Nature Nurture free essay sample

To disprove Locke’s argument and prove that it is in fact a mix of both nature and nurture in human development, the example of Anti-social behaviour is used. The three main arguments of a cross-sectional study of identical and non-identical twins, the cause of anti-social behaviour and Adoption studies will be used to shed strong doubt on Locke’s ideology that Nurture is the only influence in Anti-social behaviour. The features of anti-social behaviour include ‘hyperactivity-inattention, novelty- or sensation-seeking, impulsivity, low physiological reactivity, and cognitive impairment,’ (Locke) and Locke supports his argument that Nature is the cause for this through such theories as Piaget’s social cognitive development theory stating that encouragement from parents can develop a child’s attitude towards things such as praising them for taking their first steps which encourages them to do it again. The first line of evidence supporting ‘Nature’ concerning identical or monozygotic twins, challenges Locke’s argument that ‘nurture’ is the only influential factor in development. We will write a custom essay sample on Nature Nurture or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The cross-comparison of over 800 sets of identical and 800 sets of non-identical dizygotic twins was conducted in Edinburgh university to measure whether upbringing: nurture, or genetics: nature has a greater effect on the success of people throughout their lives in reference to behaviours specific to people with anti-social behaviour. The study was led by Professor Timothy Bates, who quotes Previously, the role of family and the environment around the home often dominated peoples ideas about what affected psychological wellbeing. However, this work highlights a much more powerful influence from genetics. The reason that twins are used in this study is because they are traditionally from the same home environments and upbringing, but it is only identical twins which share the same genetic information and one hundred percent of their polymorphic genes. The study include questions aimed at determining key personality traits such as social skills, learning abilities, self-control and a sense of purpose, all key issues in anti-social behaviour, through application of a well-established psychological scale to measure answers. The researchers of Edinburgh university wrote in the journal of Personality, claiming that â€Å"Identical twins are twice as likely as non-identical twins to share the same personality traits, suggesting that their DNA is in fact more influential than their upbringing. Genetics were most influential on people’s sense of self control, and also affected their social and learning abilities to the same degree as well as restraint and persistence with situations when they got difficult. ’ As stated by Bates, the comparison of twins with identical twins in regards to their social and behavioural reactions conflicts Locke’s argument of nature being more influential than nature, as it is disproved by the fifty percent increase in like behaviour in identical twins based entirely on their genetic makeup and not on their upbringing. The second line of evidence used to argue Locke’s ideology of Nature being the total influence in regards to anti-social behaviour is from American psychologist, Michael Rutter. He supports the idea that anti-social behaviour is acquired through a shared ratio of nurtured influence and genetic inheritance: â€Å"For example, genetic studies have been important in demonstrating that antisocial behaviour associated with early onset hyperactivity-inattention, poor peer relationships, and widespread social malfunction has a strong genetic component, whereas antisocial behaviour without these accompanying problems is largely environmental in origin. Such findings have been informative in showing that the genetic component is greater in the case of antisocial behaviour that persists into adult life than in antisocial behaviour confined to the teenage period. † The argues that anti-social behaviours such as hyper activity-inattention are strongly genetic-received, and that this genetic type of anti-social behaviour is persistent later in ife, while including that anti-social behaviour can be largely environmental in terms of short term anti-social behaviour that is confined mainly to adolescence. Rutter claims that his findings on genetic anti-social behaviour across the longer time-span induced by nature and shorter time-span induced by nurture ‘show that genetic influences on antisocial behaviour affect the probability that such behaviour will occur rather than determine it directly. This solidifies the idea that both nature and nurture induced anti-social behaviours are influential factors in deciding the cause of w hat brings anti-social behaviour on, but, as shown in his previous quote, affect the probability that anti-social behaviour will occur, but do not bring it on directly: that is, anti-social behaviour cannot be put down to one of the two sides of nature or nurture. Rutter’s opinion on the formation of anti-social behaviours being a mix of both nature and nurture challenge Locke’s firm opinion that it is purely from nature that affect anti-social behaviours. Rutter also uses the example of petty crime to support the argument of nurture over nature, following on from his claim that a percentage of anti-social behaviour can be attained from environmental factors influenced by nurture. â€Å"Equally, genetic findings have been important in showing that there is a much weaker genetic component in violent crime than in petty theft. † This shows that petty crime, an associated offense brought on by short-term anti-social behaviour is largely influential from nature. By supporting the nature argument, Rutter shows that there is a possibility that anti-social behaviour that is acquired through hereditary can still be influenced by environmental influences, shown by the idea that a person can commit petty crime based on a nature-based anti-social trait, and again supporting that there cannot be a side of nature or nurture that is completely responsible for the formation of anti-social behaviours without the other coming into the equation. The third line of evidence using anti-social behaviour to shed doubt on Locke’s theory that development is based purely on nurtured influences is the study of Adoption. Adoption focuses on the relocation of a child from their maternal parents to their adopted parents with a completely different environment and influence on the nurture of the child’s development, classified by E. Ann Viding into two groups: ‘Genetic influences are indicated by the association between adoptee and biological relative. Environmental influences are indicated by the association between adoptee and adoptive relative. ‘ Raymond R. Crowe conducted a test to measure whether or not ‘heredity contributes to the development of antisocial personality using a group of offspring born to female offenders. ’ All 92 females studied were placed up for adoption in their infancy years, divided into 2 groups: forty-six probands with an equal number of controlled adoptees who were later followed up and interviewed when they reached the ages of 18 years and over. The results of Crowe’s study showed that ‘A significantly higher rate of antisocial personality was found among the probands than among the controls. The non-anti-social probands proved not to be more deviant than the controls. The antisocial probands experienced certain unfavourable conditions in infancy that may be related to the development of antisocial personality, the most notable being the length of time spent in temporary care prior to final placement. Although the control group was equally exposed to the same conditions, they did not develop a high rate of the disorder. The findings point to the importance of interactions between genetic and environmental factors in the development of antisocial personality. ’ In Crowe’s study, he demonstrates how the controlled and proband adoptee’s underwent the same adoption phase, interview phase, but the variables included their hereditary and environments. By suggesting that the group with the significantly higher anti-social behaviour qualities was the proband adoptee group, he is stating that the control group, despite being exposed to the same conditions of adoption, did not develop anti-social behaviours, while the proband group was significantly did. By this, it shred’s serious doubt on Locke’s argument that personal development is based only on the nurtured influences as if this was the case, both groups would have a random distribution of anti-social behaviours and not be a systematic set of results as shown in Crowe’s results of the proband group being affected. By using adoption as a relevant point of argument against Locke, it shows that development of Anti-social behaviours, despite being separated from biological offending mothers, can still develop in an adopted child regardless of their environment in a proband study group and gives credit to nature as an element of influence in development for adopted children. In conclusion, the three arguments of a cross—sectional study of identical and non-identical wins to demonstrate likeness in anti-social behaviours in genetically exact identical twins and Rutter’s argument on how anti-social behaviours are formed both demonstrate how both Nature and Nurture are vital in development of Anti-social behaviours. The third argument of Adoption demonstrated a more influential Nature-based contribution than Nurture by showing that only one group of adoptee’s suffered from anti-social behaviours, and as a result, raises alongside the other two lines of evidence strong doubt to Loc ke’s quote that anti-social behaviour is acquired only through Nurture. Reference list Crowe, R. (1974) An Adoption Study of Antisocial Personality. Arch Gen Psychiatry 1974; 31(6):785-791. doi:10. 1001/archpsyc. 1974. 01760180027003 Haimowitz, A. G. (1974) Heredity Versus Environment: Twin, Adoption, and Family Studies. Rochester institute of Technology, Rochester. Locke, J. (1994) Essay Concerning Human Understanding. Herrnstein amp; Murray, p. 311 Mcrae, R. Saunders, R. Smith, P. 2000) Nature over nurture: Temperament, personality, and life span development. Journal of Personality and Social Psychology, Vol 78(1), 173-186. Rutter, M. (1997) Nature-nurture integration: The example of antisocial behaviour. Vol 52(4), 390-398. Science daily (October 2007) Retrieved from: http://www. sciencedaily. com/releases/2007/10/071016131452. htm Viding, E. (2004) On the nature and nurture of antisocial behaviour and violence. N. Y. Acad. Sci. 1036: 267-277.

Media Disgrace essays

Media Disgrace essays More coverage than O.J. More coverage than Diana. More than Oklahoma City, and more coverage than even Monica Lewinsky. You guessed it, Election 2000, and the media loved every minute of it. Savoring the proverbial field-day, U.S. journalists greatly assisted in dividing the country, destroying the peoples respect for the American legal system, embarrassing the worlds superpower, and simply annoying the crap out of everyone. To put it simply, the media didnt do its job, especially when it came to the really focal points of the recent election: pre-election coverage, election-night coverage, and post-election coverage including the Florida recount. In order to obtain more ground to cover, the media started off by telling the people just how different the two major candidates were (always relishing partisanship), when in truth, they arent that polarized. Of course, they have vaguely different views on how to accomplish certain goals, but for the most part, those goals are the same. Its the usual, strengthen our economy, preserve social security, improve education, yada yada yada; the candidates just occasionally differ on how to do so leading to an enduring joke about the American people not really wanting either candidate. The candidates are also similar in that they both exaggerated and skirted around lying in pre-election campaigning. The media compounded these problems by not being able to decide whether to be responsible enough to analyze these campaign claims and when they half-heartedly made any attempts they were often off the mark. Unfortunately, we a tendency to remember the few hits and forget the innumerable misses. For example, the media showed a keen interest in Gore's recounting the story of a Sarasota, Florida student who was forced to stand in her science class due to overcrowding. While many reports chalked it up as another Gore embellishment, few journalists acknowle...

Strategy theory and practice Essay Example | Topics and Well Written Essays - 500 words

Strategy theory and practice - Essay Example US-based home building industries depend on fluctuations of interest rates. The structure of the home building industry has become progressively more attractive. Investors within the industry consist of two main competitive classes: multi-regional builders and smaller builders, (often inclusive of National Association of Home Builders members). Another fact that the home building industry is growing despite a stagnant economy is the increasing stock rates of building companies that are on the rise. Though the industry as a whole has been hit financially, there are incorporated building companies succeeding in the marketplace. Regardless of limited success, there are some predicaments within this industry that’ve been triggered by the recession. The new developments can be outlined as follows: A. The Great Recession has caused a negative impact on the house building industry 1. The building of new single-family homes has decreased for more than 80% in comparison with 2005 (Econ omic and Housing Data) 2. Modern buyers are purchasing smaller houses, which are cheaper 3.

Literary theory (Althusser) Answering discussion questions Assignment

Literary theory (Althusser) Answering discussion questions - Assignment Example Indeed, in Reading Capital, he points out that the retrospection of the past is not ideology, but serves, in his words, â€Å"the legitimate epistemological primacy of the present over the past.† This served as one of the sources of his criticism of the French communist party, as a criticism of ideology on epistemological grounds will always sit uncomfortably with those emotionally invested in a given ideology. His criticism in the same work of â€Å"subjective and arbitrary ideologies† on Marxist grounds suggests that discourse within ideology was not his aim. Similarly, there is the question of â€Å"complete† ideology. In Althusserian criticism, no ideology is ever complete, and any attempt by an ideology to fully control or dominate a text will only end up exposing the limitations of that ideology. One classic example is Frank Capra’s classic â€Å"message† film It’s A Wonderful Life, in which George Bailey triumphs over the machinations of the evil Mr. Potter, except insofar as he doesn’t. The film ends with Potter still fully in control of Bedford Falls, having suffered not so much as a moment’s inconvenience while George was wrestling with suicide.

Increasing Indian Film Presence in the International Market

Increasing Indian Film Presence in the International Market 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 mode l 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 fig ure 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, t he 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 has 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,)†(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). Competitio n 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 internation al 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 l atter’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 audience 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 prod uce 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 Iit 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 the atres 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 wh ere 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 digitizati on 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-listed company that releases about thirty new Bollywood films in India and in the rest of the world each year, â€Å"says the government’s target can be achieved. India is experiencing almost hundred percent growth in grosses Increasing Indian Film Presence in the International Market Increasing Indian Film Presence in the International Market 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 mode l 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 fig ure 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, t he 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 has 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,)†(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). Competitio n 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 internation al 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 l atter’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 audience 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 prod uce 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 Iit 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 the atres 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 wh ere 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 digitizati on 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-listed company that releases about thirty new Bollywood films in India and in the rest of the world each year, â€Å"says the government’s target can be achieved. India is experiencing almost hundred percent growth in grosses

Jim Daniels Poetry Essays -- Jim Daniels Poem Poetry Essays

Jim Daniels' Poetry Jim Daniels may not write poetry as eloquently as one would expect, but his style matches the subject matter he writes about perfectly. Indeed, it is this unrefined colloquial style, which allows Mr. Daniels to capture the essence of working class Detroit and relay it to the reader. His words may be somewhat coarse and he does not hesitate to use profanity, but one is still able to find beauty in his writing. The same can be said about the working class society, in which Jim Daniels was born and raised. At first glance, the Blue-Collar landscape of Detroit Michigan, with its dilapidated factories and toxin belching smokestacks, may seem coarse and profane. Yet, when one looks closer it is not hard to find beauty in this god-forsaken place. Amongst the UAW workers, Millwrights, ironworkers, and construction workers of Detroit lurk philosophers, artists, historians, economists, and, as proven by Mr. Daniels, poets. In â€Å"Ted’s Bar and Grill† Mr. Daniels writes, â€Å"†¦we shuffle our greasy boots up to the bar where Jeannie serves up drinks with her long blond hair and nice ass.† (15). The language he chose to use conveys a lot to the reader. By choosing the verb, â€Å"shuffle† and describing their boots as â€Å"greasy† Mr. Daniels paints a picture of a seedy â€Å"shift† bar where workers go after work, before work, or during work to get drunk. This is not a classy establishment. Indeed, patrons are not striding up to the bar in wingtips to procure libations here. In addition, by describing Jeannie as having â€Å"long blond hair and a nice ass†, Mr. Daniels gives the reader another insight into what kind of bar this is and what type of patrons frequent it. One can assume that few, if any, of the regulars at â€Å"Ted’s Bar an... ...rnacular is an essential part of his writing because it gives his poetry authenticity. If one did not know better, one could easily imagine Mr. Daniels sitting at a â€Å"shift† bar after work guzzling Budweisers and writing poetry on cocktail napkins. He does a tremendous job of illustrating the good and bad aspects of Blue-Collar life in Detroit. This is very important because many people assume that working-class life is horrific, but in truth it has it’s good points and bad points. As a native Detroiter, who has worked on a myriad of construction sites for more than a decade, I can definitely relate to Jim Daniels poetry. This is because I have fallen in love with a dozen â€Å"Jeannie’s† in a dozen â€Å"Ted’s Bar and Grill’s† and I can definitely â€Å"do real dancing.† Works Cited Daniels, Jim. Places Everyone. Madison, Wisconsin: The University of Wisconsin Press, 1985.

Jimmy Choo a Celebrity Brand

A Celebrity Brand Strategic Fashion Management A report by Psyche Kuo 2010-11-15 Contents 1. Introduction3 2. Shoes fit for a Princess3 3. Tamara Mellon Part co-owner, Part celebrity4 4. Power of Media6 5. Potential crises 8 * Fast fashion use the celebrities power * Celebrity brands * Celebrities’ scandals 6. Conclusion 9 7. Reference 10Introduction The following report will look at the influence of celebrities and the culture of celebrity lifestyle upon the success and the strategies adopted by Jimmy Choo. From the beginning of Jimmy Choo as a bespoke shoemaker to the takeover of Tamara Mellon, celebrities and red carpet media events which have always been associated with its name. The report will look at the past, present and possible future strategies influenced by celebrities and its culture. Shoes fit for a princess â€Å"The late Princess Diana who was a Choo shoes devotee, made him rise to further fame in 1990.Choo has made a mark on the fashion designing industry and in time was accepted as an iconic image of a classic and refined fashion designer in shoes and later in accessories. † Naomi Silveira (2010) The late Princess Diana would be the first significant figure that helped propel Jimmy Choo shoes from great, to extraordinary. Through history we can always identify luxury brands with a celebrity face, dating back to Chanel with Marilyn Monroe and Givenchy with Audrey Hepburn. It’s a key strategy that helps educate and promote the brand to the public, making the brand more desirable and more exclusive.However, Jimmy Choo did not endorse any celebrities at that time, Princess Diana was a customer of Jimmy Choo simply because she liked the design and comfort of the Shoe. Without Princess Diana, Jimmy Choo may have not achieved the success it has today, with such a public figure photographed wearing a pair of Jimmy Choo. Tamara Mellon – Part co owner, Part Celebrity â€Å"†¦, understood the importance of linking celebr ities to brands and was recognized as an important marketing communications tool. † Uche Okonkwo (2006)Tamara Mellon, former UK Vogue accessories editor, was looking out for out-of-the-ordinary designs that were both chic and attention grabbing. That’s when she approached Jimmy Choo and bought 50% of his company. With her relationship with the media and her strong networking skills, Tamara Mellon managed to help the company grow to worth ? 500 million. Tamara Mellon’s relationship with the media is a very important aspect to why Jimmy Choo succeeded in such a short time span. â€Å"Celebrities are extremely important and valuable to brands, especially in the luxury fashion sector. There is no argument about it.They wield enormous power in fashion circles and can contribute to making and breaking brands. † Uche Okonkwo (2006) If Tamara Mellon was not a public figure as she was, it would have been difficult for Jimmy Choo to achieve the level of â€Å" adve rtisement â€Å" and public awareness without having to invest a large number of capital and resources into this key area. It was hugely beneficial that the new co-owner Tamara Mellon was already a public figure and was able to use this to her advantage. Tamara Mellon realised that celebrity are the brand icon of this generation, an icon which conjures as a mental image or an opinion.This acts as an indirect metaphor to both corporate worlds. Just as brands and brands owners don’t necessarily coincide. Similarly, Jimmy Choo shoes aren’t made by Jimmy Choo. Jimmy Choo is no longer associated with its own brand design with Tamara Mellon whereas Jimmy Choo now focuses on Jimmy Choo Couture footwear. There are not many companies left that follow this tradition of shoes being designed by the company’s founder who brings Jimmy Choo to a few competitors which are Christian Louboutin and Manolo Blahnik.Regarding Tamara Mellon’s marketing strategy of penetration, celebrity endorsement which determines the wealth and success to the brand has lead to a factor where luxury brands appear lesser extent than consumer brands as luxury brands already have well-defined personalities. Power of Media â€Å"The rise of the cult of celebrity, in which everyone can be famous for 15 minutes, can be directly related to the rise of reality television and social networking sites. † PricewaterhouseCoopers LLP (2007) The number of celebrity advertisements has doubled from 1996 to 2006. It was uring 1996 that Choo established his brand name Jimmy Choo in London with the assistance of Tamara Mellon. It is no coincidence that Jimmy Choo benefitted from the boom in celebrity endorsement during these ten years. Programmes such as â€Å"Sex and The City â€Å"are just an example of how strong an influence TV have on consumers. â€Å"But the real growth story of Jimmy Choo over the past 14 years has been the riding of a tidal wave of celebrity endorsements, as well as those gushing recommendations in Sex and the City. † Anonymous (2010) Without TV, Media and even Sex and the City, Jimmy Choo would not have become an instant household name.With millions of viewers, Sex and The City was the ideal catapult to make the name public to an even wider audience, even with the programme also â€Å" mentioning â€Å" rival brand Manolo Blahnik in the programme, this did not affect the sales or brand equity of Jimmy Choo. â€Å"Jimmy Choo is attractive to celebrities but they must have pushed it to celebrities as well because that is how you keep the brand in the public's mind – most designers now want to get their shoes on the red carpet because you get so much media coverage from that. † Maureen Hinton (2010)Disregarding that fact however, the lead analyst at the retail consultancy Veridct added that Jimmy Choo’s are attractive enough to stand on its own for it fashionable design. It was also commented that the medi a only acts as a reminder to the public’s mind about the brand’s image. This strengthens the foundations of Jimmy Choo’s defined image. Potential crises Celebrity endorsement is as easy as it sounds as it upholds several risks that are associated with brand communication strategy. If a luxury brand decided to use celebrity endorsement as a strategy, brands should meticulously evaluate their interconnections elements.Fast fashion use the celebrities power The current Jimmy Choo’s strategy that uses celebrity endorsement has a potential risk as the current fast market (mass production market) also uses celebrity power as a major marketing strategy. In examples to that are Gap which Sarah Jessica Parker promoting its brand and Top Shop which Kate Moss is anointed to design their clothing and accessories. Celebrity brands Celebrities’ brands indulge in brand extension and brand architectures. They now understand the importance and influence of personal branding and are exploiting it and also extending it to commercial branding.As a result, several celebrities have ventured into the fashion and accessories businesses and more are on the way. A few examples are such as Jennifer Lopez, Sean Combs and Jessica Simpsons. Celebrities’ scandals The biggest harmful factor that Jimmy Choo can come across as a brand image is from celebrity scandals as celebrities are easily exposed to the public and may get into controversies. An image of a celebrity holds a very important role to the brand it’s promoting. A scandal may lead to a negative connotation. Conclusion The media, TV and Public figures have always been synergetic with Jimmy Choo from the very Beginning.From the late Princess Diana, to Tamara Mellon, Sex and The City and countless of other celebrities photographed with a pair of â€Å" Jimmys†, Jimmy Choo’s main strategy was to use this â€Å" tidal wave of celebrity endorsement â€Å" to its full advan tage. For a new brand in a very competitive market, it was important to utilise this strength to compete with rival brands with a deeper heritage and history. Even though Jimmy Choo has always used celebrities and the media as its main source of advertisement, there are indications that t Jimmy Choo is diversifying its strategies by collaborating with other brands, such as H;amp;M and UGG.With so much reliance with its celebrity exposure, it is potential dangerous to solely rely its company’s future in such an unstable trend. With Collaborations with H;amp;M is a more stable and long-term strategy to appeal to a â€Å" different â€Å" target consumer. Jimmy Choo may be a shoe for the stars, but will eventually grow and establish themselves through other mediums. 1082 words (Excluding title page, direct quotations and references)Reference1. Anonymous, 2010. Jimmy Choo: The world's most valuable shoemaker, The Independent, [Online], Available at: http://www. independent. co. k/news/business/analysis-and-features/jimmy-choo-the-worlds-most-valuable-shoemaker-2076499. html [10 Oct 2010].