Economics for the global manager Essay Example | Topics and Well Written Essays - 1750 words

Economics for the global manager - Essay Example All benefits have a corresponding cost. The air we breathe, kept clean through laws costing millions of dollars to enforce, is not free. If your friend treats you for lunch, it is not free for you either, because the time you spent with your friend has an opportunity cost that may probably be more than the price of the lunch. 3. Why might the government want to influence transactions The government wants to influence transactions for many reasons. First, as in nations with free market economies, the government wants to make sure the market's rules are fair as part of its mandate to keep the people happy. One danger of a free market economy is explained by what is called asymmetric information: sellers may hide vital information from buyers that does not allow a fair price to be paid for a good (think second-hand car dealers). Otherwise, people cheated all the time will be aggravated and may move to change the government. Second, the government wants to control the supply and flow of money in the economy, because if they do not, there will be trouble in the form of inflation that can lead to social unrest (Solomon 1972 cited in Samuelson 1992, p. 712). Third, the government wants to influence transactions, like the Fed setting interest rates, Congress cutting budget deficits, or the Commerce Department ne gotiating trade agreements, because of the add-on effects that these actions (all are forms of market intervention) have on the nation's macroeconomic conditions. And fourth, government wants to ensure the country's patrimony is safe, for example to prevent some scam artist from selling the Statue of Liberty to foreigners. 4. What does the spillover or externality principle measure Use examples. This principle measures the costs or benefits of externalities, activities that affect others, without meaning to, either positively in the form of benefits not paid for or negatively in the form of inconvenience or costs for which they are not compensated. An example of the first (called external economies) is having a wife who is a doctor (you can consult her for "free" or, at least, you don't have to pay someone else to prescribe the right medicine). An example of the second (called external diseconomies) is driving recklessly on the freeway, which makes many other drivers nervous and increases their consumption of tranquilizers. 5. Currently our demand for gasoline is rising as our economy is expanding. However, we expect OPEC to keep the supply stable. Use a graph to show what your prediction is for the price of gasoline. USE A GRAPH INDICATING WHEN THE DEMAND INCREASES. I predict the price will increase, because as shown in the graph on Figure 1, with the supply constant and the demand increasing, the demand curve shifts to the right, moving the equilibrium point to the right, with the effect of increasing the equilibrium price, or the point at which the current supply curve intersects the increased demand curve, from p to p'. At price p, the gasoline market is in equilibrium, that is, supply equals demand. OPEC's move holds the supply curve steady, but an expanding/growing economy needs more fuel,

Pop Music in Film

Pop Music in Film Music in film is one of those immensely involved but hugely underrated products. It comfortably sits in film going consciously unnoticed while it stimulates our subconscious, flowing freely through the narrative, to aid the emotional impact without overly changing the course of the film An indicator on how we should react in a film Music in films began with traditional scores in the silent film era. The reason it was called silent is because the film itself was silent and the music was made externally of the film, which was principally the piano, to reflect the various moods and emotions of characters and events. In conjunction to this it also covered up the noise emitted from the projector as well as being needed, psychologically, to smooth over natural human fears of darkness and silence (Brown 1994:12). The growing popularity of film lead to changes in the music and musical arrangements and lead to scores being written down to the various cliched typical situations in film. During the 1920s developments in technology saw the capabilities of film and music being broadcast internally and saw the introduction of sound films. Changing relationships between music and cinema has seen the introduction of pop music into the spectrum. It is this relationship between pop music and film and the way they operate in conjunction with each other is what I am going to explore. Diegetic and none diegetic Diegetic relates to the diegesis of the film and the sound source can be observed on screen for example, a band playing or the character listening to the radio. Non-diegetic appears outside of the film world and is used as background music, mood altering music or subconsciously adds to the suspense of the film until the use of sound started to appear in films the majority of music was none diegetic but the introduction of sound synced films added to realism of the film and gave diegetic music a sense of place in films Diegetic and none diegetic Diegesis refers to the fictional, imagined world of film, adverse to this non-diegesis refers to the objective world of the Film is represented by a series of events combined with dialogue, which is aided by actors. Financial and technical interests are taken into account and are concentrated on the actor, to not let anything overshadow the main character/s. The musical scripts are usually indefinite, thus music not being treated in the same way and potentially an outsider. Almost indispensable despite music currently playing a major part in film to make use of the silent scenes, for example a scene where the character is waiting for someone, no dialogue will be used and the only sound we can hear will be diegetic noises of his surrounding. This is a prime example of the use of non-diegetic music. The character could be waiting for a partner (therefore romantic music will be played over the top). Without the use of music the scene would be more realistic (we dont hear music when we are waiting for a partner) but the scene would not captivate the viewer and potentially make the viewer lose interest. On the other hand the music appearing in such situations could also be perceived as naÃÆ' ¯ve or childish and thus further distracting the view from the main focus. This issue is usually resolved by the characters involvement with the music , by singing, whistling, humming or even turning on the radio and the music goes from a transition of diegetic to none diegetic. Mass production of films has lead to a series of over elaborated typical events such as emotional crises that are ever reoccurring and standard methods that are formulated to arouse suspense. These events are aided by music, however the viewer has been made familiar with these events so the emotional response on the viewer is not always as intended. For the viewer the whole thing is ambiguous. If the screen shows a peaceful country side but the music over the top is sinister the viewer will expect something terrible about to happen. Does this intensify or alleviate the suspense? music in cinema has been determined by the practice of everyday life. It is adapted for the increasing needs of the film industry and reflected in clichà ©s and musical ideas that were considered to be in fashion. Subsequently standards have become entrenched through the history of film music into and including the current use of popular music in film. These clichà ©s continue throughout film and have gone from the standard classical score being use to the popular score being used. With the excessive use of such clichà ©s the powerful effect intended is not achieved because the listener has been made aware of such events through overuse by Hollywood. In todays standards popular music is being used in conjunction with classical score to aid in more dramatical scenes, such as the film Notting Hill. Anna Scott (a famous actress played by Julia Roberts) is doing her final press conference before leaving the UK to fly back home after being turned down by a lowly book seller, William Thacker (played by Hugh Grant), whom she fell in love and had a brief fling with. William realises his ways and races to the press conference to win her back. After some initial investigative and almost comical questions from William, who is imitating a journalist to find out if Anna really does love him, Anna announces she would have liked to have been mo re than just friends with William. Anna Scotts on screen agent then asks Dominic (a reporter at the press conference played by Andy De La Tour) Anna, how long where you intending to stay in here in Britain?, after a long suspended pause from Anna, then a transition shot to William, the camera moves back to Anna, she smiles as the camera zooms in on her face. Anna replies indefinitely as the classic cover of She by Elvis Costello (originally by Charles Aznavour). This speaks volumes and makes the viewer relate and feel more involved in the scene through the music and lyrics of the song. Solely from the music there is a sense of love and romance, but also mystery through the lyrics as a name is not mentioned, which indicates the track could have a sense of purpose on any romantic film scene. Upon writing the track in the 1970s Charles Aznavour would not have intended the track to be used in such ways, but with the use of popular music in film becoming more apparent and the increase of the same clichà ©s in film needing to have a sense of place and impact, the use of songs with lyrics are ever increasing. 50s and beyond the soundtrack to our lives The majority of people live with songs in their lives from all kinds of genres, music is neither racial or gender specific. There is something seemingly powerful and inspiring about people being able to fuse music and words together in such a way that songs can be infectious. The music we listen to constantly evolves and songs come and go, but there are songs that make up a soundtrack to our lives and we place value in these songs and seek out permanent versions of them through downloads, CDs and vinyl. The 1950s saw a flourish of soundtracks from films not only as a marketing tool, but as a cromo effect in its own right. Films such as Pulp Fiction, Trainspotting and Waynes World all contain music that could be listened to solely as a source of enjoyment without ever needing to have seen the film, but because the majority of people who have seen the film will remember the songs, its a great reflection of the film or a desire to watch the film again. The industry did not solely target the soundtrack market. When a film is released you can purchase all sorts of novelty, replica or clothing items based on the film and/or the music involved. Since the 1950s a great unification has been seen between the film industry and major record labels, each with their own specific interests but mainly cross-promotion is their sole goal. This interlocking is nothing new, both the film and music industry use each other to sell, which has lead to Hollywood investing countless efforts into the music industry, which is produced economic benefits. Film companies earn millions from the sale of records mainly through theme songs. This is one of the most lucrative cross-promotional tools. Hollywood are using established multi-million selling bands to write or endorse their film by using a song they have written specifically for the film or a previously written song. Linkin park are a prime example of a pre-recorded song and a song written specifically for a film. Transformers 1 saw the use of the Linkin Park track What Ive Done featuring heavily on the film and almost becoming the pinnacle song for the film. This song unofficially became kno wn as The Transformers Song which was a boost for the film companies. As well as getting major airplay because it was the first single off Linkin Parks new album, it was also a 3 minute advertisement for the film. This sparked the film company to hire Linkin Park to write the theme tune to the Transformers sequel, Transformers; Revenge Of The Fallen. After already establishing a mutual appreciation Linkin park agreed, this could only ever be a win-win situation for both parties involved through advertisement alone. With two major names collaborating, either could be mentioned and people would immediately pay more attention to both tracks featured on the soundtracks which in turn became a source of circulating the films title further through imagery and retails displays. popular music and film has had a long standing diverse and exciting relationship. It can give the scene the justification it needs by creating a sense of time or place, established through a few chords and lyrics. Kermode states, More than any other art form, pop music is a disposable, transient product which reflects, mimics and occasionally shapes the zeitgeist, (Kermode 1995:9), but music can help inspire, carry and advertise film, so does music have a greater importance than what we are lead to believe? And can sometimes structure the film to become what it is. Martin Scorsese said that the pop riddled soundtrack to Mean Streets (1973) consists entirely of songs from his New York youth and Which for him still evoke the milieu he was attempting to portray (Kermode 1995:13. In effect without the pop/rock music of Scorseses youth Mean Streets would not be (as time out described) as one of the best American films of the decade,. Did Scorsese make the film it is, because of the music and his youth? Time out also state that it was one of the few to successfully integrate rock music into the structure of film (Timeout n.d.). American Graffiti (1973) is another prime example of pop-laden film and soundtrack and was the first film to capitalise on a pop soundtrack. Up until this point pop songs were only used to give the film a sense of time and place and to give it that modern edge but to no availability in the retail industry. The idea of a modern soundtrack was starting to gain nostalgia and the youth market started to buy into a physical lasting memory of the film via the soundtrack. During the 1980s the relationship between pop music and film became largely symbiotic from a marketing point of view. They were also using classic yesteryear hits to revamp careers and provide titles to films (Stand by me (1986), pretty woman (1990). The marketing of pop songs became very omnipresent which had a profound effect on the market. Artists were beginning to use it to broaden their careers. Film Music the cross over from classical to popular score Without classical Hollywood the pop score used in films today would arguably have no meaning and could be just a random selection of current tracks to reflect the relative trend and used solely as a selling point, however as music in film has evolved so has the use and the function of music in film. American composer Aaron Copeland offers an insight to function of music in film from his perspective and suggest five general areas in which music in film serves its purpose: (I) It conveys a convincing atmosphere of time and place. (II) It underlines underlines the unspoken feeling or psychological states of characters. (III) It serves as a kind of neutral background filler to the action. (IV) It gives sense of continuity to the editing. (V) It accentuates the theatrical build up of a scene and rounds it off with a feeling of finality. (Smith 1998:6) As research by Lauren Anderson (referring to a case study of the British film Sliding Doors 1998 and the New Zealand film Topless women talk about their lives (1997) she concludes pop and rock music does not prohibit the compilation score from successfully fulfilling the functions of classical film score (Anderson:2003 115 (popular music and film book)). This is done in a slightly different way to traditional score as we have other elements to think about. These include: (I) The lyrics (II) The Songs structural independence (III) The wealth of extra-textual meaning The lyrics are the primary focus in these three elements and hold a great understanding of them over classical score, for example we can decipher basic terms, love, hate, happy, sad in both forms of score (aided by the visual elements of film), but only lyrics can convey those meanings on a deeper level Anderson notes (referring to Sliding doors): the songs words frequently reflect Helens thoughts of aspects of her character (Anderson 2003:112). Classical score, although deeply complex and varying, cannot portray such events in a manner than the average viewer would understand. Lyrics also have links to the other two elements but lyrics contribute dominantly to the songs structural independence: smith (1995:348) and Rick Altman (1999) both insist that popular music exhibits greater independence than classical music, in relation to the film as a whole (Anderson 2003:112). The popular score does have drawbacks. One of the drawbacks is that the pop score is not written specifically for the segment of film it features it therefore it is unlikely that its rhythm and its infliction will exactly match the action (Anderson 2003:113) whereas the classical score can be in direct synchronisation and contain unity through musical themes and or leitmotifs. The music chosen can also distract the viewer from the initial response the director is trying to achieve. Hilary Lapedis notes Pop songs in films use pops own emotional conventions and, in so doing, so place those films in a much wider context of popular culture than would be the case with traditional score (Lapedis1999:370) Lapedis points out that music although part of film, it is because they are popular and because the songs trigger familiarity to the members of the audience, by definition they trigger a set of different responses, different to those of the traditional score; Pop music, while having existence separate from the visual system, nevertheless posses its own confided meanings and associations (Lapedis1999: 370) Many others have this theory and have pointed out problems within the pop score. Karthryn Kalinak notes that pop music ignores the fundamentals of film (of which earlier discussed) and that pop music commits the cardinal sin of film scoring it failed to support the story and mood because it was the story and mood, (Kalinak 1992:186-7). Many of the songs chosen were originally pre-recorded and then later chosen for films and not written for the film which can potentially carry emotional baggage for the viewer as Jess smith notes not only was this potentially distracting but these associations might also clash with those established by the narrative (Smith 1998: 164). The other element frequently observed in pop score is extra-textual meanings. Behind each popular song is a sense of socio-historical meaning as well as fulfilling the functions of classical score. This is a two-tiered system which was developed by Noel Caroll, such system a system exists when one device (such as a popular song) can be read on two different levels, according to how much the viewer knows about that device and its associations (Anderson 2003:114). Such method was embraced by directors to give the film hidden depth and meaning to those who were informed as they recognise such things as lyrics, title and or performer and apply the knowledge to the context of the visual. The uninformed viewers however will not be able to access this meaning as they interpret the music as is, thus still being entertained and not distracted by the music itself. ___________________________________________________________________________ These functions can be carried over to pop music in film, as demonstrated in the case study of the film Goodfellas (1990) to which Martin Scorsese uses a soundtrack compiled entirely of pre recorded popular music. H (quote from popping the question). Martin Scorsese explores the thirty year span on the Italian-American mafia, from the adaptation of Nicolas Peleggis best seller Wiseguy , through his film Goodfellas. Martin Scorsese enjoys the use of popular and classical score throughout his films, he appreciated the messages and dynamics of both scores. He is one of the few directors (other being Quentin Tarrentino, William Wellman) who embrace popular music and use it to its full potential popular music has the potential to give movies a forceful, dynamic edge. It doesnt have to serve simply as mood music or be an unimaginative device for establishing a time period. (Scorsese 1995:1). More noticeable the film that has inspired many others has been Goodfellas. The score to the film consist of 40 popular songs, which span the thirty years of the time period of the plot as quoted Scorsese, does not use these songs solely for the purpose of time. The songs also reflect character growth, mood and they are placed intricately into the narrative to provide the informed viewer extra depth, but they also stimulate the un-informed viewer mainly through the range of songs. In some cases the songs act in the way similar to that of classical score, with using synchronisation. The music which chronicles the life of Henry Hill (Ray Liotta) is an eclecti mix of songs from different genres ranging from Jazz to classical rock n roll. The opening credits begins with Tony Bennett singing the song Rags to Riches, as Henry Hill starts the voice-over narration of his life. This is one of the more noticeable uses of depth to the film using popular score. Henry Hill grew up in a poor working class area of New York and had a longing to be part of the organised crime syndicate As far back as I can remember I always wanted to be a gangster (Goodfellas:1990). The title is a great depiction and insight to the story ahead as the scene changes from Henry Hills family and home life to the Mob life across the road, with close up shots of shoes, suits and jewellery. The lyrics to the song hold an even deeper meaning, with expressions of love and romance But in my heart id be king, your love is all that matteres and hold me kiss me tell me that youre mine (Tony Bennett 1953), which is a core theme throughout the film (http://www.timeout.com/film/reviews/72996/mean_streets.html Conclisuon popular music has enjoyed a ever evolving and intimate relationship with cinema. from the 1950s onwards, producers and directors have developed textual strategies for representing and incorporating popular music and its performers in the visual regime (popular music in screen page 222) Popular music on cinema lies closely related to music on all other commercial platforms, such as television and video, in turn these have aided the social consumption of technologies, which are tied closely to such platforms. With great advances in technology advertisers are boasting the cinema experience in your own home, with the advances in LCD/plasma screen technology, surround sound (2.1 all the way up to 7.1) and most recently blu-ray

Abstract: :: essays papers

Abstract: Currently, violence is commonly thought of as serious physical harm done unto another individual. Recently that definition has been rethought to now include milder forms of aggression. This is redefinition is key as instructors begin taking a fresh look at the problem of school violence, especially when it involves very young children. Aggressive children were once thought of as just going through a phase and eventually out-growing the aggressive behavior. But recent research has discovered that aggression in early childhood leads to much more severe behavior in later life. Because of these new findings, the purpose of this research paper is to discover the impact of early childhood violence prevention programs and if they would be successful in combating the issue of school violence. School violence is a rising epidemic occurring every day, in varying degrees, at schools across the country. School shootings that are being broadcasted in the media are the most extreme and rare forms that seems to attract the most public attention to the problem, while bullying and other "smaller" forms of violent acts that are happening more frequently don't gain the same type of media attention as the occasional shootings do. Parents across the nation are thinking, â€Å"not my child, not my neighborhood.† They do not believe that it could happen in their own backyard or in an expensive private school, but it does. Middle and high school students are finally beginning to receive information from school and community prevention programs that are designed to help them to identify and deal with violence in their schools. But there is an alarming new trend of school violence that is occurring with even younger children in elementary schools which is having a tremendous imp act on their behavior as adolescents and adults. Young children are becoming more and more aggressive towards their peers, which is directly escalating the problem of school violence and aggression in middle and high schools. Because of this, school violence prevention programs need to be implemented in early childhood educational settings in order to bring an end to the rising rates of bullying and school violence among kindergarten and elementary school-aged children and to prevent school violence later in life. Today, the term â€Å"violence† in American society is generally reserved for only acts of severe physical harm towards another person. Because of this commonly thought, narrow definition, many educators and parents only see the school violence problem as intentional interpersonal violence between middle or high school students or from a student towards a teacher.

Data Comm Essay

List some of the uses (roles) of a member server. File server, application server, and web server. They can manage emails, provide web services, provide file storage, etc. 2. Discuss some differences between workstation software and server software. Workstations are generally used by a single person whereas servers provide services over a network to multiple computers. Workstation are typically used for CPU tasks and simulation projects, unlike servers which are mainly used for data storage, to run databases and organize data, DNS, and to host web pages. . List some advantages of mapping a directory located on a server to a workstation. 4. Discuss how you would add new users and groups to your server. Include a discussion of the permissions that you would need to consider in doing so. Next to the Control Panel link choose the Active Directory Users and Computers. Then expand the domain you want to create the user in and right click the user’s folder; select new user and put th e information required into the textboxes; by right clicking this folder you can also add groups. To give users permissions right click the database and choose properties then select permissions, if the user you want to grant permission to is not on the list you can search and select their name and then check the permission you want to grant them. Some permissions that a user might need are: read, write, read and execute, list folder contents, modify, etc. Server Lab 2 1) When you promoted your server to domain controller and installed DHCP, what would happen if there was another domain controller already on this network? 2) How has your file server been affected by promoting your server to a domain controller? ) We set the DHCP server to provide a narrow range of IP addresses. What is the maximum range that it can provide? What would be the starting and ending addresses if this full range were utilized? 4) Explain how a DHCP lease works. When a device tries to connect to the internet the network requests an IP address. The DHCP server leases the device an IP address that is then forwarded to the network via the router. The DHCP updates the appropriate servers with the address and other information. The device then accepts the address and the DHCP reallocates the address or leases one that’s available. Then the device is no longer connected and the address becomes available again. 5) Describe the purpose of the forward and reverse DNS lookup zones? How do they differ? DNS is used to translate domain names to IP addresses. A forward lookup zone is a DNS in which the hostname to IP relationship is stored; when a computer requests the IP address of a certain hostname this zone is queried and it returns the result. A reverse lookup zone does the opposite; when the computer requests the hostname of an address this zone is queried and the result is returned.

Larkin’s use of language Essay

The poems that I have chosen to comment on from the collection The Whitsun Weddings by Philip Larkin are Here, Nothing to be said and Faith Healing. I have chosen to write about these three because they are all very different in terms of theme, language, verse form and Larkin’s message and purpose. Here is the opening poem of The Whitsun Weddings. It locates the reader in Larkin’s England and centres around a journey the protagonist is making from London to Northumberland via Larkin’s hometown of Hull. Larkin uses a range of language and writing devices to express his feelings and at times his prejudices through his poetry and he does this especially well in Here. The first stanza begins with â€Å"swerving east†. The word â€Å"swerving† suggests a dangerous movement and a lack of control from the person or thing that is swerving. When someone swerves it is usually to avoid something so by using the word â€Å"swerving† Larkin is immediately presenting the reader with a sense of avoidance and lack of control. Larkin then goes on to say that the fields are â€Å"too thin and thistled to be called meadows†. This shows that he is passing through an area of land, which cannot quite be classed as countryside but is not quite urban. This could possibly be a representation of how Larkin is feeling at the time about life because even the countryside is not genuine; therefore Larkin may be commenting on the falsity of life because of its in-between state. The words â€Å"Thin† and â€Å"thistled† are harsh sounding words that make up alliteration. This alliteration may have been used to mimic the gentle hissing sound of the train or can moving along the track or road. The harsh sounding words are probably applied as a vent for Larkin’s disdain on a philosophical level for the falsity and lack of true meaning in life and on a smaller level for the land he is passing through that is not quite beautiful enough to be countryside. A technique that interests me is used in the line â€Å"harsh-named halt†. This phrase uses a repetition of the /h/ sound, which is quite a hard sound to pronounce and therefore actually halts the reader’s rhythm. This includes alliteration of the /h/ sound but also a kind of onomatopoeia because the word â€Å"halt† is actually a word that sounds like a stoppage or halt and actively brings the reader to a momentary pause. The word â€Å"harsh† is actually a harsh word, which adds more emphasis to the phrase. This technique is very effective because it immerses the reader in the journey of the protagonist as it actually halts their flow when the protagonist’s train comes to a halt. Larkin uses a lot of alliteration in Here, an example of this occurs in the first stanza when alliteration occurs four times in the space of two lines: â€Å"Swerving to solitude of skies and scarecrows, haystacks, hares and pheasants†. There is a repetition of the word â€Å"swerving† which reiterates the lack of control of the protagonist. It also shows the part of the journey that is taking him through the countryside and he is â€Å"swerving† east away from the towns and towards the countryside. The repetition of the /s/ hissing sound gives a sense of speed and also replicates the sound of the train or car moving. The /s/ sound runs throughout two lines which links them together and helps demonstrate the onward movement of the protagonist and the passage of time. The actual shape of the letter /s/ is flowing and therefore mimics the journey flowing onward. In the last line of the first stanza Larkin describes the entrance to a town by saying â€Å"the shining gull-marked mud gathers to the surprise of a large town†. â€Å"Gull-marked mud† can be used as a comparison to â€Å"harsh-named halt† a few lines previously and demonstrates the difference between town and country. The comparison between â€Å"harsh-named halt† and â€Å"gull-marked mud† can also be drawn through the hyphen between the first two words (which could be used to show the onward motion of the journey) and the alliteration used of the /h/ and /m/ sounds.