Nature vs. Nurture Essay Example | Topics and Well Written Essays - 500 words

Nature versus Support - Essay Example Since the presentation of fuel expending vehicles in the general public, there has been a fast increment in the grouping of ozone depleting substances in the environment. Vehicles are wherever on the essence of earth. There is not really any area where individuals despite everything travel by walking, and don’t use vehicles. Vehicles devour fuel. As the fuel consumes, it discharges chloro-flouro carbons into the climate, which thusly, result into an expansion in the convergence of ozone harming substances. Increment in the substance of ozone harming substances has made the temperature ascend when all is said in done. Notwithstanding that, our dependence on the vehicles in day by day life has made us sluggish and loafer. We will in general abstain from going by walking as long as we have vehicles with us. Decreased physical movement has made a significant number of us put on weight, and individuals have gotten corpulent in huge numbers. Like an unnatural weather change, corpulence is a similarly large social issue in many propelled nations in the current age. Despite the fact that there are numerous different variables that lead a person to corpulence, yet absence of walk is a significant calculate that causes heftiness individuals. I accept that so as to provide food for these issues, we have to keep away from utilization of vehicles that devour oil. I utilize a vehicle that doesn't expend any fuel, and furthermore permits me to place in physical effort. I have a bike. Any place I need to go, I use it. In addition to the fact that it saves time, but on the other hand is very condition well disposed and furthermore keeps me truly fit as I need to continually continue turning pedals to drive the bike. Notwithstanding that, I additionally take different measures to remain genuinely fit. I despise heftiness and accept that it ruins an individual’s looks. I am a major enthusiast of sound food, and have consistently made a decent attempt to hold adhered to one. To me, wellbeing is a higher priority than riches. I will in general be enjoyed increasingly more physical work since practice is the treatment of corpulence (Queen). I accept that expanded utilization of vehicles in the cutting edge age has

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Choices about who Is viewed as penniless and how they are to be helped are subject to our financial turn of events, political perspectives, and are regularly reliant on government assets (Stern and Axial, 2012). In research, essential information sources are advantageous while helping the student to totally see each feature of a theme as It identifies with the subject of conversation or a collection of work. In accordance with social government assistance, it is indispensable to manufacture an establishment which includes past, present and future happenings that will affect the assortment of work.While doing investigate sites about essential reports as it relates social government assistance strategy, the accompanying site appeared to be valuable http://www. Ass. Gob/history/PDF/heisted. PDF. The Historical Development report talks about the historical backdrop of the U. S. Social Welfare structure. There is additionally an intelligent course of events accommodated the Social Securit y Acts and the Development of U. S. Government disability Programs. One is given a successive perspective on the movement of the Development of U. S.Social Security Programs, for example, joblessness, Public Assistance, Temporary Assistance for Needy Families In 1 996 TAN), Public Housing, National School Lunch Program and the Food Stamp Program, among a lot more projects. This instrument has given this student an understanding to the key chronicled, political and get-togethers that have affected our nation. As The US drew closer the sass's, the Great Depression had arrived, which brought about our administration playing a more prominent job in helping poor people and the foundation of the Social Security Act of 1935.As one keeps on considering the historical backdrop of social government assistance, we will started to increase a superior comprehension of what drives our projects just as how we can add to their prosperity. Reference: Axial, J. , and Stern, M. (2012). Social governme nt assistance: A past filled with the American reaction to require (eighth deed. ). Boston, MA: Allan and Bacon. Http://www. Ass. Gob/holster/PDF/Halsted. PDF. Site Search By Krishna changes of today. Make certain to arrange your reference in legitimate PAP group in your The historical backdrop of Human Services is significant for us to see so we can get a handle on the objectives of our present social government assistance programs.

The effect of liberation on economic growth of China Essay

The impact of freedom on monetary development of China - Essay Example Subsequent to setting up of WTO with a mean to upgrade global exchange to a huge degree by annihilating a wide range of exchange obstructions forced by singular nations, the part conditions of WTO has been putting forth broad attempts to change their exchange with one another and with different nations also. China isn't a special case. In the china, endeavors to change exchange by decreasing distinctive exchange obstructions have been begun to be embraced since the commencement of monetary change in this nation during the time of 1970s. Hypothesis recommends a nearby connection between outside exchange and financial development. There have been an enormous number of hypothetical and exact works, which have attempted to look at the connection between worldwide exchange and financial development. While various examinations have discovered a positive relationship between upgraded universal exchange and financial development, an enormous number of studies have likewise disproved the case based on their exploration that worldwide exchange encourages monetary development. (Edwards, 1993) In the current examination the instance of China will be mulled over, as china has gotten one of the most impressive and quickly developing economies in the current world. It would be exceptionally intriguing to perceive how exchange progression has influenced financial development in China. For this the time of 1970-2007 will be mulled over, as it was distinctly in the time of 1970’s (late 1970’s) when China put accentuation on the issue of exchange advancement as one of its monetary change approaches. Be that as it may, in this specific circumstance, one thing ought to be referenced that exchange advancement got a gigantic lift in China during 1990s as it was making its way simple to turned into an individual from WTO during this period. Exchange progression fundamentally suggests decrease in the tax rates and evacuation of non-levy obstructions. Since late 1970s china has begun to attempt a few proportions of exchange advancement to expand its outside exchange. This paper will

Leadership at Nestle

Initiative at Nestle Initiative: â€Å"Leadership is the craft of getting another person to accomplish something you need done on the grounds that he needs to do it.† (Dwight D. Eisenhower).One more meaning of administration is completing things by others. Authority is a significant wonder in the component of overseeing individuals since initiative is straightforwardly worried about the styles, devices and methods for completing things through the others. (Bass, 1991) Leadership can be implied diverse for various individuals in various situations and viewpoints. Authority might be political, strict, network or hierarchical, (DePree, 1990) the basic thing among every one of them is that pioneers are capable to give rule to whom they are accused of the duty to lead. The idea of initiative is risen up out of the sorted out endeavors and for the most part identified with the nearness of composed and trained activity (Kellerman, 2004). So the administration is about the nearness of some association. Without an ass ociation there is no understanding of authority. One thing Organization is essentially assortment of people who are cooperating to accomplish some normal reason or purposes. Cooperation and socially development is the base of today’s initiative. Authority in associations and proper initiative style for various kinds of associations is a hotly debated issue of conversation among specialists for quite a while. As pioneer is mindful to utilize his administration abilities such that his adherents accomplish their goals in a simple and smooth way so the manner in which a pioneer receive for driving has actually an incredible significance. (Bolden, 2005) Today nearly everybody thinks about settle and uses the items made by settle in day by day life. Settle is a Swiss based organization, having the edge of being a global it’s the world’s biggest and positioned as no. 1 food organization of world with in excess of 447 industrial facilities situated in 194 nations of world and having in excess of 333,000 workers around the world (nestleusa, 2015). Having such a colossal work power requests from the organization that it ought to have some suitable authority esteems and structures to direct its administrators in dynamic and to manage the issues identified with various culture and expanded decent variety inside association. Instead of keeping up the proper specialists given by association, it’s the obligation of directors at Nestle to move the individuals and include an incentive for organization and include an incentive for society on the loose. Such an inspiration and duty brings about expanding the incentive for association. Because of fast change in outer condition and extreme rivalry which was erratic in past and requires the chiefs to build up some upgraded capacities which can be depicted in following standards detailed by Nestle. Standards of Leadership at Nestle: Lead for winning: Validity advancement through appropriate authority style, accomplishment and intelligible activity. In light of the idea of circumstance and culture of a specific situation legitimate initiative styles are applied by supervisors in their diverse work units. Administrators at Nestle consider a wonders from alternate points of view in a manner which leads toward advancement. Workers are given the chance of facing challenge and receptiveness to new encounters which ordinarily prompts the errors however they are endure capable if the missteps are turning into the wellspring of learning and representatives are commited to gain from them. Advancement needs tests and only one out of every odd investigation brings great outcomes, yet some can completely change the manner in which the work was done and overseen. So every one of these investigations are conceivable when the administration is prepared to endure the aftereffects of disappointments, which is the situation of (Nestle-family, 2015) . The board of desires and arrangement of each activity with the by and large or corporate technique of organization is the key factor of accomplishment for organization and the significance of them two is perceived on each level by Nestle. Adjusted way of life, great degree of general and expert instruction, dependable conduct are the key attributes of directors at Nestle which when they show others how its done movements toward the representatives on each level. All of such activities and showings make it conceivable to lead for winning. The board for results: Keeping up introduction in the circumstances of serious weight while in a similar time keeping up the disposition and limit of taking activities and dangers is the vast majority of the occasions hard for administrators. Viably and proficiently overseeing between these the two boundaries is the distinction between being only a director and being a pioneer. Supervisors at Nestle are prepared for overseeing them. Specialty units at neighborhood level, local level, corporate and worldwide level requires collaboration. Which is the aftereffect of profound degree of proactive participation among every one of them. Pioneers at Nestle are prepared for making cooperative energy on all levels. Change is unavoidable and however dealing with the outcomes of progress is the duty of a pioneer and the viable administration brings about dealing with the adjustment such that produces positive outcomes for association like Nestle. All the above authority rehearses brings about accomplishing business destinations such that the consistence is kept up with supportable practices. Develop groups and Talent: Settle guarantees individual responsibility of its representatives toward their work and accomplishing their individual objectives with the goal that the general objectives of association become ready to meet which brings about advancing the authoritative achievement. Organization build up the pioneers of tomorrow by tending to them and permitting them to advance in the territory which gives them the chance to grow their capacities on individual and gathering levels. For building up the pioneers of tomorrow organization comprehends the degree to which the consistent learning and sharing of thoughts in a free way is significant. Representatives can never think about their precise presentation and until they are furnished with the genuine and reasonable input from their chiefs which remembers execution examination for a way that regard of worker will never be shaken on any progression. Doing all these administration rehearses, the executives at Nestle is consistently cognizant adjoin keep up the specific parity of assorted variety and sexual orientation wins in the association. Contending and associating remotely: Persistently looking toward the approaches to fulfill the shoppers in most creative manner and pulling in the new clients in a convincing way is likewise the piece of authority rehearses at Nestle. Settle has faith in an outside in context for clients and inside in for the representatives of association and looks for good business relations with all the partners. Assorted variety: Assorted variety is a significant discussion in authoritative circles for an extensive stretch of time. A few associations attempt their best to build decent variety in their work settings while others represent all their activities against it. So feel that the decent variety can improve the efficiency due to a wide range of thoughts from various reasoning while other case that because of assorted variety there are clashes among workers which brings about low profitability and wastage of time. Through observational investigation Researchers pronounced that the assorted variety is advantageous for an association if the distinctions among the worker are overseen appropriately (Williams, 1998). Approaches for overseeing contrasts: There are two regular methodologies for overseeing contrasts in the work place. 1. Evasion 2. Restraint. Evasion is the procedure for the most part utilized by chance antagonistic administration and Repression approach is utilized when the board needs to dishearten the contradiction. The variables which must be highest in choosing most suitable methodology for overseeing contrasts are shirking or maintaining a strategic distance from the distinction, strife, resistance and appreciation. (Carole G. Parker, 2009) Strife is the top degree of the distinctions, it is here and there likewise names as war. On the underlying level the people become mindful of the distinctions among them, such contrasts thereafter brings about uneasiness which a while later outcomes in disturbance, at that point aggravation, at that point strain, at that point disappointment, difference, outrage, antagonistic vibe bit by bit lastly brings about clash or war (Guillaume, 2014). Using passionate knowledge one can choose the most proper way or activity to oversee struggle. If there should arise an occurrence of evasion there is a chance to get familiar with the distinction before making a move. In resilience the members effectively occupied with the circumstance of distinction as opposed to staying quiet and simply watching the marvel. In strife there is immediate judgment of others activity and announcing them fortunate or unfortunate. Energy about contrasts brings about a decent degree of self-awareness of individual and development. (Triana, 2014) The people will in general talk with opportunity and with no sort of dread. In choosing the most proper methodology for overseeing contrasts the administrator ought to think about the suitable activity or mix of variables among shirking, strife, gratefulness and resilience as indicated by the idea of circumstance. For what reason is it important to keep up an even workplace? It is important to keep up an even workplace in the term of assorted variety since decent variety offers the associations to confront its challenges through new and imaginative ways. There are part of chances for associations to profit from the distinctions among the workers. At the point when at least two shifted masterminds think on a wonder, they can consider it in a more inventive manner than they can might suspect independently. So an even workplace brings about imagination. (Choi, 2014) Advancement is a consequence of speculation in new manners. At the point when huge numbers of the differing representatives cooperate to accomplish some basic goal. For everybody the wonder shows up in an alternate point and alternate points of view and finally everybody propos

Crude Oil Prices between 1985 and 1994 Article Analysis Assignment

Unrefined petroleum Prices somewhere in the range of 1985 and 1994 Article Analysis - Assignment Example The creators call attention to that after some time, serious powers have caused a more noteworthy difference in the costs of oil in world oil advertises even with the market game plans brought by OPEC or by universal oil organizations. They concur with different creators, for example, Claudio Morana who expresses that both immediate and aberrant impacts that came about as a result of utilization matters and advancements prompted oil value volatilities (Morana, 2012, p. 2). Henceforth, the creators affirm that somewhere in the range of 1985 and 1994 there was an instability in the cost of oil just as other non-oil items The two writers separated the article into six significant parts. In the presentation, the creators present the patterns in the unpredictability of the oil costs, the oil value stuns and the powers behind the instability of the costs. In the presentation, the creators get a significant contention expressing that the manner in which serious powers lead to an upsurge in oil costs, so do the variables that decide the accessibility and cost of oil equal the components that decide other exchanged wares (Institute for the 21st Century Energy, 2012, p. 2). In the following segment titled ‘background and motivation,’ the creators take a gander at the years prior to the 1985-1994 period and the way in which oil costs were dealt with. The creators take a gander at the disappointment of the significant oil organizations to set oil costs that prompted the development of OPEC as a definitive value determinant. They likewise take a gander at the cost of oil going into the 1980s time frame when OPEC was debilitated by showcase powers in deciding the cost of oils. They call attention to 1983 as the most noteworthy year when the change to advertise powers occurred and saw the formation of the New York Mercantile Exchange (NYMEX).

5 Video Marketing Trends You Should Follow

5 Video Marketing Trends You Should Follow Some are in the past and some in the present. Then there are those who are in the near future. Which category do you belong to?It’s all about being social. Whether as a student, a parent, a marketer, whatever you consider yourself to be. Technology has showed us that we can engage in various ways despite any physical distance.Not that this convenience really does away with the need for face-to-face human interactions. All the same, it’s a great convenience.Who wants to write letters, wait for 5 days for the communication to be received, then another 5 days to get feedback?And what’s the big convenience?Social media.It might be a blog, Facebook page, Twitter account, Instagram, Snapchat or any other platform you’re on. You have an avenue to express your likes, dislikes, opinions etc.But how do you do it?THE VIDEO ERASocial media initially comprised of text. This is the past. Then it moved to imagesâ€"the established present.But then, the future is already being defined and liv ed out by some.Videos have picked up in popularity.They have been shown to be more engaging than plain old text. Consider the below statistics.Animoto found that 73% of consumers were influenced by brands on social media platforms before making a purchase. And what content type was their favorite? Video.They also found that 88% of people using videos for marketing on social media had satisfying ROI.Do you have a website? The average user spends 88% more time on a website with video.Social videos are shared 1,200% more than text and images combined.As a social media user, you must have noticed that videos are all over. YouTube aside, every major social media platform has video capabilities. But that’s not all.Videos becoming the mainstream means of expression and marketing is just the foundation.If you’re using video, you’re at least somewhere between the present and the future. To ensure you’re not overtaken by time, read on.VIDEO MARKETING TRENDS TO FOLLOWNothing will hurt your campaigns worse than sticking to yesterday’s or even today’s trends. The marketing industry runs on what is new. At times, it also rides well on the established.But you need to stay relevant. Here are the trends to keep up with as you express yourself or market your products and services online.1. Vertical VideosMuch has been said about horizontal videos, square videos and vertical videos. You’ve probably been   producing and sharing horizontal videos all your life.They were the de facto in videos for a very long time. This was based on professional TV and theater production practices.Seemingly out of nowhere, vertical videos showed up. Popularized by Snapchat, these videos were frowned upon by professional video producers. However, the video format took off.Over time, they quickly outpaced horizontal videos in marketing performance.Here are some reasons why you should consider jumping into the vertical videos bandwagon.1. They are more natural â€" this comes from the fac t that videos are mostly watched on mobile devices. These comprise of smartphones and tablets whose screen orientation is portrait by design.Vertical videos are more preferred than horizontal videos. A research by Mobile Overview Report found that smartphone users hold their phones vertically 94% of the time.That original screen orientation means that people hold their devices vertically. They browse the web on vertically-held devices and this is why it makes sense to produce vertical videos.The inconvenience of rotating your phone is simply too much for consumers.Whereas some have jokingly called consumers lazy, the fact remains that customers largely dictate the terms of business.And as more emphasis is put on customer satisfaction, there is no way you will force inconvenience upon your customers.2. More appealing than square videos â€" vertical videos became a hit when Snapchat introduced them in their app. Seeing their popularity, marketers and researchers studied their potentia l and performance. The results were enough to cause marketers to shift from horizontal videos.Vertical videos had more views compared to horizontal ones.3. Higher completion rates â€" the goal of producing and publishing any material is for it to be consumed. What if you learned that your material is not being consumed? You put much effort into producing great videos but no-one watches them?It can be a bit comforting if your videos are being watched at least halfway. But is that what you intended? Will you include a CTA in the middle of a video? Source: Martech ZoneCompletion rates are important for videos. Consumers have to watch videos to the end to get the information you prepared for them.And with completion rates being so important, you need to do whatever it takes to have the highest.4. Social media is mostly accessed on mobile â€" this might well be one of the biggest reasons to embrace vertical videos. Your customers are always on the move and you need to move with them.Since interactions happen on social media, how do your customers access the platforms? Most social media users access the platforms through smartphones. Mobile use is fueled by mobility and convenience.Screen orientation issues come up again at this point. Videos produced for desktops require mobile devices to be rotated for better viewing. Those produced for a vertical viewership are good for mobile.2. Live VideosLive videos are another trend that is sure to continue growing in popularity. Source: YahooLive videos offer some great benefits to your consumers and this is where their power is derived from. Consider the below reasons for working with these.1. They provide instant gratification â€" as human beings, we seem to prefer getting things immediately. Whatever we want, we want it now. To learn more about instant gratification, check out our article on the marshmallow test.Since this is the nature of humans, you need to capitalize on it. Live videos offer the feeling and assurance of getting to know things now.Actually, this is what social media status updates are all about. Your friends want to know what’s going on in your life now.Most videos are shot professionally with rehearsed scripts, lighting, edits etc.As much as you’re being seen on a previously-recorded video and it may be recent, the “Now factor” is missing.When you go live, with no rehearsed scripts and the like, you become more authentic.The difference is like recording from a well-lit studio v ersus recording yourself while walking down the street. Where do you get more authenticity?2. Provide real-time interaction â€" the end goal of every marketing campaign is to make conversions. Conversions can only be made if the content is engaging. “Engaging” is easily defined as interactive.If interaction is what you need, there’s no better place to get it than in live videos. Doing a live video on social media gives you great opportunities.You see the viewers’ comments and questions and respond to them. You can also promise to do another live video to cover a question asked, thus hooking the viewer and other leads.Apart from the interaction between you and the viewers, a community can be created around your live videos. You can have viewers discuss your video as it plays.From this, you can pick opinions and understand behavior which you could then use to further customize your content.3. Humanizes your brand â€" anytime a video features a real person, there is a human ele ment to it. This is compared to cartoon animations, which are also powerful in their own way. But when that person is live, the effect is greater.People prefer human interactions as they show the reality of life.If you for instance used cartoon animations, they will surely be engaging but more on the side of entertainment.On the other hand, appearing on a video helps people connect with you on the basis of personality.4. Great for different purposes â€" live videos offer you a lot of versatility in your quest to net more customers. Instead of just shooting a video of yourself talking about your products, there are many other things you could do to increase customer loyalty.One of them is doing a live QA video. From the comments on your previous videos or a blog post, you can address FAQs.Alternatively, make it clear that you want to know what questions your viewers have. Afterwards, announce that a specific day will be set aside for them.As these QA videos become more popular, you†™ll have more interactions and shares. This increases the chances that you’ll get more conversion.Live videos can also come in handy during product launches. Instead of posting a video of the event, broadcast the event live.To open yourself up to customers and allow them to know you more, you can also do company tours. You can show your viewers how you run your operations.Introduce some of the people who work behind the scenes. Let customers know you more. That increases trust.3. How-To VideosDepending on the kind of business you’re doing, you can either do a little or many How-To videos.If you’re a manufacturer, then you can have lots of these, especially if you produce many different products.If you’re a service provider, you can still make some of these for the benefit of your customers.Take the example of an Internet Service Provider. Many customers complain about slow speeds.And for those on metered connections (data bundles), their data runs out fast.What do you do as a service provider?Create videos around topics which either answer these questions or help customers deal with the situation.Examples of video topics include, “How to troubleshoot your internet connection,” “How to get the most out of your data package,” “How to check which devices/apps are using the most data” etc.These are one of the ways to get customers to understand what happens behind the scenes.More than that, How-To videos give customers step-by-step instructions which are easy to follow and remember. They will help you build loyalty and lessen the burden on your customer care agents.To see how a How-To video can help the message stick, watch the below video. It’s both educational and entertaining while communicating the intended message well. Here are some reasons to include these in your marketing basket.1. Highly focused on specific questions â€" How-To videos are always done to address specific questions. There is no room for discussions on other matters. T his highly focused nature of these videos make them valuable to your customers.Your customers need solutions to the issues at hand. And when you provide them through such videos, you hit the nail on the head. It’s like throwing a dart and hitting the bull’s eye.2. Highly shareable as solutions to problems â€" the reason many customers seek solutions from customer care agents on Twitter is because of the quick response they get. They know they can get answers to their problems almost immediately.Since these problems are common, your customers will naturally want to share the solution with others.As your video solution is shared, your brand gets more exposure, resulting to more leads and potentially more conversions. You will also cut down on customer care costs.4. 360 ° and VR VideosThe new technology is gradually becoming mainstream.This is especially the case with 360 ° videos. These videos are relatively cheaper to produce than Virtual Reality videos.They are also cheaper to w atch. You don’t need any specialized equipment to do so.There are smartphone apps which can shoot 360 ° videos. This makes their production within reach for everyone. Regardless of the size of your marketing budget, there is no reason why you shouldn’t use these.Although VR videos require more effort to be put in, they deliver what is literally an out-of-this-world experiences. As a marketer, nothing so far can beat the results you can get from these.Furthermore, the market is seeing an increase in the number of VR headsets being produced. This increases the possibilities of more consumers will be able to enjoy more of these.Some of the reasons to include these in your marketing strategy include:1. 100% attention grabbing â€" nothing grabs attention like something new. The technology of 360 ° and VR videos is a sure head turner. Just mention that you are offering VR content to help customers understand your product and there will be people willing to see it.Being a technology th at has been talked about in mainstream news and social media, it doesn’t need an introduction. Instead, it’s the experience that people are looking for. And upon getting it, they will definitely tell others about it.For example, you could produce a VR video and provide headsets to watch it.Announce on social media that you will be having a VR week where you showcase how your products are manufactured.Customers will see the manufacturing environment, hear the sound of the machines, see your staff at work and develop trust for your brand.Alternatively, you can shoot 360-degree videos and have them see what your factory is like.2. Highly immersive â€" immersion is the one advantage that these videos boast of. If youre looking for immersion, then you will get it here. This is far beyond what normal videos with an emotional story line can give you.Of the two types, VR videos provide the most immersion. This is because they completely block your view of the world you are in as you put on VR headsets.These transport your customers to another world where they can be in the environment you want them to be in.In this case, there is very little need for imagination as the images are created for them. Where sound is incorporated, then it becomes an even fuller experience worth sharing.3. Guaranteed conversions â€" if your marketing budget is subject to approval, then this point will add strength to your proposal. If you’re the decision maker, then rest assured that your ROI is taken care of.With all the immersion that comes from VR videos, a lot of awareness is created. Having been transported to where the action is, the experience envelops the customer. This activates empathy and increases the chances of a response from the customer.If you have created the right kind of content and used the right kind of messaging, then conversion is guaranteed.   Source: Omnivirt5. Voice Over VideosYou might be wondering which kind of videos these are.But if you’ve been involved in video production, you might know these. You may even have used them.But do you know their strength?Voice over videos are the go-to tools when you want to explain more about a video which only consists of images. Videos recorded using smartphones are good candidates for these.Instead of just showing your colleagues enjoying the cake during your company’s anniversary celebration, you can add some explanations.For example, for the cake-cutting scene, you could give the name of the person or people doing the cutting. You can mention how your ever-serious boss is overly happy.This helps viewers know the people behind the brand as well as identify with their personalities.Here is a great video showing what a voice over is. It even takes you through the steps to make such a video. Although voice over videos have benefits like other video types, one benefit stands out pretty tall. This is the ability to include persuasive and helpful CTAs.Since the video is being explained, a deeper understanding of the message can be achieved.This does the heavy lifting in preparing for the CTA. The human voice makes the video more real due to the narration of the experience to be achieved or already achieved.When the narrator has gained the trust of the viewer, then the CTA becomes relatively easy. The same voice which has been guiding the viewer in understanding the video content now gives the next steps to follow.With possible tone variations and audible emphasis, conversions have just gotten easier.CONCLUSIONContinuing with the established video types like horizontal and square can get you moving.But if you’re interested in keeping up with the new, then pick two or three options from this list and get rolling.In any case, these are what will soon be the established video types. Won’t you rather be an early adopter?

Running Man by Stephen King Portrayal of Dystopian Society - 1375 Words

The Running Man by Stephen King: Portrayal of a Dystopian Society (Essay Sample) Content: Student nameProfessor CourseDate Dystopia in The Running Man In an article titled Why Do We Like Dystopian Novels, published in the Huffington Post, Dave Astor raises salient points on the present generation loves dystopian novels. Dystopian novels are characterized by negative aspects of life that occur in the near or distant future. War, oppression, despair, death and environmental destruction are attributes of this genre of novels. Astor postulates that these bad things are a projection of the current troubled planet. The novels ring true to the reality that the current corporate moguls, private military and politicians can commit awful acts to further their goals and ambitions. The author further contends that we admire such novels because they are honest and articulate issues that the current humanity can relate with in various perspectives (Astor np). On the one hand, readers may be fascinated by the horrible events that the characters endure. On the other han d, readers may be amazed by the brave and cowardly reaction to situations. What compels millennials to read these novels is the hope that members of a dystopian society can recreate a wretched society into a utopian society. Astor concludes by asserting that when dystopian novels portray worst-case scenarios of the future, the present generation can be pushed to steer clear of those scenarios in the present life (Astor np). This essay examines argues that dystopian novels have found favor among the present generation, especially millennials, because they resonate with their ethos. This genre also affirms the challenges millennial currently face such as wars, oppression, diseases and corporate greed among others. The essay will explore the portrayal of a dystopian society in The Running Man by Stephen King. Set in the year 2025, The Running Man is a novel written by Stephen King under the penname Richard Bachman. This novel, which illustrates a dystopian society, reflects the fears that rose in 1982. At the time, there were fears associated with various events such as the increased unemployment rates, the Cold War among other chaotic events that threatened to plunge the world into turmoil. The corporate and scientific community was the only one that seemed to benefit from this fear. The implications of such a society are embedded in The Running Man. In the novel, unemployment, corporate control, black market, absence of law and order substituted by competing authorities and division of society based on resources are obvious elements of a dystopian society. In a nutshell, the novel highlights how corporation use technology to control peoples lives and curtail their freedoms. The Running Man, therefore, is expresses the fundamental political, economic and social anxiety of the current era. In the novel, the protagonist, Ben Richards and his family live in a damp high-rise housing project in a setting equivalent to a filthy neighbourhood in the present times. Th e author describes the environment of the housing project as vermin-infested. Rats and plump alley cats circulated through the garbage (King 711). The description of this broken-down housing project coupled with rodents and the smell of cabbage resonates with neighbourhoods in many inner cities across the globe (Texter 45). The same description of a polluted environment is familiar in George Orwells novel Nineteen Eighty Four in which he describes London. In The Running Man, sharp divisions based on economic class between the urban lumpenproletariat (underclass) and the suburban bourgeois exist. The Free-Vee, a technological by-product of corporate control, fixes a distorted view of the lumpenproletariat in the eyes of the bourgeois. Furthermore, the technology is a tool that is used to narcoticize the underclass (Texter 45). The glorification with technology can best be captured in the following description; Free-Vee is the stuff of dreams, the bread of lifeFrisco Push goes for tw enty a tab, but the Free-Vee will freak you for nothing (King 715). Just as technology has currently pervaded every sphere of human life, Free-Vee is the tool for corporate control in a dystopian society. Even though Free-Vee televisions are ubiquitous, they can be switched off. However, this does not hinder the influence of media over people. Everybody seems to know all the TV shows broadcasted by Free-Vee. Even though some like Richards hates Free-Vee, they are inclined to watch to either get a distraction from their miseries or numb their pain. As such, media has a sedating effect over people. The weather reports no longer give air-pollution count in a city suffocating from deadly gases. Bradley explains to Ben Richards the reason for the illness of his daughter. He states that the reason corporate no longer update the pollution count is that people were given Free-Vee to keep them away from cities so that they could breath ourselves to death without making trouble (King 784). B radley seems to echo the same sentiments as those of journalist Michelle Conlin. She refers current reality TV shows as weapons of mass distraction, which further disengages people from themselves and society (Conlin np). Because the underclass is kept in the dark regarding issues of pollution, they are left to the whims of corporate control. The underclass is nonresponsive and ignorant of the chaos and turmoil that faces them, unless it demonstrates a special interest. Free-Vee is used to condition the poor to become part of an oppressed system divided by economic means. This aspect of a dystopian society is prevalent it todays society, a reason why millennials may be interested in such novels. Conlin muses over the cost of the current generations obsession with reality television shows, a signal of dystopian control. She wonders whether this obsession with television is a radiant novel form of spectacle or the entertainment equal of the Ebola virus, which leads right-thinking indi viduals to ignore their preferences and settling for irrelevant content (Conlin np). Some commentators have argued that The Running Man anticipates and magnifies programs of the 1990s such as Survivior. The game shows in this novel feature spectacles or competitions that inflict emotional and physical harm to participants in return for big-money giveaways. The Treadmill to Bucks involves participants with chronic liver, heart and lung diseases running on a trade mill until experience a heart attack. Other shows such as Run for Your Guns, The Running Man and Swim the Crocodiles are life-threatening yet contestants participate to earn huge cash prizes (Texter 46). These macabre game shows illustrate, especially The Running Man, is more than just about war. By utilizing the techniques of contemporary game shows and war reporting, it lessens the fears of a nation regarding urban crime. It enables the underclass viewers to forge an identity and concurrently destroys the symbols of crime and poverty in what King refers to as this dark and broken time (King 761). As Killian notes The Running Man show is intended to pleasuring the masses and getting rid of dangerous people (King 905). One millennial ethos of the current generation is to spread innovation and inspire people to achieve their full potential. Previous attributes, that may have hindered other generations, such as finances and class, are nowadays considered irrelevant. Through the Internet, millennials have been able to access a large pool of information needed for innovation. Another ethos exhibited by this generation is optimism in the face of the many challenges faced. Massive unemployment, the world implications of deregulatory economics, the stifling consequences of debts, loans and dwindling job p...

Nursing As A Career - 1568 Words

Introduction Price, Hall, Angus and Peter (2013) â€Å"Nursing is described as a beautiful, rewarding and motivating career followed with an acknowledgement that nurses are underappreciated.† (p.7) Nursing is a profession that is organized and abides by a code of ethics where the individual is expected to honour these implementations. Nurses spend their career saving and promoting life and one of the most significant parts of being a nurse is to be a patient advocate. Nursing students tend to frequently enter their program with fixated and preconceived philosophies of nursing as a career. However, nurses are conceptualized and portrayed in the media in a derogatory fashion. Thus, this causes the appearance of this career to be diminished and trivial. Traditional views of the nursing profession have been to shape nurses perceptions and expectations of nursing as a career. Despite negative imaging, students have different perceptions on nursing, and exploring unique reasoning for interest i n this career is inspiring. Every nursing student embarks on a different path to success, all with underlying reasons for their choice in pursuing this career. Self- Discussion There is a vast variety of motives behind nursing as a career which shape the views towards the profession. Individuals may seek interest in nursing when informed of the benefits, salary and a guaranteed job, while others may pursue nursing because they are compassionate, dedicated, driven and committed. It is foundShow MoreRelatedNursing : A Career As A Career In Nursing705 Words   |  3 PagesFrom a very early age I have had a passion and drive to help people. I was first inspired to go in to a nursing career by my grandmother who would tell me stories about her experiences as a midwife. One that stood out to me was when she travelled through a snowstorm to deliver a baby, and it is this level of commitment, care and compassion that I aspire to have. I have also found inspiration from my mum who is an ICU nurse and has always shared her experience and advice with me. This has been somethingRead MoreThe Career Of Nursing As A Career In Nursing1614 Words   |  7 Pages Nursing is a very complex career that at many times requires one to be a leader. Nurses can be leaders in formal roles and also on the unit during any given shift. Nursing is a career that truly tests the character and attributes of those who choose to enter this career. Leadership in nursing is vital in creating a successful environment for patients. 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There are various types of nurses such as registered nurses, nurse anesthetist, psychiatric nurses, nurse practitioners and many more. The article â€Å"Careers in nursing† by Linda Burnes illustrates â€Å"careers in nursing

Motivation And The Ideal Marriage - 982 Words

Motivation and Behavior Motivation is the drive or incentive which pushes or pulls behaviors in a specific scenario or situation. The incentive or drive may be initiated through internal or external influences. An individual may react to a physiological or psychological need. An over whelming hunger may push one to seek a meal whereas the need for companionship pushes one to seek others company. An emotional intelligence is imperative in learning to navigate through life and cement relationships. Emotions can influence motivation to marry, make life decision or to help someone who may be hurt. Intellect is often derived not only from academic perspective but from an ability or interest in understanding emotions of one another. Feelings of belonging and acceptance can push one to seek friendship, romance and lifelong companionship. Love and the ideal marriage can be a motivator for a young lady or young man to make herself more attractive to the opposite sex. The emotional, psychological need for love and acceptance may push someone to behave in a manner in which is sincere or kind displaying actions that are acceptable by others in society. Negative emotions or feelings can elicit bad behaviors. An unhealthy marriage or relationship can push someone to behave in a hostile and angry manner. A person may have high sense of self-worth and possess a high emotional intelligence. Outside influences such as a controlling spouse or can create doubt and interfere with what may beShow MoreRelatedGender Roles Of The House807 Words   |  4 Pagesinfluences that I believe initiated these changes fall into three themes: 1. The marriage relationship and outside paid work, 2. Education and its impact on femininity, and 3. Technology and its impact on domesticity. The three themes address issues that women navigated as society changed as their roles in the home and outside of the home changed. 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Television and Cinema

Sample details Pages: 34 Words: 10205 Downloads: 10 Date added: 2017/06/26 Category Statistics Essay Did you like this example? Television mocking its big brother Cinema? Through parody is television mocking its big brother Cinema or is simply feeding the post-modern society? Artistic achievement has, in most societies, usually seen as one of the highest goals for its citizens with artists held in highest esteem in society. The Classical civilizations of Rome and Ancient Greece are rightly regarded as artistic highlights of world civilizations due to the unprecedented status given to artists of all trades: poets, painters, bards, actors, sculptors and musicians. This respect for excellence in the arts still exists today However modern art is unfortunately too often derided as a thing of paltry significance as compared to the great artists of the past. FPeriods of high accomplishment such as Ancient Greece or the Renaissance are rightly regarded as containing such artists whose skill and mastery of their respective disciplines may rarely be emulated, if ever. Don’t waste time! Our writers will create an original "Television and Cinema | Film Studies" essay for you Create order However, is that a reason for giving up on modern artistic output? After all, the twentieth century was that of Pollock, Rockwell and Hockney. But lest we forget, in the annals of history, it is doubtful that the past 100 years will be remembered for their contribution to age-old art forms such as painting or sculpture. Instead, it seems likely and indeed fair that the 20th century will be remembered for the creation, popularization and investigation of the audio-visual arts of cinema and television. From the first shots of the train moving out of Carpentras station, cinema has moved the hearts and minds of millions. The 20th century was witness to the greatest technological advancements in human history and artistic output followed suit. After the silent pictures of the 1900s first captures audiences to the first black-and-white talkies, cinematic progress could never be checked. From success to success, people round the world would be enchanted by Snow White and the Seven Dwarves, awed by Harryhausens special effects, moved by Gone With The Wind and horrified by Birth Of A Nation. Every decade would bring an advancement in cinematic output, something which would revolutionize the industry once again and bring new generations into cinemas. These constant progressions in cinema would take place at a far faster rate than in other arts due to several important factors. First of all, the Industrial Revolution of the late 19th-century had sent technological development across the world into a tail-spin which impacted cinema very positively by providing studios with a constant stream of new machinery, effects possibilities. The knock-on effect from this was of course that a steady stream of technicians would be trained and employed by the great studios. We will be analyzing the hiring and firing practices of the studio moguls as compared to the lifelong television employees further on in this dissertation. Another great reason for the appeal of cinema would be the characters contained within it. The glamour of Hollywood until the 1940s would make audiences dream across five continents up to the present day. The gritty reality of much of todays cinematic output had not even been imagined and movies were used to make people dream of a greater life. We will use this opportunity to further analyze the setting-up of the movie studios, the Jewish origins of most of the moguls and the taste of Americana they injected into their projects later on. Furthermore, we will draw up a detailed comparison between the early days of both film and television, analyzing which tactics worked better in the battles for a limited audience. Even horrifying world events such as World War II would provide the film industry with invigoration as Hollywood and the pre-war German film studios would engage in a rivalry, the like of which has rarely been seen in the arts. With the Hollywood ban on exporting American films to the Third Reich, the motivation for German film-makers was extraordinary and names such as Murnau and Lang emerged as major players on the world cinema scene. Unsurprisingly, the vast majority of them fled Germany during or after the war to seek new lives in Hollywood. Many failed but some met with varying measures of success, the greatest legacy of this time possibly contained in Fritz Langs masterpiece Metropolis, the ominous skyline filled with skyscrapers working as a tribute to Langs first impressions of seeing New York harbour from far out at sea. However, even from that darkest period of human history has emerged some of the most shocking and lasting pieces of film. The films shot by the Allied forces of the Nazi concentration camps have proved perhaps the most important factor of documentary cinema. Beyond the artistry, beyond the emotional impact, cinema has provided humankind with an unlimited opportunity to document its own history, both good and bad. An opportunity television executives would notice and pick up on. Even today, the claims made by CNN and BBC such as We are there as the news happens stem from the passion for news-stories instilled in people during the World War when small news flashes shown as previews before films in movie theatres were the only pictures civilians at home had of the war outside of newspapers. These propagandistic items were of course good for morale and television would soon enter into the fray, edging cinema out to take a monopoly over showing news programs. We must also consider another important area of research. The parodying between television and cinema is a term of some ambiguity. Within this dissertation, we will also try and highlight the inherent differences between the terms of parody and emulation. As per rivalry in any kind of industry, some actions that may seem to be a parody of existing practices are in fact no more than emulation, a mere attempt to capitalize on a rivals success. The concept of parody on the other hand is a very subtle one. Although television and cinema are by definition filled with some of the most acerbic minds in the world, minds quite ripe to create parody, it is somewhat nave to think that these people would be allowed to impact decisions on scheduling and programme production. Only those at the summit of their popularity would be allowed their own shows, let alone given creative control of their shows. A recent example of this happening in Britain would be So Graham Norton. However, even these shows often fail as can be demonstrated as can be seen through the antics of stars such as Liza Minnelli, John McEnroe or Anna Nicole Smith. Thus, we can observe that the concept of pure parody being used by cinema and television for its own sake is somewhat mortifying, given the massive financial risks such an undertaking would incur. However, if parody was created to feed the viewing desires of a post-modern audience, then such an action becomes more realistic. To study this, we shall take an in-depth look at the nature of todays post-modern audience and their viewing habits. In this dissertation, we will be looking in more depth at the first fledgling footsteps of both these art forms, the characters that helped build them up to their global statuses as well as two important periods in their history. The 50s and 60s where cinema and television were in direct competition through the slow transition period of the 70s and 80s into the modern-day scenario of co-operation. With this journey through time, we will be looking at trends pioneered by each of them and looking at any sharing or borrowing of ideas between the two mediums, we shall observe their long and drawn-out rivalry as well as the numerous examples of co-operation between them. The Glamour Years or the faint ridicule of cinemas golden age If 90% of leadership is showing up, then we can hardly be surprised at the manner in which the men who would become studio moguls quickly rose to the top of this brand new industry. The founders of Paramount, RKO, MGM, Fox and Warner Bros. were for the vast majority immigrants or children of immigrants who had come to America either to seek their fortune or who had grown up with the image of America as this place of opportunity. In the first two decades of the 20th century, these views were far truer than they are now but to attain what one desired when the bar was so high, a lot of hard work would have to be carried out over many years. Thankfully, hard work was what these mens families had been built on. Possessing this instinct along with a fine sense for business acumen, which some would sarcastically claim was due to their Jewish nature, Mayer, Goldwyn and the others would take the American cinematic market by storm. Before continuing, let us dispel any lingering images of these men helping each other out on their way to success. They entered a ruthless line of business where they were in direct competition and they tried everything to ruin each other, from slandering each other in the popular press to stealing actors and actresses. However, more united them than the moguls would have cared to admit. Since most of them had risen from humble beginnings, their visions of America were an embodiment of the American Dream that had influenced the migration of countless thousands from their home countries. The MGM studio, for example, would become synonymous with Technicolor musicals such as The Wizard of Oz portraying the world as a happy, bright place where everyone lived contently. The Warners would take a more active interest in social commentary but even their early efforts never went too far in criticizing a society that had offered them so much. Across the studio divide, the concepts of method acting had never even been considered and the goal of cinema was to make their actors and actresses look glamorous while portraying a style of life that would make every American dream in wonder. Why this image can be considered with a slight tint of ridicule is its existence in the middle of such troubled times. In the space of thirty years, America would fight in the two bloodiest conflicts in human history yet still, the studios churned out glossy movies, filled with beautiful dames and jolly banter. But here, once again, we strike a familiar obstacle, one that both film and television have met too many times. Too often in criticism about their history, studios or television networks are blamed for the programmes they carry or films they produce. Unfortunately, whilst they cannot be absolved of all blame, the relationship between social trends and popular entertainment is an obvious one. At a time in its history when America was fighting wars, undergoing a recession as well as Prohibition, the last thing American audiences wanted was to be served up with depressing fare that they could identify with. If another example of this is needed, look at what kind of cinema was popularized in the 50s. After the war, the film noir came of age and rose to ascendancy when American society was doing well and people felt good about themselves. A crucial fact that those who are all too quick to lay blame at the feet of the studios is that films and television programs will only be made if their creators feel they will be well-received by the general public. Televisions first faltering footsteps The intertwining and complex relationship between cinema and television cannot only be analyzed from the perspectives of programme similarity and audience sharing. Those who decided on what programmes should be commissioned, those who researched audiences to determine what kind of target audiences should be tapped, those who decided on what type of scheduling to choose at any given time of day, these television executives, producers and network directors would be the ones that would outline how television would evolve from one year to the next. As has been explained, television channels found themselves confronted with a very difficult challenge. Whereas film studios had been opened in great pomp and ceremony with the budgets of their moguls behind them thus allowing them to find their feet and carve their respective identities without a vast amount of competitive pressure placed upon them. Television did not benefit from such an auspicious start. The challenge that faced channels was to find their own identities and thus capture individual audience shares whilst fighting an uphill struggle to dislodge cinema from its spot atop the entertainment mountain. To take this would kind a special kind of organization. How could television not only catch up to cinema but also surpass it in popularity? Well, television started out with two significant advantages. Firstly, that of money. The far larger amount of broadcasting time inherent to television made it a much more viable target for financial gain than cinema which could only show any adverts to limited audiences. The commercial prospects of television soon became clear and this links us neatly with its second trump card. Throughout the 50s, televisions popularity exploded and families were rushing to buy them. The reason this had not occurred during the 1940s was that regulations concerning this new kind of entertainment were still getting sorted out and freed of problems. At the end of the 40s, television was still a luxury and commissions for TV channels had only really affected the East and West Coasts. However, in the 50s, the FCC (Federal Communications Commission) decided to make the acquisition of such a commission far easier and soon, channels began appearing across the States, often broadcasting to a small area but carrying only limited-interest stories for its local people. Thus, television watching became a far more personal affair. As far as programme content, a specific identity for television developed slowly through the 50s with the launching of successful sitcoms such as I Love Lucy which carried high audience shares across the country. However, we can distinguish here the first example of a parody between two entertainment methods. Shows that were once popular on radio were being copied to television, with I Love Lucy a prime example of this. (Wikipedia, 2005) illustrates the identity-forming process of television by explaining how local television stations helped shape this process. Moving on from merely showing advertisements for local companies, they began showing small serials and talk shows, some of which became national phenomenons. The local nature of this kind of television would eventually mostly fade away by the 70s but the damage done to cinema was irreparable. Television had entered the hearts and minds of successive American generations and it was here to stay. Here, we can draw a major comparison between cinema and television potentially parodying it. Merely watching a few episodes of these old-school sitcoms, we cannot help but be struck at the similarity of tone to the pre-war Hollywood days. It is necessary to diverge briefly to explain the state of mind of 1950s America. Before the war, the USA had undergone a massive recession caused by the Wall Street Crash and thus, it had fallen to the entertainment industry to help people forget their woes. The film industry had done this, as shown above, but the changes it had caused had not died away. Although World War II had caused the death of many a gallant young man, it had lifted the USA into a very buoyant mindset. With the European powers needing a decade more to recover from the conflict, with Japans military and economic potential temporarily annihilated, with China still reeling from its murderous invasion, the Soviet Union remained the only true challenge to Americas supremacy. But the Cold War had not yet begun in earnest and in the late 40s and early 50s, the USA saw itself as the worlds only true superpower. The much denigrated Eisenhower presidency kept the economy stable through a tricky balancing act and for most of America, life was good. The Americana dream adapted to no longer be a picture of great wealth but of blissful happiness. The family unit of 2.4 children, living in the comfortable and safe suburban districts with a white picket fence around a big house, was a dream that many wished to achieve and television could reflect that. Shows such as I Love Lucy portrayed a heavenly, glossy picture of American society which is ultimately matched nowhere in entertainment except among the idyllic American communities shown in early studio films. The Warners, Mayer and the others had all built up their studios from the ground up thanks to their own hard work. They were living proof of the possibilities America offered and thus showed this in their films. Television in the 50s emulated this entirely. The era was different, the clothing more modern but the ensemble feeling remained the same. This was not merely borne out in television sitcoms but also in adverts. Sitcoms would be interrupted for commercial upon commercial selling the latest washing-machine, vacuum-cleaner or kitchen appliance without which the dutiful housewife could not live. It is oddly ironic that many of todays stereotypes about the 50s are a product of this kind of television. It needs to be remembered, However, that this often derided type of family life where the children skipped to school, rosy-cheeked and clutching an apple, while the father gave his loving wife a demure kiss on the cheek before heading to the office in his beautiful Chevrolet is not merely a myth. Around the suburbs of New York, San Francisco and the like, many families not only lived this kind of life but their children and grandchildren still do today. However, the way in which television chose to reflect this society in a utopian sense, glossing over any unpleasantness, was a definite rehashing of the technique used by the film studios of Hollywood twenty years previously. The adaptation of the two mediums and their direct battle for audience shares As television successfully found its feet and began a posing direct threat to cinema, studios were forced to change. After all, no other new form of entertainment had entered general society since the arrival of cinema before television and thus, cinema would have to fight to keep its audiences. A couple of things could be seen as certain before these changes would proceed. Firstly, cinema would never rival television for mass popularity and market potential due to the overwhelming availability of television and its presence in an increasing number of households across America. Secondly, one of televisions worrying tendencies was to garner a lot of advertising money from a wide swathe of big American companies. Electrical appliances, cars, clothes, foodstuffs and drinks were all sold on television during commercial breaks, a fact that cinema could not copy. However, studio executives soon found ways round this problem, ways in which although adverts could not be shown during the movie, surreptitious showing of products could have a similar effect. Product placement was born. Admittedly, in a society which with every passing year produces more and wastes more, it seems that studios have become less adept at making product placement seem natural rather than obvious. The 007 series had always been a treasure trove for companies wishing to place their symbols on James Bonds latest gadget. With the arrival of Pierce Brosnan into the role However, any shred of subtlety vanished to be replaced with highly obvious use of products. For example, Brosnans type of car had always been one of the highlights of the film. In Die Another Day, the presence of the painfully named Aston Martin Vanish only served as a sales pitch for the Vanquish. Such utterly shameless product placement did reach a crescendo in 2004 where the amount of plugging for Sony and Converse in I, Robot would have made Isaac Asimov turn in his grave. However, such behaviour can shed some light onto the type of post-modern audience that we are evolving in. Those detractors who claim that post-modernism is merely the natural by-product of such a senselessly wasteful society whose mechanisms result in the attempted alienation of anyone showing a shred of individuality. Whether this is true or not is difficult to ascertain but what is lamentable is that the artistic integrity which has existed since Aristotle is being compromised in cinema out of the desire to keep up with television. Thankfully, the presence of adverts in television, even if sometimes the length of advert breaks can be infuriating has meant this has not happened in televisions case. If we evolve in a post-modernist society, then these differing methods of merely pandering to our consumers instincts could seem to be a by-product of intense competition between two forms of popular entertainment. Unfortunately, cinemas rapid changes would lead to renewed controversy over its spectatorship and its impact thereupon as explained by Lynn Spigel. The concept of spectatorship in itself is a fascinating one, not just within the framework of this dissertation, but also within the field of cinema and television research. The bearings that society can have upon an audiences watching habits are a crucial fact to understanding how individuals, larger target groups or entire demographics will react to any kind of program. (Spigel, 1998) places the birth of the issue of spectatorship in the 70s as film studies began increasing in popularity. This rise in popularity and its link to audience research are vital as we can use them to comprehend not just how an audience would react to a pioneering film or series in either cinema or television but also how it would react to a parody or any kind of wholesale copying of a popular film or series by another medium of entertainment. The issues raised by Spigel are ones, she claims, whose roots lie back in the ideals of Marx and Lacan. From a psycho-analytical perspective, Spigel writes of the complexities of spectatorship research given the psychological aspects behind it. Although Spigels thoughts may be questioned in themselves, they do offer conclusive evidence of audience diversity today and how carefully each aspect of this diversity needs to be considered before deciding on scheduling or production. In this, we can see the great precautions television executives must need to take in order to contemplate parodying of any kind of popular film. Modern television, its workings and its impact upon the world Big, brash, loud. Three words which could describe much of the television programmes produced in America in recent years. Long gone is the demure image of the family sitting down to enjoy some good old American-style programming with shows such as Bewitched or I Dream of Jeannie. Lets face it, if these shows were produced today, they would face some accusations of glorifying witchcraft, yet another practice banned in Leviticus long list of gripes against the world. Somehow, the image of ABC being picketed for showing re-runs of Bewitched may at first strike us as absurd but with careful thought, does this seem so unlikely? One of the major problems facing network directors and schedulers is the problems they could face if showing any material seen as even slightly offensive to anybody. We will not engage here in mindless America-bashing but in a country that has long defended the right to free speech, both the film and television industries are being lambasted by religious and family protection groups for promoting violence and pornography. Whilst this could be understood if horror films were shown at hours when children watched TV or if their cartoons professed truly immoral practices but when complaints relate to Elmer Fudd shooting Bugs Bunny, one can wonder if the world has gone crazy. However insane these complaints can appear to be, they are still a startlingly important reality for todays television. They form one of the biggest pressures on television executives who are caught in a tricky balancing act. They must maintain their audience shares by scheduling popular programming whilst also keeping packs of demented denigrators at bay. Interestingly, regulations concerning the effect of violent or sexual programming have been in place for decades. After all, most channels, even now with the new glut of cable and digital operators, have respected the 9 oclock watershed before broadcasting any overly offensive material. Have they been secretly breaching rules of moral conduct in recent years? Whilst it is certain that television programmes do have an impact on those who watch them and while children will always care little about rules or regulations that protect them from exposition to negative images, can this be said to be the wholesale fault of the television industry? If the people want games, then games they shall have. This syllogism is one without which television stations cannot operate and although appeals could be made for public decency, violent and pornographic programmes will only be made and shown as long as the public has an interest in them. Thus, society should look to what elements within itself cause television to broadcast this type of programming rather than attack television for it. A recent example that shows just what a level of frenzy has been reached was the 2004 Superbowl. Justin Timberlake and Janet Jackson provided the entertainment when Timberlake ripped off part of Jacksons outfit, exposing her pierced right breast. Whether the stunt was pre-prepared or not has not been made crystal clear but the furore that surrounded the incident was mind-boggling. The family protection and decency groups went insane, denouncing all film and television workers as Hollywood sleaze. The fact that this slip occurred during an event with global broadcasting and with audiences reaching into the hundreds of millions blew it out of all proportion. For some reason, that a breast had been shown on national television before the watershed was seen as being a massive breach of public decency and as potentially warping the fragile little minds of innocent children. This level of problems goes a long way to showing the tonnage of pressure placed upon television channels. However, it is thankfully a trend that has not seemed to take hold outside the USA. The EU, Japan and Canada are subjected to the same kind of programming and although some complaints are voiced, they never garner so much media attention. Thus, we can see that the manners in which television panders to its audiences vary from country to country. We have highlighted televisions modus operandi in the USA but let us consider a cross-section of Japanese audiovisual entertainment. More than 20% of Japans cinematic output and a vast swathe of its popular television programs are made up of anime. Anime cartoons usually contain far more involved storyline than their American counterparts, replete with high levels of violence, sexy and skimpily-clad female characters and yet, these are watched by children of all ages. Does Japan thus see a higher violence rate among young children? No, in fact, the proportion of it is far lower in Japan than it is in the USA. However, even Japanese anime does not make it onto American airwaves without massive cuts by the censorship office. A good example of this is constituted by the popular anime series, Dragonball Z. In it, a group of fighters defend Earth from invasion by evil aliens or androids. Throughout its 250+ episodes, the show contains high levels of violence, including dismembering, decapitation and the beating of children. As can be imagined, when the show was broadcast in America on Cartoon Network, all these passages were cut to spare the minds of our children. However, in Japan, Dragonball Z aired in all its unadulterated gore and no-one seemed the worse for wear. This is not to say that so much violence on TV is good. Indeed, it is lamentable that it should exist at all but it is highly unfair to lay the blame for any consequences at the feet of an industry which is doing its best to keep as many people happy as possible. Although, we have taken a standpoint in attacking America for its high sensitivity when it comes to protecting its children, we have recently been confronted with proof that this type of protest does not only occur in the USA. For ten years, Jerry Springer shocked the nation with its own brand of low chatshow humour. Famed topics of debate involved the KKK, incest and bestiality. It had met with both acclaim and criticism at home, some calling it a true social commentary, other cheap laughter at others misfortunes. Anyway, the comedic potential of the idea was soon seen and in 2002, it was turned into a musical named Jerry Springer: The Opera, starring David Soul as Jerry Springer, showing in the West End and on Broadway. Controversy courted it throughout but its great success shouted down these demons. However, in January 2005, the BBC decided to show the musical in its entirety. As soon as this decision was made public, Christian right-wing groups attacked the BBC for insulting Christians when it would not dare the same about Muslims or Jews. While this claim did have some merit, the BBC ignored these claims and broadcast the show at 10 oclock on a Monday night with clear warning beforehand about the potentially offensive content within it. Examples of this type of occurrence could number in their hundreds but they are an ideal way of investigating how modern audiences identify with television programmes and react to them. One of the basic tenets is that post-modernism is that reactions to any situation are processes created by each individual and that thus, clear definitions of knowledge or art encompassing a group or a society are baseless. In this, it can be argued that the very concept of a post-modern audience is flawed. However, whatever theory we choose to engage with, we cannot reject human nature. In the last twenty years, it seems that many among the generation of young people across America who fought in the 60s and 70s against Vietnam, against the Cold War, for Civil Rights and for many other noble causes have become dangerously jaded. Americas quality of life at the end of the 70s and in the 80s reached a high unseen since the 50s. Although the gap between rich and poor was ever-widening, the lifestyles of the middle and upper classes were prodigious. America was still afflicted with problems in Iran, Central America but the Soviet Block was crumbling and the mood among the general population was good. However, in the 80s and 90s occurred a phenomenon that not many people had truly predicted. The baby-boomers who had so been influential in re-shaping America after World War II were themselves beginning to be required to pass the torch to the next generation. Thus, the norms of society that they had created were themselves being challenged by their children. This shift occurred through the appropriation of traditional American areas of life by the younger generation such as television, cinema, the press as well as the fledgling Internet. We will look in further detail at the emergence of teenagers as a separate marketing entity and the impact of the home video on cinema and television as it entered this confused social maze. (Carberry, 2000) picks up on the popular image of television being viewed as a window on the world. This image, although adequate in some respects, also fails to pay attention to one crucial fact about television. If we look out of a window, we are certain that we will see will be real. A television does not offer this capacity. Television programmes are constructed and even factual news bulletins or documentaries can be edited to look the way the news director wants them to. We know enough of methods of communication to realize the propagandistic power of television and therefore we are conscious that we must always take a step back when rationalizing about something we have seen on television. Television, by its very nature, is as big a construct as cinema however the accusation of warping peoples minds is leveled far more at television than cinema. Is this because cinema has consciously avoided parodying televisions tactics? Or, the far likelier option, is it that the accessibility factor of television in every household makes it a far bigger liability? The Brat Pack and the rejuvenation of an art-form Despite many provable claims that cinema constantly re-invented itself through the 20th century in the face of audiences that were ever-demanding new entertainment, comparable in their way to the crowds of Rome ever baying for more blood sports, cinema did face a daunting task in this as compared to television. Television, by its very nature, provided smaller-scale programs which it could produce and broadcast constantly whilst film executives had to rely on the takings of a few major films every year to keep itself afloat. A number of films could certainly attract the crowds and meet with considerable critical acclaim but the numbers of such men and women were still too few. However, American cinema and consequently, world cinema was about to undergo a revolution. For two decades since the end of World War II, the old nations of Europe had been experimenting with different styles and imprinting their home-grown cinema with a particular identity or flavour. The French could lay claim to La Nouvelle Vague with the works of pioneers such as Godard and Truffaut whilst the Spanish film-makers invented the dangerously clever and cynical cinema metaforico under the very noses of Francos ruthless censors who supervised film sets for any sign of criticism of the Generalissimos reign. These cinematic trends had proved to Hollywood what they were lacking. A series of directors that could produce films appealing to that American identity that the Roosevelts and Kennedy had shouted from the rooftops of the world. Yet still this left executives scratching from their heads. Unlike France or Spain, the USA was a fledgling nation barely two hundred years old. What part of its tradition and history could be used to make audiences flock to the cinemas with a renewed sense of excitement? As it turned out, it was not the executives who were asked to answer the question. This phenomenon would manifest itself naturally. From the film schools of the late 60s and early 70s in New York and LA would emerge a generation of directors who would grab the bull of American cinema by the horns and force it to change drastically as they wanted it to. They understood what American audiences wanted to see. After all, they had been part of those very audiences in the 50s and early 60s which had experienced the downfall in exciting material produced by Hollywood. Their baby-boom generation had only known America with the rewards of the post-war economic progression, the fear of the Cold War and Vietnam and they were ready to make their voices heard. This generation was loud, brash and fiercely ideological. Why not make this felt through their cinema? Coppolas Apocalypse Now stands out as a bastion of ideology, refusing to gloss over the Vietnam War as previous war films had done about the two World Wars. Accompanied by Oliver Stones Platoon and Kubricks Full Metal Jacket, this film hurt the consciousness of a nation that had formerly felt safe in its own puissance and many of its citizens could not bear to see this familiar cocoon of ideological magnificence be shattered by some young Hollywood upstarts. Is it surprising then that these films tanked at the American Box Office whilst meeting with applause around the world. How then could these men be seen as having saved Hollywood by injecting with some much-needed fresh blood? By not standing alone. If Stone and Coppola provided the ideological side of new American cinema, Lucas, Spielberg and De Palma represented the take-no-shit, stop-at-nothing side of their generation who rather than focus on issues that they saw as the matters of Washington politicians decided to appeal to the teenagers and young children that were to come after. Their films were raw, big and loud yet astonishingly varied as every an found his own style. De Palmas The Wild Bunch, perhaps one of the most violent films committed to celluloid, demystified the Western genre. Reversely, Lucas and Spielberg let their imagination run riot and with early successes such as THX 1138, they had the studios at their feet, inflated egos and vast budgets to match. Lucas space saga Star Wars stands out as the icon of this movement, sweeping in millions at the Box Office and conquering the hearts of successive generations to this day. When A New Hope hit cinemas across the USA in 1977, even those few crusty members of the Hollywood establishment that still tried to hang onto the past were forced to capitulate and admit that the Hollywood they knew was dead and buried. From the first shot of a Star Destroyer moving across the screen and an audiences collective gasp as their ear-drums take their first impact from a Dolby Surround Sound system, cinema changed. Lucas would go on to make the following two Star Wars films staggering successes as well as launching the Indiana Jones series. However, he would eventually stumble slightly when making the new trilogy of the epic science-fiction series, trying too hard to make it funny whilst detracting from the storyline, whilst his great companion, Steven Spielberg, would go from strength to strength. Cementing himself as the poster boy for the Brat Pack through the 80s and 90s, Spielberg would gain his well-deserved reputation by always providing an element of challenge in the direction of his films. E.T. and Jurassic Park would revolutionize the use of special effects, Schindlers List would prove to be controversially popular due to its gritty subject matter whilst if Duel and The Terminal did not contain some staggering innovation, they simply moved audiences by being excellent films. However, despite all these innovations, cinema would still meet a sharp downturn in audiences in the 80s with the introduction of perhaps its greatest challenge, the entrance into the fray of home videos. The entrance of home video Where the Brat Pack had given cinema an edge over television with promises of spectacles far beyond the range of ordinary TV channels, television producers found themselves needing a new tactic to regain their audiences. It was not that television ratings had dropped particularly, after all television sets were now firmly established in households across the country but the familiarity of television was now part of the problem. Taken for granted despite shows such as Dallas and Dynasty pulling in millions of viewers each week, television had lost the veneer and shine of a new form of entertainment and media it had so long possessed after the war. Without the budgets of film studios and without the talent of big-name actors and directors at their beck and call, television production companies had to find a way to compete once more and elevate themselves back to the pinnacle of American entertainment. The key, it would seem, was to be found in the unlikely field of demographic studies. Both film and television executives had for some time varied their output on the back of single-group demographical research. For example, even the inspired Brat Pack directors had made their films to appeal to the collective consciousness of a generation, that of young boys and girls under 25. This was a tactic which worked very well insofar as the targeted demographics did flock to the movie theatres in droves. Star Wars, Indiana Jones and Back To The Future became legendary series of films, entering the minds of young people across the country. Similarly, television programs and scheduling was determined according to which target audience was likely to be watching at any given time of day. Sports were left for the evening when the men would be back from work whilst the much-derided concept of daytime television consisting of soap operas and chat shows sprang up for the entertainment of housewives, seen as watching television during the day after completing their chores after her husband and children had gone to school. This may seem like a highly Stepford Wives type of generalization but from the 50s, these kinds of assumptions were constantly made by executives both in the film and television industries who based their schedules on these assumptions with noticeable success. Although technology is not the basis for this dissertation, the theories lying behind how the general public thinks of this technology is inherent to discovering how television interacts with a post-modern audience. However, this policy failed in one important respect. It considered specific demographics on a one person basis, targeting each age-group as a single entity such as 18-25 year olds or middle-aged housewives. What it failed to consider was that the baby-boom generation that had long been the mainstay of both film and television target audiences for three decades now had young children and even teenagers that now needed to be taken into account. This newer generation provided two crucial target areas. The latter, that of teenagers had already been almost wholly captured by Hollywood. The older among them had experienced the Star Wars phenomenon and saw themselves well-represented among the pissed-off new breed of Hollywood directors. Their younger siblings, However, were still 12 and under and together with their parents provided television executives with a perfect new target audience. One that would collectively become known as the family unit. The family unit was the first time that demographical studies included a group of people of different sex and age collectively when considering what type of entertainment would appeal to them. Furthermore, the political climate in America in the verge of the Reagan era had put a lot of pressure on Hollywood. Throughout the 70s, the steady stream of Hollywood fare was seen as being too violent, too lewd, too disturbing, too shocking, too distressing. The voices of those that made these claims were ignored until the election of Reagan. A product of old Hollywood himself, he declared war on the studios, trying to force them to change their fare to better fit in with the era of decency and morality he claimed to be ushering in. Hollywood caved slightly as did Reagan in the face of a destructive stand-off and began producing more family-oriented films, fitting in with the discovery of the financial potential of the family unit. However, where Hollywood might again have got the better of television by capitalizing on another good idea, the goddess of technology had for once smiled upon the world of television. In the late 70s, video recorders had been perfected and thus a whole new market had opened up. The popularity of films for the family unit such as E.T. was so high that television would increase its financial gain several times by home video sales and re-runs on their channels. Now, an argument could be made that since the home video sales were of Hollywood studio films, surely the studios themselves would be reaping the rewards and taking in a significant percentage of the profits from home video sales. Whilst this was true and studios were also making money off the back of movie-related products, home video popularity was having a drastic effect on cinema turnouts. Popular films were flying off the shelves after very limited box office takings whilst lesser-known ones failed to bring in money in either case. Teenagers were still being successfully courted by Hollywood but the family unit was far out of its reach most of the time. The parents of the so-called unit were overwhelmingly those who had elected Reagan to power, many of them off the back of his claims to restore decency and whom has listened to his anti-Hollywood smut speeches. Thus, some elements of Hollywood had succeeded in alienating those that showed the most financial potential. It is true that some films such as the aforementioned E.T. still met with huge box office success but over all, the invention of the home video and its entry into the lives of millions of families was a massive win for the television executives and a body blow for the film industry, one that would take studios nigh on a decade to recover from. The apathy of the viewer and the post-modernist changes A stalwart refusal to hang on to tradition in an ever-changing world. This definition could be applied to an ever more fickle society which seems to be taken the rapid technological advances of the 20th century as an excuse to simply stop caring about the higher moralities of human existence. The concepts that moved the worlds great societies for millennia such as a sense of duty and honour have long been abandoned for ones that are easier to live by such as financial gain and social acceptance. However we wish this change had not happened, they are now undeniable presences in Western society and it is only natural that they should be represented in film and television. We have described in detail earlier how both of these changed and altered their tactics in order to compete with each other and meet various demands from their audiences. However, one factor that producers in both mediums could never have predicted was the general apathy for life that seems to have afflicted much of the latest generation of teenagers and young adults. While pandering to audiences desires was always essential to the development and progress of both film and television, this kind of scheduling was always balanced out by varying amounts of general public-interest programming. Public-interest in cinema could be documentaries or independent lower-budget films whilst for television, news shows as well as commentating programs discussing both national and world events. Unfortunately, the 90s saw a steady decline in audience ratings for this kind of programming, people only watching the news for the sports and weather sections at the end whilst many foregoing completely any documentaries or investigatory programmes. Faced with this alarming trend, television network directors have been forced to cut back on this kind of programming whilst showing more and more mindless programmes which then face criticism from minority groups. This vicious circle is one that is drawn from the type of society that we live in. If this audience is at all post-modern, it is in some of the subconscious habits it has assumed. Western society has become highly adept at taking everything around it for granted, from food and drink to electricity but also as far as film and television are concerned. When we turn on a television set or pick up a cinema listings leaflet, we expect a certain amount of choice so that we may pick something that fits our mood. These expectations thus mould the choices made by network directors. In this, it can be conclusively said that television is inherently a slave to its audiences as without them, it cannot function. (Groothuis, 2000) provides some valuable insight into the tricky and sometimes co-destructive relationship between television and its audience. Groothuis labels television a potent agent of truth decay in postmodernity, claiming that by its warped view of the world, television affects our own. Television is a form of media communication and entertainment, first and foremost. Many people rely on it for news of the outside world and developments in any field. Groothuis accusation of truth decay on a post-modern audience is an audacious but truthful one. The impact that television has on the daily lives of millions worldwide can be terrifying. Because television stations are only able to provide a view of reality and not reality itself, we are automatically presented with a biased or distorted view of events however neutral the station or journalist has tried to be. By basing all our opinions or views on any subject on a televisual view alone, we are in danger of becoming dangerously conditioned. As Groothuis writes, Television has become a commercial and cultural institution in American life; as such, it is unproblematic to the vast majority of Americans and, therefore, highly influential. It is precisely this familiarity which makes television both comforting and perilous. This is thrown into even sharper relief when considering television from a fictional perspective. For young children who are often unable to truly differentiate between the latest conflict on the news and the latest murder on an afternoon show, televisions influence can become truly terrifying. We have all heard urban myths such as the four year old boy who killed himself when jumping out of a high-storey window, dressed as Superman. However, as long these shows continue to be popular, they will continue to be produced. Anyway, the phasing out of television will never happen. It is too deeply entrenched into our modern-day culture for it to be removed. What we need to find is a way to make ourselves less dependent on television for both factual and fictional input. We know that all television channels will automatically pander to their audiences no matter what but how about their emulation of some cinematic trends? Is this a mere parody or is it an attempt at finding other ways to please the demanding crowd? Well, in order to ascertain this, let us look at a few examples of sheer imitation between cinema and television from the 90s and 2000s. In reaction to the bigger-budget special effect extravaganzas that Hollywood had begun churning out since Jaws, television found itself forced to compete on a different level. Although it could not mass produce constant series with similar effects, the popularity of home video had also given rise to television being able to gain broadcasting rights on syndicated and then on public access channels. It is easy to imagine how this could have been a body blow to the film industry but the money paid by television for the rights to these films was a significant source of revenue for studios always needing more money for the spiraling budgets of individual films. Television channels, on the other hand, could easily afford to fork out such prices for the rights due to the prime-time advertising slots they would put on the market when showing them. Corporations, knowing how families would flock to channels showing such blockbusters as E.T. or Star Wars on television for the first time, would offer colossal sums of money to be allowed to place their adverts during the showings. Interestingly, since all parties concerned made money off the selling of rights, a postulation could be that instead of being a parody of cinema by television, this was really a mutually beneficial transaction. Furthermore, if television has had a habit of emulating cinematic inventions, the reverse is also true. Perhaps the greatest accusation leveled at cinema today is its total lack of originality. Film lovers have decried that those that are hailed as great directors today produce films that lack the emotional punch, uplifting storylines and memorable characters that were the hallmarks of Fellini, Hitchcock and De Sica. Even men like Scorcese and Coppola who have been seen as living legends of cinema for decades seem to have tailed off and accepted to sink into simple banality. Occasionally, a silver lining can pierce this dark cloud such as Pixars films but for the most part, it can be commonly accepted that studios no longer have the impact they used to. A simple proof of this is Hollywoods current attitude towards successful television series. In recent years, we have heard projects for countless films of popular series, both American and British. Red Dwarf, Friends, Sex and the City, The League of Gentlemen and The Simpsons have all been in movie development hell whilst The Hitchhikers Guide To The Galaxy has finally been made amidst much criticism from fans. Some other common practices have been either the remakes of classic films such as Alfie or Psycho or the Americanisation of foreign films such as Nine Queens. The principal problem is that not only is this practise idiotic from the point of view of angering the fans but also because adapting any film, book or series from one medium to another is always fraught with danger in a post-modernist society. These statements may seem to point to a problem within cinema alone but any problem it has will automatically impact upon television as we will explain in our conclusion. The relationship between film and television can be seen as a symbiotic one. Although at times, elements within the two industries have been seen as being at each others throats, they are in fact mutually tied and it is clear that if one suffers, the other will inevitably suffer too. The post-modern audience with which these two mediums engage on a daily basis have become almost too demanding, too needy, too dependent on its little gadgets to make it happy. Someone once wrote that civilisation was three meals away from anarchy. Although this proverb still holds true, it is likely that the same would happen if society today, at least in the Western world, was deprived of television. The hold that these forms of entertainment have upon modern society is also an area which needs to be discussed. The fact of the matter is that we seem to be so dependent on television today that it has permeated our everyday lives in the most pernicious of ways. For example, the literacy rate of children is down, violent tendencies among children is up across the sex divide. Although we have made the prior point that television and cinema are not entirely responsible for the rise in violence after people have watched some of their films and shows and that often enough, these protests are the source of staggering overreaction, we cannot absolve television channels and film studios of all blame. In our conclusion, we will be coming to terms with all sides of the odd co-destructive and co-dependent relationship between the networks, the studios and their audiences. Conclusion How to summarize this and bring it all to a logical conclusion? Well, through our careful study above, we have three areas which need to be considered. Firstly, cinema and televisions troubled history has seen a lot of mistrust pass between executives in both forms of entertainment. However, in the last twenty years, faced with common pressure from all sides of a demanding society, they have come to an uneasy truce. The second area which we can analyze is that although we can think of cinema and television as two separate forms of entertainment, the factors that affect their decisions on what to broadcast are almost identical. As we have discovered, the post-modernist traits of our society have emerged out of a disturbing trend to simplify and label anything overly complex. Thus, the multi-faceted relationship between cinema and television, and to a lesser extent the Internet and newspapers, has led to a gross labeling of all of these as the media. Even Hollywood, where an encouraging growth in documentaries has recently been emerged, has been incorporated into this group. If this labeling only manifested itself in this way, the situation for all these forms of entertainment and press would not be disturbing. However, not only has the public at large adopted media as a term of reference to encapsulate all of these but this simplification has also entered a deeper evil. This signifies that too often, if an attack is labeled at a particular film or TV series, then all of the media will be lambasted. Nevertheless, we must fall not into a similar trap. When talking about the public at large, we must understand that these attacks are only carried out by some fringe groups like the CAP (www.capalert.com) and not by any significant percentage of society, although many of the thoughts and beliefs behind these attacks are wide-spread. In this, all branches of film and television from individual studios like 20th Century Fox and Universal to large networks like ABC or CNN are finding themselves torn between their loyalties. Their financial existence depends on the companies that place adverts during their breaks. Whilst it is true that many companies would take any advertising slot going, many of the bigger and thus higher-paying companies will only take slots on prime-time during popular programming. This type of programming, unfortunately, is the very double-edged sword that television channels face. On the one hand this programming, such as popular series or films shown after the watershed, are the ones that bring them among their highest audience ratings. The reverse side of the problem is that it is precisely these shows that carry the most controversial material and that are denounced as warping peoples minds or inciting promiscuous and violent tendencies. Fortunately, these voices are often shouted down as in the case of Jerry Springer: The Opera by the BBC and both television stations and thus film studios continue producing and showing what they desire; what they know will satisfy a majority of the audience, no matter how hollow this material might be. As a final thought, it seems clear that although both elements of both the television and film industries are guilty of stealing each others ideas, inspiring their films and shows from pre-existing ones and producing material which may seem baseless, these practices are all linked to a larger factor. This is the utter dependence that both cinema and television have to their audiences. They are methods of public entertainment and a studio or channel without the support of a high audience share will struggle and eventually fold. A disease spreading itself through most forms of entertainment is a lack of fresh input and creativity. Elements that have been mentioned such as Pixar do provide a modicum of this for their own gain but the spread of this apathy is becoming highly worrying. However, any efforts that cinema and television make to innovate and find some workable ideas are not conscious efforts to emulate each other. They are simply an inevitable by-product of competitors all vying for the attention of a limited audience. The rules of parody are complex but two are crystal-clear. If the chosen subject of parody is notoriously bad, then a parody thereof can play upon this and the joke becomes easier. However, if the target for satire is good or popular within its own right, then a parody becomes trickier. The parody must pick up on recognizable aspects of the target and ridicule it while still paying proper respect. A prime example of this is Dead Ringers. Jon Culshaw and his team choose a good ensemble cast of satires, drawing from a range of modern and new films and current affairs. Their use of Lord of the Rings can provide a good case study. Their main targets are the multiple endings of Return of the King. This is a perfect choice as it fits several criteria for good parody. Fans of the book adored the many endings as they paid proper homage to their beloved trilogy whilst less involved film-goers decried them, feeling like they simply dragged on for far too long. By drawing upon these and making fun of them, the Dead Ringers team thus ensured a massive potential for reference comprehension among its audience by using such a popular source. Cases like these are rare and thus parody is a risky area which can just as often fall flat and cause animosity but one that still continues to be one of the most popular sources of entertainment for television audience. However, the thought of parody being used purely as a method of emulation by television networks strikes as a little small-minded for such a huge business as television. Thus, it seems we can firmly say any parody used by television or cinema is done in order to feed a post-modern audience which does not take itself too seriously. 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