Mobile Technology in Education Research Paper Example | Topics and Well Written Essays - 750 words

Mobile Technology in Education - Research Paper Example This research paper will focus on the use of mobile technology in the region of United States, its acceptability as well as its pros and cons on the population of United States. Mobile devices or technology used in educational settings is regarded as instructional technology which is used to facilitate the process of learning and helping in the improvement of performance of students and educators (Reiser, 2012). Mobile technology is not only being used within the setting of classrooms, it is even being used outside the classrooms for learning and development. A study was conducted by Bangert in which the author identified that a total of 249 students at an American university named Montana State University were using Smartphone in order to continue learning outside their classrooms (Bangert, 2014). There are various mobile devices being used for learning and development by the students belonging to different fields in the United States. For example: students belonging to the field of medicine are using tablet computers which are a form of mobile devices and these devices have been quite useful in preclinical education (Robinson, 2013). There are various benefits that can be attained through the use of mobile technology in classrooms. These technologies help in making different educational processes effective and efficient. One of the major benefits of using mobile technologies in classroom is that it can assist in submission of work. A study was conducted by Lindquist in which the researcher identified various methods through which students could submit various forms of assignments and tasks with the use of a mobile phone (Lindquist, 2007). The researcher identified that students can submit answers in text based form to their teachers by text messaging the answers to the teachers. The researcher even identified that students can post or send picture based

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

The History of Abortion :: Womens rights, murder of a child

Abortions have been mentioned throughout recorded history, simply not a prevalent issue. In the times before Christ, typical abortion methods would be to poison the mother (in hope that she lived while the fetus died), or to abuse the mother’s abdomen. Hippocrates and Soranos, who were considered the greatest of all ancient gynecologists, both opposed abortion, though whether it was for the protection of the mother or fetus is not clear. The Hippocratic Oath, formulated around 400B.C., prohibits abortion and was taken verbatim by U.S. physicians (Gilbert 1). Once abortions became better developed and they started to be considered safe, the Catholic Church felt compelled to condemn the practice. It was considered murder and a horrid mortal sin. The Church struggled to find the appropriate time in the pregnancy cycle to consider abortion murder of the baby’s life. Different beliefs about when the baby was actually alive caused much disagreement. The Church prohibited abortion during many different times, sometimes at conception, other times when the baby first moved, and still other times when the pregnancy was four months along, also known as quickening. However, Judaism, Catholicism, and Protestantism always prohibited abortion of an animate fetus, or one considered alive with a soul. The problem was simply figuring when life began. During colonial times, medical guides gave recipes to abort the baby, with herbs that could be grown in one’s garden. By the mid-eighteenth century, these herbs were so widely available that they caused the first abortion laws to actually be considered poison control laws. The sale of commercial abortifacients was banned, however the action of the abortion was not. The laws made little difference (History 2). Even today, as Beverly Wildung Harrison, a feminist, says, â€Å"The withdrawal of legal abortion will create one more massively profitable underworld economy in which the Mafia and other sections of the quasi-legal capitalism may and will profitably invest† (390). Until the last third of the nineteenth century, when it was considered a criminal offense, abortion was legal before quickening. Under common law, post-quickening abortion was considered homicide or manslaughter. Statutes usually differed throughout the states, but generally abortion was punished after quickening as manslaughter and prior to quickening as a misdemeanor (Gilbert 1). In 1857, the American Medical Association appointed a committee on Criminal Abortion. Its purpose was to investigate criminal abortion â€Å"with a view to its general suppression†. They concluded that a fetus was a living person at the moment of conception, and this belief was encouraged by an even stronger report from the same committee in 1871. The History of Abortion :: Women's rights, murder of a child Abortions have been mentioned throughout recorded history, simply not a prevalent issue. In the times before Christ, typical abortion methods would be to poison the mother (in hope that she lived while the fetus died), or to abuse the mother’s abdomen. Hippocrates and Soranos, who were considered the greatest of all ancient gynecologists, both opposed abortion, though whether it was for the protection of the mother or fetus is not clear. The Hippocratic Oath, formulated around 400B.C., prohibits abortion and was taken verbatim by U.S. physicians (Gilbert 1). Once abortions became better developed and they started to be considered safe, the Catholic Church felt compelled to condemn the practice. It was considered murder and a horrid mortal sin. The Church struggled to find the appropriate time in the pregnancy cycle to consider abortion murder of the baby’s life. Different beliefs about when the baby was actually alive caused much disagreement. The Church prohibited abortion during many different times, sometimes at conception, other times when the baby first moved, and still other times when the pregnancy was four months along, also known as quickening. However, Judaism, Catholicism, and Protestantism always prohibited abortion of an animate fetus, or one considered alive with a soul. The problem was simply figuring when life began. During colonial times, medical guides gave recipes to abort the baby, with herbs that could be grown in one’s garden. By the mid-eighteenth century, these herbs were so widely available that they caused the first abortion laws to actually be considered poison control laws. The sale of commercial abortifacients was banned, however the action of the abortion was not. The laws made little difference (History 2). Even today, as Beverly Wildung Harrison, a feminist, says, â€Å"The withdrawal of legal abortion will create one more massively profitable underworld economy in which the Mafia and other sections of the quasi-legal capitalism may and will profitably invest† (390). Until the last third of the nineteenth century, when it was considered a criminal offense, abortion was legal before quickening. Under common law, post-quickening abortion was considered homicide or manslaughter. Statutes usually differed throughout the states, but generally abortion was punished after quickening as manslaughter and prior to quickening as a misdemeanor (Gilbert 1). In 1857, the American Medical Association appointed a committee on Criminal Abortion. Its purpose was to investigate criminal abortion â€Å"with a view to its general suppression†. They concluded that a fetus was a living person at the moment of conception, and this belief was encouraged by an even stronger report from the same committee in 1871.

Their Eyes Were Watching God Analysis

â€Å"The Power Struggle in African American Marriages† Zora Neale Hurston is recognized as one of the key contributors to the Harlem Renaissance that occurred during the 1920s and 1930s. Her multitudes of literary works explore and celebrate African American culture and heritage without directly addressing the subject of racism which was prevalent during this time. Hurston incorporates both the positive and negative aspects of African American culture into her stories in order to give a true depiction to her audience.In a number of her works, including â€Å"Sweat† and Their Eyes Were Watching God, domestic violence plays a very frequent role in marriages. Husbands would hit their wives to establish their power in the relationship, even when the wives did not do anything to deserve such cruel brutality. In Hurston’s short story, â€Å"Sweat†, oppression of women in the black community is demonstrated through the marriage of Delia and Sykes Jones. In anoth er of her short stories, â€Å"The Gilded Six-Bits†, Hurston writes about a married couple who is completely in love and share a balance of power in the relationship.In 1937, Hurston published one of her more well-known works, Their Eyes Were Watching God. The novel is about a young African American girl, Janie Crawford, and her journey from a young girl into an independent woman. This transformation is gradually seen through her three marriages. Although each of the marriages was very different from one another, they all shared the same underlying conflict: a power struggle between genders. Due to the death of her mother at an early age, Janie is raised by her grandmother who grew up as a slave. Nanny, her grandmother, is extremely dissatisfied with the way that black women are treated.She explains to Janie that the white men oppress the black men who then oppress the black women. It is a brutal cycle that forces black woman to act as the â€Å"mules† by doing all of the hard work (14). In order to protect Janie from this oppression, Nanny forces the sixteen year old girl to marry Logan Killicks. Before the wedding, Janie tries to convince herself she will be happy when she thinks, â€Å"Husbands and wives always loved each other, and that was what marriage meant. † (21). Nanny has the opposite view of marriage as Janie; Nanny views marriage as a contract in which the couple does not have to be in love.Many years older than Janie, Logan is a dull farmer who owns sixty acres of land. After almost a year of being married to Logan, Janie is disheartened by the fact that she still does not love him. As time passes, Logan gradually begins to oppress Janie. At the beginning of the marriage, he would chop the firewood and bring it indoors to Janie. Then, he started expecting Janie to chop the firewood herself and bring it into the house. He not only demands Janie to serve him in the home by preparing his meals and cleaning, but he also expects J anie to serve him in the field by plowing or moving cow manure.One day when Janie is in the kitchen cooking dinner, Logan yells at her to move some cow manure. Janie refuses his order by saying that she is in her place in the kitchen. Logan verbally exerts his power over his wife as he tells her, â€Å"You ain’t got no particular place. It’s wherever Ah need yuh. † (31). He also expresses his power through violence when he threatens Janie by telling her that he will kill her with an ax if she talks back to him again. To Logan, Janie is just an object that he can utilize for labor and chores. He even plans to buy Janie her own mule so that she can plow the fields as well.The irony of this is that Nanny only wanted Janie to marry Logan so that Janie would not have to be worked like a â€Å"mule†. When Logan is gone for the day to pick up the mule, Janie meets a man by the name of Joe Starks (Jody). She is very fascinated by this confident and charming man. When Jody hears that Logan is making her plow the fields, he is appalled. He convinces Janie to run away with him by telling her he will treat her like a wife and take good care of her. Janie makes her first step towards asserting her independence when she leaves Logan to run away with another man.Although Hurston’s short story â€Å"Sweat† exhibits a more extreme case of domestic violence and oppression than in Their Eyes Were Watching God, Delia’s marriage with Sykes is somewhat parallel to Janie’s marriage with Logan. Delia is constantly working as a wash woman in order to provide for her and her husband. Sykes does not contribute anything to the marriage. He has been verbally and physically abusing Delia since their second month of marriage, which was fifteen years ago. The balance of power in their relationship begins to shift when Delia starts to stand up for herself against her husband like Janie did against Logan.She even scares Sykes off when she threatens to hit him with a frying pan if he comes close to her. Janie and Delia both realize that they deserve to be treated with respect by the men who supposedly love them. Upon running away together and getting married, Jody and Janie move to an all-black community called Eatonville in which Jody eventually becomes mayor and ends up owning most of the town. Jody is very power hungry and likes to be in control. He even holds multiple positions in the community besides being mayor. Unlike Logan, Jody did not think women should work in the field or perform tough labor.He referred to Janie as his â€Å"pretty doll-baby† (29). He molded Janie into the perfect submissive â€Å"mayor’s wife†. She always had to be dressed perfectly and she was not allowed to participate in conversations in which she voiced her opinion. He was not only in control of Eatonville but he was also in full control of Janie. He frequently used violence to assert his power over her. For ins tance, if he did not enjoy a dinner she prepared, he would hit her to punish her. One day, Janie could not take being silent anymore so she jumped into a conversation with Jody and the townspeople.She made the mistake of expressing her opinion on a matter that they were debating. Outraged and humiliated by his wife’s behavior, Jody hit his wife in front of everyone to remind her of her submissiveness to him. As Jody gained power in the community, Janie continued to lose her identity and whatever was left of her marriage. Whereas Logan treated Janie as an object that he could use in the house and field, Jody treated her as an object that people could admire from afar. When Jody is on his death bed, Janie finally speaks her mind and tells him all of the flaws that he possesses.She takes all of her anger and resentment that has built up over the past twenty years and lets it out on Jody on his death bed. This event was very significant in Janie’s quest for independence. O nce again, Janie has shifted the balance of power from being the one controlled to being the controller. Jody dies very soon after Janie’s outburst. For the first time in twenty years, Janie is free again. Although Janie is content with being single and free, an unexpected visitor shows up in her life one day. Tea Cake is about twelve years younger than Janie and he possesses a care-free attitude that Janie loves.She ends up falling in love with him because of the way he makes her feel; when they are together, starts to find out her true identity. Unlike Logan and Jody, Tea Cake does not instruct Janie to play a certain role or try to silence her voice. He wants to hear her opinions and everything that she has to say. He teaches her to play checkers and other games that she was not allowed to play in her previous marriage to Jody. He even taught her how to shoot a gun. They always had fun together, no matter what they were doing. They move to the Everglades where they are abl e side by side in the field, bonding with one another every day.They view their gender roles as equal; he would cook dinner sometime while she worked in the field. One certain person does not hold power over the other one, which is very rare in marriages during this time period in their culture. In fact, when Janie get jealous of another girl to whom Tea Cake talks, she hits Tea Cake. This is a reversal of the gender roles that Janie encompassed in her previous marriages because she was usually the one being hit by her husband. When Tea Cake gets jealous of his wife and another man, he also hits Janie to remind everyone that she belongs to him.Even in a well-balanced and healthy marriage, violence is still used as a way to exert power during this time period. During an awful hurricane in the Everglades, Tea Cake is bitten by a dog with rabbis. Because he contracts rabbis, he becomes very violent and tries to kill the love of his life, Janie. For the first time ever, Janie fully asse rts her independence when she kills the only man she has ever loved in order to survive. Janie and Tea Cake’s marriage is very similar to Missie May and John Banks’ marriage in the beginning of Hurston’s short story, â€Å"The Gilded Six-Bits†.Missie May and John treat each other equally and never try to oppress one another. John does not use violence to gain power over Missie May like most husbands did during this time. The biggest similarity the two couples have is the playfulness of their relationships. Janie and Tea Cake are always playing games or doing something fun. On that same level, Missie May and John always have a â€Å"play-fight† on Saturday to â€Å"keep the spark alive†. Merriam Webster Dictionary’s definition of power is â€Å"possession of control, authority, or influence over others†.During the early 1900s in African American culture, there was a large power struggle between males and females. African America n males had been oppressed by white men for so long that in turn, they oppressed their African American women in attempt to feel powerful. Unfortunately, most people would not even blink an eye at a man hitting his wife or verbally abusing her in public. As seen in Janie’s transformation, a person cannot truly live up to their true potential until they are completely free of anything or anyone that would confine them. When Janie returns to Eatonville after Tea Cake’s death, she walks through the town with confidence.She learns not to care what other people think of her because it is not their life; it is her life and she is the one in control of it. Bibliography Hurston, Zora N. Their Eyes Were Watching God. New York: HarperCollins, 2006. Print. Hurston, Zora N. â€Å"Zora Neale Hurston's â€Å"Sweat†Ã¢â‚¬  American Literature Research and Analysis Website. University of South Florida in Fort Myers, July 1996. Web. 13 Oct. 2011. . Hurston, Zora N. â€Å"Zora Neale Hurston's â€Å"The Gilded Six-Bits†Ã¢â‚¬  American Literature Research and Analysis Website.University of South Florida in Fort Myers, July 1996. Web. 13 Oct. 2011. . â€Å"Power. † Dictionary and Thesaurus – Merriam-Webster Online. Merriam-Webster, Inc. Web. 13 Oct. 2011. . Uppling, Jill. â€Å"†Sweat† and â€Å"The Gilded Six-Bits†: Between Hurston's Biography and Education. † American Literature Research and Analysis Website. University of South Florida in Fort Myers, July 1996. Web. 13 Oct. 2011. .

Anglo-Saxon/ Christian Heroes Essay

Heroes are examples of what is good and noble in a culture. British culture has changed their view of a hero between the 5th century and the 10th century. Anglo-Saxon literature is literature expressed orally during the Anglo-Saxon period of Britain, from the 5th century to the Norman conquest. During the Anglo-Saxon era, warriors were to follow a strict code of heroic behavior emphasizing bravery, loyalty, and vengeance. Because Anglo-Saxon was an oral culture, people could keep talking about your past deeds; being remembered makes you famous. Anglo-Saxon heroic values are revenge and boastfulness. One of the most famous Anglo-Saxon poems is Beowulf, which was written in the century. The character Beowulf is a great example of an Anglo-Saxon hero in British literature. Later in the 10th century, Christianity had spread and now Christian values were being considered heroic behavior in British culture. Christian heroic values are forgiveness, self-sacrifice, and humility; kindness mak es you famous. In the 10th century, Dream of the Rood was written. The character Christ is an example of a Christian hero in British literature. Even though Beowulf and Dream of the Rood were Anglo-Saxon heroic poems, they were preserved, because the Anglo-Saxon beliefs in the poems were compatible with Christian beliefs. In Beowulf poem, the hero is Anglo-Saxon epic hero. Beowulf is a mighty and noble warrior who helps Hrothgar and the Danes. He is also is a boastful hero. A boastful hero talks about oneself with excessive pride, so everyone will know about their heroic deeds. Beowulf’s boastfulness isn’t a Christian value. But later in the poem, Beowulf becomes a wise old man who is humbled. A humble person has no pride, egotism, conceit, or arrogance. Instead a humble person has altruism, humility, and modesty, which is a Christian value. In the poem, Hrothgar, the King of the Danes, whom Beowulf serves, warned Beowulf that â€Å" sickness or age will strip you of your strength, or the fangs of flame, or flood-surges, the sword’s bite, or the spear’s flight, or fearful frailty as bright eyes fade, dimming to darkness. Afterward death will sweep you away†¦Ã¢â‚¬  (Pg. 65) Hrothgar is not as strong as Beowulf, but he is wiser, cunning, and generous. Hrothgar foreshadows what will happen to Beowulf and that he will become like Hrothgar. In The Dream of the Rood poem, the hero is a Christian hero. Christ is a generous hero. A generous hero is a person who is willing to give and share unsparingly. This quote shows how in the poem, the generous Christ honors the cross and Mary. â€Å"Lo! The Lord of Heaven, the Prince of Glory, honored me over any other tree just as He, Almighty God, for sake of mankind honored Mary, His own mother, before all other women in the world.† (Pg. 129) Because Mary and the cross had honored Christ, he was willing to share his praise with them. Both Beowulf and The Dream of the Rood poems, Beowulf and Christ are warriors in battle â€Å"Then the young warrior, God Almighty, stripped Himself, firm and unflinching. He climbed upon the cross, brave before so many, to redeem mankind.† (Pg. 128) This quote shows that Christ is a warrior in battle, which is an Anglo-Saxon concept, but in this poem it is meant to show strength. In Beowulf, Beowulf is a warrior his job is to protect people from danger. He was able to protect the Danes and Hrothgar from danger by killing Grendal and Grendal’s mother, but when he was older he still able to protect his kingdom from the dragon, but it costs his life. Both Beowulf and The Dream of the Rood poems, promotes courage and describe the ideal of sacrificing oneself to save others, which is prevalent in Christianity. In Beowulf, the narrator describes how Beowulf courageously battled Grendal, Grendal’s mother, and the dragon. Beowulf fights Grendal while he is young. He courageously fights Grendal without a sword. He rips off Grendal’s arm in Hrothgar’s mead hall, Heorot. Later Beowulf fights Grendal’s mother in her cave beneath the swampy lake. Beowulf brings a sword, Hruting, which he borrowed from his f riend, Unfeth, but he is unsuccessful. Then Beowulf miraculously finds a magical giant sword in the underwater cave and uses it to kill Grendal’s mother. In Beowulf the older, wiser Beowulf fought the dragon in order to protect his people. Beowulf comes fully armed and has an army to help him. Beowulf fights the dragon with his sword Naeling, which is ineffective against the dragon. The dragon morally wounds Beowulf and with Wiglaf’s help the dragon is slain. In The Dream of the Rood, Christ shows courage by climbing upon the cross and knowing his fate. In Christianity, they believe in the willingness to say and do the right thing regardless of the cost, which is defined as courage. According to the Christian Bible, Christ sacrificed himself to save us from our sins. The Dream of the Rood tells the Christian Biblical story to show Christ’s courage. In the story it says, â€Å"many enemies fastened me there. I saw the Lord of Mankind hasten with such courage to climb upon me.† (Pg. 127) This quote shows that Christ is a courageous hero in the poem. A courageous hero has strength in the face of pain or grief. Both Beowulf and The Dream of the Rood poems, describe judgment and consequences for one’s actions. In Beowulf, Wigluf says â€Å" You shall have no joy in the homeland you love. Your farms shall be forfeit, and each man fare alone and landless when foreign lands learn of your flight, your failure of faith. Better to die than dwell in disgrace.† (Pg. 86) Wigluf speaks to the earls and other warriors for not being loyal to Beowulf. Only Wigluf supported Beowulf in his last battle. After Beowulf’s death, Wigluf speaks of feuds and strife after Beowulf’s death, because the Swedes are fighting with the Geats. In The Dream of the Rood, the cross describes the Apocalypse, which is the cataclysmic destruction of the world, followed by resurrection of the dead, and judgment day. Beowulf and Dream of the Rood w ere Anglo-Saxon heroic poems. Both Beowulf and The Dream of the Rood have the Christian ideals of generosity, humbleness, courage, sacrificing oneself to save others, judgment, and having consequences for one’s actions. Similarly, Both Beowulf and The Dream of the Rood have the Anglo-Saxon ideal of a warrior in battle. Beowulf and Dream of the Rood were preserved, because the Anglo-Saxon beliefs congruent with Christian beliefs.

Ch 1 PPT For Students Essays

Ch 1 PPT For Students Essays Ch 1 PPT For Students Essays Chapter 1 Thinking Critically with Psychological Science PowerPoint ® Presentation by Jim Foley  © 2013 Worth Publishers Surveying the Chapter: Overview ï‚ § Typical errors in hindsight, overconfidence, and coincidence ï‚ § The scientific attitude and critical thinking ï‚ § The scientific method: theories and hypotheses ï‚ § Gathering psychological data: description, correlation, and experimentation/causation ï‚ § Describing data: significant differences ï‚ § Issues in psychology: laboratory vs. life, culture and gender, values and ethics â€Å"Think critically† with psychological science†¦ does this mean â€Å"criticize†? Critical thinking refers to a more careful style of forming and evaluating knowledge than simply using intuition. In addition to the scientific method, critical thinking will help us develop more effective and accurate ways to figure out what makes people do, think, and feel the things they do. Why do I need to work on my thinking? Can’t you just tell me facts about psychology? The brain is designed for surviving and reproducing, but it is not the best tool for seeing ‘reality’ clearly. To improve our thinking, we will learn to catch ourselves in some critical thinking errors. When our natural thinking style fails: Hindsight bias: â€Å"I knew it all along.† The coincidence error, or mistakenly perceiving order in random events: â€Å"The dice must be fixed because you rolled three sixes in a row.† Overconfidence error: â€Å"I am sure I am correct.† Hindsight Bias Classic example: after watching a competition (sports, When you see most cooking), if you don’t results of You make were a this prediction accepted I knew psychological would ahead into of time, this you research, happen†¦ you might college/university might make a say, â€Å"that was â€Å"postdiction†: â€Å"I obvious†¦Ã¢â‚¬  figured that team/person would win because†¦Ã¢â‚¬  Hindsight bias is like a crystal ball that we use to predict†¦ the past. Absence makes the heart grow fonder Out of sight, out of mind You can’t teach an old dog new tricks You’re never too old to learn Good fences make good neighbors No [wo]man is an island Birds of a feather flock together Opposites attract Seek and ye shall find These sayings all But then why do Curiosity killed the cat seem toother make these sense, inalso hindsight, phrases seem after we read to make sense? them. Look before you leap S/He who hesitates is lost The pen is mightier than the sword Actions speak louder than words The grass is always greener on the other side of the fence There’s no place like home Hindsight â€Å"Bias† Why call it â€Å"bias†? The mind builds its current wisdom around what we have already been told. We are â€Å"biased† in favor of old information. For example, we may stay in a bad relationship because it has lasted this far and thus was â€Å"meant to be.† Overconfidence Error 1: Overconfidence Error 2: Performance Accuracy ï‚ § We are much too certain in our judgments. ï‚ § We overestimate our performance, our rate of work, our skills, and our degree of self-control. Test for this: â€Å"how long do you think it takes you to†¦Ã¢â‚¬  (e.g. â€Å"just finish this one thing I’m doing on the computer before I get to work†)? And your unscrambling speed? HEGOUN ERSEGA ï‚ § We overestimate the accuracy of our knowledge. People are much more certain than they are accurate. ï‚ § Overconfidence is a problem in eyewitness testimony. ï‚ § Overconfidence is also a problem on tests. If you feel confident that you know a concept, try explaining it to someone else. Perceiving order in random events: Danger: thinking you can make a prediction from a random series. If Example: The the ball in the roulette wheel has coin tosses landed on an even number four times that â€Å"look in a row, it does not increase the wrong† if likelihood that it will land on an odd there are five number on the next spin. heads in a Why this error happens: because row. we have the wrong idea about what randomness looks like. If 60 pieces of candy were randomly distributed to 55 students, what is the most

Creativity Solves The Problems †Creative Writing Journal Entry 1

Creativity Solves The Problems – Creative Writing Journal Entry 1 Free Online Research Papers Creativity Solves The Problems Creative Writing Journal Entry 1 1. On the first question, she answered that she would be holding a white pebble while she is putting her hand inside the bag to choose one pebble, and would take it out after several moments, pretending that she had picked the white pebble. This is a possible solution to the problem, but also a rather dangerous one, as the merchant might notice the trick while she is still holding the white pebble in her hand and cancel the offer of withdrawing her fathers debt. While solving this, Maya didnt think for too long. After I repeated the question for the second time, she had already come up with the answer. 2. She didnt offer an answer to this question. The process of recombination took her more than 5 minutes, after which she rejected to continue thinking about the problem. 3. Again, she wasnt able to respond to this problem either. She kept on connecting the dots with five straight lines, but didnt stop trying and asked me to hide the answer from her, as she wanted to come to it by herself. I left her to practice the different combinations 4. Maya found this problem rather bizarre. According to her, the fact that the number of times for the boat to cross the river was not limited, it was very easy to respond to the question. She said that the kids would get off the boat, and the soldiers will, one by one, get on it. Then the children could continue with their play. However, she disregarded the fact that after the last soldiers gets to the other side, the boat will stay on his side, and the kids on the other one. 5. This was probably the most difficult problem for Maya. After a short period of time she became very inpatient and started to ask me about the answers right after I had posed the question. Her answers went in this order: brown; candle; empty; ghost; clock; honey; old man; poker; murder; artist; tsunami; hand; safe; summer; sword; prison; talk; dog; Christmas; interview. Apparently, she didnt get none of them correct. *Alex (creativity/solved most of the problems) 1. Alexs answer to the first question was identical to the one offered in the book. I was surprised by how fast he came to the answer, and he said that he hadnt heard of the problem before. 2. In order to place a burning candle vertically on the wall, Alex said that first he would place it inside the box of the candles and then light it and move the box next to a wall. In that way the candle would be burning in a vertical position and would still be touching the wall. It took him more than 5 minutes to come to this solution and he offered several very illogical solutions in between. 3. Alex connected the nine dots after a minute. He said he had done this before, and needed a minute to recollect the memory. He was very satisfied when the answer came to him. 4. The problem with the soldiers and the boat with the two children was the most time-consuming from all. It took him around fifteen minutes to come to the right solution. He suggested that one of the boys gets off on the other side and the other boy gets off at the side where the soldiers are. Then, the soldier would pass the river. After that, the boy thats on the other side would come and take the one that stayed with the soldiers and leave it on the side where theres only one soldier. Then he would get off on the side with the seven soldiers, and another soldier would get in the boat. etc. 5. Alex missed almost all of the answers on this exercise. This is what he answered: water; winter; Sisyphus; boxing; waiting; Ireland; England; hidden ace; paper; polish; flood; posh; photograph; sun; surprise; bell; Johnny; rabbit; jewelry; boring. He thought that the exercise was extremely culturally biased and that he didnt feel guilty for having given so many wrong answers. Research Papers on Creativity Solves The Problems - Creative Writing Journal Entry 1Mind TravelThe Hockey GameThe Masque of the Red Death Room meaningsCapital PunishmentWhere Wild and West MeetNever Been Kicked Out of a Place This NiceThe Spring and AutumnBionic Assembly System: A New Concept of SelfThe Effects of Illegal ImmigrationEffects of Television Violence on Children