Analysis Of The Hounds Of Tindalos Textual Analysis The Hounds of Tindalos The Hounds of Tindalos is a short science fiction story containing many and varied elements that have been long associated with the genre of science fiction. This essay will identify these elements, examining their placement within this short text and also the interchange of these elements with the characteristics of other genres, more specifically, horror. Belknap Long, the author, was clearly intent of incorporating the elements of horror within the genre of science fiction and this amalgamation of these two genres was a popular combination employed by future horror and SF writers. Perhaps the inclusion of horror within the SF genre is a comment in itself about perceptions of SF held by writers, the elements of horror being a cautionary warning to those in the science world. Longs main character is Halpin Chalmers, a self proclaimed rebel and champion of originality and lost causes. From the start it is clear there are present within this text some elements of the SF genre that seem to be in just about every SF story, beginning with the main character. Many writers have as their main characters people who are non-conformists, who wish to boldly go where no one has gone before and who are willing to take seemingly illogical and irrational risks in the hope of furthering makinds scientific discoveries. Chalmers is no exception in this as he willingly partakes in an ancient Chinese drug that is a known powerful hallucinogen in a bid to go back in time. There is of course the proverbial wet blanket in the shape of the narrator, known only as Frank, who believes his friend Chalmers to be quite mad, but who never-the-less agrees to aid his friend in his bizarre experiment despite the risks he is taking. Frank represents all those characters in SF stories who a re the skeptics, the non believers, who have a solid faith in the science of the present, and who consider characters like Chalmers to be eccentric and bizarre. The setting of The Hounds of Tindalos is in the late 1920s and the location is Central Square. Chalmers apartment room is where most of the story takes place. The room is in keeping with Chalmers character as a rejector of modern science and one who is still entranced with the historical side of science and history preferring illuminated manuscripts to automobiles and leering stone gargoyles to radios and adding machines. The room eventually becomes a doorway for Chalmers, a place where he can go back in time and also a place where he can be hunted through time. The transformation of the room through the application of plaster of Paris was an intersting one I felt as it appeared to directly contradict many other SF strories where the door to parallel universes, dimensions and time is often spherical in shape. Chalmers believes that making his room devoid of any sharp angles and strange curves that he will escape the Hounds, that in making his room spherical in shape he will avoid det ection and the scenting of the Hounds. In the end this obviously does not work as Chalmers ends up dead, however the question to ask would be whether or not the Hounds found him simply because the plaster fell off the walls and they were able to come through the angles between the walls, floor and ceiling, or was it because the room was now spherical thanks to the the plaster. I would answer with the former given his statement to Frank about the foul and the pure. The foul expresses itself through angles; the pure through curves. The language Long uses in his story is very descriptive, enabling the reader to visualise quite vividly the scenes that take place in the room. Through the narrators eyes we see clearly the changes that occur in the main character Chalmers as the drug takes effect and transports him through time in the various different periods of history. It is a very rapid journey yet the author has managed with minimal amounts of words to convey exactly where Chalmers went and what he witnessed from the acting of a Shakespearian play in an Elizabethan theatre to him

Welcome Letter Essays

Welcome Letter Essays Welcome Letter Essay Welcome Letter Essay Name: Instructor: Course: Date: Welcome Letter Dear Parents: Welcome to our esteemed school. Kindergarten marks the basis of all subsequent instruction later in your child’s life. It is, therefore, very important that this stage of your child’s education register success. This can only happen if both parents and teachers involve themselves in their child’s education to ensure effective curriculum delivery. A child’s cognitive development is a natural process, and young children learn through interacting with the environment and the people around them (Hughes 64). The school prides in this philosophy as we strive to ensure that education is as interactive as possible and at the same time ensuring each is given child personal attention, focusing on their interests and developing skills around these interests. This approach in the end ensures that we explore the child’s potential and release it into the world. Lidz postulates, â€Å"The best way to assess learning is to involve the child in a learning situation† (112). The school, therefore, offers a comprehensive assessment criterion based on the child’s overall life in school. Assessment considers how effectively a child communicates with his teachers in the learning process and how he communicates with other children during play sessions and class time. The teacher encourages friendship among the children. In so much as the teacher is the authority figure in the classroom, school policy encourages friendship between the learner and tutor. The school will require parents to visit the school every fortnight to discuss their child’s progress in school to ensure that behavior at home and school match. Records are kept to this effect so that the child’s development is documented through out the year. Finally, assessment considers the child’s academic potential. This assessment considers how effectively the child participates in class activities and on how they perform on tasks given. Tasks depend on what the teacher has observed as being the child’s interests. Your child is also subject to basic cognitive tests and records kept on the findings. The findings will be subject to discussion by the parents and teachers. The school considers matters of indiscipline seriously. Any cases of indiscipline will require both the parents and administration’s attention to determine the causes, and how to deal with them in the future. The school has prepared a series of activities one day every week for the first three weeks to ensure children remain driven and encouraged to continue the learning process. These activities include: A visit to an animal park. This is to expose the child to an unknown world with an aim of expanding their interests and worldview. Two parents will be required to join the tour. Bring your parent to school day where parents have to share about their careers. This is to inspire children to dream and aspire to impact positively in the society. Family day. All parents will be required to come and have fun with their children. All planned activities try to ensure parents are actively involved in their children’s education. Parental involvement is linked to â€Å"improved interactions with the child, including greater acceptance of the child’s behavior† (Gestwicki and Bertrand, 7). Involvement enables you as a parent to understand your child better. Welcome to our school, we wish your child unqualified success Gestwicki, Carol, Jane Bertrand, and Carol Gestwicki. Essentials of Early Childhood Education. Toronto: Thomson Nelson, 2008. Print. Hughes, Pat. Breaking Barriers to Learning in Primary Schools: An Integrated Approach to Children’s Services. London: Routledge, 2010. Print. Lidz, Carol S. Early Childhood Assessment. New York: Wiley, 2003. Print.

Thomas Robert Malthus essays

Thomas Robert Malthus essays Thomas Robert Malthus was born in 1766 in Dorking, England, just south of London. He was the second of eight children. His father had worked with Voltaire, Rousseau, and Hume. He was privately educated by his father and by tutors when he was a child. When he was eighteen, Malthus went to Cambridge, which is a Jesuit college. Malthus became a curate of England, in Albury while at college. He took up his parochial duties in 1796. In 1805, he was selected to be the professor of Political Economy at the college at Haileybury, which is a college developed for the education of civil servants of the East India Company. For pretty much the rest of his life he remained a professor at Haileybury, which made him the worlds first academic economists. Malthus was also an author. He wrote an essay entitled Principle of Population, which outlined his views on population and how it affected the economy and general well-being of an area. His main theory was that overpopulation is mans greatest obstacle to human progress. He believed that population grows faster than food can to feed all the people being born. Actual population growth is kept in line with food supply growth by things like postponement of marriage, starvation both of which are characterized by "misery and vice". Actual (checked) population growth is kept in line with food supply growth by "positive checks" (starvation, disease and the like, elevating the death rate) and "preventive checks" (i.e. postponement of marriage, etc. that keep down the birthrate), both of which are characterized by "misery and vice". Malthus believed that people have a tendency to push population above the food supply and because of this tendency, it is pointless to try to help people in lower classes by giving them higher incomes and more food because they will keep having children and the incomes cant keep up with this. This tendency causes it to be impossible to ...

Eulogy Article Example | Topics and Well Written Essays - 500 words

Eulogy - Article Example ime working in a hospital to be closest among the sick, those who are compromised in health, and those who seek to recover from afflictions of the body, mind, and even the spirit. At that, I wanted to be remembered as a nurturing friend, a devoted and committed healthcare practitioner. To my professional colleagues, who I worked diligently in the hospital, I hope you would continue our fervent desire to be instrumental contributors to the improvement of health and well-being of those we serve. I cherish every moment spent with an ailing child or a recovering elder, as well as sharing the challenges during emergency situations, and the fun out of a box of doughnuts or a steaming hot cup of coffee. Every smile, gesture of appreciation, and firm acknowledgement of gratitude for having been of service to these people are the ones that I would remember most. At that, I want you to remember me as a committed health worker, a firm believer in holistic caring and that whatever form of comfort and caring that could be given should be accorded with love and faith that a Supreme Being guides us all. To my loved ones, I want you all to know that I am the most fortunate person who ever have lived in this world. You all have been my reasons for living. Your inspiration, holistic support, and unconditional love became my driving force to share that same enthusiasm and love for life to others. The warmth and caring that have been accorded me through my existence was just incomparable. I am sure that you must all feel the loss and the pain of my demise; as I am sure that if any of you would have been in my place now, I would likewise feel the same. But let me assure you that I would all be seeing you again to that special place that is reserved for us in eternal life. As grandfather used to say, death is merely a transition. It is stepping beyond the physical realm to spiritual dimension. It is looking forward to an endless bliss with all the angels and saints. At last I would

What are the principal powers available to the courts in connection Essay

What are the principal powers available to the courts in connection with the interpretation and application of statutory legislation - Essay Example The Courts have the power to declare a law void if it goes against the spirit of the Constitution of the supreme law of the land prevailing in the country. It has the power to nullify the effect of the law if it goes beyond the boundaries and parameters set forth to enact laws. The Courts have to keep an eye with the way the legislation is passing laws since it keeps checks and balances on the laws which are enacted in the Parliament, and the authority to decide on that is solely with the Juduciary. The Courts have to decide on the applicability of any law. This is the greatest power which it possesses being a wing of the State. The Court has been granted the duty and the responsibility to guard the spirit of the law in its right perspective. Let us now analyse the two main duties of the courts: 1. Power to make the law 2. Power to apply the law The above are the two basic powers which the courts possess. The Judiciary is assigned the duty to apply the law as it stands out to be in cases which it gets for referral from the people. It has the power to decide a case based on the basis of the law which has been passed by the legislation. The courts go through each and every aspect of the law and try to come up with the correct interpretation which lies in the process of making the law as well. Interpretation is the first part of making law, and we shall now discuss the different schools of interpretation which exists in Judiciary today. Literal Rule: â€Å"The literal rule of sta tutory interpretation should be the first rule applied by judges. Under the literal rule, the words of the statute are given their natural or ordinary meaning and applied without the judge seeking to put a gloss on the words or seek to make sense of the statute.†( http://e-lawresources.co.uk/Literal-rule.php) Literal rule is the way of interpretation where the Courts try to analyse the law with respect to its strict wording. According to this rule, the law is understood by the judges from the literal meaning of the word. The judges do not apply their own opinion or thoughts and read the law as it is given in the code form. One of the major advantages of this form of interpretation is that law is made by the court on the basis of the meaning of the word, so there is no chance of cheating since the meaning of the word cannot be changed from it is in the dictionary. It promotes transparency as well as upholds the Legislature as the supreme authority in making the laws, even thoug h the courts have a stake in the way the law is applied. However, the disadvantage of this form of interpretation is that sometimes the word can have inherently two meanings, or it may have been put to avoid a mischief, which the courts will not take into account when they interpret the law with accordance to the literal rule of interpretation. Golden Rule: â€Å"The golden rule is that the words of a statute must prima facie be given their ordinary meaning. It is yet another rule of construction that when the words of the statute are clear, plain and unambiguous, then the courts are bound to give effect to that meaning, irrespective of the consequences. It is said that the words themselves best declare the intention of the law-giver."( http://cssonline.forummotion.com/t1735-golden-rule-of-interpretation) In the case of Maumsell v. Olins, (1975) AC 373, Lord Simon formulated the exception to the "golden rule" required by technical words, or words of art, as follows : "(The 'golden rule') is sometimes put. (sic) that in statutes dealing with ordinary people, in their everyday lives, the language is presumed to be used in its primary ordinary sense unless this stultified the purpose of the statute or otherwise

Know What Youre Watching Article Example | Topics and Well Written Essays - 1750 words

Know What Youre Watching - Article Example Why has media piracy increased in recent years? Karajanis argues that the high growth witnessed in media piracy when traced from the 1990s has been attributed to lack of copyright laws world over and where they exist there has been reluctance on the part of law enforcement agencies to implement the full spirit of the law. In effect, piracy has contributed to the disruption of market equilibrium thus providing loopholes for innovations in emerging economies that outdo the technologies which are again correspondingly cheaper when compared to the original creations. At the same, several factors including pricing strategies used by multinationals, trade agreements, and diffusion of technology bear a significant relevance as factors that continue to contribute to the rising effects of piracy. Understanding the meaning of Piracy There seems to be a universal agreement that â€Å"Piracy† does not have a stable and legal definition, and in most circumstances, it is understood as a product of legal enforcement rather than its true implication. On one hand, the IFPI contends that the term implies an omnipresent practice of copying that falls outside the provisions of copyright law â€Å"up to 95% of it if industry estimates of online music piracy are taken as an indicator†. However, in its simplest definition, piracy is understood as the illegal copying and distribution of any media in print, DVDs, videos or electronic files.

Jealous Husband Returns in Form of Parrot Essay

Jealous Husband Returns in Form of Parrot - Essay Example Nevertheless, these perfect couple tips and stories spread stereotypes in the society regarding men and women. In Robert Olen Butler’s story, Jealous Husband Returns in Form of Parrot, he tells a story about a relationship that doesn’t fit the typical stereotypes. Based on the typical relationship portrayed in the media, men typically have the power in a relationship when it comes to sexual freedom and emotional control, but in this story that isn’t the case because the stereotypical gender roles are switched. In order to critically assess the context of relationship and gender stereotypes, Soraya Chemaly’s reading Five Ways Sexual Assault is really about Entitlement will be parallel in discussion. It is quiet an evident fact that by pressurizing individuals to keep themselves within the boundaries with little education about the issues that may affect them is a resultant of rebellious behavior. It is the stereotypes within the society that had made critic al for relationships to grow mature. As per the article entitled Five Ways Sexual Assault is really about Entitlement, it becomes easier to understand that people follow practiced stereotypes that would end up in issues like assault with increasing rates. In most of the societies in the world, it is believed that men have the ability to have entitlement for every action that they do. In the historical periods of time, it had been noticed that gender discrimination was higher to an extent where females were not even allowed to express their perspectives. The author Robert Olen Butler has shown a very different image of women to the readers showing that if by chance women would switch their roles then it will be complicated for men to adjust to the issues of ego (Chemaly). If compared with the article written by Soraya, it rather comes to understanding that people who believe that by telling the victim to beware of actions that would have them involved in any assault have to think of better solutions. The increasing percentage of sexual assaults carried in college includes women to a higher percentage rather than men. It is rather due to the fact that it is an accepted behavior that women are supposedly a possession that allows men superiority. In other words, it is the element of respect that is clearly absent in the society. As suggested by Soraya, men need to be treated in such a way that they will respect women in return. The solution is to allow education to males who have been trained to act for entitlement (Chemaly). Women on their own part also have to play a very important role. The story of Jealous Husband Returns in Form of Parrot gives out a lesson to men and women that consideration given to a third party is not always for the sake of sexual desire. There are other relationships such as friendship that tends to bring two people in a formal way. As a matter of fact, the jealous husband (narrator in the story) thinks that his wife should only be entit led to him. Any discussion about other men should be ignored. By doing so, a man merely ends up running his own good time with his woman. The key is to get away with the feelings of entitlement. If one will be suspicious and not able to trust on his woman then it is more likely to experience that women will cheat on them (Butler). This clarifies the issues in hand that there is an avid need of understanding within relationships. The articles sending out

Beethoven Essay Example | Topics and Well Written Essays - 1500 words

Beethoven - Essay Example Furthermore, as a rule, namely childhood and early years of adolescence determine future preferences and interests, especially in case of creative people and their careers. In this essay, I will argue that there are some significant events in Beethoven's life which predetermined his musical career and that the most important period of his becoming as a musician was the period of childhood and early years of adolescence, as well as the beginning of his middle period. 2. A. The most significant feature of Beethoven's early years is the fact that he was educated and developed by his father in great strictness: "Beethoven's first music teacher was his father, a musician in the Electoral court at Bonn and an alcoholic who beat him and unsuccessfully attempted to exhibit him as a child prodigy like Mozart" (From Wikipedia). How did it affect his future career as a musician His mother died when he was seventeen, and all his education and development was under his father's strict supervision. After that young Beethoven had no any possibility to turn to another sphere of education - his father decided that he would be a musician, and the boy couldn't leave this path. In spite of his father's strictness, soon Beethoven drew other people's attention to his musical talent. In addition to that, his music teacher in Bonn was a famous German composer Christian Neefe - it gave young Beethoven a good incentive for future education and training using his initial musical knowledge: "Neefe used the music of German composer Johann Sebastian Bach as a cornerstone of instruction, and he later encouraged his student to study with Austrian composer Wolfgang Amadeus Mozart, whom Beethoven met briefly in Vienna in 1787" (Kindermann, 2005). His father's methods partially predetermined his move to Vienna where he could create his career by himself, without the father's influence. In 1792 Beethoven went to Vienna and stayed there till the end of his life. He met there with the Austrian composer Joseph Haydn and Johann Albrechtsberger that dramatically influenced his own life and musical career. These events led to his musical career success: "He made his first appearances in Vienna in 1795 playing his Piano Concerto No. 2 in B flat, and was soon established as the city's leading pianist" (From Victoria Station). In his first period Beethoven created such remarkable works as the first and second symphonies, the first six string quarters, the famous Moo nlight and Pathetique, and others. B. Beethoven's middle period began in 1802 when the crisis for his career and health took place. Beethoven's illness of deafness was progressing, and it influenced his further life and musical career. He struggled with his illness and tried to do his best in music: "But he came through with his determination strengthened and entered a new creative phase, generally called his 'middle period'. It is characterized by a heroic tone, evident in the Eroica Symphony, in Symphony no.5, and in his opera Fidelio" (Classical Music Pages). Beethoven even made some attempts of suicide - his anguish and struggle with his illness were reflected in his

Business Crime - Christies Ltd Essay Example | Topics and Well Written Essays - 2000 words

Business Crime - Christies Ltd - Essay Example Before proceeding to the topic of Christies Ltd. and business crime, it is important to understand how and why the Theft Act 1968 came into existence. This Act was original for it was the first British legislation, which the dealings of criminal law accessible to all citizens and not just limited to attorneys. An article from bbc.co.uk (2001) tells this history: Before 1968, theft and other, similar, offences were governed by a mass of conflicting legislation and common law and was over-complex. Before 1968, if 'ownership' passed by means of deception, the offence was 'obtaining by false pretences'. If 'possession' was passed, the offence was 'larcency by a trick'. Other offences existed, including 'larcency by a servant', 'fraudulent conversion' and 'embezzlement'. It had reached the point where it was harder to discover which crime the accused may have committed rather than whether or not the accused was guilty. The 1968 Theft Act, as well as the 1971 Criminal Damage Act, did much to overcome this problem. All previous theft legislation and common law were overruled, resulting in the creation of the first codified definition of law in England and Wales.

Jealous Husband Returns in Form of Parrot Essay

Jealous Husband Returns in Form of Parrot - Essay Example Nevertheless, these perfect couple tips and stories spread stereotypes in the society regarding men and women. In Robert Olen Butler’s story, Jealous Husband Returns in Form of Parrot, he tells a story about a relationship that doesn’t fit the typical stereotypes. Based on the typical relationship portrayed in the media, men typically have the power in a relationship when it comes to sexual freedom and emotional control, but in this story that isn’t the case because the stereotypical gender roles are switched. In order to critically assess the context of relationship and gender stereotypes, Soraya Chemaly’s reading Five Ways Sexual Assault is really about Entitlement will be parallel in discussion. It is quiet an evident fact that by pressurizing individuals to keep themselves within the boundaries with little education about the issues that may affect them is a resultant of rebellious behavior. It is the stereotypes within the society that had made critic al for relationships to grow mature. As per the article entitled Five Ways Sexual Assault is really about Entitlement, it becomes easier to understand that people follow practiced stereotypes that would end up in issues like assault with increasing rates. In most of the societies in the world, it is believed that men have the ability to have entitlement for every action that they do. In the historical periods of time, it had been noticed that gender discrimination was higher to an extent where females were not even allowed to express their perspectives. The author Robert Olen Butler has shown a very different image of women to the readers showing that if by chance women would switch their roles then it will be complicated for men to adjust to the issues of ego (Chemaly). If compared with the article written by Soraya, it rather comes to understanding that people who believe that by telling the victim to beware of actions that would have them involved in any assault have to think of better solutions. The increasing percentage of sexual assaults carried in college includes women to a higher percentage rather than men. It is rather due to the fact that it is an accepted behavior that women are supposedly a possession that allows men superiority. In other words, it is the element of respect that is clearly absent in the society. As suggested by Soraya, men need to be treated in such a way that they will respect women in return. The solution is to allow education to males who have been trained to act for entitlement (Chemaly). Women on their own part also have to play a very important role. The story of Jealous Husband Returns in Form of Parrot gives out a lesson to men and women that consideration given to a third party is not always for the sake of sexual desire. There are other relationships such as friendship that tends to bring two people in a formal way. As a matter of fact, the jealous husband (narrator in the story) thinks that his wife should only be entit led to him. Any discussion about other men should be ignored. By doing so, a man merely ends up running his own good time with his woman. The key is to get away with the feelings of entitlement. If one will be suspicious and not able to trust on his woman then it is more likely to experience that women will cheat on them (Butler). This clarifies the issues in hand that there is an avid need of understanding within relationships. The articles sending out

Business Crime - Christies Ltd Essay Example | Topics and Well Written Essays - 2000 words

Business Crime - Christies Ltd - Essay Example Before proceeding to the topic of Christies Ltd. and business crime, it is important to understand how and why the Theft Act 1968 came into existence. This Act was original for it was the first British legislation, which the dealings of criminal law accessible to all citizens and not just limited to attorneys. An article from bbc.co.uk (2001) tells this history: Before 1968, theft and other, similar, offences were governed by a mass of conflicting legislation and common law and was over-complex. Before 1968, if 'ownership' passed by means of deception, the offence was 'obtaining by false pretences'. If 'possession' was passed, the offence was 'larcency by a trick'. Other offences existed, including 'larcency by a servant', 'fraudulent conversion' and 'embezzlement'. It had reached the point where it was harder to discover which crime the accused may have committed rather than whether or not the accused was guilty. The 1968 Theft Act, as well as the 1971 Criminal Damage Act, did much to overcome this problem. All previous theft legislation and common law were overruled, resulting in the creation of the first codified definition of law in England and Wales.

Michael Jackson Essay Example for Free

Michael Jackson Essay Michael Joseph Jackson (August 29, 1958 – June 25, 2009) was an American singer, dancer, entertainer and recording artist. Referred to as the King of Pop, he is recognized as the most successful entertainer of all time, and one of the most influential. His contributions to music, dance and fashion,[1] and a much-publicized personal life, made him a global figure in popular culture for over four decades. Alongside his brothers, Jackson made his debut in 1964 as lead singer and youngest member of The Jackson 5. His solo career began in 1971. His 1982 album Thriller sold more than 110 million copies, and remains the best-selling album ever; while several of his other albums rank among the worlds best-sellers. Jackson is credited with having elevated the music video from mere promotional tool into an art form. His videos for Billie Jean, Beat It and Thriller made him the first African American artist to amass a strong crossover following on MTV. He popularized a number of complicated dance techniques, such as the robot and the moonwalk. His distinctive musical style, vocal style, and choreography continue to transcended generational, racial and cultural boundaries. Michael Jackson was born on August 29, 1958, the eighth of ten children to an African American working-class family, in Gary, Indiana, an industrial suburb of Chicago. His mother, Katherine Esther Scruse, was a devout Jehovahs Witness, and his father, Joseph Walter Joe Jackson, a steel mill worker who performed with an RB band called The Falcons. Jackson had three sisters: Rebbie, La Toya, and Janet, and six brothers: Jackie, Tito, Jermaine, Marlon, Brandon (Marlons twin brother, who died shortly after birth)[7] and Randy.[8] In 1982, Jackson contributed the song Someone In the Dark to the storybook for the film E.T. the Extra-Terrestrial; the record won a Grammy for Best Album for Children.[27] That same year Jackson issued his second Epic album, Thriller, which surprisingly became the most commercially successful album of all time with nearly no promotion. The album remained in the top 10 of the Billboard 200 for 80 consecutive weeks and 37 of those weeks at the peak position. It was the first album to have seven Billboard Hot 100 top 10 singles, including Billie Jean, Beat It, and Wanna Be Startin Somethin.[28] Thriller was certified for 29 million shipments by the RIAA, giving it Double Diamond status in the United States. It is the best-selling album of all time in the United States.[29] It was, and currently remains, the best-selling album of all time, with 110 million copies worldwide. Jacksons popularity would soar further. On March 25, 1983, he performed live on the Motown 25: Yesterday, Today, Forever television special, both with The Jackson 5 and on his own singing Billie Jean. Wearing a distinctive sequined glove, he debuted his signature dance move, the moonwalk, which former Soul Train dancer and Shalamar member, Jeffrey Daniel had taught him 3 years before. His performances during the event were seen by 47 million viewers. On January 27, 1984, Michael and other members of the Jacksons filmed a Pepsi Cola commercial, overseen by executive Philip Dusenberry,[37] at the Shrine Auditorium in Los Angeles. In front of a full house of fans during a simulated concert, pyrotechnics accidentally set Jacksons hair on fire. He suffered second-degree burns to his scalp. Jackson underwent treatment to hide the scars on his scalp, and he also had his third rhinoplasty shortly thereafter.[21] Jackson never recovered from this injury. Jackson died on June 25, 2009 from a drug overdose, amidst preparations for his This Is It concert series. The Los Angeles County Coroner ruled his death a homicide. Wikipedia The Free Encyclopedia. The History of Michael Jackson. [online]. Available http://en.wikipedia.org/wiki/Michael_jackson 2 March 2010. â€Å"Encyclopedia of world Biography†. Suzanne M. Bourgoin. 2nd Detroit: Gale Research, 1998. 17 vols. Student Resource Center – Junior. Gale. Leroy Collins Leon County Public Library. 2 March 2010.

Trends in Indias Film Industry

Trends in Indias Film Industry 1.  Chapter One: Introduction In these modern times of instant digital communication, film has turn out to be one of the most vital way through various nations and cultures reveal their values and identities. Moving image technologies has turn out to be all-encompassing in our lives. They are huge business. Apart from that, a capability to recognize and apply them has become as important for the people of this present era as literacy was in the times of19th and 20th century (India PR Wire, April 4, 2007). The tempo, scale and consequences of this transformation are significant enough. The Indian Film industry has made a huge development ever since the Motion pictures first arrived in India in the year of 1896 when the Lumiere brothers revealed six silent short films in Bombay. The first feature film of India named- King Harishchandra (which was a silent movie) was released in the year of1913. In India the first ‘talkie’ movie that released was Alam Ara in the year 1931 (India PR Wire, April 4, 2007). 1.1  Film Production Houses In India A film production house is normally connected with the in-house production. It could categorize, make or telecast various segments of programs around news, films, multimedia, television shows, sports or ad films. India can be regarded as a home to a several well-known production houses from all the aforesaid stated areas. www.bestindiansites.com specifies top leading Indian websites on production houses of India, sports production house, ad film production house, film production house, sports production house, information on production house, list of production houses, television production house, multimedia production house, and a several other significant information’s (Subramaniam, A, 2003). We can in reality utter about various types of production houses such as Independent and corporate and just detail it by stating that Individual production houses are managed by just 1 or 2 producers and the infusion of capital investment for the production purpose is mainly generated by personal investment or by the means of loans taken from private investor. For corporate houses we could only cite that it is just like as any other corporate deal with the only differentiation that it produces films which is considered under the head of creative segment (essentially organised corporate structure of producing in creative industries – which is a new concept for Indian film industry) (Subramaniam, A, 2003) So when ‘Industry’ status was granted in 2000, Corporate started getting attracted towards the films industry realising the huge potential that was there to be exploited. When the corporate started entering to film industry with huge investment power they started incorporating studio culture of Hollywood by following vertical integration. Leaving behind the prevailing system of horizontal integration to the independent producers. The studio model production house started giving more importance to the content. It stressed on script development, introducing younger generation actors and directors, budget and time management, co productions and international distribution.  None of the new corporate production house had the background of film production when they entered the segment. However most of them were involved in activities related to the media (The Business Line, 2007). Barney says that the first to exploit the resources would gain competitive advantage over its rivals. This is exactly how the corporate production houses gained advantage over independent producers. The Industry had a lot of potential to grow with its wide acceptance globally. but the independent production houses had neglected this aspect, so when the corporate entered the industry they took complete advantage by using the unexploited resources of reach of the films and its growth possibilities steps (Barney, 1991). To exploit the resources of growth prospective, the studio model was developed under these parameters- To Produce and co produce the movies with strong content and story line. To complete the movie with in the budget and also in time. To sign contractual agreements with actors and directors. To focus on medium and large scale budget movies. To develop a huge distribution network nationally and internationally These parameters are not different from any other studio model in the world. Corporate production houses main aim was to apply these practices and standards in other markets, to the Indian market. The reason for doing this was to make maximum utilisation of the resources available. Already registered in the London Stock Exchange, several Indian film companies like as Eros, Ad labs, India Film Company, and utv – have generated immense capital from the various institutional investors who were keen to invest in Indian film companies. Moreover several Western film companies are looking forward for acquiring an ample equity share in these companies (Desai 2007). In this regard on 24 January 2005, Percept Picture Company associated with Michael Douglas’ production company Further Films and Sahara One to co-produce the $50-million Racing the Monsoon. Also on 1 September Sahara declared one more alliance, and this time with a Hollywood producer Donald Rosenfeld for Tree of Life starring Colin Farrell. These are two among a total of six Hollywood coproductions. (Kohli- Khandekar 2006.). On 20 October, 2005, Sony Pictures sign on Sanjay Leela Bhansali to co-produce Saawariya. The film was released globally in the year of 2007 with around 1,000 prints, a figure which was not heard of in the previous times for an Indian film. [The figure is on average 250.] Moreover this was the first time that a renowned Hollywood studio (that one of top six) had produced an Indian film. (Kohli-Khandekar 2006.) Indian admired cinema, remarkably Bollywood – the Mumbai (Bombay) film industry has witnessed several transformations given that it’s first beginnings. A few key modifications that took place at the turn of the century when Indian Popular Cinema gained the position of an industry.(1) After that the Indian film has developed in new directions. One such change was a more intense interplay between the global and the local which took place during the 1990s. Today, every single function and activity related to the Indian film business is becoming well defined and systematized, be it the retail infrastructure, financial aspect, marketing or distribution. Even films themselves are gradually falling into place. In just under five years, the industry has shed five decades of baggage and has become an organised business. This is a new Indian film industry (Kohli-Khandekar 2006). Film producers are interested in creating serious corporate structures, and Indian as well as foreign business is pouring money into the cinema. A wall of money is descending on Bollywood and there is a huge bubble building up (Desai 2007). Evaluating by the amount of movies produced by the Indian film industry, which is about more than one thousand movies per year, it is been regarded as the largest movie industry of the globe. The studio has reached international and also the profit earnings of the several Indian movies were greater in overseas locations than in India. Indian films have been witnessed in the leading ten lists of movies in the continents of UK and USA ((The Business Line, 2007)). 1.2  An overview of Indian film industry 1.2.1  Historical Section How Bollywood has evolved India is been regarded as the biggest movie industry of the world, if we talk about the number of movies produced in a year. It produces around more than 1000 films per year, which is greater than any of the film producing country. The Indian film industry is commonly regarded as BOLLYWOOD. The first Indian cinema was arrived in the year of 1913 with RAJA HARISHCHANDRA firstly coming into the picture and paving its way to the new period of silent cinema in India (Das Gupta, S., 2006). Since that time it has witnessed a vast series of evolution both in conditions of making and marketing of the Indian films.  We will largely talk about the evolution that took place from the year of 1980s to present time. India produces more films than any other country in the world, the government of India didn’t recognize filmmaking as an official industry until as recently as 2001. Before then, it was impossible for producers to get loans from banks or even insurance for their productions. As a result, producers often paid for their films out of their own pockets – a practice most American producers would consider absurdly risky – or obtained financing from less savory sources (Das Gupta, S., 2006): The unruly aspects of film production weren’t just limited to its financing. In some cases, it would take years to shoot a film. Overbooked film stars would show up egregiously late on set (or not at all) without penalty, scripts were often rewritten on set depending on which actors showed up, contracts were verbal and often violated, and produced films had no guarantees of finding distribution. All of these factors combined to make Bollywood film production an extremely risky endeavour (Das Gupta, S., 2006). 1980-1990 In India maximum number of films were produced by Independent (SingleSolo) producers or Family production houses, Big production companies like Rajashri productions, B.R Productions and R.K Productions were family owned production houses  and in some cases it can be traced back to several generations.(Taebue and Lorenzen-2007)   â€Å"In this period the Indian film industry seemed to make the least progress and in some case journey in the path of deprogress† (Ashish Tiwari). Most of the films were produced on a Formula which had protagonist the male lead character of the film who is called as the Hero and his female counter part as the Heroine who romanced with the Hero singing and dancing around the trees, this strategy gave birth to the masala films (Hindi for â€Å"spice mix†) â€Å"It was a compound made up of several elemental combinations that had drama comedy and romance along with song and dance sequences in symbol driven rather than plot driven† ( Lorenzen Taeube-2006). â€Å"The controversial author Salman Rushdie found a very precise and creative term that sums up the subject of Indian films perfectly, describing it as: ‘Epico-Mythico-Tragico-Comico-Super-Sexy-High- Masala-Art’ (Salman Rushdi, 1995 in â€Å"The Moor’s Last Sigh† quoted in Mishra,)à ¢â‚¬ (Adleline Pissang-2000).  Repetition of these kinds of stereotype films kept the audience away from theatres. Introduction of colour television and national coverage by Doordarshan in early 1980’s caused a drop in demand for Indian films. The middle class audience preferred to watch new Television soaps and old films on video cassettes (VHS) in their home rather than going to cinema halls. So the cinema halls became a run down and regarded suitable only for lower class men who could not afford a television preferred watching hard core violent films in theatres with lots of action and skimpily clad women dancing in the rain (Misara-2002). Competition from television made film production houses think innovatively, to hold their grip on the medium, so they started upgrading their films with lavish sets and so called â€Å"multi starrer† films which in turn increased the importance of star actors. So naturally the star actors wanted to cash in on their ‘star value’ and started charging exorbitant sums to act in a single film which in turn escalated the production cost of the film (Gopalan-2002). This was at the same time when the Indian music industry was on a high and could turn around the profit margins of even those films that failed at the box- office. The movie soundtrack became a key publicity stunt for the movies and the number of tracks and their popularity increased steadily. The pre- movie launch of music could determine the fate of a movie because if the music did well in the market then it created a huge wave amongst the public before the film got released. The sales of the audio cassettes used to bring in good share of revenue. The producers always hoped and worked towards making the music of their film a hit by casting good/popular music directors and famous playback singers for their films. Again, the producer had to invest a lot more on a popular music director but it was chance worth taking (Ganti-2004).   1990-2000 The introduction of cable T.V. was the greatest revolution of this era. It changed the outlook of film industry, though initially the survival of film industry was challenged with the entry of cable T.V. as it was an instant hit with the audience because it provided plenty of regional language channels like ZEE TV, SUN network and as well as few English channels STAR, HBO which aired films on their channels. But gradually the production houses understood the potential of the cable T.V. as it found a way for new source of income through selling its film rights at relatively higher prices for its telecast in television which is called as satellite rights (Pendakur-2003). Subsequently the film industry started depending on television as a medium of publicity by broadcasting songs and advertising campaigns of their films to pull the audiences to the theatres (David Hancock-1999). Music channels like MTV and V channel could not sustain by just transmitting private non film and international music albums so they had to take cover of film songs to increase their popularity in India (Bose-2006). It is believed that the criminal sources like underworld had a very strong hold on the Indian film industry; they controlled the whole production process of the films that they financed by dictating the terms in Bollywood like casting a superstar and selecting brilliant directors to work for their films. It is also believed that celebrities of the industry had close links with the mafia. Though usage of Black money (unaccounted money) in films was not an unfamiliar thing for ages but funding from underworld started in this period. It is estimated that 40% of film productions were financed by the underworld (Kripalani and Grover 2002; David Hancock-1998).   The early 1990’s can be called as the period of stagnation; the commercial cinema had ridiculous dialogues, baseless stories with no originality in them (Ashish Tiwari 2007). Few films in mid 1990’s were huge hits which broke most of the previous records. These films were big budget, romantic films (Dwyer and Patel) which upheld the family values in them. The two astronomical hits were HUM APKE HAI KAUN? (Who am I to You?) This released in 1994 and went onto run for two years in more than 50 theatres and DILWALE DULHANIA LE JAYENGE!! (The Brave Heart Will Take the Bride) got released in 1995 and was still running in its 13th year for 679th week as on 17th October 2008 at Marata Mandhir Cinema in Mumbai (www). Both these films were on similar lines, they were big budget romantic films with no actions sequence in them. In the former’s case the whole film was shot in beautiful gigantic sets going outdoors only for song sequence, which had 12 music tracks in it. In latter’s case maximum portion of the shoot took place in foreign locales. The audio of both these films were massive hits because they used the full potential of television by telecasting their songs and ad campaigns before the theatrical release. Both the production houses (Rajashri Productions and Yashraj Productions) of these films took great interest in refurbishing the theatres before the release of their films because they precisely knew their target audience were the upper middle class and family audiences who were content with television and they had to bring them back to the theatres. Once they succeeded â€Å"it marked the dominance of new middle class and uphold them to the pleasure of socially mixed audie nce both in India and overseas†. (Dwyer and Patel-2002) Rajashri and Yashraj Productions were the good old big production houses which started the trend for these kinds of films with big budget, but most of the small scale productions could not cope with this and had to stop producing films. Gradually number of films produced per year dropped. Source: David Hancock; Global Film production (Working Document) Venice Conference The biggest and greatest breakthrough in the Indian Cinema came in 1998. This is the year the Indian government recognised the potential of Indian cinema and granted the official status of ‘Industry’. Until then the public as well as private banks and other big financial institutions desisted from getting involved with the film production companies so the producers always had to depend on private money lenders for the capital for their films (Dwyer Patel, 2002). Now the production houses are getting their capital from public investments through semi public Industrial Development Bank of India (IDBI) and other public banks (Lorenzen Taeube, 2006) 2000- Till date.. Indian Film Industry started in its way of revival of sorts, in 2001 all the prints of the film Chori Chori Chupke Chupke which had a huge star cast was seized by the Central Bureau of Investigation suspecting it to be funded by the underworld and the producer of the film Bharath Shah was arrested for having close connections with the underworld. After this incident most of the producers feared to be identified with the under world. So the underworld gradually lost its hold in the Bollywood. Shooting at overseas location for a film is not new to Bollywood they have been doing this since 1960’s but currently there is an increasing trend of Indian film crew shooting at foreign locales. This is because of the huge global market for the Indian films. Many films are released simultaneously in U.S.A. and U.K.  and there are instances where the returns from overseas collections is higher than the home collections.  The script writers and Directors cannot neglect the overseas market any more while scripting and shooting for their film (Dudrah, R K, 2006). After the liberalisation of the industry in 1998 Direct Foreign Investments, Global Investors, Private Corporate started entering the film industry. Hollywood Majors like Universal, 21st Century Fox started investing in the Indian film industry through joint ventures with the Indian production houses. The corporate production houses are gaining importance in the film industry. Corporate houses like ADLABS, EROS, UTV, K.SERA SERA and many others have already made a mark in B.S.E. (Bombay Stock Exchange) and even in L.S.E. (London Stock Exchange). In the current scenario 20% of the total India films are produced by corporate giants (Anand times- 2006).   They have developed professional ways of organising business, mergers, outsourcing, distributing, use of new technology and marketing content.  The corporate houses have brought in the much needed professional flavour in to films which were missing in the production process earlier. The main advantage of the corporate house is it can produce more number of films simultaneously; it produces 5-6 films per year where as compared to the individual production houses cannot afford to produce more than 2-3 films in a year even after the deregulation. The greatest advantage of a corporate production house is it has a huge capital to invest on its films. Usually the risk is higher on a single movie basis, but the risk spreads out as they produce lot of films simultaneously.  They employ professionals in their firm as compared to the single producers of 80’s who used change their crew after every film. Few corporate houses even have their own multiplex cinema which helps in theatrical release as well as in developing a marketing strategy for their films. The corporate giants are investing hugely on the industry as a result of this the film Industry is already the 3rd largest industry in India (Dudrah-2006). The production houses are aiming at a homogenous or serial form of production as opposed to heterogeneous form of production they had earlier. The main purpose of switching to this form of production is to control all means of production and operate all aspects of film making from finance to production and distribution (Prasad-1998). The best example being Yashraj Productions. They have their own studios for recording, dubbing and editing and also have production equipments required for the shoot. With in the production  house they also have different sections like Yashraj Distribution for overseas and home market, Yashraj Music for all their audio sales and Yashraj Video for home video like DVD’s and VCD’s. It was one of the first production houses to hire management students from Indian Institute of Management, Ahmadabad (IIMA) to market their films and also to set up their whole business process. They also stated their own website to market and project their media image  (Dywer Patel- 2002). Professionalization has brought new and better modes of planning. There are changed practices of production where there are professionals working constantly for the better utilization of funds, bringing production costs down and maximizing the profits  Film production in India is becoming an organised business. The overall film industry is taking on professional colours. 1.3  Size and growth opportunities The total size of Indian film industry was estimated at around Rs.56.5bn (inr40 = usd1) WHEN was this?, it is  anticipated to touch a huge figure of about Rs.153bn by the year of 2010 with taking into account 18 percent compound annual growth rate (cagr) as per the estimates of  ficci-Pricewaterhouse- Coopers in the year 2006. On the whole, the Indian film industry was anticipated to be value of about usd1.8bn in the year 2006. On the basis of a thorough top-down analysis considering the share of private consumption as a proportion of gdp, the marketshare for media and entertainment (me) expenditures, and film budgets within the me space it was accounted that the Indian film industry will be valued in between usd4.4 and 5.1bn (between inr176bn and inr204bn) by 2011 (cii-A.T. Kearney 2007). The movie industry has been getting more and more corporatized. Many film production, distribution and exhibition houses are listed on the stock markets and they have raised capital through public issue. Several theatres around the nation have been developed into multiplexes and plans to build up additional digital cinema halls are by now in lime light. This will certainly not only enhance the quality of prints and thereby providing viewing a extra pleasant experience for the audiences but will also decrease the piracy of prints (ficci-PricewaterhouseCoopers 2006). These days piracy is a major issue for the Indian film industry. Not initiating nay major anti-piracy laws on the part of the government and an absence of educated officers that implements anti-piracy laws remains the vital issue. These are the main issue which is why the piracy business has not been able to control to a greater extent. This issue along with the lengthy legal and arbitration process is regarded as prevention to the fight against piracy. Apart from this the present Copyrights Act is also obsolete in conditions to technology enhancement and in addition, it does not deal with the requirements of the electronic media where the degree of piracy is amongst the maximum in present time. The Optical Disc Law draft established to deal with the requirement for regulating piracy at the manufacturing phase is still pending for the approval of the Indian ministry (ficci-PricewaterhouseCoopers 2006). As against to few developed markets where the home market symbolizes greater than 40% of total movie revenues, the home market share in India is comparatively small (8%), though, this share is anticipated to rise to about 14% by the year of 2010. The important pushers that will facilitate this are the rising amount of reasonably priced DVD players and lesser prices of original DVDs so as to battle the issues of piracy (cii-A.T. Kearney 2007). The Indian entertainment and media industry enjoys a lot of aid in the present times – be it regulations that permit foreign investment, the momentum from the economy, digital lifestyle and spending styles of the consumers, and also several opportunities the development in technology have to provide. The industry only has to do is to realize its growth potential and opportunities. The government is required to play a greater dynamic task in solving out the policy-related obstruction for the purpose of growth. The industry is required to get rid of all obstructions, like as piracy in an intensive way along with the measures to produce high-quality global class end products. The entertainment and media industry has all ingredients which it generally takes to turn into the star of Indian economy (ficci-PricewaterhouseCoopers 2006). There are two important movements that will basically transform the scene of the Indian film industry in the coming couple of years, namely digitization and a change in consumer preferences. Digitization will lead to consolidation and appearance of huge scale exhibition networks and, and apart from this, in the balance of power among producers-distributors and exhibitors. Changing customer preferences will lead to rising international acceptance of Indian films and in the upcoming of new media (cii-A.T. Kearney 2007). Growth opportunities in terms of Corporate production houses Indian film industry comprises of numerous regional clusters, and Bollywood is merely one of them. Bollywood is the cluster located in Mumbai, producing the biggest share of films (40%) mainly in Hindi (PWC FICCI, 2007). Bollywood is the oldest film cluster in India, dating back to early 20th century. Other film clusters in India like as one in Hyderabad, called â€Å"Tollywood† produces second biggest amount of films mainly in Telugu. While other clusters produce films chiefly in their local language. Growth opportunities in terms of Indian Film Industry 1.31 Current situation Currently the success ratios of films are very low at the box office. Only 10 to 20% of films break even or earn profits (Ganapathi, 2002; Pendakur, 2003; Ganti, 2004; Lorenzen Taeube, 2006) but most of the producers make money, recouping their investments through new auxiliary sources of revenue () like satellite rights music rights, home video rights(DVD),  video games, toys, computer wallpapers, ring tones, movie clips for mobile and selling ancillary rights. The new trend is product placement in films which brings in a lot of revenue and even helps in publicity of the film. In the period of 1998-2005 i.e after gaining the status of industry, the revenues in the films have grown by 360% this is including all revenues from advertising, selling of ancillary rights and music rights (Kholi- Khandekar, 2006; Lorenzen Taeube, 2006). The digital relay of films in cinema theatres is saving a lot of money as you don’t have to develop the physical print, which took a major share in a film budget.   The industry is losing more than 40% of its revenue through Piracy (David Hancock-1998). Copyright infringement of films is so wide spread in India it can be called as a ‘small scale industry’. Bootleg copies of DVD’s are available in the market on the same day the film officially releases in theatres or some times even before that. Pirated DVD’s and CD’s of Bollywood movies are available in most of the South Asian and South East Asian countries. The small cable television channels broadcast newly released films in their channels without paying any kind of compensation. Another problem is consumer copying which is very difficult to stop. To add on to this is Online Internet movies where consumers can download movies from websites like www.bhejafry.net, www.indiaonlinemovies.com and many more without actually paying anything. The technical skills of the Indian Film Industry has always been extraordinary but most of the time they had to settle for old and very poor quality of equipments.  But now due to huge market and Corporatisation they can afford to buy more sophisticated equipments. Digital facilities for Sound Recording, Dubbing, Editing is as good as anywhere in the world (Dwyer Patel, 2002). Bollywood has always been very enthusiastic about embracing new technologies in their films, and it is also been much quicker in doing this than the Hollywood (Currah, 2007). The Film Industry is using all the latest technologies like Arry 435 for the shoot, Avid and Mac products for post production work. Sync sound, D.I.(Digital Intermediate), Animations and special effects with Graphics are used extensively.  The Indian Film Industry can now even employ foreign technicians to work for them to improve the quality of the final product. In the blockbuster film KRRISH- (2006) the action sequence was choreographed by Tony Ching from Hong Kong and all the special effects for the film was done by Hollywood technicians (Minocha and Stonehouse- 2006). Globalisation has four facets, that is, movement of goods, capital, technology and people across borders. In terms of movement of goods (i. e., movies) Indian movie industry has a long history of presence in the global market. Awara was sent to the Soviet Union and other Communist bloc countries crazy in the year of1950s. Mehboob’s Aan had a French release after its premiere in London. Long before that Himansu Rai made visually stunning films in cooperation with the Germans in the early 1930s, like The Light of Asia and A Throw of Dice, and many more which were shown in Europe as Indian films with Indian stories. By then the Bombay film industry had been around for 35 years. The film industry is definitely as old as the cinema itself and surely older than Hollywood, which has its early development in the late 1900s (Desai 2007). The exports of the Indian movie have grown for approximately 60% in recent times. The USA and Canada are two main export locations witnessing for 30 percent than by the UK with 25% and Mauritius and Dubai with 10% each. Some other main markets comprise South Africa, Russia, Fiji, New Zealand and Australia where there is abundant Indian diasporas present. Making a film for the diaspora market is a certainly a moneymaking project as against to making a film for the Indian domestic market (Desai 2007). With the global audience, there is outstanding recognition of Indian movie themes along with sew of the cross-over films made by global movie production players. The profit earnings of these movies can be match up to to few of the Hollywood box office hits. A number of Bollywood movies have gained greater than 50% of their total gross profit margin from global box office collection. However it is a welcome movement that requires to be carried on. One of the significant success factors for these cinemas is to recognize ideas from within the Indian subjects which are liked by the audience. An additional important success factor is to associate with a top global distributor; films produced by the person of Indian origin have had up to 2–3 times greater global earnings as compared to the national bestsellers (cii- A.T. Kearney 2007). Table 2 reveals a series of cross over films and the revenue earning generated by these films. India has stated its determined plans to double its share in the international film industry by the end of this year. This shows the great determination of the country to build itself as a cultural as well as economic powerhouse. There are many reasons why we must believe that. To begin with, the government, which aims on considering Bollywood to set up India as a ‘soft power’, considers the Indian film industry is competent enough to capture five percent of the international market this season. The share at the present time is two percent (Johnson 2007). Kishore Lulla, the chief executive of Eros International, a uk Trends in Indias Film Industry Trends in Indias Film Industry 1.  Chapter One: Introduction In these modern times of instant digital communication, film has turn out to be one of the most vital way through various nations and cultures reveal their values and identities. Moving image technologies has turn out to be all-encompassing in our lives. They are huge business. Apart from that, a capability to recognize and apply them has become as important for the people of this present era as literacy was in the times of19th and 20th century (India PR Wire, April 4, 2007). The tempo, scale and consequences of this transformation are significant enough. The Indian Film industry has made a huge development ever since the Motion pictures first arrived in India in the year of 1896 when the Lumiere brothers revealed six silent short films in Bombay. The first feature film of India named- King Harishchandra (which was a silent movie) was released in the year of1913. In India the first ‘talkie’ movie that released was Alam Ara in the year 1931 (India PR Wire, April 4, 2007). 1.1  Film Production Houses In India A film production house is normally connected with the in-house production. It could categorize, make or telecast various segments of programs around news, films, multimedia, television shows, sports or ad films. India can be regarded as a home to a several well-known production houses from all the aforesaid stated areas. www.bestindiansites.com specifies top leading Indian websites on production houses of India, sports production house, ad film production house, film production house, sports production house, information on production house, list of production houses, television production house, multimedia production house, and a several other significant information’s (Subramaniam, A, 2003). We can in reality utter about various types of production houses such as Independent and corporate and just detail it by stating that Individual production houses are managed by just 1 or 2 producers and the infusion of capital investment for the production purpose is mainly generated by personal investment or by the means of loans taken from private investor. For corporate houses we could only cite that it is just like as any other corporate deal with the only differentiation that it produces films which is considered under the head of creative segment (essentially organised corporate structure of producing in creative industries – which is a new concept for Indian film industry) (Subramaniam, A, 2003) So when ‘Industry’ status was granted in 2000, Corporate started getting attracted towards the films industry realising the huge potential that was there to be exploited. When the corporate started entering to film industry with huge investment power they started incorporating studio culture of Hollywood by following vertical integration. Leaving behind the prevailing system of horizontal integration to the independent producers. The studio model production house started giving more importance to the content. It stressed on script development, introducing younger generation actors and directors, budget and time management, co productions and international distribution.  None of the new corporate production house had the background of film production when they entered the segment. However most of them were involved in activities related to the media (The Business Line, 2007). Barney says that the first to exploit the resources would gain competitive advantage over its rivals. This is exactly how the corporate production houses gained advantage over independent producers. The Industry had a lot of potential to grow with its wide acceptance globally. but the independent production houses had neglected this aspect, so when the corporate entered the industry they took complete advantage by using the unexploited resources of reach of the films and its growth possibilities steps (Barney, 1991). To exploit the resources of growth prospective, the studio model was developed under these parameters- To Produce and co produce the movies with strong content and story line. To complete the movie with in the budget and also in time. To sign contractual agreements with actors and directors. To focus on medium and large scale budget movies. To develop a huge distribution network nationally and internationally These parameters are not different from any other studio model in the world. Corporate production houses main aim was to apply these practices and standards in other markets, to the Indian market. The reason for doing this was to make maximum utilisation of the resources available. Already registered in the London Stock Exchange, several Indian film companies like as Eros, Ad labs, India Film Company, and utv – have generated immense capital from the various institutional investors who were keen to invest in Indian film companies. Moreover several Western film companies are looking forward for acquiring an ample equity share in these companies (Desai 2007). In this regard on 24 January 2005, Percept Picture Company associated with Michael Douglas’ production company Further Films and Sahara One to co-produce the $50-million Racing the Monsoon. Also on 1 September Sahara declared one more alliance, and this time with a Hollywood producer Donald Rosenfeld for Tree of Life starring Colin Farrell. These are two among a total of six Hollywood coproductions. (Kohli- Khandekar 2006.). On 20 October, 2005, Sony Pictures sign on Sanjay Leela Bhansali to co-produce Saawariya. The film was released globally in the year of 2007 with around 1,000 prints, a figure which was not heard of in the previous times for an Indian film. [The figure is on average 250.] Moreover this was the first time that a renowned Hollywood studio (that one of top six) had produced an Indian film. (Kohli-Khandekar 2006.) Indian admired cinema, remarkably Bollywood – the Mumbai (Bombay) film industry has witnessed several transformations given that it’s first beginnings. A few key modifications that took place at the turn of the century when Indian Popular Cinema gained the position of an industry.(1) After that the Indian film has developed in new directions. One such change was a more intense interplay between the global and the local which took place during the 1990s. Today, every single function and activity related to the Indian film business is becoming well defined and systematized, be it the retail infrastructure, financial aspect, marketing or distribution. Even films themselves are gradually falling into place. In just under five years, the industry has shed five decades of baggage and has become an organised business. This is a new Indian film industry (Kohli-Khandekar 2006). Film producers are interested in creating serious corporate structures, and Indian as well as foreign business is pouring money into the cinema. A wall of money is descending on Bollywood and there is a huge bubble building up (Desai 2007). Evaluating by the amount of movies produced by the Indian film industry, which is about more than one thousand movies per year, it is been regarded as the largest movie industry of the globe. The studio has reached international and also the profit earnings of the several Indian movies were greater in overseas locations than in India. Indian films have been witnessed in the leading ten lists of movies in the continents of UK and USA ((The Business Line, 2007)). 1.2  An overview of Indian film industry 1.2.1  Historical Section How Bollywood has evolved India is been regarded as the biggest movie industry of the world, if we talk about the number of movies produced in a year. It produces around more than 1000 films per year, which is greater than any of the film producing country. The Indian film industry is commonly regarded as BOLLYWOOD. The first Indian cinema was arrived in the year of 1913 with RAJA HARISHCHANDRA firstly coming into the picture and paving its way to the new period of silent cinema in India (Das Gupta, S., 2006). Since that time it has witnessed a vast series of evolution both in conditions of making and marketing of the Indian films.  We will largely talk about the evolution that took place from the year of 1980s to present time. India produces more films than any other country in the world, the government of India didn’t recognize filmmaking as an official industry until as recently as 2001. Before then, it was impossible for producers to get loans from banks or even insurance for their productions. As a result, producers often paid for their films out of their own pockets – a practice most American producers would consider absurdly risky – or obtained financing from less savory sources (Das Gupta, S., 2006): The unruly aspects of film production weren’t just limited to its financing. In some cases, it would take years to shoot a film. Overbooked film stars would show up egregiously late on set (or not at all) without penalty, scripts were often rewritten on set depending on which actors showed up, contracts were verbal and often violated, and produced films had no guarantees of finding distribution. All of these factors combined to make Bollywood film production an extremely risky endeavour (Das Gupta, S., 2006). 1980-1990 In India maximum number of films were produced by Independent (SingleSolo) producers or Family production houses, Big production companies like Rajashri productions, B.R Productions and R.K Productions were family owned production houses  and in some cases it can be traced back to several generations.(Taebue and Lorenzen-2007)   â€Å"In this period the Indian film industry seemed to make the least progress and in some case journey in the path of deprogress† (Ashish Tiwari). Most of the films were produced on a Formula which had protagonist the male lead character of the film who is called as the Hero and his female counter part as the Heroine who romanced with the Hero singing and dancing around the trees, this strategy gave birth to the masala films (Hindi for â€Å"spice mix†) â€Å"It was a compound made up of several elemental combinations that had drama comedy and romance along with song and dance sequences in symbol driven rather than plot driven† ( Lorenzen Taeube-2006). â€Å"The controversial author Salman Rushdie found a very precise and creative term that sums up the subject of Indian films perfectly, describing it as: ‘Epico-Mythico-Tragico-Comico-Super-Sexy-High- Masala-Art’ (Salman Rushdi, 1995 in â€Å"The Moor’s Last Sigh† quoted in Mishra,)à ¢â‚¬ (Adleline Pissang-2000).  Repetition of these kinds of stereotype films kept the audience away from theatres. Introduction of colour television and national coverage by Doordarshan in early 1980’s caused a drop in demand for Indian films. The middle class audience preferred to watch new Television soaps and old films on video cassettes (VHS) in their home rather than going to cinema halls. So the cinema halls became a run down and regarded suitable only for lower class men who could not afford a television preferred watching hard core violent films in theatres with lots of action and skimpily clad women dancing in the rain (Misara-2002). Competition from television made film production houses think innovatively, to hold their grip on the medium, so they started upgrading their films with lavish sets and so called â€Å"multi starrer† films which in turn increased the importance of star actors. So naturally the star actors wanted to cash in on their ‘star value’ and started charging exorbitant sums to act in a single film which in turn escalated the production cost of the film (Gopalan-2002). This was at the same time when the Indian music industry was on a high and could turn around the profit margins of even those films that failed at the box- office. The movie soundtrack became a key publicity stunt for the movies and the number of tracks and their popularity increased steadily. The pre- movie launch of music could determine the fate of a movie because if the music did well in the market then it created a huge wave amongst the public before the film got released. The sales of the audio cassettes used to bring in good share of revenue. The producers always hoped and worked towards making the music of their film a hit by casting good/popular music directors and famous playback singers for their films. Again, the producer had to invest a lot more on a popular music director but it was chance worth taking (Ganti-2004).   1990-2000 The introduction of cable T.V. was the greatest revolution of this era. It changed the outlook of film industry, though initially the survival of film industry was challenged with the entry of cable T.V. as it was an instant hit with the audience because it provided plenty of regional language channels like ZEE TV, SUN network and as well as few English channels STAR, HBO which aired films on their channels. But gradually the production houses understood the potential of the cable T.V. as it found a way for new source of income through selling its film rights at relatively higher prices for its telecast in television which is called as satellite rights (Pendakur-2003). Subsequently the film industry started depending on television as a medium of publicity by broadcasting songs and advertising campaigns of their films to pull the audiences to the theatres (David Hancock-1999). Music channels like MTV and V channel could not sustain by just transmitting private non film and international music albums so they had to take cover of film songs to increase their popularity in India (Bose-2006). It is believed that the criminal sources like underworld had a very strong hold on the Indian film industry; they controlled the whole production process of the films that they financed by dictating the terms in Bollywood like casting a superstar and selecting brilliant directors to work for their films. It is also believed that celebrities of the industry had close links with the mafia. Though usage of Black money (unaccounted money) in films was not an unfamiliar thing for ages but funding from underworld started in this period. It is estimated that 40% of film productions were financed by the underworld (Kripalani and Grover 2002; David Hancock-1998).   The early 1990’s can be called as the period of stagnation; the commercial cinema had ridiculous dialogues, baseless stories with no originality in them (Ashish Tiwari 2007). Few films in mid 1990’s were huge hits which broke most of the previous records. These films were big budget, romantic films (Dwyer and Patel) which upheld the family values in them. The two astronomical hits were HUM APKE HAI KAUN? (Who am I to You?) This released in 1994 and went onto run for two years in more than 50 theatres and DILWALE DULHANIA LE JAYENGE!! (The Brave Heart Will Take the Bride) got released in 1995 and was still running in its 13th year for 679th week as on 17th October 2008 at Marata Mandhir Cinema in Mumbai (www). Both these films were on similar lines, they were big budget romantic films with no actions sequence in them. In the former’s case the whole film was shot in beautiful gigantic sets going outdoors only for song sequence, which had 12 music tracks in it. In latter’s case maximum portion of the shoot took place in foreign locales. The audio of both these films were massive hits because they used the full potential of television by telecasting their songs and ad campaigns before the theatrical release. Both the production houses (Rajashri Productions and Yashraj Productions) of these films took great interest in refurbishing the theatres before the release of their films because they precisely knew their target audience were the upper middle class and family audiences who were content with television and they had to bring them back to the theatres. Once they succeeded â€Å"it marked the dominance of new middle class and uphold them to the pleasure of socially mixed audie nce both in India and overseas†. (Dwyer and Patel-2002) Rajashri and Yashraj Productions were the good old big production houses which started the trend for these kinds of films with big budget, but most of the small scale productions could not cope with this and had to stop producing films. Gradually number of films produced per year dropped. Source: David Hancock; Global Film production (Working Document) Venice Conference The biggest and greatest breakthrough in the Indian Cinema came in 1998. This is the year the Indian government recognised the potential of Indian cinema and granted the official status of ‘Industry’. Until then the public as well as private banks and other big financial institutions desisted from getting involved with the film production companies so the producers always had to depend on private money lenders for the capital for their films (Dwyer Patel, 2002). Now the production houses are getting their capital from public investments through semi public Industrial Development Bank of India (IDBI) and other public banks (Lorenzen Taeube, 2006) 2000- Till date.. Indian Film Industry started in its way of revival of sorts, in 2001 all the prints of the film Chori Chori Chupke Chupke which had a huge star cast was seized by the Central Bureau of Investigation suspecting it to be funded by the underworld and the producer of the film Bharath Shah was arrested for having close connections with the underworld. After this incident most of the producers feared to be identified with the under world. So the underworld gradually lost its hold in the Bollywood. Shooting at overseas location for a film is not new to Bollywood they have been doing this since 1960’s but currently there is an increasing trend of Indian film crew shooting at foreign locales. This is because of the huge global market for the Indian films. Many films are released simultaneously in U.S.A. and U.K.  and there are instances where the returns from overseas collections is higher than the home collections.  The script writers and Directors cannot neglect the overseas market any more while scripting and shooting for their film (Dudrah, R K, 2006). After the liberalisation of the industry in 1998 Direct Foreign Investments, Global Investors, Private Corporate started entering the film industry. Hollywood Majors like Universal, 21st Century Fox started investing in the Indian film industry through joint ventures with the Indian production houses. The corporate production houses are gaining importance in the film industry. Corporate houses like ADLABS, EROS, UTV, K.SERA SERA and many others have already made a mark in B.S.E. (Bombay Stock Exchange) and even in L.S.E. (London Stock Exchange). In the current scenario 20% of the total India films are produced by corporate giants (Anand times- 2006).   They have developed professional ways of organising business, mergers, outsourcing, distributing, use of new technology and marketing content.  The corporate houses have brought in the much needed professional flavour in to films which were missing in the production process earlier. The main advantage of the corporate house is it can produce more number of films simultaneously; it produces 5-6 films per year where as compared to the individual production houses cannot afford to produce more than 2-3 films in a year even after the deregulation. The greatest advantage of a corporate production house is it has a huge capital to invest on its films. Usually the risk is higher on a single movie basis, but the risk spreads out as they produce lot of films simultaneously.  They employ professionals in their firm as compared to the single producers of 80’s who used change their crew after every film. Few corporate houses even have their own multiplex cinema which helps in theatrical release as well as in developing a marketing strategy for their films. The corporate giants are investing hugely on the industry as a result of this the film Industry is already the 3rd largest industry in India (Dudrah-2006). The production houses are aiming at a homogenous or serial form of production as opposed to heterogeneous form of production they had earlier. The main purpose of switching to this form of production is to control all means of production and operate all aspects of film making from finance to production and distribution (Prasad-1998). The best example being Yashraj Productions. They have their own studios for recording, dubbing and editing and also have production equipments required for the shoot. With in the production  house they also have different sections like Yashraj Distribution for overseas and home market, Yashraj Music for all their audio sales and Yashraj Video for home video like DVD’s and VCD’s. It was one of the first production houses to hire management students from Indian Institute of Management, Ahmadabad (IIMA) to market their films and also to set up their whole business process. They also stated their own website to market and project their media image  (Dywer Patel- 2002). Professionalization has brought new and better modes of planning. There are changed practices of production where there are professionals working constantly for the better utilization of funds, bringing production costs down and maximizing the profits  Film production in India is becoming an organised business. The overall film industry is taking on professional colours. 1.3  Size and growth opportunities The total size of Indian film industry was estimated at around Rs.56.5bn (inr40 = usd1) WHEN was this?, it is  anticipated to touch a huge figure of about Rs.153bn by the year of 2010 with taking into account 18 percent compound annual growth rate (cagr) as per the estimates of  ficci-Pricewaterhouse- Coopers in the year 2006. On the whole, the Indian film industry was anticipated to be value of about usd1.8bn in the year 2006. On the basis of a thorough top-down analysis considering the share of private consumption as a proportion of gdp, the marketshare for media and entertainment (me) expenditures, and film budgets within the me space it was accounted that the Indian film industry will be valued in between usd4.4 and 5.1bn (between inr176bn and inr204bn) by 2011 (cii-A.T. Kearney 2007). The movie industry has been getting more and more corporatized. Many film production, distribution and exhibition houses are listed on the stock markets and they have raised capital through public issue. Several theatres around the nation have been developed into multiplexes and plans to build up additional digital cinema halls are by now in lime light. This will certainly not only enhance the quality of prints and thereby providing viewing a extra pleasant experience for the audiences but will also decrease the piracy of prints (ficci-PricewaterhouseCoopers 2006). These days piracy is a major issue for the Indian film industry. Not initiating nay major anti-piracy laws on the part of the government and an absence of educated officers that implements anti-piracy laws remains the vital issue. These are the main issue which is why the piracy business has not been able to control to a greater extent. This issue along with the lengthy legal and arbitration process is regarded as prevention to the fight against piracy. Apart from this the present Copyrights Act is also obsolete in conditions to technology enhancement and in addition, it does not deal with the requirements of the electronic media where the degree of piracy is amongst the maximum in present time. The Optical Disc Law draft established to deal with the requirement for regulating piracy at the manufacturing phase is still pending for the approval of the Indian ministry (ficci-PricewaterhouseCoopers 2006). As against to few developed markets where the home market symbolizes greater than 40% of total movie revenues, the home market share in India is comparatively small (8%), though, this share is anticipated to rise to about 14% by the year of 2010. The important pushers that will facilitate this are the rising amount of reasonably priced DVD players and lesser prices of original DVDs so as to battle the issues of piracy (cii-A.T. Kearney 2007). The Indian entertainment and media industry enjoys a lot of aid in the present times – be it regulations that permit foreign investment, the momentum from the economy, digital lifestyle and spending styles of the consumers, and also several opportunities the development in technology have to provide. The industry only has to do is to realize its growth potential and opportunities. The government is required to play a greater dynamic task in solving out the policy-related obstruction for the purpose of growth. The industry is required to get rid of all obstructions, like as piracy in an intensive way along with the measures to produce high-quality global class end products. The entertainment and media industry has all ingredients which it generally takes to turn into the star of Indian economy (ficci-PricewaterhouseCoopers 2006). There are two important movements that will basically transform the scene of the Indian film industry in the coming couple of years, namely digitization and a change in consumer preferences. Digitization will lead to consolidation and appearance of huge scale exhibition networks and, and apart from this, in the balance of power among producers-distributors and exhibitors. Changing customer preferences will lead to rising international acceptance of Indian films and in the upcoming of new media (cii-A.T. Kearney 2007). Growth opportunities in terms of Corporate production houses Indian film industry comprises of numerous regional clusters, and Bollywood is merely one of them. Bollywood is the cluster located in Mumbai, producing the biggest share of films (40%) mainly in Hindi (PWC FICCI, 2007). Bollywood is the oldest film cluster in India, dating back to early 20th century. Other film clusters in India like as one in Hyderabad, called â€Å"Tollywood† produces second biggest amount of films mainly in Telugu. While other clusters produce films chiefly in their local language. Growth opportunities in terms of Indian Film Industry 1.31 Current situation Currently the success ratios of films are very low at the box office. Only 10 to 20% of films break even or earn profits (Ganapathi, 2002; Pendakur, 2003; Ganti, 2004; Lorenzen Taeube, 2006) but most of the producers make money, recouping their investments through new auxiliary sources of revenue () like satellite rights music rights, home video rights(DVD),  video games, toys, computer wallpapers, ring tones, movie clips for mobile and selling ancillary rights. The new trend is product placement in films which brings in a lot of revenue and even helps in publicity of the film. In the period of 1998-2005 i.e after gaining the status of industry, the revenues in the films have grown by 360% this is including all revenues from advertising, selling of ancillary rights and music rights (Kholi- Khandekar, 2006; Lorenzen Taeube, 2006). The digital relay of films in cinema theatres is saving a lot of money as you don’t have to develop the physical print, which took a major share in a film budget.   The industry is losing more than 40% of its revenue through Piracy (David Hancock-1998). Copyright infringement of films is so wide spread in India it can be called as a ‘small scale industry’. Bootleg copies of DVD’s are available in the market on the same day the film officially releases in theatres or some times even before that. Pirated DVD’s and CD’s of Bollywood movies are available in most of the South Asian and South East Asian countries. The small cable television channels broadcast newly released films in their channels without paying any kind of compensation. Another problem is consumer copying which is very difficult to stop. To add on to this is Online Internet movies where consumers can download movies from websites like www.bhejafry.net, www.indiaonlinemovies.com and many more without actually paying anything. The technical skills of the Indian Film Industry has always been extraordinary but most of the time they had to settle for old and very poor quality of equipments.  But now due to huge market and Corporatisation they can afford to buy more sophisticated equipments. Digital facilities for Sound Recording, Dubbing, Editing is as good as anywhere in the world (Dwyer Patel, 2002). Bollywood has always been very enthusiastic about embracing new technologies in their films, and it is also been much quicker in doing this than the Hollywood (Currah, 2007). The Film Industry is using all the latest technologies like Arry 435 for the shoot, Avid and Mac products for post production work. Sync sound, D.I.(Digital Intermediate), Animations and special effects with Graphics are used extensively.  The Indian Film Industry can now even employ foreign technicians to work for them to improve the quality of the final product. In the blockbuster film KRRISH- (2006) the action sequence was choreographed by Tony Ching from Hong Kong and all the special effects for the film was done by Hollywood technicians (Minocha and Stonehouse- 2006). Globalisation has four facets, that is, movement of goods, capital, technology and people across borders. In terms of movement of goods (i. e., movies) Indian movie industry has a long history of presence in the global market. Awara was sent to the Soviet Union and other Communist bloc countries crazy in the year of1950s. Mehboob’s Aan had a French release after its premiere in London. Long before that Himansu Rai made visually stunning films in cooperation with the Germans in the early 1930s, like The Light of Asia and A Throw of Dice, and many more which were shown in Europe as Indian films with Indian stories. By then the Bombay film industry had been around for 35 years. The film industry is definitely as old as the cinema itself and surely older than Hollywood, which has its early development in the late 1900s (Desai 2007). The exports of the Indian movie have grown for approximately 60% in recent times. The USA and Canada are two main export locations witnessing for 30 percent than by the UK with 25% and Mauritius and Dubai with 10% each. Some other main markets comprise South Africa, Russia, Fiji, New Zealand and Australia where there is abundant Indian diasporas present. Making a film for the diaspora market is a certainly a moneymaking project as against to making a film for the Indian domestic market (Desai 2007). With the global audience, there is outstanding recognition of Indian movie themes along with sew of the cross-over films made by global movie production players. The profit earnings of these movies can be match up to to few of the Hollywood box office hits. A number of Bollywood movies have gained greater than 50% of their total gross profit margin from global box office collection. However it is a welcome movement that requires to be carried on. One of the significant success factors for these cinemas is to recognize ideas from within the Indian subjects which are liked by the audience. An additional important success factor is to associate with a top global distributor; films produced by the person of Indian origin have had up to 2–3 times greater global earnings as compared to the national bestsellers (cii- A.T. Kearney 2007). Table 2 reveals a series of cross over films and the revenue earning generated by these films. India has stated its determined plans to double its share in the international film industry by the end of this year. This shows the great determination of the country to build itself as a cultural as well as economic powerhouse. There are many reasons why we must believe that. To begin with, the government, which aims on considering Bollywood to set up India as a ‘soft power’, considers the Indian film industry is competent enough to capture five percent of the international market this season. The share at the present time is two percent (Johnson 2007). Kishore Lulla, the chief executive of Eros International, a uk