Medication Addiction And Drug Abuse Problems - 2634 Words

Addiction is really a persistent behavior pattern designated by bodily and/or mental dependency that triggers significant interruption and adversely impacts the caliber of life of the person. Addictions are usually connected to drug abuse, mainly psychoactive drugs. For example narcotics, stimulants, and sedatives amongst others. It is actually that using the phrase addiction additionally includes apparently compulsive behavior and incredibly passionate commitment to equal activities. â€Å"In medicine, an addiction is a chronic neurobiological disorder that has genetic, psychosocial, and environmental dimensions and is characterized by one of the following: the continued use of a substance despite its detrimental effects, impaired control over the use of a drug (compulsive behavior), and preoccupation with a drug s use for non-therapeutic purposes (i. e. craving the drug)† (Definition of Addiction). Nevertheless, common using the phrase addiction offers spread to incorporate psychological reliance. In this case, the term can be used in medication addiction and drug abuse problems, but additionally refers in order to behaviors which are not generally identified by the healthcare community because problems associated with addiction, such as compulsive eating too much. (Addiction). The word addiction can also be sometimes utilized towards compulsions which are not substance-related, for example problem betting and pc addiction. In such everyday uses, the phrase addiction can beShow MoreRelatedprescription drug abuse1523 Words   |  7 Pagesï » ¿Prescription Drug Abuse Millions of people throughout the world are taking drugs on a daily basis. If you were to ask someone why they take prescription drugs, most people would be taking them for the right reason. However, it’s estimated that twenty percent of people in the United States alone have used prescription drugs for non-medical reasons.1 Prescription drug abuse is a serious and growing problem that often goes unnoticed. Abusing these drugs can often lead to addiction and even deathRead MoreThe Self Medication Hypothesis Of Drug Abuse And Drug Addiction1213 Words   |  5 PagesSelf Medication Hypothesis Most of the current thought regarding drug abuse and drug addiction is controlled by the â€Å"hijacked brain† concept, which states that a user’s brain is altered by a drug at exposure and can eventually lead to addiction. Such theories are only just that: theories, with little to no clinical evidence to support their claim. On the other hand, some clinicians believe that addicts use drugs in a continuing cycle of self regulation. The general model of addiction thatRead Morenegative impact of drugs1264 Words   |  6 Pagesï » ¿ Negative effects and impact of drugs on a user and their family Negative effects and impact of drugs on a user and their family Drugs, such as heroin, cocaine, and prescription pain relievers encompass negative effects on users and his or her family members physically and mentally, however there are various treatment options for the drug or drugs abused. In 2003, 7.1% of Americans aged 12 or older were classified as current substance abusers. Statistically significant increasesRead MoreIs There Anybody Out There?. Maia Szalavitz, Author Of1484 Words   |  6 Pagesabout our finger-pointing mentality on drug abuse, â€Å"Addiction is one of the most serious health problems we face today, and as of 2010, more than 23 million people have an addiction to drugs, and according to the National Institutes of Health, these addictions contribute to more than 100,000 deaths per year.† Drug abuse is a major problem in the United States and throughout the world as more and more people become addicted every day. When you hear the words drug addict you think of desensitizing termsRead MorePrescription Drug Abuse And Prescription Drugs1487 Words   |  6 PagesPrescription Drug Abuse Prescription Drug Abuse has increased in an alarming rate over recent years! Prescription drug related deaths now outnumber those from heroin and cocaine combined. The abuse in prescription drugs in America goes back more than a hundred years ago. Prescription drug abuse is the use of a medication without a prescription, in a way other than prescribed, or for the experience or feelings elicited. Although prescription medications are intended to help individuals, they canRead MoreTeen Abuse Prescription Drug Abuse1422 Words   |  6 Pages Prescribed medication has become one of the top three leading drugs used and abused by teenagers in America. According to Elizabeth Larsen, â€Å"The Centers for Disease Control classifies prescription drug abuse as the worst drug epidemic in United States history† (Larsen p.4). This is the worst drug epidemic in history because of the percentage of teenage usage. Based on different studies, pills are the most commonly abused drug among twe lve- and thirteen- year olds because of how easy they are toRead MoreThe Drug Of Drugs And Drugs995 Words   |  4 Pagesare sucked into the horrible addiction. An addiction is an actual disease that occurs in the brain. Many times these drugs affect the brain and in result, cause the addiction to occur. More and more there are people coming into the hospital from a heroin overdose, are released from the hospital, go back out, and inject the drug. The drug is so powerful that these individuals do not see what is happening to them as they slowly kill themselves. There are multiple drugs that are classified as narcoticsRead MoreAddiction And Its Effects On Addiction1226 Words   |  5 Pagesamount of knowledge on addiction, effects of addiction, and medication used to treat addiction. Reviewing the literature explains the definition of addiction, whether it is a choice or compulsion, and specific medications used to treat dependence. Overall, using substances is a choice but addictive qualities are compulsions. Research has proven that medications are widely effective in treating substance abuse. Purpose The literature’s purpose is to inform its reader of addiction, the risks and consequencesRead MorePrescription Drug Abuse : Drug And Free World1508 Words   |  7 Pagesaged 12 to 17 abuse a prescription pain reliever for the first time (â€Å"Prescription Drug Abuse Statistics – Overdoes Deaths – Drug-Free World,†n.d.) A 2007 survey in the United States found that 3.3% of 12 to 17 years olds and 6% of 17 to 25 year olds had abused prescription drugs in the past month (â€Å"Prescription Drug Abuse Statistics – Overdoes Deaths – Drug-Free World,†n.d.) Prescription drug abuse causes the largest percentage of deaths from drug overdoses (â€Å"Prescription Drug Abuse StatisticsRead MoreDrug Addiction : Treatment For Pain Management1396 Words   |  6 Pagescommonly abused medications such as morphine, oxycodone and hydrocodone. Pain that is reported by the patient is subjective and cannot be measured directly making it challenging to treat without producing addiction. 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Rand Corporation Free Essays

In spite of what we see on television regarding crime scenes and detective work, detectives are more complex than what they are showing us. According to the Bureau of Labor, a police officers Job is to protect the citizens and our land(Bureau of Labor 2014). While the Job of a detective is to investigate crimes, gather facts and collect evidence, for a potential crime (Bureau of Labor 2014), there are severe types of detectives within a police department. We will write a custom essay sample on Rand Corporation or any similar topic only for you Order Now There are homicide detectives, who work specifically on finding the person who committed the homicide. Cyber Crime detectives, and their focus is strictly on protecting the citizens from internet abuse kind computer crimes. Computer crimes would consist of fraud and identity thief. Cyber detectives also protect our youth from predators on the internet. There is also have a gang and narcotics unit, in which some of the detectives will go undercover, just to get the information they need to start an investigation. (Dempsey Frost 2011). Last but not least, there is a detective unit for cold cases. These cases are asses that could not be solved, boot other detectives from different departments(Retested 2014). I believe that they should leave the policing to the police and the Investigative work to the detectives. Keeping their work separate is beneficial to the citizens and the police department. This way they can be more attentive and peduncle to the citizens in specific areas. Police are being pulled Into many different directions on a dally basis.. They are called for emergency and non-emergency situations everyday. The police wouldn’t be as effective doing their day to day, If they add detective work to their plate. I believe that the detective annuls that I mentioned above are needed and should be kept separately. While I do agree that the police should do the preliminary work, but I do not agree with them doing the Investigative work as well. I don’t believe the police departments wouldn’t be as successful If they didn’t have them separate. Bureau of Labor Statistics. (2014). Police and Detective Occupational Outlook. Shinto DC: SSP suite. Dempsey, J. , Frost, L. (2011). Police (e). Clifton Park, NY: Delmarva Retested, A. (2014). How to cite Rand Corporation, Papers

Final Learning Brief

Question: Describe about the JCU Conflict Management and Resolution Program. Answer: According to Narendra et al. (2015), the JCU Conflict Management and Resolution Program is an innovative and a self-motivating program that gives the post graduate students and the professional emergent participants a superlative learning experience. The course of the study has been designed in such a way that it allows us to elevate our knowledge and skill, which might help in analyzing resolving and managing a wide variety of conflicts in various fields (Wondolleck, 2013). In the Initial Learning Brief (ILB) we have been equipped with analytical skills which become necessary as a professional to deconstruct a variety of complex conflicts. During the course work, we undertook the act of critical analysis of a broad range of conflict circumstances to evaluate the causes and also the dynamics of the conflicts. According to Crowfoot Wondolleck (2012),the course also taught me the method of analytically mapping a conflict. We were also introduced to a wide range of conflict intervention and also certain management strategies. After the end of the course, I have gathered knowledge on the various situations of conflicts. I have learned that conflict is inevitable. As discussed by Gounaris et al. (2016), the consequences of conflict affect families, friendships, cities, neighbors, nations, governments and organizations. I think that resolving conflict frequently feels like a steady balancing act amongst the opposing requirements and wellbeing of siblings, spouses and children, governmental leaders, town boards, business partners, citizens and other parties. Conflicts are also disagreeable and stressful.Learning about the various conflicts has greatly helped me in my personal development. The course took me around the path of continuous self-knowledge and self-reflection. Moreover, I have developed self-awareness of what I perform and how it affects someone else negatively and positively (Prenzel Vanclay, 2014). Through completion of the program, I have become more aware of the impact of the various workplace conflicts and have developed few pertinent kills to manage those conflicts. I have changed my whole mode of approach and focus during a rough situation. As stated by Ross Rothman (2016),the Conflict Management Resolution subject has been priceless in my professional growth. In addition to these after the ILB, other than learning the theory, my practical skills have proved to be productive in both my personal and professional career. The emphasis on the aspect of cross-cultural perspectives made me certain about the fact that my learning can be applied in multicultural context as well (Gounaris et al., 2016). As stated by the dual concern model of conflict resolution every individual has a preferred way of dealing with the different types of conflict which are encircled under two themes. As discussed by Gounaris et al. (2016), one of the themes is based on the assertiveness, and the other one is concerned with the empathy towards others. One of the significant learning aspect which I have obtained from this as a reflective practitioner is that the theories and practices based on the subject named Foundations of Mediation helped me to critically analyze certain basic features of mediation considering the ethical and legal practice in Australia. Moreover, the interactive sessions of the workshop have also enhanced my attentiveness towards my "default settings (Narendra et al., 2015). During the program, many classroom activities were performed. Most of the classroom activities were performed in teams or groups. As stated by (Wondolleck, 2013), the classroom activities involved the team work mainly. For example, in many cases, the professors or practitioners involved us in group activities where we were asked to generate new ideas to solve conflicts or to show a physiological response, and identify the positive and negative outcomes of the conflict. In accordance with the classroom activities, I have participated in almost all the team work and single assignments. While performing the activities, I have developed innovative "conflict management plans" in order to deal with the conflict scenario keeping in mind the positive and negative impact of the situation. Through identifying how we engage in conflict and recognizing that engaging in conflict can be positive, we are more likely to engage in conflict when necessary (Narendra et al., 2015). According to Moore (2014), during this course I have also participated in the brainstorming activity to enlist the components or elements in the task and which needs to be performed. As I explored the practical features of efficient supervision of the cooperative erudition activity throughout the course, I certainly developed a set of my own ideologies for an effectual cooperative learning action. Through the reading of the course material, I have gathered knowledge based on theories and applications during various situations. I have participated in group and solo learning extensively during this course. I have learned about ethics and reflective practice, cross-cultural conflict resolution, mediation, workplace conflict management, etc. (Dickey, 2013). Philosophy, ethics, and theories of conflict and conflict resolution was one of the most significant parts of my reading and learning. Readings and discussions helped me to explore foundations of conflict and also accountable ways to covenant with conflict as an unbiased third party. I have also explored the research and the writing tools related to the evolving field of conflict management and resolution. Through the course, I have also learned about a wide range of ethical verdict making process. Discussions of readings will be based on the experiences, knowledge, skills, and abilities of participants, in addition to those of the professor. This will require that all assignments (readings, case studies, presentations, and papers) be completed in a timely manner. Lastly, I learned to be good reflective practitioner through my class room activities, assessment tasks and practical skills (Dickey, 2013). According to Narendra et al. (2015), extending assessment feedback has serious and powerful effects. Offering probes might even cause the learner more to carry on thinking about the subject. As stated by Stipanowich Lamare (2013), feedback is not necessarily always given in order to do any sort of implementation in a task rather it can be of encouragement or appreciation of the work. The feedback that I have received was via written comments or verbal comments. The written comments probably are the strongest actions or interactions in the form of interpersonal dialogue (Dickey, 2013). During the study the professors gave me feedbacks on various aspects starting from the reading, writing to the practical modules. In terms of the group work individual as well as a team, feedbacks were given. The feedbacks received by me during a group work are to perform co-coordinately and think more innovatively. These feedbacks helped me to carry out the better action and management plans during any conflict in the professional life (O'Toole Burton, 2015). Like every learning program, the Conflict Management and Resolution program also conducted exams semester wise. As discussed by Mason (2014), the evaluation of the achievement at the finish of a program or component of it is a compulsion, and the apprentices receive their mark or grade rather than feedback from the grades or remarks professor. The grades or comments received by me from the professors were the reflections of the professors feelings. Generally, I used to obtain good grades by written means but at times average grades and comments received was because of less use of the theories or connections of the theories with real life situations. Such comments helped me to link theories with the real life conflicts as like the family or workforce conflict. In several times, positive comments such as "good or excellent motivated me to perform better in the future (Fry Bjorkqvist, 2013). According to Fry Bjorkqvist (2013),the effectiveness of the professors feedback was so strong that it helped me to discover the new insights of the course and also the ways to improve myself in my professional life. When receiving out conflict management and resolution evaluations, I always tried to impress two things on my professors. Firstly, I took their feedbacks critically and seriously, and I have finished changes each quarter to create the learning and its outcome better on the foundation of professors suggestions. I tried to provide elements in the examination what my professors guided me to write and perform. I tried to express the significance of productive criticism, especially relating to those portions of the itinerary over which I have power. Secondly, this data was significant to my prospect, and the feedback given by the professors has a genuine impact on my aptitude to carry on this study in my profession and my growth as a professional for future prospects. I feel best about my professional career in the present when I am attentive to the needs of my co-workers or other sub-ordinates, and workig to make the workplace better. The various feedbacks helped me to know the gaps and come as a successful professional (O'Toole Burton, 2015). References: Crowfoot, J., Wondolleck, J. M. (2012).Environmental disputes: Community involvement in conflict resolution. Island Press. Dickey, T. (2013). Being Management/Beating Management: Unions, Strategy, And Conflict Management Systems. Fry, D. P., Bjorkqvist, K. (2013).Cultural variation in conflict resolution: Alternatives to violence. Psychology Press. Gounaris, S., Chatzipanagiotou, K., Boukis, A., Perks, H. (2016). Unfolding the recipes for conflict resolution during the new service development effort.Journal of Business Research. Mason, W. (2014).Peer mediation as a form of conflict resolution(Doctoral dissertation, EASTERN OREGON UNIVERSITY). Moore, C. W. (2014).The mediation process: Practical strategies for resolving conflict. John Wiley Sons. Narendra, N. C., Norta, A., Mahunnah, M., Ma, L., Maggi, F. M. (2015). Sound conflict management and resolution for virtual-enterprise collaborations.Service Oriented Computing and Applications, 1-19. O'Toole, J. R., Burton, B. V. (2015). Cycles of harmony: Action research into the effects of drama on conflict management in schools. Prenzel, P. V., Vanclay, F. (2014). How social impact assessment can contribute to conflict management.Environmental Impact Assessment Review,45, 30-37. Ross, M., Rothman, J. (Eds.). (2016).Theory and Practise in Ethnic Conflict Management: Theorizing Success and Failure. Springer. Stipanowich, T., Lamare, J. R. (2013). Living with'ADR': Evolving Perceptions and Use of Mediation, Arbitration and Conflict Management in Fortune 1,000 Corporations.Arbitration and Conflict Management in Fortune,1. Wondolleck, J. M. (Ed.). (2013).Public lands conflict and resolution: Managing national forest disputes. Springer Science Business Media.

Manipulation in Documentaries free essay sample

Every night when we sit down to watch our much loved Grey’s Anatomy or Desperate Housewives, we know for a fact they are fictional dramas which allow us to escape the reality and boredom of our lives. We also realise the scripted shows use many tactics to manipulate our thinking. The producer does this to position us towards a specific view of life. But what do we expect from a documentary? We know documentaries to be faithful recounts of events; however, these events may be subject to just as much manipulation as the intriguing plots in our addictive shows. Many documentary makers include their individual cultural assumptions and discourses to distort the truth and position the target audience to react in a desired manner. This can be seen in the documentary, ‘Supersize Me’ by Morgan Spurlock and ‘Great White – Deep Trouble’ showcasing Peter Benchley, David Doubilet and Rodney Fox. Both producers desire to position the audience towards their discourse through their documentary. We will write a custom essay sample on Manipulation in Documentaries or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page They accomplish this by presenting snippets of films, opinions and facts that agree with their discourse and disposing of the rest. ‘Super Size Me’, written, produced, directed by and starring Morgan Spurlock, is a producer dominated documentary. It shows Spurlock endeavouring on a thirty day McDonald’s binge to prove that regular consumption of the food is a fast way to heart disease, high cholesterol and obesity. Spurlock aims to prove his nutritional discourse by taking tests before and after the experiment to show the affects. Before the experiment began, Spurlock’s body showed healthy results both physically and emotionally, however, after the experiment, his body was physically rundown sporting clogged arteries, high cholesterol, weight gain and emotionally he showed early stages of depression. Spurlock’s aim in the documentary is to inform his audience that regular fast food consumption is extremely harmful to your body. It uses both fully narrated and self reflexive types of documentary to present the message. This means voice overs are used to interpret graphs, pictures and facts presented in the documentary to prove that fast food has a significant impact on the nation’s health. He also includes many techniques including camera angles, music and sound, lighting and many elements typical of documentaries. Spurlock uses Mise-en-scene to prove that obesity is a result of extreme fast food intake by purposely filming obese people walking through a shot at McDonalds. Spurlock also uses the technique of interviewing doctors and scientists to grab our attention and make it difficult for us, the audience, to make our own decision. He does this as the majority of us believe scientists and doctors have the most knowledge on this argument and therefore we will agree with his discourse. Similarly the documentary, ‘Great White – Deep Trouble’, produced by John Bredar, attempts to influence the audience to feel sympathy and love for the Great White which to many represents a killer beast. The documentary aims to manipulate us towards the view that sharks are gentle fish that are simply misunderstood by humans. Through the journey of David Doubilet, a famous photographer, the audience are presented with pictures, journal entries and filming of the Great White in the hope of capturing the perfect shot. One of the crew on the mission is Rodney Fox who previously had a bloody encounter with a Great White and survived. Although the majority of us would be too afraid to return to the water, Fox has chosen to partake in the mission of defending the creature. The producer uses this to his advantage by demonstrating that even someone who was attacked by a killing machine managed to love the animal and therefore we should too. The documentary uses techniques in order to create a calm ambience and make the shark seem vulnerable. They use relaxing music and bright lighting to create a sympathetic and almost angelic view of the shark. Camera shots are taken under water allowing the audience to see the scenery and true characteristics of the shark. The documentary provides close up shots to shows the sharks facial features and emotions. It also uses long shots to show the entire body and the provide insight into the sharks natural habitat. The documentary uses the feature of exposition to expose the true qualities of the shark in order to manipulate the audience. Both documentaries possess intertextualities that we are all familiar with. In general, when we see Ronald McDonald we are automatically reminded of McDonalds and their food products. In the Documentary, Spurlock shows Ronald McDonald as an evil clown rather than happy. This represents his negativity towards the restaurant. When watching ‘Great White – Deep Trouble’ our intertextualities towards sharks is that they are vicious man-eating machines like the shark off the movie ‘Jaws’. Although many facts, graphs and discourses are exposed and explained throughout these two documentaries it does not necessarily mean the producer’s opinion is correct. They simply want to manipulate and position the audience to believe what they say in order to sell their view to the public. When we hear the word,’ documentary’ our cultural beliefs tell us they are filled with true facts or recounts of events, however, we need to realise that documentaries are filled with individual discourses which aren’t essentially accurate. We as an audience need to ensure we do not fall victim to the producer’s manipulative techniques that are incorporated in the documentaries. In order to do so we need to be strong in our personal beliefs and discourses. That does not mean you should seclude all opinions from others. Be open to new ideas, but be strong in your own beliefs. That way you will not be manipulated as easily. Make your own decision and don’t let the producer sway that conclusion.

Free Essays on Who Are the Assyrians

The Assyrians are the indigenous people of Mesopotamia and have a history spanning over 6700 years. Today, the Assyrians are the descendants of the ancient Assyrian Empire and one of the earliest civilizations emerging in Mesopotamia. Although the Assyrian empire ended in 612 B.C., history is replete with recorded details of the continuous persistence of the Assyrian people till the present time. Assyrian civilization at one time incorporated the entire Near East, most notably the area of the Fertile Crescent. The heartland of Assyria lies in present day Northern Iraq. The remains of the ancient capital of Assyria, Nineveh, lie next to Mosul in Northern Iraq. The world’s 4.5 million Assyrians are currently dispersed with members of the Diaspora comprising nearly one-third of the population. Most of the Assyrians in the Diaspora live in North America, Europe, and Australia. The remaining Assyrians reside primarily in Iraq, Syria, Iran, Lebanon, and Turkey. The Assyrians are not to be confused with Syrians. Although the name of Syria is directly derived from Assyria and the land was once a part of Assyria the people of Syria currently maintain a separate Arab identity. The Assyrians are not Arabs, but rather have maintained a continuous and separate identity, language, and culture that predates the Arabization of the Near East. Until today, the Assyrians speak a distinct language, Syriac, the language spoken by Jesus Christ. As a Semitic language, the Assyrian language is related to Hebrew and Arabic but predates both. The Assyrians were the first to accept Christianity in the first century A.D. Despite the subsequent Islamic conquest of the region, the Assyrian Church flourished and its adherents at one time numbered 80,000,000. Assyrian missionary zeal was unmatched and led to the first Christian missions to China and Japan. Today, the Assyrians belong to three major Christian sects: the Church of the East, the Chaldean Churc... Free Essays on Who Are the Assyrians Free Essays on Who Are the Assyrians The Assyrians are the indigenous people of Mesopotamia and have a history spanning over 6700 years. Today, the Assyrians are the descendants of the ancient Assyrian Empire and one of the earliest civilizations emerging in Mesopotamia. Although the Assyrian empire ended in 612 B.C., history is replete with recorded details of the continuous persistence of the Assyrian people till the present time. Assyrian civilization at one time incorporated the entire Near East, most notably the area of the Fertile Crescent. The heartland of Assyria lies in present day Northern Iraq. The remains of the ancient capital of Assyria, Nineveh, lie next to Mosul in Northern Iraq. The world’s 4.5 million Assyrians are currently dispersed with members of the Diaspora comprising nearly one-third of the population. Most of the Assyrians in the Diaspora live in North America, Europe, and Australia. The remaining Assyrians reside primarily in Iraq, Syria, Iran, Lebanon, and Turkey. The Assyrians are not to be confused with Syrians. Although the name of Syria is directly derived from Assyria and the land was once a part of Assyria the people of Syria currently maintain a separate Arab identity. The Assyrians are not Arabs, but rather have maintained a continuous and separate identity, language, and culture that predates the Arabization of the Near East. Until today, the Assyrians speak a distinct language, Syriac, the language spoken by Jesus Christ. As a Semitic language, the Assyrian language is related to Hebrew and Arabic but predates both. The Assyrians were the first to accept Christianity in the first century A.D. Despite the subsequent Islamic conquest of the region, the Assyrian Church flourished and its adherents at one time numbered 80,000,000. Assyrian missionary zeal was unmatched and led to the first Christian missions to China and Japan. Today, the Assyrians belong to three major Christian sects: the Church of the East, the Chaldean Churc...

Eight Different Types of Content Writing That Can Make You Money

Eight Different Types of Content Writing That Can Make You Money Content is the material produced To access this sort of work, try contacting agencies that work for clients marketing agencies, content houses, web development agencies, SEO companies, and the like. There is also a wide range of content platforms and job boards that put work the way of freelancers, such as Upwork, ProBlogger, and Contently. You can also source content work Product pages Businesses often use freelancers when they have a huge number of products and need unique copy for each – DIY products, say, or auto components. Here youll often have a specific template to follow, plus instructions on brand voice. PPC (pay-per-click) ad copy These are the paid-for ads that appear among your search results when you look for something via a search engine. Many businesses still live or die on their ability to rank highly in search, so will spend a lot of money on a range of PPC ads. The copy has to follow a strict but easy-to-learn template. PPC stands for pay per click – the search engine gets a small fee whenever anyone clicks on an ad. Destination guides Travel companies often use these factual guides for the places around the world they serve. The guides are usually written to a specific template and tone of voice, and will be designed to help the business improve its search rankings. Social content Many businesses use freelancers to help them keep up a supply of fresh tweets, LinkedIn posts, and Facebook posts. You may be repurposing content, highlighting competitions or giveaways, or creating new copy based on news stories that are relevant for the business. Featured snippets Featured snippets are those pulled-out sections of content that appear high on a search results page, often in the form of a list or QA. Because these look like Googles ideal answer to a query, they attract lots of clicks, and businesses try to (re)write their copy to get it selected as the snippet for a particular search query. Theres a whole best practice here, but youll usually be given guidelines. One tip is to adopt a neutral, Wikipedia-style tone thats not salesy or self-serving. Blog content   Blogs are still a very popular content tactic for businesses. Typically posts will be an expert take on a topic that the business has expertise on, e.g., an insurance company might look like at the impact of climate change on premiums. You may need to interview an expert, usually ebooks In content terms, these are usually lively, very visual, in-depth pdf treatments, editorial rather than salesy in flavor, of a particular area that a business wants to show potential customers it knows about. For example, an office massage company might want an ebook called Ten Fun Ways to Motivate Your Staff – one of which will just happen to be massage, of course. UX copy A more specialized – but still learnable – area, UX copy is all the text elements that help a user move through an online process such as opening a bank account or completing a holiday purchase. Here you usually work with wireframes of the planned digital route. The UX copy must be economical and intuitive and will often be tested several times with real users.

Biology Essay Example | Topics and Well Written Essays - 750 words - 8

Biology - Essay Example Although there are many definitions of ethics, perhaps the most universally accepted definition regards ethics as an individual or group’s ability to make choices regarding how to behave. Ethical behavior can be broken down into two categories: the choice as it effects the society around the person making the decision, and the decision as it effects the self of the individual making the choice. An individual who is making an ethical decision must think of how the behavior will affect others, in an altruistic manner. There are many different kinds of stem-cells and uses for them, and many people have different ethical perspectives on what science should and should not be able to do in terms of autonomous limits. Forms of therapeutic cloning currently involve taking cells, often stem-cells, to help the individual in terms of rehabilitation and organ transplants. People feel different ways ethically about cloning. These stem cells can be preserved in the individual’s placental cells or other cells and then can used to make replacement cells if there is a problem or disease that comes up during the individual’s life. Therefore, therapeutic cloning uses techniques that are not designed towards cloning an individual per se, but instead using cell growth to help them with possible ailments and therefore improve their quality of life substantially. This process is set to solve problematic The uses of stem cells are broad: they can be used to fight genetic diseases and treat blood disorders, and cord blood carries less risk of infection. There have been studies in which adult patients have received blood cord stem cell units that were only partially matched and grafted successfully. Also, patients with gene disorders have been given stem cell transplants to replace genetic structures, and the exactitude of this measure is heightened

The evolution of the Earth, the Sun, the Moon, planets, and other Essay

The evolution of the Earth, the Sun, the Moon, planets, and other bodies in the universe - Essay Example The last and furthest planet is Pluto, which is a dwarf planet. After the sun, the second brightest object in the sky is the moon. It orbits around the earth once monthly. The impact theory suggests that the moon got formed out of collision between the earth and a very large object, the size of Mars or more. The moon got borne out of the ejected materials from the collision. At the center of the solar system is the sun. The sun is the largest object in the solar system. The sun makes up close to 99.8% of the solar systems mass (Merali & Skinner, 2008). The heat and light shed by the sun makes life possible on planet earth. The planets orbit the sun in paths called ellipses, which are oval shaped. A solar system references a star and all the objects that orbit around it. In our solar system, the sun is the star. The sun as the center of our solar system illuminates the light and heat that make it possible for life within any of the planets (Merali & Skinner, 2008). The planet earth is the only one proven to support life among the system. The planets Mercury and Venus are too close to the sun making them too hot and dry with little atmosphere. The outer planets are also unable to support life because they lack atmosphere, solid ground, oxygen and contain too much

Gap Year After Graduation Essay Example for Free

Gap Year After Graduation Essay Nowadays, students leaving high school regularly travel, do voluntary work or a job in a gap year before going on to higher education. Undoubtedly, students occupy various benefits from experiments in gap year. It is apparent that after rigorous terms, a gap year which students possibly travel, volunteer society or do temporary work before deciding to join in higher education stimulates positively their practical and adaptive capability. Initially, those dynamic activities possibly enhance empirical ability of youngsters who passively acquire knowledge during high school. In evidence, learners feasibly comprehend miracles of foreign languages when they practice experimentally via travelling or voluntary work in abroad. More significantly, not only can a gap year improves practical ability but also enhances communication skill through youngster’s real factual experiences. Only by adapting to a changeable and flexible environment can students expend their personal skill and learn how to communicate effectively. Accordingly, a period time which students perform them after high school period effects advantageously to their practical and soft skill. That the young experience in gap year is not only a principal platforms which help them choose higher education form but also a chance to become more mature. A gap year with profound considerations cumulated by real experiments justifies what kind of higher education they are advisedly appropriate for. The young who are able to apply into universities and passionate studying advanced knowledge identify accurately their choice. Nevertheless, others who are appropriate for practicing in actual life also ascertain that their selection is vocation. Additionally, facing to challenge of real life leads them to be awareness profoundly of the changing world. Hardly can the young be mature when they always are protected carefully by parents and are not responsible for themselves. Briefly, a gap year is precious chances which support the young identify what they real want. Therefore, challenge in real life which students pass in a gap year is also valuable experiments for developing in the future.

Josephines Chicken and Dumplings Essay -- Recipe Grandma Descriptive

Josephine's Chicken and Dumplings Josephine Courville was a pioneer woman. She could scratch a living from the poorest farm, patch together a quilt from random scraps, and see the beauty in every child she ever held. She knew about self-sufficiency, hard work, and surviving in the face of hard times. She outlived three husbands, most of her contemporaries, and the way of life that she exemplified. A lot can be learned from a woman like Josephine, but biographers seldom chronicle the lives of simple folk. It's usually the flashy politician or the military man whose superficial thoughts get written down for posterity. I was fortunate enough, however, to have had the opportunity to learn many things from Josephine directly, since she was also "Grandma;" the matriarch of my family. I would love to pass along everything she taught me, but that could take a lifetime so instead I will share just one special lesson: Josephine's chicken and dumplings. The first step in attempting to make Josephine's chicken and dumplings is procuring the chicken. One of those antiseptic plastic-wrapped carcasses from the supermarket won't do. It has to be a real chicken: a real dog-chased, bug-eating, heavyweight chicken. It takes time, exercise, and weight to produce the right flavor, and a chicken can't get that sitting in a cage eating arsenic. It would be simpler to get one from the supermarket, but it just can't be done. This principal is referred to as"garbage in garbage out" in present day vernacular; the selection of the right hen is the critical input that determines the quality of the output. Grandma always raised a large flock of her own and would select an older "stewing hen", as she called them. They were the larger hens that had been... ...offee mingling with that of the simmering chicken gave the dish an extra panache. I have tried substituting fireplace smoke with some success, but have been unable to duplicate the smell of the boiling coffee using that method. A wood cookstove or parlor stove topped with an old- fashioned percolator is preferable if one can be obtained. The meal should be eaten in the kitchen where it was prepared and served on a table large enough for everyone to gather around. Conversation, laughter and reminiscing should be encouraged throughout the meal, and please, no television. This recipe is neither easy nor quick. Don't expect success the first try, or even the second. In fact, it may take a lifetime to master, but I assure any who try that the reward is well worth the effort. Josephine's chicken and dumplings will not only fill the stomach but enrich the soul as well.

Internet Shopping Essay

In the technologically advanced world that we live in today, it seems as though there are very few things that cannot now be done via the Internet. Internet shopping is one activity in particular that has grown to be especially popular, and in fact there are some people who will no longer buy anything if it is not available online. There are two very strong opinions on this subject, those who are for Internet shopping and those who are against it. Both sides make very viable points and there are understandable reasons behind their opinions, however before one can take either side of this discussion, there is some important information regarding this matter that needs to be taken into consideration. â€Å"Past commentaries on the potential impact of the Internet on consumer marketing have typically failed to acknowledge that consumer markets are heterogeneous and complex and that the Internet is but one possible distribution, transaction, and communication channel in a world dominated by conventional retailing channels. † (Peterson, 1997). The objective of this paper is to provide a sort of framework for understanding about the possible impacts of the Internet shopping experience on consumers, the aim being to bring attention to this information, and to address both the benefits and the concerns that are associated with Internet shopping. This is what will be dissertated in the following. We have certainly come a long way over the years – only a decade ago one wouldn’t have even been able to imagine the possibility of making purchases and shopping over a computer. Today however, Internet shopping is incredibly popular and offers a surreal convenience that is really nothing less than remarkable. You can find pretty much anything over the Internet, and one of the best parts of all is that you can purchase items from the other side of the world all with just a click of a button, and without ever having to leave the comfort of your own home. This allows the buyer to be more at ease and feel more relaxed while shopping, something that everyone can appreciate. There are both advantages and disadvantages to Internet shopping however, as well as many issues that need to be learned and fully understood before one gets themselves involved in the online shopping process. There are various different concerns that are present here, and a large majority of people who are against Internet shopping because they feel that it is too dangerous. Privacy issues are a top concern, especially since for most purchases online you need a credit card, and so consumers worry that their credit card number and other personal information will be out there in cyberspace and third parties will be able to access the information. There are a few ways to ensure that this isn’t possible however, namely ensuring that the company you are purchasing from makes sure that all of the information flowing to and from their website is encrypted, making it next to impossible for hackers or other third parties to access and use. Consumers should only buy from websites that are professional looking, because after all the greater the success and reputation of a company, the more money they are going to be able and willing to put into their website, so this will say a lot about them. You also want to ensure that both the website and your web browser are set to the highest level of security notification and monitoring, so that even if by chance something does go wrong, or a third party is noticed on the site, you will be warned about it in advance. There are also certain disclosure requirements that you will want to be aware of before buying anything off the Internet, and this means understanding what you are agreeing to in a contract, as the regulation states that before you make any type of Internet purchase, the seller that you are buying from must give you the following information: â€Å"The business name, address, and telephone number; a description of the goods or services; an itemized list of the price of goods or services and any associated costs payable by the consumer including taxes and shipping charges; a description of any additional charges that may apply to the contract such as customs duties and brokerage fees whose amounts cannot reasonably be determined by the supplier; the currency in which the amount owing is payable; the terms, conditions and method of payment; the supplier’s cancellation, return, exchange and refund policies, if any; the delivery date and delivery arrangements; any other limitatio ns or conditions that may apply. † (Service Alberta, 2006). Another advantage to online shopping is one that most people actually do not even realize, as it involves the environment. Consumers who shop online typically receive parcels from major private carriers such as UPS and FedEx, and so from a short-term perspective at least, the cultural shift away from the typical brick and mortar retail has shown to be positive, as it seems to offer a net boost to recycling programs. There are many people who are for Internet shopping, who feel safer putting their trust in an online company than in an actual employee. People who want to remain anonymous and have more privacy when shopping also tend to prefer the Internet, because they are able to buy the items they want without anyone ever having to know that it was them. The convenience feature is another of the most major benefits, as you can make time to do your shopping when you want, and not have to dictate your schedule around the hours of retail stores. There are many other benefits that consumers receive from shopping online as well, such as the fact that they are typically offered a much wide range of products from a company’s website than they would be in a regular store. This is mainly because when you buy online you are buying directly from the manufacturer and so they always have the offered items in stock, whereas if you purchase from a retail store, this is sort of a secondhand merchant and so if they are out of stock of a particular item you will have to wait for them to order it in from the manufacturer before you can purchase it. From this review we are able to conclude many things, namely that Internet shopping can be a very positive experience, but only if the consumer doing the purchasing is aware of the concerns and makes sure to take every necessary step in order to protect themselves. Online shopping can be an incredibly convenient, simple, and enjoyable purchasing process, but only if and when all the necessary precautions and steps are taken. Identity theft and other Internet-related crime issues that tend to make consumers paranoid to shop online are actually rarities, and usually only happen when the consumer is careless and does not take the proper steps in protecting themselves before giving out their personal information online. The most important thing is to be educated, and the more you make yourself knowledgeable on this matter, the better off you are going to be. References Ingham, L. (2001). Grandma’s Guide to Internet Shopping. Willow Island, NE: Willow Island Editions. Peterson, R. A. (1997). Exploring the Implications of the Internet for Consumer Marketing, Journal of the Academy of Marketing Science, 25 (4): 329-346. Service Alberta. (2006). Internet Shopping. Retrieved August 22, 2007, from

Chapter 18 Solutions

EXERCISE 18-1 (10-15 minutes) Add or deduct from accounting income (a)2deduct (b)1add (c)3add (d)1add (e)2deduct (f)2deduct (g)1add (h3deduct (i)3deduct (j)1add (k)1add (l)1add EXERCISE 18-3 (15-20 minutes) (a) Accounting income$105,000 Permanent differences: Non-deductible fines 11,000 116,000 Timing differences: Excess of CCA over amortization (16,000) Excess rent collected over rent earned? 24,000 Taxable income$124,000 Current income taxes – 30% $37,200 (b) Deductible Balance(Taxable)Future TaxCurrent SheetTemporaryTax AssetLong- AccountDifferencesXRate(Liability)TermPP & E($16,000)*30%($4,800) LT Unearned Rent revenue 24,00030% 7,200C Future income tax asset, Dec. 31, 20092,400 Future income tax asset before adjustment 0 Incr. in future income tax asset and future income tax benefit for 2009$2,400 *Carrying amount and tax basis are not given in the exercise, only the net difference (c)Current Income Tax Expense37,200 Income Tax Payable37,200 Future Income Tax Asset? 7,200 * Future Income Tax Benefit2,400 Future Income Tax Liability? 4,800* *or a net debit to Future Income Tax Asset of $2,400 Because of a flat tax rate, these totals can be reconciled: $24,000 – $16,000) X 30% = $7,200 + ($4,800). EXERCISE 18-3 (Continued) (d)Income before income taxes$105,000 Income tax expense Current$37,200 Future benefit? (2,400)? 34,800 Net income$70,200 (e) Divided by Accounting @ 30% Income Accounting income $ 105,000 31,500 30. 0% Non-deductible fines 11,000 3,300 3. 1% 34,800 33. 1% Effective tax rate ($34,800/$105,000)33. 1% (f)Current assets Future income tax asset$7,200 Non-Current liabilities Future Income Tax Liability4,800 EXERCISE 18-9 (15-20 minutes) (a) Balance Deductible Sheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAssetDec. 31, 2008AmountBasisDifferencesRate(Liability) Warranty liability($130,000)$0 $130,000 25%$32,500 Future income tax asset, December 31, 200832,500 Future income tax asset before adjustment 0 Increase in future i ncome tax asset and future income tax benefit for 2008$32,500 Future years Total200920102011 Deductible temporary difference Warranty liability $130,000 $50,000 $35,000 $45,000 Tax rate enacted for the year 25%25%25% Future tax asset $32,500 $12,500 $8,750 $11,250 EXERCISE 18-9 (Continued) (b)2008 Accounting income$135,000Permanent differences:-0- Timing difference: Warranty expense > warranty costs incurred 130,000 Taxable income 265,000 Current income taxes – 25%$66,250 (c) Current Income Tax Expense66,250 Income Tax Payable 66,250 Future Income Tax Asset32,500 Future Income Tax Benefit32,500 (d)Income before income taxes$135,000 Income tax expense Current$66,250 Future benefit? (32,500) 33,750 Net income$101,250 EXERCISE 18-15 (40-45 minutes) (a) Basic Calculations of Capital Cost Allowance, Amounts and Balances: C-B (A)(B)A – B(C)Timing YearBaseCCAUCCAmort. NBVDifference 2007 $600,000 X 40 % X . $ 120,000 $ 480,000 $120,000$480,000$0 2008 480,000 X 40 % 192,000 288 ,000 120,000360,000(72,000) 2009 288,000 X 40 % 115,200 172,800 120,000240,0004,800 2010 172,800 X 40 % 69,120 103,680 120,000120,00050,880 2011 103,680 X 40 % 41,472 62,208120,000078,528 $537,792 (b) 20072008200920102011 Accounting income $ 340,000 $340,000 $340,000 $340,000 $ 340,000 Timing difference – (72,000) 4,800 50,880 78,528 Taxable income $ 340,000 $268,000 $344,800 $390,880 $ 418,528 X 34 %X 34 %X 34 %X 34 %X 34 %Income taxes payable$115,600$91,120$117,232$132,899$142,300 EXERCISE 18-15 (Continued) (c) and (d) 2007 Balance Deductible Sheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2007AmountBasisDifferencesRate(Liability) Property Plant & Equipment$480,000 $480,000 034%$0 Future income tax asset/liability, December 31, 20070 Future income tax asset/liability before adjustment 0 Increase in future income tax liability and future income tax expense for 2007$0 Current Income Tax Expense115,600 Income Taxes Payable? 115,600 ($340,000 X 34%) part (a) EXERCISE 18-15 (Continued) (c) and (d) continued 008 Balance Deductible Sheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2008AmountBasisDifferencesRate(Liability) Property Plant & Equipment$360,000$288,000 (72,000)34%($24,480) Future income tax liability, December 31, 2008(24,480) Future income tax liability before adjustment 0 Increase in future income tax liability and future income tax expense for 2008($24,480) Current Income Tax Expense91,120 Income Taxes Payable? 91,120 ($268,000 X 34%) part (a) Future Income Tax Expense24,480 Future Income Tax Liability? 24,480 EXERCISE 18-15 (Continued) (c) and (d) continued 2009Balance Deductible Sheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2009AmountBasisDifferencesRate(Liability) Property Plant & Equipment$240,000$172,800 ($67,200)34%($22,848) Future income tax liability, December 31, 2009(22,848) Future income tax liability before adjustment (24,480) Decrease in future income tax liab ility and future income tax benefit for 2009$1,632 2009 Current Income Tax Expense117,232 Income Taxes Payable? 117,232 ($344,800 X 34%) part (a) Future Income Tax Liability1,632 Future Income Tax Benefit? 1,632 EXERCISE 18-15 (Continued) (c) and (d) continued 2010 Balance DeductibleSheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2010AmountBasisDifferencesRate(Liability) Property Plant & Equipment$120,000$103,680 ($16,320)34%($5,549) Future income tax liability, December 31, 2010(5,549) Future income tax liability before adjustment (22,848) Decrease in future income tax liability and future income tax benefit for 2010$17,299 2010 Current Income Tax Expense132,899 Income Taxes Payable? 132,899 ($390,880 X 34%) part (a) Future Income Tax Liability17,299 Future Income Tax Benefit? 17,299 EXERCISE 18-15 (Continued) (c) and (d) continued 2011 Balance DeductibleSheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2011AmountBasisDifferencesRate(Li ability) Property Plant & Equipment$0$62,208 $62,20834%$21,151 Future income tax asset, December 31, 201121,151 Future income tax liability before adjustment (5,549) Increase in future income tax asset and future income tax benefit for 2011$26,700 2011 Current Income Tax Expense142,300 Income Taxes Payable? 142,300 ($418,528 X 34%) part (a) Future Income Tax Liability5,549* Future Income Tax Asset21,151* Future Income Tax Benefit? 26,700 *Alternately, a debit to Future Tax Asset26,700 EXERCISE 18-15 (Continued) (e) 2007Current Income Tax Expense115,600 Income Taxes Payable? 115,600 ($340,000 X 34%) 2008 Current Income Tax Expense91,120 Income Taxes Payable? 91,120 ($268,000 X 34%) 2009 Current Income Tax Expense117,232 Income Taxes Payable? 117,232 ($344,800 X 34%) 2010 Current Income Tax Expense132,899 Income Taxes Payable? 132,899 ($390,880 X 34%) 2011 Current Income Tax Expense142,300 Income Taxes Payable? 142,300 ($418,528 X 34%) PROBLEM 18-9 Part 1. (a) Mixed tax rates Future y ears 20092010201120122013Total Future taxable amounts ($300) ($300) ($300) ($200) ($100) ($1,200) Tax rate enacted for the year 30%30%30%35%35%Future tax (liability) ($90) ($90) ($90) ($70) ($35) ($375) Future years 20092010201120122013Total Future deductible amounts $1,800 $1,800 Tax rate enacted for the year 30%30%30%35%35% Future tax asset – – – $ 630 – $ 630 PROBLEM 18-9 (Continued) Part 1. (a) Balance Deductible Sheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2008Amount*Basis*DifferencesRate(Liability) Property Plant & Equipment($1,200)Mixed($375) Litigation Liability1,800Mixed630 Future income tax asset, December 31, 2008255Future income tax liability before adjustment (500) Increase in future income tax asset and future income tax benefit for 2008$755 * not given in the problem Part 1. part (b) Current Income Tax Expense1,200 Income Tax Payable1,200 ($4,000 X 30%) Future Income Tax Asset/Liability755 Future Income Tax Benefi t755* *Alternately: Future Income Tax Asset630 Future Income Tax Liability125 Future Income Tax Benefit755 PROBLEM 18-9 (Continued) Part 2. (a) Mixed tax rates Future years 2009201020112012Total Future taxable amounts ($400) ($400) ($400) ($400) ($1,600) Tax rate enacted for the year 30%30%30%35%Future tax (liability) ($120) ($120) ($120) ($140) ($500) Future years 2009201020112012Total Future deductible amounts $3,000 $3,000 Tax rate enacted for the year 30%30%30%35% Future tax asset – – $900 – $900 PROBLEM 18-9 (Continued) Part 2. (a) Balance Deductible Sheet (Taxable) Future Tax AccountCarryingTaxTemporaryTaxAsset Dec. 31, 2008Amount*Basis*DifferencesRate(Liability) Property Plant & Equipment($1,600)Mixed($500) Litigation Liability3,000Mixed900 Future income tax asset, December 31, 2008400 Future income tax asset before adjustment 600Decrease in future income tax asset and future income tax expense for 2008$200 * not given in the problem Part 2. part (b) Curr ent Income Tax Expense1,200 Income Tax Payable1,200 ($4,000 X 30%) Future Income Tax Expense200* Future Income Tax Asset200* *Alternately: Future Income Tax Expense200 Future Income Tax Asset300 Future Income Tax Liability500 PROBLEM 18-9 (Continued) (c) Part 1 – All balance sheet related accounts are non-current Pirates Corp. Balance Sheet December 31, 2008 Non-current assets Future income tax asset$255 Part 2 – All balance sheet related accounts are non-current Eagles Corp. Balance Sheet December 31, 2008Non-current assets Future income tax asset$400 PROBLEM 18-12 (a)2007 Income Tax Refund Receivable—20047,500 ($25,000 X 30%) Income Tax Refund Receivable—200518,000 ?($60,000 X 30%) Income Tax Refund Receivable—200632,000 ($80,000 X 40%) Current Income Tax Benefit (Due to Loss Carryback)57,500 Note:An acceptable alternative is to record only one Income Tax Refund Receivable account for the amount of $57,500. Future Income Tax Asset18,000 Future I ncome Tax Benefit (Due to Loss Carryforward)18,000 ($210,000 – $25,000 – $60,000 – $80,000 = $45,000) ($45,000 X 40% = $18,000) 2008 Current Income Tax Expense10,000Income Tax Payable? 10,000 [($70,000 – $45,000) X 40%] Future Income Tax Expense18,000 Future Income Tax Asset18,000 ($18,000 – $0) 2009 Current Income Tax Expense31,500 Income Tax Payable ($90,000 X 35%)31,500 PROBLEM 18-12 (Continued) (b)One or more income tax refund receivable accounts totalling $57,500 will be reported under current assets on the balance sheet at December 31, 2007. This type of receivable is usually listed immediately above inventory in the current asset section. This receivable is normally collec ¬tible within two months of filing the amendment to the tax returns reflecting the carryback.A future income tax asset of $18,000 should also be classified as a current asset because the benefits of the loss carryforward are expected to be realized in the year that im mediately follows the loss year, which means the benefits are expected to be realized in 2008. A current future income tax asset is usually listed at or near the end of the list of current assets on the balance sheet. Also, retained earnings is increased by $75,500 ($57,500 + $18,000) as a result of the entries to record the benefits of the loss carryback and the loss carryforward. (c)2007 Income StatementOperating loss before income taxes($210,000) Income tax benefit Current benefit due to loss carryback$57,500 Future benefit due to loss carryforward? 18,000 75,500 Net loss($134,500) (d)2008 Income Statement Income before income taxes$70,000 Income tax expense Current$10,000a Future? 18,000? 28,000 Net income$42,000 a [($70,000 – $45,000) X 40%] PROBLEM 18-12 (Continued) (e)2007 Income Tax Refund Receivable—20047,500 ($25,000 X 30%) Income Tax Refund Receivable—200518,000 ($60,000 X 30%) Income Tax Refund Receivable—200632,000 ?($80,000 X 40%) Current Income Tax Benefit (Due to Loss Carryback)57,500Note:An acceptable alternative is to record only one Income Tax Refund Receivable account for the amount of $57,500. Although the tax benefit is not recognized in the accounts, Mearat Inc. has a tax loss carryforward of $45,000 which should be disclosed. 2008 Current Income Tax Expense10,000 Income Tax Payable? 10,000 [($70,000 – $45,000) X 40%] 2009 Current Income Tax Expense31,500 Income Tax Payable ($90,000 X 35%)31,500 (f)2007: entry for current taxes – no change 2007: if a valuation allowance is used, the full benefit and future tax asset related to the tax loss carryforward is recognized and then offset by the allowance, as follows.Future Income Tax Asset18,000 Future Income Tax Benefit (Due to Loss Carryforward)18,000 ($45,000 X 40% = $18,000) Problem 18-12 (f) (Continued) Future Income Tax Expense18,000 Allowance to Reduce Future Income Tax Asset to Realizable Value)18,000 ($18,000 – $0) 2008: entry for cu rrent taxes – no change 2008: because the tax loss carryforward has now been used, both the amount in the future tax account and in its allowance account must be removed, as follows. Future Income Tax Expense (Due to Use of Loss Carryforward)18,000 Future Income Tax Asset18,000 Allowance to Reduce Future IncomeTax Asset to Realizable Value18,000 Future Income Tax Benefit (from Adjustment of Allowance)18,000 Alternatively, one entry could have been made: Allowance to Reduce Future Income Tax Asset to Realizable Value18,000 Future Income Tax Asset18,000 2009: No change to part (e) entry. (g)2007 Income Statement Operating loss before income taxes($200,000) Income tax benefit Current benefit due to loss carryback? 57,500 Net loss($142,500) 2008 Income Statement Income before income taxes$70,000 Income tax expense – Current a 14,000 Net income$56,000 a [($70,000 – $35,000) X 40%] PROBLEM 18-12 (Continued) h)Using the valuation allowance instead of applying the redu ction in value directly does not have any impact on cash flows. The use of the contra allowance simply permits the recording of the full benefits associated with all future deductible amounts in the asset account. This facilitates tracking for management purposes. It has no use for financial reporting purposes except, perhaps, for the transparency of the information. Readers can see the total possible benefits and the extent to which management has judged they will not be realized. Use of the allowance has no impact on cash flows.

Saigo Takamori and The Satsuma essays

Saigo Takamori and The Satsuma essays Saigo Takamori and The Satsuma Rebellion Saigo Takamori was a samurai of Satsuma and a famous figure in Japan. He became the Satsuma general, and its undisputed military leader in 1871 after a conspirator assassinated the former military leader. In December 1871 important Meji government officials led a mission sent overseas to revise the unequal treaties placed on Japan. Saigo is quoted to have said It would be a good thing if the boat carrying the mission members sank to the bottom of the ocean. This shows Saigos resentment of the new government leaders Saigo represented feudalism and the old military classes. His interest were based on: His home province of Satsuma Unifying Japan by buying out the local Daimyos. This was an attack on Satsumas local independence and would bring them under the control of the Meji government. National unity. This involved the destruction of the Samurais privileges. Saigo focused on the affairs of his home providence. He set up private schools, which were aimed at training samurai in military skills and encouraging the Samurai lifestyle. The Samurai was becoming far less important in Japan and the number of samurais had reduced dramatically. In 1877 there was a total of 20,000 pupils attending his schools. Satsuma was outside the jurisdiction of the central government in all but name. It had become an area in which no official meetings could be made without Saigos approval and no official policy could be introduced if he opposed it. The Meji government was in the early stages of its leadership and it could not accept the situation because it was damaging to the governments attempts to modernized Japan. In 1876, three actions by the government increased the tension in Satsuma I. The government finished a treaty with Korea which opened its ports to trade ...

How It Feels to Be Colored Me, by Zora Neale Hurston

How It Feels to Be Colored Me, by Zora Neale Hurston Zora Neal Hurston was an author that was widely acclaimed. A genius of the South, novelist, folklorist, anthropologist- those are the words that Alice Walker had inscribed on the tombstone of Zora Neale Hurston. In this personal  essay (first published in The World Tomorrow, May 1928), the acclaimed author of Their Eyes Were Watching God explores her own sense of identity through a series of memorable examples and striking metaphors. As  Sharon L. Jones has observed, Hurstons essay challenges the reader to consider race and ethnicity as fluid, evolving, and dynamic rather than static and unchanging -Critical Companion to Zora Neale Hurston, 2009 How It Feels to Be Colored Me by Zora Neale Hurston 1 I am colored but I offer nothing in the way of extenuating circumstances except the fact that I am the only Negro in the United States whose grandfather on the mothers side was not an Indian chief. 2 I remember the very day that I became colored. Up to my thirteenth year I lived in the little Negro town of Eatonville, Florida. It is exclusively a colored town. The only white people I knew passed through the town going to or coming from Orlando. The native whites rode dusty horses, the Northern tourists chugged down the sandy village road in automobiles. The town knew the Southerners and never stopped cane chewing when they passed. But the Northerners were something else again. They were peered at cautiously from behind curtains by the timid. The more venturesome would come out on the porch to watch them go past and got just as much pleasure out of the tourists as the tourists got out of the village. 3 The front porch might seem a daring place for the rest of the town, but it was a gallery seat for me. My favorite place was atop the gatepost. Proscenium box for a born first-nighter. Not only did I enjoy the show, but I didnt mind the actors knowing that I liked it. I usually spoke to them in passing. Id wave at them and when they returned my salute, I would say something like this: Howdy-do-well-I-thank-you-where-you-goin? Usually, automobile or the horse paused at this, and after a queer exchange of compliments, I would probably go a piece of the way with them, as we say in farthest Florida. If one of my family happened to come to the front in time to see me, of course, negotiations would be rudely broken off. But even so, it is clear that I was the first welcome-to-our-state Floridian, and I hope the Miami Chamber of Commerce will please take notice. 4 During this period, white people differed from colored to me only in that they rode through town and never lived there. They liked to hear me speak pieces and sing and wanted to see me dance the parse-me-la, and gave me generously of their small silver for doing these things, which seemed strange to me for I wanted to do them so much that I needed bribing to stop, only they didnt know it. The colored people gave no dimes. They deplored any joyful tendencies in me, but I was their Zora nevertheless. I belonged to them, to the nearby hotels, to the county- everybodys Zora. 5 But changes came in the family when I was thirteen, and I was sent to school in Jacksonville. I left Eatonville, the town of the oleanders, a Zora. When I disembarked from the riverboat at Jacksonville, she was no more. It seemed that I had suffered a sea change. I was not Zora of Orange County anymore, I was now a little colored girl. I found it out in certain ways. In my heart as well as in the mirror, I became a fast brown- warranted not to rub nor run. 6 But I am not tragically colored. There is no great sorrow dammed up in my soul, nor lurking behind my eyes. I do not mind at all. I do not belong to the sobbing school of Negrohood who hold that nature somehow has given them a lowdown dirty deal and whose feelings are all but about it. Even in the helter-skelter skirmish that is my life, I have seen that the world is to the strong regardless of a little pigmentation more of less. No, I do not weep at the world- I am too busy sharpening my oyster knife. 7 Someone is always at my elbow reminding me that I am the granddaughter of slaves. It fails to register depression with me. Slavery is sixty years in the past. The operation was successful and the patient is doing well, thank you. The terrible struggle that made me an American out of a potential slave said On the line! The Reconstruction said Get set! and the generation before said Go! I am off to a flying start and I must not halt in the stretch to look behind and weep. Slavery is the price I paid for civilization, and the choice was not with me. It is a bully adventure and worth all that I have paid through my ancestors for it. No one on earth ever had a greater chance for glory. The world to be won and nothing to be lost. It is thrilling to think- to know that for any act of mine, I shall get twice as much praise or twice as much blame. It is quite exciting to hold the center of the national stage, with the spectators not knowing whether to laugh or to weep. 8 The position of my white neighbor is much more difficult. No brown specter pulls up a chair beside me when I sit down to eat. No dark ghost thrusts its leg against mine in bed. The game of keeping what one has is never so exciting as the game of getting. 9 I do not always feel colored. Even now I often achieve the unconscious Zora of Eatonville before the Hegira. I feel most colored when I am thrown against a sharp white background. 10 For instance at Barnard. Beside the waters of the Hudson I feel my race. Among the thousand white persons, I am a dark rock surged upon, and overswept, but through it all, I remain myself. When covered by the waters, I am; and the ebb but reveals me again. 11 Sometimes it is the other way around. A white person is set down in our midst, but the contrast is just as sharp for me. For instance, when I sit in the drafty basement that is The New World Cabaret with a white person, my color comes. We enter chatting about any little nothing that we have in common and are seated by the jazz waiters. In the abrupt way that jazz orchestras have, this one plunges into a number. It loses no time in circumlocutions, but gets right down to business. It constricts the thorax and splits the heart with its tempo and narcotic harmonies. This orchestra grows rambunctious, rears on its hind legs and attacks the tonal veil with primitive fury, rending it, clawing it until it breaks through to the jungle beyond. I follow those heathen- follow them exultingly. I dance wildly inside myself; I yell within, I whoop; I shake my assegai above my head, I hurl it true to the mark yeeeeooww! I am in the jungle and living in the jungle way. My face is painted red and yellow and my body is painted blue. My pulse is throbbing like a war drum. I want to slaughter something- give pain, give death to what, I do not know. But the piece ends. The men of the orchestra wipe their lips and rest their fingers. I creep back slowly to the veneer we call civilization with the last tone and find the white friend sitting motionless in his seat, smoking calmly. 12 Good music they have here, he remarks, drumming the table with his fingertips. 13 Music. The great blobs of purple and red emotion have not touched him. He has only heard what I felt. He is far away and I see him but dimly across the ocean and the continent that have fallen between us. He is so pale with his whiteness then and I am so colored. 14 At certain times I have no race, I am me. When I set my hat at a certain angle and saunter down Seventh Avenue, Harlem City, feeling as snooty as the lions in front of the Forty-Second Street Library, for instance. So far as my feelings are concerned, Peggy Hopkins Joyce on the Boule Mich with her gorgeous raiment, stately carriage, knees knocking together in a most aristocratic manner, has nothing on me. The cosmic Zora emerges. I belong to no race nor time. I am the eternal feminine with its string of beads. 15 I have no separate feeling about being an American citizen and colored. I am merely a fragment of the Great Soul that surges within the boundaries. My country, right or wrong. 16 Sometimes, I feel discriminated against, but it does not make me angry. It merely astonishes me. How can any deny themselves the pleasure of my company? Its beyond me. 17 But in the main, I feel like a brown bag of miscellany propped against a wall. Against a wall in company with other bags, white, red and yellow. Pour out the contents, and there is discovered a jumble of small things priceless and worthless. A first-water diamond, an empty spool, bits of broken glass, lengths of string, a key to a door long since crumbled away, a rusty knife-blade, old shoes saved for a road that never was and never will be, a nail bent under the weight of things too heavy for any nail, a dried flower or two still a little fragrant. In your hand is the brown bag. On the ground before you is the jumble it held- so much like the jumble in the bags, could they be emptied, that all might be dumped in a single heap and the bags refilled without altering the content of any greatly. A bit of colored glass more or less would not matter. Perhaps that is how the Great Stuffer of Bags filled them in the first place- who knows?

STUXNET Research Paper Example | Topics and Well Written Essays - 1250 words

STUXNET - Research Paper Example As the engineer hooked the computer to the Internet, the worm spread far and wide. How the Stuxnet Worm Spread The Stuxnet worm started to spread in March 2010, but it took its first variant about three months from then to appear. As people learnt about the existence of the worm on 15 July 2010, the servers for two mailing lists were attacked with the distributed denial-of-service on the industrial-systems security. Although at that time, the source of attack could not be worked out, yet it was suspected to be the Stuxnet worm. As a result of the attack, one of the two mailing lists got disabled, thus interrupting a very important informative source for the factories and the power plants. Two more variants of the Stuxnet worm surfaced; the first in March 2010 and the second in April 2010. In the authors’ opinion, the second and substantially improved variant showed up because of slow progression of the Stuxnet worm. The third variant that surfaced in April 2010 had only minor improvements. There is a build time-stamp in thee worm that starts from 3 February 2010. According to the report delivered by the Sky News on 25 November 2010 in the United Kingdom, an anonymous source whose IT security organization was also unidentified sent the news to Sky News that the black market had received a variation of the Stuxnet worm, but there was lack of consensus among the security experts over this matter. How the Stuxnet Worm Works Stuxnet makes use of vulnerability just like Windows uses the shortcut files to expand to new systems. The Stuxnet worm’s design was bottom-up so that it could effectively attack the systems implemented for the management of industrial networks like chemical manufacturing facilities and power plants as well as the systems of Supervisory Control and Data Acquisition (SCADA). In the start, the Stuxnet worm was thought to progress through such removable drives as USB sticks. However, about two weeks after the Stuxnet worm was first id entified, researchers of the Kaspersky Lab working in Moscow found that an unknown security flaw in the sharing of printer resources by the Windows could also help the Stuxnet worm spread. Microsoft found a way to fix this vulnerability with MS10-061 which varies in risk from one type of windows to another. â€Å"At least one aspect of what Stuxnet does is to take control of the process and to be able to do†¦whatever the author or programmer wants it to do. This has potentially devastating consequences, and there needs to be a lot more attention focused on it† (Weiss cited in â€Å"‘Stuxnet’ Worm Far†). The Target of the Stuxnet Worm The main target of the Stuxnet worm is the Siemens software. One trait that distinguishes the Stuxnet worm from most viruses that have been identified to date is that it remains silent till the time the worm locates Siemens software in the Windows system. Once the Siemens software is found, the Stuxnet worm exploits up to four 0-day attacks. The Stuxnet worm infected the SCADA systems in 14 functional plants of Siemens, though the infections could not hold the infected plants’ productions. According to the IDG News reports, the Stuxnet worm has infected systems at the Siemens plants in North America, Korea, and the UK, while the maximum infections have so far been made in the plants operating in

Is business collaboration, rather than market competition, becoming Essay

Is business collaboration, rather than market competition, becoming the key to success Discuss in relation to two sectors - Essay Example Townsend and Shelley (2008) opined that, competition and collaboration exists in a business side by side and provides interdepartmental competition within the collaborative organizations. In many times it has been proven that, collaboration with the rival firms creates stronger business even with apparent competitor. In the current business scenario, getting away from the competition is quite tough. A business cannot resist itself from entering into a market competition. But collaboration is more active to inject aviation and fitness within an industry, more importantly in providing better experience to the customer. Organizations those are not able to form collaboration, are not much effective to encourage innovation towards the business growth and strategic capabilities. As businesses are becoming more close to the global world, collaboration is becoming increasingly important to ensure long term existence. The two industries where business collaboration can be experienced and observed in plenty are the IT industry and the Automobile industry. Collaboration among the IT industries has resulted to deliver IT based solution that are more flexible and tailored to meet changing business and customer’s needs. Examples of collaboration in IT sectors are Microsoft to Nokia, Google to Motorola etc. On the other hand, focusing on the collaboration technique, Auto mobile industries also gained high production capacity and margin to the high volume. Some major collaboration that already has taken place in automobile industry is general motor to PSU, Tata to Jaguar etc. Undoubtedly, collaborative strategy and dynamic is more effective in comparison to competition to provide innovation and business growth. Collaboration is more appropriate to competition in creating better future for a business. Ring et al. (1994) opted that, global competition may send a business to the outer space from the industry, but

Marketing Mix of Walmart Case Study Example | Topics and Well Written Essays - 2000 words

Marketing Mix of Walmart - Case Study Example Furthermore many advertisements have deeper meanings than when seen at first sight especially in magazines where the main goal of the advertisement is to convey a message to the readers through the use of text or symbols. Central to much of modern day advertising in glossy magazines is the use of the metaphor (Proctor et. al, 2005). Metaphors are often used to broaden the way of understanding things. They also lead to a high level of ambiguity in the metaphoric form. Advertisers are finding it more and more difficult to persuade customers about a specific product. Some reasons for that is the higher educational levels and wide experience of using the products. As a result, some advertisers have moved towards creating advertisements that are out of the ordinary by using double meanings 'polysemy' or by integrating ration with emotion. Businesses today face challenges such as globalisation and opportunities as technology advancement and decreased legislation. Marketing is the service concept, which is aimed at the creation, promotion, and delivery of goods and services to the customers. Although many non-profit organisations don't sell products but they market their mission. They need to make the people understand their cause. Very often it is assumed that the people will automatically support the good cause. Unfortunately, this is a false premise. Even the best of programs will fade into obscurity unless non-profit management intentionally makes other groups, associations, businesses, and individuals aware of their mission and continuously maintains that level of awareness. Communication builds understanding and advocates change. Non-profits should define their intended audiences, target their messages to these groups, and outline strategic plans that will best use limited resources to meet organisational goals and objectives. How many people in your community are alert to the good work of your organisation Effective communication and a consistent image also enhance the ability of non-profit organisations to raise money. If local community members do not have an awareness of the good work that a non-profit does; it is unlikely that they will contribute to a fund raising campaign. In turn, if private foundations do not see financial support at the local level, they may be less inclined to award grants. Foundations also look at grant proposals to see how an organisation plans to communicate the results of their program. Marketing is an on-going, cumulative strategy that can build financial partnerships. Regardless of an organisation's size or mission, here are some essential elements of successful marketing that will work to build community awareness and support. Wendy Gray Maynard, Marketing for non-profit Organisations, Concept Marketing Group, Inc., available at http://www.marketingsource.com/articles/view/2101 The American marketing association defines market research as "The systematic gathering, recording, and analysis of data about problems relating to the marketing of goods and services". Consumer analysis is an

Trends in Indias Film Industry

Trends in Indias Film Industry 1.  Chapter One: Introduction In these modern times of instant digital communication, film has turn out to be one of the most vital way through various nations and cultures reveal their values and identities. Moving image technologies has turn out to be all-encompassing in our lives. They are huge business. Apart from that, a capability to recognize and apply them has become as important for the people of this present era as literacy was in the times of19th and 20th century (India PR Wire, April 4, 2007). The tempo, scale and consequences of this transformation are significant enough. The Indian Film industry has made a huge development ever since the Motion pictures first arrived in India in the year of 1896 when the Lumiere brothers revealed six silent short films in Bombay. The first feature film of India named- King Harishchandra (which was a silent movie) was released in the year of1913. In India the first ‘talkie’ movie that released was Alam Ara in the year 1931 (India PR Wire, April 4, 2007). 1.1  Film Production Houses In India A film production house is normally connected with the in-house production. It could categorize, make or telecast various segments of programs around news, films, multimedia, television shows, sports or ad films. India can be regarded as a home to a several well-known production houses from all the aforesaid stated areas. www.bestindiansites.com specifies top leading Indian websites on production houses of India, sports production house, ad film production house, film production house, sports production house, information on production house, list of production houses, television production house, multimedia production house, and a several other significant information’s (Subramaniam, A, 2003). We can in reality utter about various types of production houses such as Independent and corporate and just detail it by stating that Individual production houses are managed by just 1 or 2 producers and the infusion of capital investment for the production purpose is mainly generated by personal investment or by the means of loans taken from private investor. For corporate houses we could only cite that it is just like as any other corporate deal with the only differentiation that it produces films which is considered under the head of creative segment (essentially organised corporate structure of producing in creative industries – which is a new concept for Indian film industry) (Subramaniam, A, 2003) So when ‘Industry’ status was granted in 2000, Corporate started getting attracted towards the films industry realising the huge potential that was there to be exploited. When the corporate started entering to film industry with huge investment power they started incorporating studio culture of Hollywood by following vertical integration. Leaving behind the prevailing system of horizontal integration to the independent producers. The studio model production house started giving more importance to the content. It stressed on script development, introducing younger generation actors and directors, budget and time management, co productions and international distribution.  None of the new corporate production house had the background of film production when they entered the segment. However most of them were involved in activities related to the media (The Business Line, 2007). Barney says that the first to exploit the resources would gain competitive advantage over its rivals. This is exactly how the corporate production houses gained advantage over independent producers. The Industry had a lot of potential to grow with its wide acceptance globally. but the independent production houses had neglected this aspect, so when the corporate entered the industry they took complete advantage by using the unexploited resources of reach of the films and its growth possibilities steps (Barney, 1991). To exploit the resources of growth prospective, the studio model was developed under these parameters- To Produce and co produce the movies with strong content and story line. To complete the movie with in the budget and also in time. To sign contractual agreements with actors and directors. To focus on medium and large scale budget movies. To develop a huge distribution network nationally and internationally These parameters are not different from any other studio model in the world. Corporate production houses main aim was to apply these practices and standards in other markets, to the Indian market. The reason for doing this was to make maximum utilisation of the resources available. Already registered in the London Stock Exchange, several Indian film companies like as Eros, Ad labs, India Film Company, and utv – have generated immense capital from the various institutional investors who were keen to invest in Indian film companies. Moreover several Western film companies are looking forward for acquiring an ample equity share in these companies (Desai 2007). In this regard on 24 January 2005, Percept Picture Company associated with Michael Douglas’ production company Further Films and Sahara One to co-produce the $50-million Racing the Monsoon. Also on 1 September Sahara declared one more alliance, and this time with a Hollywood producer Donald Rosenfeld for Tree of Life starring Colin Farrell. These are two among a total of six Hollywood coproductions. (Kohli- Khandekar 2006.). On 20 October, 2005, Sony Pictures sign on Sanjay Leela Bhansali to co-produce Saawariya. The film was released globally in the year of 2007 with around 1,000 prints, a figure which was not heard of in the previous times for an Indian film. [The figure is on average 250.] Moreover this was the first time that a renowned Hollywood studio (that one of top six) had produced an Indian film. (Kohli-Khandekar 2006.) Indian admired cinema, remarkably Bollywood – the Mumbai (Bombay) film industry has witnessed several transformations given that it’s first beginnings. A few key modifications that took place at the turn of the century when Indian Popular Cinema gained the position of an industry.(1) After that the Indian film has developed in new directions. One such change was a more intense interplay between the global and the local which took place during the 1990s. Today, every single function and activity related to the Indian film business is becoming well defined and systematized, be it the retail infrastructure, financial aspect, marketing or distribution. Even films themselves are gradually falling into place. In just under five years, the industry has shed five decades of baggage and has become an organised business. This is a new Indian film industry (Kohli-Khandekar 2006). Film producers are interested in creating serious corporate structures, and Indian as well as foreign business is pouring money into the cinema. A wall of money is descending on Bollywood and there is a huge bubble building up (Desai 2007). Evaluating by the amount of movies produced by the Indian film industry, which is about more than one thousand movies per year, it is been regarded as the largest movie industry of the globe. The studio has reached international and also the profit earnings of the several Indian movies were greater in overseas locations than in India. Indian films have been witnessed in the leading ten lists of movies in the continents of UK and USA ((The Business Line, 2007)). 1.2  An overview of Indian film industry 1.2.1  Historical Section How Bollywood has evolved India is been regarded as the biggest movie industry of the world, if we talk about the number of movies produced in a year. It produces around more than 1000 films per year, which is greater than any of the film producing country. The Indian film industry is commonly regarded as BOLLYWOOD. The first Indian cinema was arrived in the year of 1913 with RAJA HARISHCHANDRA firstly coming into the picture and paving its way to the new period of silent cinema in India (Das Gupta, S., 2006). Since that time it has witnessed a vast series of evolution both in conditions of making and marketing of the Indian films.  We will largely talk about the evolution that took place from the year of 1980s to present time. India produces more films than any other country in the world, the government of India didn’t recognize filmmaking as an official industry until as recently as 2001. Before then, it was impossible for producers to get loans from banks or even insurance for their productions. As a result, producers often paid for their films out of their own pockets – a practice most American producers would consider absurdly risky – or obtained financing from less savory sources (Das Gupta, S., 2006): The unruly aspects of film production weren’t just limited to its financing. In some cases, it would take years to shoot a film. Overbooked film stars would show up egregiously late on set (or not at all) without penalty, scripts were often rewritten on set depending on which actors showed up, contracts were verbal and often violated, and produced films had no guarantees of finding distribution. All of these factors combined to make Bollywood film production an extremely risky endeavour (Das Gupta, S., 2006). 1980-1990 In India maximum number of films were produced by Independent (SingleSolo) producers or Family production houses, Big production companies like Rajashri productions, B.R Productions and R.K Productions were family owned production houses  and in some cases it can be traced back to several generations.(Taebue and Lorenzen-2007)   â€Å"In this period the Indian film industry seemed to make the least progress and in some case journey in the path of deprogress† (Ashish Tiwari). Most of the films were produced on a Formula which had protagonist the male lead character of the film who is called as the Hero and his female counter part as the Heroine who romanced with the Hero singing and dancing around the trees, this strategy gave birth to the masala films (Hindi for â€Å"spice mix†) â€Å"It was a compound made up of several elemental combinations that had drama comedy and romance along with song and dance sequences in symbol driven rather than plot driven† ( Lorenzen Taeube-2006). â€Å"The controversial author Salman Rushdie found a very precise and creative term that sums up the subject of Indian films perfectly, describing it as: ‘Epico-Mythico-Tragico-Comico-Super-Sexy-High- Masala-Art’ (Salman Rushdi, 1995 in â€Å"The Moor’s Last Sigh† quoted in Mishra,)à ¢â‚¬ (Adleline Pissang-2000).  Repetition of these kinds of stereotype films kept the audience away from theatres. Introduction of colour television and national coverage by Doordarshan in early 1980’s caused a drop in demand for Indian films. The middle class audience preferred to watch new Television soaps and old films on video cassettes (VHS) in their home rather than going to cinema halls. So the cinema halls became a run down and regarded suitable only for lower class men who could not afford a television preferred watching hard core violent films in theatres with lots of action and skimpily clad women dancing in the rain (Misara-2002). Competition from television made film production houses think innovatively, to hold their grip on the medium, so they started upgrading their films with lavish sets and so called â€Å"multi starrer† films which in turn increased the importance of star actors. So naturally the star actors wanted to cash in on their ‘star value’ and started charging exorbitant sums to act in a single film which in turn escalated the production cost of the film (Gopalan-2002). This was at the same time when the Indian music industry was on a high and could turn around the profit margins of even those films that failed at the box- office. The movie soundtrack became a key publicity stunt for the movies and the number of tracks and their popularity increased steadily. The pre- movie launch of music could determine the fate of a movie because if the music did well in the market then it created a huge wave amongst the public before the film got released. The sales of the audio cassettes used to bring in good share of revenue. The producers always hoped and worked towards making the music of their film a hit by casting good/popular music directors and famous playback singers for their films. Again, the producer had to invest a lot more on a popular music director but it was chance worth taking (Ganti-2004).   1990-2000 The introduction of cable T.V. was the greatest revolution of this era. It changed the outlook of film industry, though initially the survival of film industry was challenged with the entry of cable T.V. as it was an instant hit with the audience because it provided plenty of regional language channels like ZEE TV, SUN network and as well as few English channels STAR, HBO which aired films on their channels. But gradually the production houses understood the potential of the cable T.V. as it found a way for new source of income through selling its film rights at relatively higher prices for its telecast in television which is called as satellite rights (Pendakur-2003). Subsequently the film industry started depending on television as a medium of publicity by broadcasting songs and advertising campaigns of their films to pull the audiences to the theatres (David Hancock-1999). Music channels like MTV and V channel could not sustain by just transmitting private non film and international music albums so they had to take cover of film songs to increase their popularity in India (Bose-2006). It is believed that the criminal sources like underworld had a very strong hold on the Indian film industry; they controlled the whole production process of the films that they financed by dictating the terms in Bollywood like casting a superstar and selecting brilliant directors to work for their films. It is also believed that celebrities of the industry had close links with the mafia. Though usage of Black money (unaccounted money) in films was not an unfamiliar thing for ages but funding from underworld started in this period. It is estimated that 40% of film productions were financed by the underworld (Kripalani and Grover 2002; David Hancock-1998).   The early 1990’s can be called as the period of stagnation; the commercial cinema had ridiculous dialogues, baseless stories with no originality in them (Ashish Tiwari 2007). Few films in mid 1990’s were huge hits which broke most of the previous records. These films were big budget, romantic films (Dwyer and Patel) which upheld the family values in them. The two astronomical hits were HUM APKE HAI KAUN? (Who am I to You?) This released in 1994 and went onto run for two years in more than 50 theatres and DILWALE DULHANIA LE JAYENGE!! (The Brave Heart Will Take the Bride) got released in 1995 and was still running in its 13th year for 679th week as on 17th October 2008 at Marata Mandhir Cinema in Mumbai (www). Both these films were on similar lines, they were big budget romantic films with no actions sequence in them. In the former’s case the whole film was shot in beautiful gigantic sets going outdoors only for song sequence, which had 12 music tracks in it. In latter’s case maximum portion of the shoot took place in foreign locales. The audio of both these films were massive hits because they used the full potential of television by telecasting their songs and ad campaigns before the theatrical release. Both the production houses (Rajashri Productions and Yashraj Productions) of these films took great interest in refurbishing the theatres before the release of their films because they precisely knew their target audience were the upper middle class and family audiences who were content with television and they had to bring them back to the theatres. Once they succeeded â€Å"it marked the dominance of new middle class and uphold them to the pleasure of socially mixed audie nce both in India and overseas†. (Dwyer and Patel-2002) Rajashri and Yashraj Productions were the good old big production houses which started the trend for these kinds of films with big budget, but most of the small scale productions could not cope with this and had to stop producing films. Gradually number of films produced per year dropped. Source: David Hancock; Global Film production (Working Document) Venice Conference The biggest and greatest breakthrough in the Indian Cinema came in 1998. This is the year the Indian government recognised the potential of Indian cinema and granted the official status of ‘Industry’. Until then the public as well as private banks and other big financial institutions desisted from getting involved with the film production companies so the producers always had to depend on private money lenders for the capital for their films (Dwyer Patel, 2002). Now the production houses are getting their capital from public investments through semi public Industrial Development Bank of India (IDBI) and other public banks (Lorenzen Taeube, 2006) 2000- Till date.. Indian Film Industry started in its way of revival of sorts, in 2001 all the prints of the film Chori Chori Chupke Chupke which had a huge star cast was seized by the Central Bureau of Investigation suspecting it to be funded by the underworld and the producer of the film Bharath Shah was arrested for having close connections with the underworld. After this incident most of the producers feared to be identified with the under world. So the underworld gradually lost its hold in the Bollywood. Shooting at overseas location for a film is not new to Bollywood they have been doing this since 1960’s but currently there is an increasing trend of Indian film crew shooting at foreign locales. This is because of the huge global market for the Indian films. Many films are released simultaneously in U.S.A. and U.K.  and there are instances where the returns from overseas collections is higher than the home collections.  The script writers and Directors cannot neglect the overseas market any more while scripting and shooting for their film (Dudrah, R K, 2006). After the liberalisation of the industry in 1998 Direct Foreign Investments, Global Investors, Private Corporate started entering the film industry. Hollywood Majors like Universal, 21st Century Fox started investing in the Indian film industry through joint ventures with the Indian production houses. The corporate production houses are gaining importance in the film industry. Corporate houses like ADLABS, EROS, UTV, K.SERA SERA and many others have already made a mark in B.S.E. (Bombay Stock Exchange) and even in L.S.E. (London Stock Exchange). In the current scenario 20% of the total India films are produced by corporate giants (Anand times- 2006).   They have developed professional ways of organising business, mergers, outsourcing, distributing, use of new technology and marketing content.  The corporate houses have brought in the much needed professional flavour in to films which were missing in the production process earlier. The main advantage of the corporate house is it can produce more number of films simultaneously; it produces 5-6 films per year where as compared to the individual production houses cannot afford to produce more than 2-3 films in a year even after the deregulation. The greatest advantage of a corporate production house is it has a huge capital to invest on its films. Usually the risk is higher on a single movie basis, but the risk spreads out as they produce lot of films simultaneously.  They employ professionals in their firm as compared to the single producers of 80’s who used change their crew after every film. Few corporate houses even have their own multiplex cinema which helps in theatrical release as well as in developing a marketing strategy for their films. The corporate giants are investing hugely on the industry as a result of this the film Industry is already the 3rd largest industry in India (Dudrah-2006). The production houses are aiming at a homogenous or serial form of production as opposed to heterogeneous form of production they had earlier. The main purpose of switching to this form of production is to control all means of production and operate all aspects of film making from finance to production and distribution (Prasad-1998). The best example being Yashraj Productions. They have their own studios for recording, dubbing and editing and also have production equipments required for the shoot. With in the production  house they also have different sections like Yashraj Distribution for overseas and home market, Yashraj Music for all their audio sales and Yashraj Video for home video like DVD’s and VCD’s. It was one of the first production houses to hire management students from Indian Institute of Management, Ahmadabad (IIMA) to market their films and also to set up their whole business process. They also stated their own website to market and project their media image  (Dywer Patel- 2002). Professionalization has brought new and better modes of planning. There are changed practices of production where there are professionals working constantly for the better utilization of funds, bringing production costs down and maximizing the profits  Film production in India is becoming an organised business. The overall film industry is taking on professional colours. 1.3  Size and growth opportunities The total size of Indian film industry was estimated at around Rs.56.5bn (inr40 = usd1) WHEN was this?, it is  anticipated to touch a huge figure of about Rs.153bn by the year of 2010 with taking into account 18 percent compound annual growth rate (cagr) as per the estimates of  ficci-Pricewaterhouse- Coopers in the year 2006. On the whole, the Indian film industry was anticipated to be value of about usd1.8bn in the year 2006. On the basis of a thorough top-down analysis considering the share of private consumption as a proportion of gdp, the marketshare for media and entertainment (me) expenditures, and film budgets within the me space it was accounted that the Indian film industry will be valued in between usd4.4 and 5.1bn (between inr176bn and inr204bn) by 2011 (cii-A.T. Kearney 2007). The movie industry has been getting more and more corporatized. Many film production, distribution and exhibition houses are listed on the stock markets and they have raised capital through public issue. Several theatres around the nation have been developed into multiplexes and plans to build up additional digital cinema halls are by now in lime light. This will certainly not only enhance the quality of prints and thereby providing viewing a extra pleasant experience for the audiences but will also decrease the piracy of prints (ficci-PricewaterhouseCoopers 2006). These days piracy is a major issue for the Indian film industry. Not initiating nay major anti-piracy laws on the part of the government and an absence of educated officers that implements anti-piracy laws remains the vital issue. These are the main issue which is why the piracy business has not been able to control to a greater extent. This issue along with the lengthy legal and arbitration process is regarded as prevention to the fight against piracy. Apart from this the present Copyrights Act is also obsolete in conditions to technology enhancement and in addition, it does not deal with the requirements of the electronic media where the degree of piracy is amongst the maximum in present time. The Optical Disc Law draft established to deal with the requirement for regulating piracy at the manufacturing phase is still pending for the approval of the Indian ministry (ficci-PricewaterhouseCoopers 2006). As against to few developed markets where the home market symbolizes greater than 40% of total movie revenues, the home market share in India is comparatively small (8%), though, this share is anticipated to rise to about 14% by the year of 2010. The important pushers that will facilitate this are the rising amount of reasonably priced DVD players and lesser prices of original DVDs so as to battle the issues of piracy (cii-A.T. Kearney 2007). The Indian entertainment and media industry enjoys a lot of aid in the present times – be it regulations that permit foreign investment, the momentum from the economy, digital lifestyle and spending styles of the consumers, and also several opportunities the development in technology have to provide. The industry only has to do is to realize its growth potential and opportunities. The government is required to play a greater dynamic task in solving out the policy-related obstruction for the purpose of growth. The industry is required to get rid of all obstructions, like as piracy in an intensive way along with the measures to produce high-quality global class end products. The entertainment and media industry has all ingredients which it generally takes to turn into the star of Indian economy (ficci-PricewaterhouseCoopers 2006). There are two important movements that will basically transform the scene of the Indian film industry in the coming couple of years, namely digitization and a change in consumer preferences. Digitization will lead to consolidation and appearance of huge scale exhibition networks and, and apart from this, in the balance of power among producers-distributors and exhibitors. Changing customer preferences will lead to rising international acceptance of Indian films and in the upcoming of new media (cii-A.T. Kearney 2007). Growth opportunities in terms of Corporate production houses Indian film industry comprises of numerous regional clusters, and Bollywood is merely one of them. Bollywood is the cluster located in Mumbai, producing the biggest share of films (40%) mainly in Hindi (PWC FICCI, 2007). Bollywood is the oldest film cluster in India, dating back to early 20th century. Other film clusters in India like as one in Hyderabad, called â€Å"Tollywood† produces second biggest amount of films mainly in Telugu. While other clusters produce films chiefly in their local language. Growth opportunities in terms of Indian Film Industry 1.31 Current situation Currently the success ratios of films are very low at the box office. Only 10 to 20% of films break even or earn profits (Ganapathi, 2002; Pendakur, 2003; Ganti, 2004; Lorenzen Taeube, 2006) but most of the producers make money, recouping their investments through new auxiliary sources of revenue () like satellite rights music rights, home video rights(DVD),  video games, toys, computer wallpapers, ring tones, movie clips for mobile and selling ancillary rights. The new trend is product placement in films which brings in a lot of revenue and even helps in publicity of the film. In the period of 1998-2005 i.e after gaining the status of industry, the revenues in the films have grown by 360% this is including all revenues from advertising, selling of ancillary rights and music rights (Kholi- Khandekar, 2006; Lorenzen Taeube, 2006). The digital relay of films in cinema theatres is saving a lot of money as you don’t have to develop the physical print, which took a major share in a film budget.   The industry is losing more than 40% of its revenue through Piracy (David Hancock-1998). Copyright infringement of films is so wide spread in India it can be called as a ‘small scale industry’. Bootleg copies of DVD’s are available in the market on the same day the film officially releases in theatres or some times even before that. Pirated DVD’s and CD’s of Bollywood movies are available in most of the South Asian and South East Asian countries. The small cable television channels broadcast newly released films in their channels without paying any kind of compensation. Another problem is consumer copying which is very difficult to stop. To add on to this is Online Internet movies where consumers can download movies from websites like www.bhejafry.net, www.indiaonlinemovies.com and many more without actually paying anything. The technical skills of the Indian Film Industry has always been extraordinary but most of the time they had to settle for old and very poor quality of equipments.  But now due to huge market and Corporatisation they can afford to buy more sophisticated equipments. Digital facilities for Sound Recording, Dubbing, Editing is as good as anywhere in the world (Dwyer Patel, 2002). Bollywood has always been very enthusiastic about embracing new technologies in their films, and it is also been much quicker in doing this than the Hollywood (Currah, 2007). The Film Industry is using all the latest technologies like Arry 435 for the shoot, Avid and Mac products for post production work. Sync sound, D.I.(Digital Intermediate), Animations and special effects with Graphics are used extensively.  The Indian Film Industry can now even employ foreign technicians to work for them to improve the quality of the final product. In the blockbuster film KRRISH- (2006) the action sequence was choreographed by Tony Ching from Hong Kong and all the special effects for the film was done by Hollywood technicians (Minocha and Stonehouse- 2006). Globalisation has four facets, that is, movement of goods, capital, technology and people across borders. In terms of movement of goods (i. e., movies) Indian movie industry has a long history of presence in the global market. Awara was sent to the Soviet Union and other Communist bloc countries crazy in the year of1950s. Mehboob’s Aan had a French release after its premiere in London. Long before that Himansu Rai made visually stunning films in cooperation with the Germans in the early 1930s, like The Light of Asia and A Throw of Dice, and many more which were shown in Europe as Indian films with Indian stories. By then the Bombay film industry had been around for 35 years. The film industry is definitely as old as the cinema itself and surely older than Hollywood, which has its early development in the late 1900s (Desai 2007). The exports of the Indian movie have grown for approximately 60% in recent times. The USA and Canada are two main export locations witnessing for 30 percent than by the UK with 25% and Mauritius and Dubai with 10% each. Some other main markets comprise South Africa, Russia, Fiji, New Zealand and Australia where there is abundant Indian diasporas present. Making a film for the diaspora market is a certainly a moneymaking project as against to making a film for the Indian domestic market (Desai 2007). With the global audience, there is outstanding recognition of Indian movie themes along with sew of the cross-over films made by global movie production players. The profit earnings of these movies can be match up to to few of the Hollywood box office hits. A number of Bollywood movies have gained greater than 50% of their total gross profit margin from global box office collection. However it is a welcome movement that requires to be carried on. One of the significant success factors for these cinemas is to recognize ideas from within the Indian subjects which are liked by the audience. An additional important success factor is to associate with a top global distributor; films produced by the person of Indian origin have had up to 2–3 times greater global earnings as compared to the national bestsellers (cii- A.T. Kearney 2007). Table 2 reveals a series of cross over films and the revenue earning generated by these films. India has stated its determined plans to double its share in the international film industry by the end of this year. This shows the great determination of the country to build itself as a cultural as well as economic powerhouse. There are many reasons why we must believe that. To begin with, the government, which aims on considering Bollywood to set up India as a ‘soft power’, considers the Indian film industry is competent enough to capture five percent of the international market this season. The share at the present time is two percent (Johnson 2007). Kishore Lulla, the chief executive of Eros International, a uk Trends in Indias Film Industry Trends in Indias Film Industry 1.  Chapter One: Introduction In these modern times of instant digital communication, film has turn out to be one of the most vital way through various nations and cultures reveal their values and identities. Moving image technologies has turn out to be all-encompassing in our lives. They are huge business. Apart from that, a capability to recognize and apply them has become as important for the people of this present era as literacy was in the times of19th and 20th century (India PR Wire, April 4, 2007). The tempo, scale and consequences of this transformation are significant enough. The Indian Film industry has made a huge development ever since the Motion pictures first arrived in India in the year of 1896 when the Lumiere brothers revealed six silent short films in Bombay. The first feature film of India named- King Harishchandra (which was a silent movie) was released in the year of1913. In India the first ‘talkie’ movie that released was Alam Ara in the year 1931 (India PR Wire, April 4, 2007). 1.1  Film Production Houses In India A film production house is normally connected with the in-house production. It could categorize, make or telecast various segments of programs around news, films, multimedia, television shows, sports or ad films. India can be regarded as a home to a several well-known production houses from all the aforesaid stated areas. www.bestindiansites.com specifies top leading Indian websites on production houses of India, sports production house, ad film production house, film production house, sports production house, information on production house, list of production houses, television production house, multimedia production house, and a several other significant information’s (Subramaniam, A, 2003). We can in reality utter about various types of production houses such as Independent and corporate and just detail it by stating that Individual production houses are managed by just 1 or 2 producers and the infusion of capital investment for the production purpose is mainly generated by personal investment or by the means of loans taken from private investor. For corporate houses we could only cite that it is just like as any other corporate deal with the only differentiation that it produces films which is considered under the head of creative segment (essentially organised corporate structure of producing in creative industries – which is a new concept for Indian film industry) (Subramaniam, A, 2003) So when ‘Industry’ status was granted in 2000, Corporate started getting attracted towards the films industry realising the huge potential that was there to be exploited. When the corporate started entering to film industry with huge investment power they started incorporating studio culture of Hollywood by following vertical integration. Leaving behind the prevailing system of horizontal integration to the independent producers. The studio model production house started giving more importance to the content. It stressed on script development, introducing younger generation actors and directors, budget and time management, co productions and international distribution.  None of the new corporate production house had the background of film production when they entered the segment. However most of them were involved in activities related to the media (The Business Line, 2007). Barney says that the first to exploit the resources would gain competitive advantage over its rivals. This is exactly how the corporate production houses gained advantage over independent producers. The Industry had a lot of potential to grow with its wide acceptance globally. but the independent production houses had neglected this aspect, so when the corporate entered the industry they took complete advantage by using the unexploited resources of reach of the films and its growth possibilities steps (Barney, 1991). To exploit the resources of growth prospective, the studio model was developed under these parameters- To Produce and co produce the movies with strong content and story line. To complete the movie with in the budget and also in time. To sign contractual agreements with actors and directors. To focus on medium and large scale budget movies. To develop a huge distribution network nationally and internationally These parameters are not different from any other studio model in the world. Corporate production houses main aim was to apply these practices and standards in other markets, to the Indian market. The reason for doing this was to make maximum utilisation of the resources available. Already registered in the London Stock Exchange, several Indian film companies like as Eros, Ad labs, India Film Company, and utv – have generated immense capital from the various institutional investors who were keen to invest in Indian film companies. Moreover several Western film companies are looking forward for acquiring an ample equity share in these companies (Desai 2007). In this regard on 24 January 2005, Percept Picture Company associated with Michael Douglas’ production company Further Films and Sahara One to co-produce the $50-million Racing the Monsoon. Also on 1 September Sahara declared one more alliance, and this time with a Hollywood producer Donald Rosenfeld for Tree of Life starring Colin Farrell. These are two among a total of six Hollywood coproductions. (Kohli- Khandekar 2006.). On 20 October, 2005, Sony Pictures sign on Sanjay Leela Bhansali to co-produce Saawariya. The film was released globally in the year of 2007 with around 1,000 prints, a figure which was not heard of in the previous times for an Indian film. [The figure is on average 250.] Moreover this was the first time that a renowned Hollywood studio (that one of top six) had produced an Indian film. (Kohli-Khandekar 2006.) Indian admired cinema, remarkably Bollywood – the Mumbai (Bombay) film industry has witnessed several transformations given that it’s first beginnings. A few key modifications that took place at the turn of the century when Indian Popular Cinema gained the position of an industry.(1) After that the Indian film has developed in new directions. One such change was a more intense interplay between the global and the local which took place during the 1990s. Today, every single function and activity related to the Indian film business is becoming well defined and systematized, be it the retail infrastructure, financial aspect, marketing or distribution. Even films themselves are gradually falling into place. In just under five years, the industry has shed five decades of baggage and has become an organised business. This is a new Indian film industry (Kohli-Khandekar 2006). Film producers are interested in creating serious corporate structures, and Indian as well as foreign business is pouring money into the cinema. A wall of money is descending on Bollywood and there is a huge bubble building up (Desai 2007). Evaluating by the amount of movies produced by the Indian film industry, which is about more than one thousand movies per year, it is been regarded as the largest movie industry of the globe. The studio has reached international and also the profit earnings of the several Indian movies were greater in overseas locations than in India. Indian films have been witnessed in the leading ten lists of movies in the continents of UK and USA ((The Business Line, 2007)). 1.2  An overview of Indian film industry 1.2.1  Historical Section How Bollywood has evolved India is been regarded as the biggest movie industry of the world, if we talk about the number of movies produced in a year. It produces around more than 1000 films per year, which is greater than any of the film producing country. The Indian film industry is commonly regarded as BOLLYWOOD. The first Indian cinema was arrived in the year of 1913 with RAJA HARISHCHANDRA firstly coming into the picture and paving its way to the new period of silent cinema in India (Das Gupta, S., 2006). Since that time it has witnessed a vast series of evolution both in conditions of making and marketing of the Indian films.  We will largely talk about the evolution that took place from the year of 1980s to present time. India produces more films than any other country in the world, the government of India didn’t recognize filmmaking as an official industry until as recently as 2001. Before then, it was impossible for producers to get loans from banks or even insurance for their productions. As a result, producers often paid for their films out of their own pockets – a practice most American producers would consider absurdly risky – or obtained financing from less savory sources (Das Gupta, S., 2006): The unruly aspects of film production weren’t just limited to its financing. In some cases, it would take years to shoot a film. Overbooked film stars would show up egregiously late on set (or not at all) without penalty, scripts were often rewritten on set depending on which actors showed up, contracts were verbal and often violated, and produced films had no guarantees of finding distribution. All of these factors combined to make Bollywood film production an extremely risky endeavour (Das Gupta, S., 2006). 1980-1990 In India maximum number of films were produced by Independent (SingleSolo) producers or Family production houses, Big production companies like Rajashri productions, B.R Productions and R.K Productions were family owned production houses  and in some cases it can be traced back to several generations.(Taebue and Lorenzen-2007)   â€Å"In this period the Indian film industry seemed to make the least progress and in some case journey in the path of deprogress† (Ashish Tiwari). Most of the films were produced on a Formula which had protagonist the male lead character of the film who is called as the Hero and his female counter part as the Heroine who romanced with the Hero singing and dancing around the trees, this strategy gave birth to the masala films (Hindi for â€Å"spice mix†) â€Å"It was a compound made up of several elemental combinations that had drama comedy and romance along with song and dance sequences in symbol driven rather than plot driven† ( Lorenzen Taeube-2006). â€Å"The controversial author Salman Rushdie found a very precise and creative term that sums up the subject of Indian films perfectly, describing it as: ‘Epico-Mythico-Tragico-Comico-Super-Sexy-High- Masala-Art’ (Salman Rushdi, 1995 in â€Å"The Moor’s Last Sigh† quoted in Mishra,)à ¢â‚¬ (Adleline Pissang-2000).  Repetition of these kinds of stereotype films kept the audience away from theatres. Introduction of colour television and national coverage by Doordarshan in early 1980’s caused a drop in demand for Indian films. The middle class audience preferred to watch new Television soaps and old films on video cassettes (VHS) in their home rather than going to cinema halls. So the cinema halls became a run down and regarded suitable only for lower class men who could not afford a television preferred watching hard core violent films in theatres with lots of action and skimpily clad women dancing in the rain (Misara-2002). Competition from television made film production houses think innovatively, to hold their grip on the medium, so they started upgrading their films with lavish sets and so called â€Å"multi starrer† films which in turn increased the importance of star actors. So naturally the star actors wanted to cash in on their ‘star value’ and started charging exorbitant sums to act in a single film which in turn escalated the production cost of the film (Gopalan-2002). This was at the same time when the Indian music industry was on a high and could turn around the profit margins of even those films that failed at the box- office. The movie soundtrack became a key publicity stunt for the movies and the number of tracks and their popularity increased steadily. The pre- movie launch of music could determine the fate of a movie because if the music did well in the market then it created a huge wave amongst the public before the film got released. The sales of the audio cassettes used to bring in good share of revenue. The producers always hoped and worked towards making the music of their film a hit by casting good/popular music directors and famous playback singers for their films. Again, the producer had to invest a lot more on a popular music director but it was chance worth taking (Ganti-2004).   1990-2000 The introduction of cable T.V. was the greatest revolution of this era. It changed the outlook of film industry, though initially the survival of film industry was challenged with the entry of cable T.V. as it was an instant hit with the audience because it provided plenty of regional language channels like ZEE TV, SUN network and as well as few English channels STAR, HBO which aired films on their channels. But gradually the production houses understood the potential of the cable T.V. as it found a way for new source of income through selling its film rights at relatively higher prices for its telecast in television which is called as satellite rights (Pendakur-2003). Subsequently the film industry started depending on television as a medium of publicity by broadcasting songs and advertising campaigns of their films to pull the audiences to the theatres (David Hancock-1999). Music channels like MTV and V channel could not sustain by just transmitting private non film and international music albums so they had to take cover of film songs to increase their popularity in India (Bose-2006). It is believed that the criminal sources like underworld had a very strong hold on the Indian film industry; they controlled the whole production process of the films that they financed by dictating the terms in Bollywood like casting a superstar and selecting brilliant directors to work for their films. It is also believed that celebrities of the industry had close links with the mafia. Though usage of Black money (unaccounted money) in films was not an unfamiliar thing for ages but funding from underworld started in this period. It is estimated that 40% of film productions were financed by the underworld (Kripalani and Grover 2002; David Hancock-1998).   The early 1990’s can be called as the period of stagnation; the commercial cinema had ridiculous dialogues, baseless stories with no originality in them (Ashish Tiwari 2007). Few films in mid 1990’s were huge hits which broke most of the previous records. These films were big budget, romantic films (Dwyer and Patel) which upheld the family values in them. The two astronomical hits were HUM APKE HAI KAUN? (Who am I to You?) This released in 1994 and went onto run for two years in more than 50 theatres and DILWALE DULHANIA LE JAYENGE!! (The Brave Heart Will Take the Bride) got released in 1995 and was still running in its 13th year for 679th week as on 17th October 2008 at Marata Mandhir Cinema in Mumbai (www). Both these films were on similar lines, they were big budget romantic films with no actions sequence in them. In the former’s case the whole film was shot in beautiful gigantic sets going outdoors only for song sequence, which had 12 music tracks in it. In latter’s case maximum portion of the shoot took place in foreign locales. The audio of both these films were massive hits because they used the full potential of television by telecasting their songs and ad campaigns before the theatrical release. Both the production houses (Rajashri Productions and Yashraj Productions) of these films took great interest in refurbishing the theatres before the release of their films because they precisely knew their target audience were the upper middle class and family audiences who were content with television and they had to bring them back to the theatres. Once they succeeded â€Å"it marked the dominance of new middle class and uphold them to the pleasure of socially mixed audie nce both in India and overseas†. (Dwyer and Patel-2002) Rajashri and Yashraj Productions were the good old big production houses which started the trend for these kinds of films with big budget, but most of the small scale productions could not cope with this and had to stop producing films. Gradually number of films produced per year dropped. Source: David Hancock; Global Film production (Working Document) Venice Conference The biggest and greatest breakthrough in the Indian Cinema came in 1998. This is the year the Indian government recognised the potential of Indian cinema and granted the official status of ‘Industry’. Until then the public as well as private banks and other big financial institutions desisted from getting involved with the film production companies so the producers always had to depend on private money lenders for the capital for their films (Dwyer Patel, 2002). Now the production houses are getting their capital from public investments through semi public Industrial Development Bank of India (IDBI) and other public banks (Lorenzen Taeube, 2006) 2000- Till date.. Indian Film Industry started in its way of revival of sorts, in 2001 all the prints of the film Chori Chori Chupke Chupke which had a huge star cast was seized by the Central Bureau of Investigation suspecting it to be funded by the underworld and the producer of the film Bharath Shah was arrested for having close connections with the underworld. After this incident most of the producers feared to be identified with the under world. So the underworld gradually lost its hold in the Bollywood. Shooting at overseas location for a film is not new to Bollywood they have been doing this since 1960’s but currently there is an increasing trend of Indian film crew shooting at foreign locales. This is because of the huge global market for the Indian films. Many films are released simultaneously in U.S.A. and U.K.  and there are instances where the returns from overseas collections is higher than the home collections.  The script writers and Directors cannot neglect the overseas market any more while scripting and shooting for their film (Dudrah, R K, 2006). After the liberalisation of the industry in 1998 Direct Foreign Investments, Global Investors, Private Corporate started entering the film industry. Hollywood Majors like Universal, 21st Century Fox started investing in the Indian film industry through joint ventures with the Indian production houses. The corporate production houses are gaining importance in the film industry. Corporate houses like ADLABS, EROS, UTV, K.SERA SERA and many others have already made a mark in B.S.E. (Bombay Stock Exchange) and even in L.S.E. (London Stock Exchange). In the current scenario 20% of the total India films are produced by corporate giants (Anand times- 2006).   They have developed professional ways of organising business, mergers, outsourcing, distributing, use of new technology and marketing content.  The corporate houses have brought in the much needed professional flavour in to films which were missing in the production process earlier. The main advantage of the corporate house is it can produce more number of films simultaneously; it produces 5-6 films per year where as compared to the individual production houses cannot afford to produce more than 2-3 films in a year even after the deregulation. The greatest advantage of a corporate production house is it has a huge capital to invest on its films. Usually the risk is higher on a single movie basis, but the risk spreads out as they produce lot of films simultaneously.  They employ professionals in their firm as compared to the single producers of 80’s who used change their crew after every film. Few corporate houses even have their own multiplex cinema which helps in theatrical release as well as in developing a marketing strategy for their films. The corporate giants are investing hugely on the industry as a result of this the film Industry is already the 3rd largest industry in India (Dudrah-2006). The production houses are aiming at a homogenous or serial form of production as opposed to heterogeneous form of production they had earlier. The main purpose of switching to this form of production is to control all means of production and operate all aspects of film making from finance to production and distribution (Prasad-1998). The best example being Yashraj Productions. They have their own studios for recording, dubbing and editing and also have production equipments required for the shoot. With in the production  house they also have different sections like Yashraj Distribution for overseas and home market, Yashraj Music for all their audio sales and Yashraj Video for home video like DVD’s and VCD’s. It was one of the first production houses to hire management students from Indian Institute of Management, Ahmadabad (IIMA) to market their films and also to set up their whole business process. They also stated their own website to market and project their media image  (Dywer Patel- 2002). Professionalization has brought new and better modes of planning. There are changed practices of production where there are professionals working constantly for the better utilization of funds, bringing production costs down and maximizing the profits  Film production in India is becoming an organised business. The overall film industry is taking on professional colours. 1.3  Size and growth opportunities The total size of Indian film industry was estimated at around Rs.56.5bn (inr40 = usd1) WHEN was this?, it is  anticipated to touch a huge figure of about Rs.153bn by the year of 2010 with taking into account 18 percent compound annual growth rate (cagr) as per the estimates of  ficci-Pricewaterhouse- Coopers in the year 2006. On the whole, the Indian film industry was anticipated to be value of about usd1.8bn in the year 2006. On the basis of a thorough top-down analysis considering the share of private consumption as a proportion of gdp, the marketshare for media and entertainment (me) expenditures, and film budgets within the me space it was accounted that the Indian film industry will be valued in between usd4.4 and 5.1bn (between inr176bn and inr204bn) by 2011 (cii-A.T. Kearney 2007). The movie industry has been getting more and more corporatized. Many film production, distribution and exhibition houses are listed on the stock markets and they have raised capital through public issue. Several theatres around the nation have been developed into multiplexes and plans to build up additional digital cinema halls are by now in lime light. This will certainly not only enhance the quality of prints and thereby providing viewing a extra pleasant experience for the audiences but will also decrease the piracy of prints (ficci-PricewaterhouseCoopers 2006). These days piracy is a major issue for the Indian film industry. Not initiating nay major anti-piracy laws on the part of the government and an absence of educated officers that implements anti-piracy laws remains the vital issue. These are the main issue which is why the piracy business has not been able to control to a greater extent. This issue along with the lengthy legal and arbitration process is regarded as prevention to the fight against piracy. Apart from this the present Copyrights Act is also obsolete in conditions to technology enhancement and in addition, it does not deal with the requirements of the electronic media where the degree of piracy is amongst the maximum in present time. The Optical Disc Law draft established to deal with the requirement for regulating piracy at the manufacturing phase is still pending for the approval of the Indian ministry (ficci-PricewaterhouseCoopers 2006). As against to few developed markets where the home market symbolizes greater than 40% of total movie revenues, the home market share in India is comparatively small (8%), though, this share is anticipated to rise to about 14% by the year of 2010. The important pushers that will facilitate this are the rising amount of reasonably priced DVD players and lesser prices of original DVDs so as to battle the issues of piracy (cii-A.T. Kearney 2007). The Indian entertainment and media industry enjoys a lot of aid in the present times – be it regulations that permit foreign investment, the momentum from the economy, digital lifestyle and spending styles of the consumers, and also several opportunities the development in technology have to provide. The industry only has to do is to realize its growth potential and opportunities. The government is required to play a greater dynamic task in solving out the policy-related obstruction for the purpose of growth. The industry is required to get rid of all obstructions, like as piracy in an intensive way along with the measures to produce high-quality global class end products. The entertainment and media industry has all ingredients which it generally takes to turn into the star of Indian economy (ficci-PricewaterhouseCoopers 2006). There are two important movements that will basically transform the scene of the Indian film industry in the coming couple of years, namely digitization and a change in consumer preferences. Digitization will lead to consolidation and appearance of huge scale exhibition networks and, and apart from this, in the balance of power among producers-distributors and exhibitors. Changing customer preferences will lead to rising international acceptance of Indian films and in the upcoming of new media (cii-A.T. Kearney 2007). Growth opportunities in terms of Corporate production houses Indian film industry comprises of numerous regional clusters, and Bollywood is merely one of them. Bollywood is the cluster located in Mumbai, producing the biggest share of films (40%) mainly in Hindi (PWC FICCI, 2007). Bollywood is the oldest film cluster in India, dating back to early 20th century. Other film clusters in India like as one in Hyderabad, called â€Å"Tollywood† produces second biggest amount of films mainly in Telugu. While other clusters produce films chiefly in their local language. Growth opportunities in terms of Indian Film Industry 1.31 Current situation Currently the success ratios of films are very low at the box office. Only 10 to 20% of films break even or earn profits (Ganapathi, 2002; Pendakur, 2003; Ganti, 2004; Lorenzen Taeube, 2006) but most of the producers make money, recouping their investments through new auxiliary sources of revenue () like satellite rights music rights, home video rights(DVD),  video games, toys, computer wallpapers, ring tones, movie clips for mobile and selling ancillary rights. The new trend is product placement in films which brings in a lot of revenue and even helps in publicity of the film. In the period of 1998-2005 i.e after gaining the status of industry, the revenues in the films have grown by 360% this is including all revenues from advertising, selling of ancillary rights and music rights (Kholi- Khandekar, 2006; Lorenzen Taeube, 2006). The digital relay of films in cinema theatres is saving a lot of money as you don’t have to develop the physical print, which took a major share in a film budget.   The industry is losing more than 40% of its revenue through Piracy (David Hancock-1998). Copyright infringement of films is so wide spread in India it can be called as a ‘small scale industry’. Bootleg copies of DVD’s are available in the market on the same day the film officially releases in theatres or some times even before that. Pirated DVD’s and CD’s of Bollywood movies are available in most of the South Asian and South East Asian countries. The small cable television channels broadcast newly released films in their channels without paying any kind of compensation. Another problem is consumer copying which is very difficult to stop. To add on to this is Online Internet movies where consumers can download movies from websites like www.bhejafry.net, www.indiaonlinemovies.com and many more without actually paying anything. The technical skills of the Indian Film Industry has always been extraordinary but most of the time they had to settle for old and very poor quality of equipments.  But now due to huge market and Corporatisation they can afford to buy more sophisticated equipments. Digital facilities for Sound Recording, Dubbing, Editing is as good as anywhere in the world (Dwyer Patel, 2002). Bollywood has always been very enthusiastic about embracing new technologies in their films, and it is also been much quicker in doing this than the Hollywood (Currah, 2007). The Film Industry is using all the latest technologies like Arry 435 for the shoot, Avid and Mac products for post production work. Sync sound, D.I.(Digital Intermediate), Animations and special effects with Graphics are used extensively.  The Indian Film Industry can now even employ foreign technicians to work for them to improve the quality of the final product. In the blockbuster film KRRISH- (2006) the action sequence was choreographed by Tony Ching from Hong Kong and all the special effects for the film was done by Hollywood technicians (Minocha and Stonehouse- 2006). Globalisation has four facets, that is, movement of goods, capital, technology and people across borders. In terms of movement of goods (i. e., movies) Indian movie industry has a long history of presence in the global market. Awara was sent to the Soviet Union and other Communist bloc countries crazy in the year of1950s. Mehboob’s Aan had a French release after its premiere in London. Long before that Himansu Rai made visually stunning films in cooperation with the Germans in the early 1930s, like The Light of Asia and A Throw of Dice, and many more which were shown in Europe as Indian films with Indian stories. By then the Bombay film industry had been around for 35 years. The film industry is definitely as old as the cinema itself and surely older than Hollywood, which has its early development in the late 1900s (Desai 2007). The exports of the Indian movie have grown for approximately 60% in recent times. The USA and Canada are two main export locations witnessing for 30 percent than by the UK with 25% and Mauritius and Dubai with 10% each. Some other main markets comprise South Africa, Russia, Fiji, New Zealand and Australia where there is abundant Indian diasporas present. Making a film for the diaspora market is a certainly a moneymaking project as against to making a film for the Indian domestic market (Desai 2007). With the global audience, there is outstanding recognition of Indian movie themes along with sew of the cross-over films made by global movie production players. The profit earnings of these movies can be match up to to few of the Hollywood box office hits. A number of Bollywood movies have gained greater than 50% of their total gross profit margin from global box office collection. However it is a welcome movement that requires to be carried on. One of the significant success factors for these cinemas is to recognize ideas from within the Indian subjects which are liked by the audience. An additional important success factor is to associate with a top global distributor; films produced by the person of Indian origin have had up to 2–3 times greater global earnings as compared to the national bestsellers (cii- A.T. Kearney 2007). Table 2 reveals a series of cross over films and the revenue earning generated by these films. India has stated its determined plans to double its share in the international film industry by the end of this year. This shows the great determination of the country to build itself as a cultural as well as economic powerhouse. There are many reasons why we must believe that. To begin with, the government, which aims on considering Bollywood to set up India as a ‘soft power’, considers the Indian film industry is competent enough to capture five percent of the international market this season. The share at the present time is two percent (Johnson 2007). Kishore Lulla, the chief executive of Eros International, a uk