Liabilities of the company Essay Example | Topics and Well Written Essays - 1000 words

Liabilities of the company - Essay Example The use of insurance is a great way to protect assets. The three most important items that must be protected by insurance are property, income, and liabilities. Most large corporations have billions of dollars in physical assets. These assets such as buildings and machinery should have insurance against fire and natural disasters. On March 11, 2011 Japan was struck by the 4th largest earthquake in the history of mankind. A natural disaster can occur at any time since these are natural events that occur at random. Some of the natural disasters coverage that companies should seek includes earthquakes, hurricanes, tornados, tsunamis, fire, and floods. The liabilities of a company are an important aspect of the capital structure of a company. Normally liabilities of corporate debt are hard to protect against. A method that can be use to create a certain level of protection for debt is to use a portfolio approach to protect the debt by formulating a strong portfolio of financial instrumen ts that serve as a safe haven in case the company is not able to pay for its debt due bad operating results. The liquid portfolio can be partially liquidated to create cash that the firm can use to pay its current debt and other operating expenses such as payroll. Another important asset that must be protected is inventory. ... Insurance can also be used by corporations to protect against workers claims and lawsuits by internal and external stakeholders. When a lawsuit is filed it is often better to settle out of court to lower legal costs and to reduce the impact of bad publicity to the company. The corporate image of the company is sacred. Back in 1998 Nike Corporation lost half its customers instantly due to the revelation of a sweetshop scandal. The use of an internal control system is extremely beneficial to a company. It can be used in order to increase the efficiency and productivity of the entire staff of employees. One of the benefits of the use of internal controls is that it safeguards the assets of the company. The most valuable asset of a company which must be protected at all times is the cash. Cash is the most liquid asset in existence. In the international arena the currency of most countries is different. Three of the most valued currencies in the world are the U.S. dollar, the Euro, and th e British Pound. The U.S. dollar is used as the reserve currency in the majority of the countries in the world. Internal controls can also be used to minimize the theft of inventory in a company. A way to protect the inventory is by placing hidden cameras across the entire warehouse where the inventory is being kept. In the retail environment cashiers must count the money when the cash register is cash out and the manager must verify the amount. Both employees must sign a document regarding the cash. The cash should then be taken to a safe prior to the money being deposited in the bank account of the company. The use of internal controls can prevent the managers and the accounting staff from colluding

Week 12 Experiential Exercise Essay Example | Topics and Well Written Essays - 250 words

Week 12 Experiential Exercise - Essay Example Because of this the salesperson indicated that they spent a lot of time dealing one-on-one with clients still – something the salesperson indicated is growing rarer and rarer as internet booking becomes a more popular option. They say that their focus on high-end clientele means that they have some insulation against internet-based competition, who are better placed to compete on price than quality of service. Nonetheless, they indicated that developing online tools such as itineraries and so forth have been important elements in staying competitive in the digital age. Other than customer contact, the thing that took up most of this sales person’s average day was spent coordinating with partners that were both in house and out-of-house. They said its incredibly important to be able to understand exactly what you can and cannot offer, and what you can and cannot accommodate, so having personal and professional connections with other parts of the tourism industry is an essential part of a salesperson’s

Ethnicity In Hollywood And American Culture Film Studies Essay

Ethnicity In Hollywood And American Culture Film Studies Essay Hollywood movies have preached the assimilation of the ethnic other into American culture. This is a dangerous prospect as media representations are used to frame our understandings of ethnic groups and sub-cultures. In this study, a social semiotic approach is used to frame the violence, food, musical score, and set furnishings present in The Sopranos. By contrasting these elements with those found in The Godfather, assimilation of the ethnic Italian is revealed. Using an interpretation that rests on the theoretical framework of symbolic interactionism, this study adds to our understanding of ethnic representation in media. Through a deeper understanding, we can resist negative media representations of ethnic groups. In 1997, The Godfather Saga, a revised version of The Godfather and The Godfather II, was televised to a national audience. This was a broadcast landmark as it was preceded by a disclaimer to forewarn the audience that the characters were not representative of any ethic group (Cortes, 1987). The statement became a model for television broadcasts that depicted any ethnic group as criminal and violent. The disclaimer was indicative of a burgeoning awareness that entertainment films possess the power to create, reinforce, and modify public perception of ethnic groups (Cortes, 1987). While a number of factors likely influence public perception of ethnic culture, mass media representation has been documented as a significant factor (Jamieson, 1992). Indeed, some researchers suggest that much of the information people acquire about ethnic culture comes from mass media (Bodenhausen, Schwarz, Bless, Wà ¤nke 1995). A century of media representation of Italian culture and its mythical link t o organized crime, has created paradoxical visions of admiration and disdain; fascination and fear; endearing attractiveness and aversion. Central to the popular vision of the Mafia, the depiction of Italian family culture is a dichotomy between family values and violent family business. The existence, success, and continuation of the Italian family depend on a system of traditions and rules rooted in extreme patriarchy and enforced through acts of violence. The immutable strength of this image effects both public perceptions of Italian culture and the Italian self-image (Quinn, 2004). The debut of The Sopranos in 1999 represents a significant event in media representation of Italian culture. The series portrays American born Mafiosi as ordinary suburban neighbors, complete with barbecues, golf games, kids in College, and stock options. How does the The Sopranos contribute to the media image of the Italian family? In this study, I take a constructivist approach to examine the first season of The Sopranos in an effort to determine how the series changes the traditional image built by gangster movies like The Godfather. The Sopranos updates the image of the Italian mob family by completely assimilating it within American cultural norms (Blackwood, 2006). In this way, The Sopranos supports the symbolic interactionist assertion that ethnic groups are not natural biological divisions of humanity, but rather temporary alignments of people created by communication channels (Freidman, 1991). The influence of The Sopranos is appreciated by considering the thirteen million viewers it attracted by its third season (Cartier, 2006), and in the attention it garnered from both television critics and politicians. In 2001, the producers of the Sopranos were unsuccessfully sued under the individual dignity clause of the Illinois Constitution (Italian-American group sues, 2001). In the previous year, Essex County officials banned HBO from filming scenes on county-owned property (N.J. county shoots down Sopranos filming request, 2000). In announcing the ban, officials expressed their displeasure at the shows portrayal of Italian-Americans. Backed by sixteen colleagues, New Jersey congresswoman Marge Roukema proposed that the House of Representatives chastise producers of television shows like The Sopranos because of their depiction of Italian-Americans as criminals (Congresswoman asks House, 2001). These events underline the importance of understanding the link between popular drama and cultural representation. As the demands of modern life become more complicated through a mixing of cultures, our understanding of the larger world becomes more important to us. Therefore, we use the messages we decode from popular culture to frame our understanding of ethnic groups, and the nature of diverse subcultures (Beck, 2000). This means that media representation, and more specifically ethnic representation within popular culture, plays a key role in our understandings of immigrants and their subcultures (Cortes, 1987). Further, because entertainment and information are no longer distinct streams within the public consumption of cultural products, the fate of diverse subgroups within our society depends on the roles assigned to them in [à ¢Ã¢â€š ¬Ã‚ ¦] popular dramas (Beck, 2000, p. 25). Through careful evaluation of the set furnishings, music, food, and violence presented in the popular drama The Sopranos, an assimilation of Italian culture into American culture is rev ealed. This assimilation is so strong that only the most obvious ethnic symbols remain resulting in a link between the Italian family and crime that is much stronger than any previously portrayed. Literature Review The earliest film representation of Italians and crime is documented by Blackwood (2006). The Black Hand (1906), a seven minute one-reeler, was allegedly based on an actual kidnapping and ransom demand that occurred in the Italian quarter of New York City. A number of later films including The Black Hand (1912) and Binks, The Black Hand (1913) followed. In 1908, the New York Police Department established the Italian Bureau, headed by Detective Lieutenant Joseph Petrosino. An Italian immigrant himself, Petrosino was subsequently murdered by a Mafia Don while conducting research in Palerimo, Italy (Giuliani, 1999). This event spawned a number of Mafia movies including The Detectives of the Italian Bureau (1909), The Adventures of Lieutenant Petrosino (1912), The Padrone Ward (1914), The Last Mafia (1915), and Don Caesar de Bazan (1915). Although this very early representation of Italians is often overlooked, Blackwood (2006) points out the importance of this period. The films demonstra te the incredible age of the Italian Mafia stereotype, and they represent the birth of the link between Italians and crime. Benshoff Griffin (2004) point out that this period fashioned a second stereotype of Italian people. The movies often portrayed the good Italian falling victim to the bad Italian. The good Italian representation was that of an assimilated small businessman. He was a simple-minded, working class Italian often named Luigi or Guido who spoke broken English, wore a bushy moustache, and had a large family. He was gracious, always smiling, and worked as a street vendor, organ grinder, or ran a small restaurant. The stereotype exists to this day in the Super Mario Brothers games (1993) and on countless pizza boxes. Cortes (1987) identifies three distinct periods in the history of Italian representation in film. In the first period, 1917-1928, the depiction of Italians was heavily influenced by a negotiation for whiteness (Benshoff Griffin, 2004). America experienced a great surge in immigration during the final years of the nineteenth century and into the early twentieth century. Large numbers of Eastern and Southern European people flooded into the urban centers of America. From 1900 to 1910 over eight million immigrants entered the United States (U.S. Census Data, 2003). This sudden mixing of white ethnic culture with the established white, Anglo-Saxon, Protestant culture increased levels of xenophobia and forced people of non-Anglo-Saxon, European descent to negotiate their relation to whiteness. This negotiation, and a general concern over the growing presence of foreign culture in America, lead to strict immigration laws and influenced the way Italians were represented in film. Italians w ere depicted in films with darker skin tones, thick curly hair, and little education. As immigration fears increased, the white ethnic Italian was portrayed as unsavory, radical, and over-sexed in such films as Dangerous Hours (1919) and Manhandled (1924). In the 1930s, Hollywood became fascinated with crime. The Great Depression coupled with Prohibition focused that fascination on the problem of gangsters, leading to the rediscovery of the Italian American mobster. By 1932, Italian gangsters [had] become the personification of Americas social failures, including the crisis of the increasingly elusive American Dream (Cortes, 1987, p. 110). In this second period, 1930-1970, Italian mobsters were vicious, violent, self-serving, one-dimensional characters. The period is characterized by the advent of sound, and the ear-splitting shots of Italian-mobster machine guns became the symbol of Italian ethnic violence. So great was the impact on the Italian psyche that the release of films such as Little Ceasar (1930), The Public Enemy (1931), Scarface (1932), The Gay Divorcee (1934), and Top Hat (1935), prompted the Italian government to ban importation of all American films containing Italian characters (Vasey, 1992). In an effort to remove thi s barrier, the Motion Picture Producers and Distributors of America (MPPDA), a trade association formed to negotiate American film trade agreements with foreign governments, was successful in influencing a more positive film image of Italians. Obvious references to Italian ethnicity were removed from many gangster movies although the inferences remained (Vasey, 1992). Films such as Golden Boy (1939) and They Knew What They Wanted (1940) actually depicted Italian characters as law-abiding, hardworking ethnics (Cortes, 1987). During the war, Italian Americans increasingly promoted their loyalty to their adopted country. As a consequence, Italians were often depicted in wartime propaganda films as courageous and dedicated soldiers fighting alongside American soldiers (Benshoff Griffin, 2004). This depiction is evident in the Giuseppe character from Sahara (1943), Lieutenant Angelo Canelli in The Purple Heart (1944), and Captain Andrà ©s Bonifà ¡cio in Back to Bataan (1945). Post-war film making in Italy had an effect on Hollywood images of Italian Americans. Italian film makers worked to increase cinematic realism leading to a movement called Italian Neorealism (Benshoff Griffin, 2004). The films resulting from this movement were popular and often represented Italians as poor and working class. Consequently American depictions began to represent Italians as down-to-earth, working class people in such films as Marty (1955) and The Rose Tattoo (1955). The final years of the second period defined by Cortes contains another interesting phenomenon. Both Italian and American film makers resurrected the hot Italian lover stereotype that had been well crafted by the Rodolph Valentino movies of the 1920s. Italian actresses Sophia Loren, Gina Lollobrigida, and Anna Magnini became famous for their uninhibited sexuality. In the repressive, socially conservative 1950s, these ethnic other actresses provided sexual escapism not possible for respectable white women. A s the 1970s approached, various ethnic movements popularized the search for and the celebration of ethnic heritage, identity, and pride (Cortes, 1987, p. 116). This new enthusiasm for ethnicity, coupled with an influx of talented Italian movie producers and actors, led to an explosion of Italian character representations in film. In addition, the disappearance of the Hayes Code in 1968, Hollywoods self-censorship system, encouraged a war where filmmakers vied to top each other in graphic depictions of sex and violence (Cortes, 1987). All of these factors influenced the watershed moment in the depiction of Italians in film, the release of Francis Ford Coppolas The Godfather. The third period, 1970 to present, is epitomized by The Godfather. This 1972 film, by Francis Ford Coppola, depicts the Italian gangster as a complex, multi-dimensional character. For the first time the activities of Italian gangsters are firmly entrenched within Italian family values. The Godfather set a trend for complex mob characters in many movies that followed including The Don is Dead (1973), Scarface (1983), The Untouchables (1987), Goodfellas (1990), Casino (1995), and Analyze This (1999). Blackwood (2006) categorizes the periods of Italian representation in film according to artistic device. In the silent era through to the 1960s, Italians are portrayed minstrelsy. Italian characters are used to exploit and rebuke the Italian sub-culture. In the 1970s, portrayals of Italian characters are changed, and serve to historicize the Italian life experience in the U.S.A. (Blackwood, 2006, p. 8). According to Blackwood (2006), the third period of representation began in the late 1990s with the renunciation of the Italian gangster figure. The television show The Sopranos (1999-2007) and the movie Analyze This (1999) present the assimilation of the Italian gangster figure into North American society, depicting the acceptance of American values. Method The Sopranos debuted on HBO in 1999 (Martin, 2007). The show follows the life of notorious gangster Tony Soprano and his family as they deal with modern life in New Jersey. Tony, his wife Carmela, and their two children, Meadow and AJ, live in North Caldwell, New Jersey where Tony presides over a Mafia team. With eighty-six episodes spanning six seasons, the show is iconic in the world of Italian gangster stories. Television critics praised the show as the apotheosis of television drama, and the recalibrated scale for comparing TV shows [à ¢Ã¢â€š ¬Ã‚ ¦] everything else seems flawed (Martin, 2007, p. 16). The show also enjoyed instant success with audiences, claiming four million viewers during its debut season and quickly increasing to thirteen million viewers by the third season (Carter, 2006). Winning a plethora of awards including five Golden Globes, two Peabodys, two Writers Guild Awards, and 18 Emmys, the incredible popularity of the show propelled it into many manifestations o f pop cultural success including a MAD magazine parody (issue 389, 2000), appearances on The Simpsons, and the cover of Rolling Stone (vol. 865, March 29, 2001). Grand Theft Auto III, the best selling video game of 2002 with sales of three million units, mimicked The Sopranos by placing players inside a Mafia organization. The game allows players to move up through ranks of the Mafia by delivering suspicious packages, ferrying hookers to and from their dates, tailing suspected snitches, planting car bombs [à ¢Ã¢â€š ¬Ã‚ ¦], and having sex with their own goomahs (Croal, p. 50). The Sopranos became so well recognized that HBO developed an entire side industry of Sopranos accessories including a mens clothing line, mainstream coffee table and humour books, and even architectural plans for building Tony and Carmellas house (Quinn, 2004). The Sopranos was created in 1995 by David Chase. Chase is a television veteran who served as executive producer of such shows as Northern Exposure (1990-95), Ill Fly Away (1991-93), and as writer/producer on The Rockford Files (1974-80). Chase claims the character of Jim Rockford, created by Stephen Cannell, as the major influence on his creation of Tony Soprano, the patriarch of the Soprano clan (Chase quoted in Martin, 2007, p. 10). However, there are those in the Italian American community, including Lawrence Di Stasi, historian and past president of the Western Italian American Historical Society, who believe a darker influence lies behind the show and the character of Tony Soprano. Di Stasi believes that Chase, whose surname has been anglicized from the Italian name De Cesare, internalized his ethnic hatred by externalizing his self-loathing (Di Stasi quoted in Quinn, p. 167). Chase stands accused of betraying his own culture by strengthening the association, more than ever, bet ween Italian-American families and criminality. Di Stasi claims the average television viewer sees the link between the two as genetic. Using existing literature combined with my own semiotic analysis of the television series The Sopranos, I take a constructionist approach to determine how The Sopranos changes the image of the Italian mafia family since the release of The Godfather. In doing so, I expose the Italian ethnic signs within the text and discuss the role these signs play in supporting Blackwoods (2006) assertion that The Sopranos represent the assimilation of the Italian gangster into American culture. My data sample consists of the first seasons episodes of The Sopranos series. Limiting the catalog of data to thirteen episodes produces a feasible and manageable data set, and it allows analysis of a text created purely from the authors intentions, before its extreme popularity could influence new or exaggerated messages. Using a social semiotic approach advocated by Fairclough and Van Leeuwen (see Van Leeuwen, 2005, p. 139), I analyze the first thirteen episodes of The Sopranos in an effort to reveal the u nderlying messages of ethnic Italian identity. This approach is selected because it focuses on the function of texts in social interactions. It recognizes discourse as an element to structure content (i.e. what is expressed), genre to structure interaction (i.e. what happens), and style to structure the manner in which a text communicates (Van Leeuwen, 2005). Under Van Leeuwens approach, the text will be examined through the frames of violence, food, musical score, and set furnishings. Framing is a way of describing the power of communication within a text (Entman, 1993). It involves the selection of an aspect of perceived reality, and the elevation of the salience of that information within the text (i.e. making it more noticeable). The analysis provided rests on the theoretical framework of symbolic interactionism. The rejection of the notions that meaning emanates intrinsically from objects that provide meaning and that meaning is derived through a coalescence of psychological factors, allows us to see meaning as product of social interaction (Blumer, 1986). Thus, the meaning of things is formed from communication channels through a recipients interpretive process. This theoretical framework makes possible the assimilation of one culture into another. Hollywood movies are bastions of symbolic interactionism. They impose Americaness as a self-ascripting category whose value orientation dominates any primordial ethnic condition (Freidman, 1991, p. 22). Data Analysis In The Sopranos, Chase removes the impenetrable barrier between Italian family values and Italian family business that was so carefully constructed by Coppola in The Godfather. Coppola manages to create an intensely powerful and thought provoking audience experience of The Godfather through narrative and visuals that present the opposition of family values and violence. In the opening scene, the viewer is presented with a dark image of a heart-broken man confessing a heinous act of sexual violence perpetrated against his daughter. As the camera pans out, and the screen brightens only slightly, we see the man is in the study of Vito Corleone, a mafia Don and patriarch to one of New Yorks most infamous crime families. The man is begging Vito to avenge his daughters honour. Suddenly, the camera reveals the outside of the house, where there is a great celebration. Vitos daughter is marrying. Men, women, children, and even rival mobsters attend the elaborate festivities. There is much lau ghter, singing, and dancing. In contrast, the dark study, allows only a few privileged men to enter and make requests of Vito, who cannot refuse their requests on the day of his daughters wedding. The movement of the camera back and forth between the two locations creates a striking, visual divide between the celebration of family, and the dark world of the family business. The study is the location of power, a private sanctuary where reports are given and violent reprisals are arranged. The scene very effectively illustrates the ironic nature of the relationship between the family values and the family business. The room is physically separate from the family rituals thus maintaining a strong separation between the two worlds. The dichotomous nature of Corleone family values allows the characters to tread a delicate line between valorization and criticism (Simon, 1983). In The Sopranos, Chase completely removes this separation by immersing the Italian characters in American cultura l ritual and symbols. The family business is deeply entangled in everyday family rituals and activities. The world of family values and dark family business become one. The total assimilation of the Italian mafia family into American culture is achieved by the removal of all but the most obvious signs of ethnic stereotyping. The Long Island estate of Vito Coleone, with its stone and stucco exterior, Italian style courtyard, and extensive vegetable and fruit gardens, is replaced with a New Jersey, sprawling, modern American, brick ranch. Vitos Italian gardens are replaced with Tony Sopranos landscaping that appears to come straight from the pages of a Home Depot magazine. The interior of the Soprano house is a striking contrast to that of the Corleones. The Corleone mansion, with its dark leather furniture, dark oak paneling and trim, dim lighting, and minimalist furnishings is replaced by the bright modern American dà ©cor of the Sopranos home. An authentic New Jersey look was crucial for Chase whose production designer spent countless hours poking through houses up and down the Garden State parkway (Martin, 2007, p. 29). What Chase achieved are lu xurious interiors of light coloured oak flooring, tan leather furniture, modern glass top tables, and light oak shelves carefully decorated with showy books, pricey figurines, vases, and candle sticks. The walls are finished in tame colours of tan, ivory, soft greens, and gold. In the dining room and bedroom, the furniture is finished in light pastels that imitate stone which was common in upscale American homes of the 1990s. The kitchen, with its recessed pot lighting and bleached oak cabinets, is typical of popular modern American design. This is the home of a typical middle-class American family, from the bright, warm, inviting family room to the messy teenager bedrooms covered in dirty laundry and grunge band posters. The lack of a musical score for The Sopranos also assists in the assimilation of the characters into American culture. The Godfather provides the viewer with a rich ethnic and folkloric musical score written by Nino Rota with additional music by Carmen Coppola, Francis Fords father. From luna mess o mare sung by family members during the opening wedding scene to the main title, called The Godfather Waltz, the viewer is immersed in the melodic strands of Italian music and reminded of the rich ethnic background that gave rise to such music. In contrast, there is no musical score for The Sopranos; however, each Sopranos episode opens with Woke Up This Morning (1997) by British fusion band Alabama 3 and closes with a different previously recorded pop tune such as Elvis Costellos Complicated Shadows (episode 3), Jefferson Airplanes White Rabbit (episode 7), and Bruce Springsteens State Trooper (episode 13). This music lends a contemporary feel to the show that is decidedly American. Chase believes firmly that the lack of a musical score increases the authenticity of his work. He notes that like Quentin Tarantinos movies, the use of pre-recorded, popular music promotes an authentic American feel to the work (David Chase Interview, 2000). Despite the assimilated nature of the characters, a link to Italian ethnicity is maintained. This link is achieved primarily through the constant reference to Italian cuisine within each episode. A major sub-plot in episode one involves young AJs birthday party where Ziti and the proper way to cook Italian sausages is a significant part of the narrative. In episode two, Paulie Walnuts becomes enraged at the profits earned by large American corporations through their cooption of Italian cuisine. Father Phil, the priest from the local Roman Catholic Church, is often seen visiting the Soprano home. The character of Father Phil is intended to create sexual tension with the character of Carmella Soprano (David Chase Interview, 2000). This tension is overshadowed by Father Phils desire for home-made Italian food and his constant dialog regarding the superiority of Italian cuisine. He visits the Soprano home, and the homes of other Italian parishioners, constantly looking to be fed (episode s 1, 5, 6, 13). Artie Bucco, a close friend of Tonys, is an accomplished chef specializing in Italian cuisine. This character appears in numerous scenes where he serves sumptuous Italian cuisine and his skills as an Italian chef are praised (episode 1, 2, 3, 9, 13). Chase devotes a significant amount of dialog in each episode to the discussion of Italian food. In addition, Italian food is visually depicted through camera close-ups in restaurant scenes and in the many scenes involving Soprano family dinners. In these close-ups, the camera frames the food much like what one would see on a cooking program. The viewer is presented with large images of Italian pastas being dished from platters while the character dialog continues in the background. A second important symbol that serves to link the assimilated Soprano family characters to their Italian heritage is observed in the characters of Paulie Walnuts Gualtieri, Silvio Dante, and Salvatore Big Pussy Bonpensiero. These characters are part of Tonys crew, and they epitomize the stereotypical vision of the urban, somewhat slow, greasy, Italian tough guys. They dress in dark clothing; wear patterned, silk shirts, unbuttoned to show thick gold chains and crosses around their neck; grease their hair back; and speak with the same Bronx-Italian accent heard in Goodfellas (1990). Violence plays a central role in The Sopranos. This centrality contrasts sharply with the The Godfather where violence operates as a backdrop against which we can examine characters and observe family customs and behaviour. The Godfather represents a major shift in the narrative perspective of gangster films (Simon, 1983). Besides being the first film to portray the Italian Mafia, although it never uses the word Mafia in its narrative, the film uses carefully placed narrative gaps to control the affect of violence on the viewing audience. For example, the audience is not prepared for the now famous scene when studio head Jack Woltz lifts the sheets of his bed to find the severed head of his prize racehorse. The previous scene ends with Woltzs refusal to hire Johnny Fontaine, Don Corleones godson, in a discussion with Tom Hagen. When Woltz finds the horse head in his bed, the audience is forced to assume that Hagen ordered the head be severed and placed there. Through this narrative g ap, the audience is completely unprepared for the violence, and as a result, they feel the violence from the victims perspective rather than through the perpetrators. Coppola uses this narrative gap technique again and again for the assassination attempt on Don Corleone, Luca Brazzis strangulation, Sonnys execution, the murders of Paulie Gatto and Michaels Sicilian bride, and the climatic final sequence when Michaels order to assassinate five rival mobsters is carried out. This technique allows Coppola to keep the violence in the background; the violence is the inevitable outcome of failed negotiations or necessary due to ethical codes. The viewer is able to remain focused on the characters with their complex behaviours and the relationships that are demanded by their Italian ethnicity. In The Sopranos, Chase removes the violence from the background and puts it on display. Through narrative and visual signals, the viewer becomes well prepared for violent scenes and experiences those scenes from the aspect of the perpetrator. We see evidence of this in the first act of violence in episode one, The Sopranos (1999). As Tony begins his first session with therapist Dr. Malfi, he recounts a story of a chance meeting with a man who owes him an outstanding debt. Dr. Malfi interrupts Tony to mention that she knows he is a crime boss. She reminds him that if she were to hear of a murder or intentional injury, she would be required to report the incident to authorities. Tony relies, nothin happened, we had coffee. The sarcastic narrative combined with the smirk on Tonys face perfectly sets up the sudden cut to the next scene where Tony hits the man with his nephews car and then proceeds to violently punch and kick the man. When Tony contracts with a Hasidic Jew to extort a div orce from the Jews son-in-law (episode 3), Tony discusses threatening the son-in-law with castration. Several scenes later, the viewer witnesses the assault on the son-in-law, and two scenes later, Tony gleefully describes the assault to Jackie Aprile, a high ranking mob boss. When Tony takes his daughter, Meadow, to her university interviews in New England (episode 5), he unexpectedly bumps into an ex-associate who testified in court against an old mob boss. In several subsequent scenes, Tony and his daughter discuss Tonys involvement in the Mafia. Tony continually downplays his role in criminal activity. Interspersed with these scenes are scenes of Tony planning and carrying out the murder of the ex-associate. These examples demonstrate how The Sopranos follows the television practice of tell them what will happen before it happens; tell them what is happening when it happens; tell them what happened after it happens (David Chase Interview, 2000). This practice elevates the violen ce to a central position where it becomes hopelessly interlaced with family struggles such as dealing with elderly parents (episode 2), illness (episode 3), choosing a College (episode 5), children acting out in school (episode 7), the safety of children from sexual predators (episode 9), and depression (episode 12). Conclusion For most Italians who have emigrated from Italy, remnants of Italian culture are still present within their lives. American writers and scholars use the term italianità ¡ to describe these remnants of culture that persist across geographical borders and time (Tamburri, Giordano, and Gardaphà ©, 1991). The use of italianità ¡ in The Sopranos was crucial to the shows success. After a century of media representation that links Italian culture to crime, italianità ¡ authenticates the story for the viewer and makes it all seem real. Similar to the sexual escapism provided by the Italian actresses of the 1950s (Benshoff Griffin, 2004), the use of Italian culture creates the ethnic other necessary to validate the extreme violence, sex, and criminal activity. The viewer remains safe with the notion that the illicit activities and uninhibited sexuality in The Sopranos are perpetrated by transplanted ethnic others, not by respectable, white Americans. Chase admits that The Sopranos helped realize his desire to produce feature films (David Chase Interview, 2000). Although each episode is only one hour in length, airing the series on HBO allowed broadcast without commercial interruption. This permitted the writers to abandon the common television drama structure of four-act scripts permitting slower plot development. Indeed, Chase claims that each episode in the first season is a separate complete movie, that continuation of story lines from one episode to the next was low priory during the writing process. As crucial as the ethnic other is to the authentication of the story, The Sopranos became exemplary of the ethnic assimilation port

The Causes and Effects of the Iranian Revolution Religiously and Politi

A revolution is a mass movement that intends to violently transform the old government into a new political system. The Iranian Revolution, which began in 1979 after years of climax, was an uprising against the Shah’s autocratic rule resulting in much religious and political change. Shah Muhammad Reza Pahlavi made efforts to remove Islamic values and create a secular rule and â€Å"westernize† Iran through his White Revolution. In addition, his tight dictatorial rule and attempts at military expansion felt threatening to the people, who desired a fairer governmental rule immensely influenced by Islam. Afterwards, governmental affairs became extremely influenced by Islamic traditions and law which created changes religiously and politically for years to come. Although the Iranian Revolution was both a political and religious movement in that it resulted in major shifts in government structure from an autocracy to a republic and that Islamic beliefs were fought to be preserved, it was more a religious movement in that the primary goal of the people was to preserve traditional ideology and in that the government became a theocracy intertwined with religious laws and desires of the people. Although the Iranian Revolution was caused by combination of political and religious motivations and ideas, the desires of the people supporting the movement were more dominantly religious ideas that were wished to be imposed in society and in a new government. The Shah, or king, of Iran at the time was Muhammad Reza Pahlavi, who had developed relations with nations in â€Å"western† world, specifically with the United States. The United States supported the White Revolution, which was a series of social reformations the Shah made to remove Islamic v... ...e were these political results mostly noticed were the religious changes. Though the White Revolution’s efforts were made to remove Islamic values, create a secular rule and â€Å"westernize† Iran by Shah Muhammad Reza Pahlavi, the people desired a fairer governmental rule immensely influenced by Islam. The Shah’s tight dictatorial rule and military expansion attempts were viewed as threats as well and resulted in the overthrowing of the government to create religious and political change. Although the Iranian Revolution was a religious and political movement that ended an oppressive rule to established a republic and which was fought to maintain Islamic beliefs, it was more a religious movement in that the movement was a result of desires to create a society influenced religiously and politically and that the result was a republic based on Islamic values and law.

Invitation to Sociology Essay

Peter L. Berger (1963, pp. 23–24) [2] noted in his classic book Invitation to Sociology, â€Å"The first wisdom of sociology is this—things are not what they seem.† Social reality, he said, has â€Å"many layers of meaning,† and a goal of sociology is to help us discover these multiple meanings. He continued, â€Å"People who like to avoid shocking discoveries†¦should stay away from sociology.† As Berger was emphasizing, sociology helps us see through conventional understandings of how society works. He referred to this theme of sociology as the debunking motif. By â€Å"looking for levels of reality other than those given in the official interpretations of society† (p. 38), [3] Berger said, sociology looks beyond on-the-surface understandings of social reality and helps us recognize the value of alternative understandings. In this manner, sociology often challenges conventional understandings about social reality and social institutions . For example, suppose two people meet at a college dance. They are interested in getting to know each other. What would be an on-the-surface understanding and description of their interaction over the next few minutes? What do they say? If they are like a typical couple who just met, they will ask questions like, What’s your name? Where are you from? What dorm do you live in? What’s your major? Now, such a description of their interaction is OK as far as it goes, but what is really going on here? Does either of the two people really care that much about the other person’s answers to these questions? Isn’t each one more concerned about how the other person is responding, both verbally and nonverbally, during this brief interaction? For example, is the other person paying attention and smiling? Isn’t this kind of understanding a more complete analysis of these few minutes of interaction than an understanding based solely on the answers to questions like, What’s your major? For the most complete understanding of this brief encounter, then, we must look beyond the rather superficial things the two people are telling each other to uncover the true meaning of what is going on. As another example, consider the power structure in a city or state. To know who has the power to make decisions, we would probably consult a city or state charter or constitution that spells out the powers of the branches of government. This written document would indicate who mak es decisions and has  power, but what would it not talk about? To put it another way, who or what else has power to influence the decisions elected officials make? Big corporations? Labor unions? The media? Lobbying groups representing all sorts of interests? The city or state charter or constitution may indicate who has the power to make decisions, but this understanding would be limited unless one looks beyond these written documents to get a deeper, more complete understanding of how power really operates in the setting being studied.

On literature review made by authors Essay

The authors asserted to have found a framework for the examination of customer-focused culture via the literature review made. It may be noted that the study included only a survey of 32 potential best organizations as identified by the reseachers and they may not necessarily represent the broader characteristics of other organizations in New Zealand and even in the world. They have indeed accepted a limitation of their study that benefits would have been gained if the study has extended to a larger international group. The limitation of the samples use is material into the validity of the survey on whether they represent the real value of customer focus culture to the organizations. In discussing the background of the study, Bartley, et al (2007) cited the the strong link between an organization’s culture and its performance which they claimed to have been widely recognised by practitioners where they cited the work of Basch (2002) and academics where they cited the work of Kotter and Heskett (1992). If organizations desire to have enduring relationship and loyal customers, they must be equipped with an effective customer-focused culture which will make it easier for these companies to have successful product and service delivery. To support their statements they cited the works of Macaukay Clark (1998) and Martin (1992). For the authors customer-focused culture was almost as good as survival in the long-term. These findings from literature review prompted the authors and the the 18 organization-members of the NZBC to asks for the componets and charateristics of a good customer-focused culture. For which reason, NZBC was formed by the Massey University’s Centre for Organizational Excellence Research (COER) in partnership witht the New Zealand Business Excellence Foundation to achieve the ambitious vision of becoming world-class performers of its members and to adopt excellent business practices within New Zealand. To measure the improvements by club members, they have agreed on a criteria for excellent performance on annual basis. See Figure 1 of their report and is made part of Appendix 1 of this paper. It appears that their agreement on criteria of performance excellence was just not a result of a tests or even a previous study. By merely agreeing and not conducting any test which are the factors there is basis the criteria may be just based on opinions. The results of their literature review resulted to their having identified six characteristics of organizations having performance of good to best practices. Bartley, B. et al. (2007) made use of same six characteristics as an analytical framework. They found the importance of leadership and used the works of Brooks, 1997; Whitely, 1991, Galreath and Rogers, 1999 which found that customers drive organizational direction and actions, to support the characteristic. They also included listening as characteristic where the views of customers are actively sought to have ease of contact/conduct of business where they cited the works of Scheuing (1999) and Plymie (1991). Bartley, B. et al (2007) also included analysis and understanding using the works of Brooks (1997) and Wikstrom (1996) which found that need to understand customer expectations. Further included is integration and deployment where the authors cited the work of Martin (1992) which could the need to act upon customers’ expectations. Still include is is people after citing the work of Kennedy, et al, (2002) which determined that customer-focused culture is understood and integrated in the whole the organization. They also included the need to review and improve where they cite the work of Alam and Perry (2002). The fact their literature review is supported by published works of other researchers on the basis of being mainly taken from academic journals and other published works, will lends some degree of validity of the summary of characteristics made as part of their analytical framework.