The Portrayal Of Female Characters In Films

The Portrayal Of Female Characters In Films Films have long been used as a tool to portray human imaginations and ideas that are sometimes deemed impossible in reality. The characters in films have had a huge impact, with regard to gender stereotype, on audiences of all ages (Neuendorf et. al., 2010). Though there have been debates of how female characters are being portrayed in films, from being submissive to hyper-sexualised and lately, adopting more dominant roles in films, has there really been a change in male characters in films instead (Gilpatric, 2010)? Have male characters in films adopt female traits like how the female characters have adopted manly traits? This paper looks into how the portrayals of male characters in films have changed or are changing and how they affect gender construction. The feminist movement has constantly fought for womens right and equality so as to place women on equal standing to men in the society. This revolution has since been translated onto the silver screens as films depict women playing prominent and dominant roles in films (Gilpatric, 2010; Neundorf et. al., 2010) which is a stark contrast to the past when women played a submissive and subservient roles to the male character. Furthermore, films mirror the changing nature of our society, expecting men to behave in accordance to societal expectations deconstructing the male stereotype. Thus, the increasing trend in films shifting away from portraying men as having the traditional masculine trait, reconstructing it to more what termed today as the New Age Men (NAM) has been a result of the increasing prominence and dominance of females in films and the evolving nature of the society. The NAM is thus seen as a fusion of having both the traditional traits of males and females, embracing both masculine and feminine traits. Here, masculinity is defined as having the size, physical strength, rejection to authority and the use of physical force (Eschholz and Bufkin, 2001). Along with those masculine traits, the NAM are also expected to have traits like caring and being able to handle housework. The birth of the NAM has been heavily attributed to the rise of females in films and the changing nature of the society. Men today feel there is a need to differentiate themselves from females in films to assert their dominance in the industry and to reintegrate into the society, deconstructing the male stereotype. Female Characters in Films Today. Male characters in films are moving away from having masculine traits due to the rise of female prominence and dominance in the roles they play by adopting those masculine traits. Female characters like Lara Croft and Kill Bill highlights the point that traits like submissive and subservient are no longer being associated with female character. The casting of the Bond girl character is as equally important, receiving just as much attention as the casting of James Bond himself, and though a Bond film may lack the innovative gadget, never has there been a Bond film without a Bond girl (Neuendorf et. al., 2010). This accentuates that the womens roles are equally important to the Bond character. Men, who relate closely to Bond who usually portray masculine traits, view this as a challenge to their masculinity as the Bond character is dependent on the female character. The lack of innovative gadgets also portrays a crisis in masculinity since men regard these technologies as macho (Neuend orf et. al., 2010). This is further amplified with female characters playing main characters in films being created with complex and enthralling personalities relative to male characters who are rather one-dimensional and are of minor interest (Russell-Watts, 2010). Women are also selected to play roles previously played and deemed suitable for men. Though Lara Croft and Kill Bill props to mind, the Hamlet by William Shakespeare is another example. Despite Hamlet being a male character, women have been manifesting their interest to play the role and there has been an increasing trend of women getting selected to personify Hamlet (Howard, 2007). Moreover, the Hamlet is known to be involved in violence as portrayed by the character Alexandra Tranda, who parallels the happenings of Hamlet to the events occuring in her life and ends up killing her father (Howard, 2007). Violence is defined as any intentional infliction of physical pain or harm (Eschholz and Bufkin, 2001) and has a positive correlation to masculinity (Eschholz and Bufkin, 2001; Neuendorf et. al., 2010; Gilpatric, 2010) thus proving an increase in violence equates to in an increase in masculinity. Men feel the idea of a women hamlet as unhealthy and feel ashamed for a woman to take th e Hamlet role (Howard, 2007). This is an indication to men that women are challenging their masculinity and dominance in the film industry especially in roles crafted for men. The rise of females in films adopting a more masculine nature and playing characters deemed more suited for men resulted men to feel challenged in their masculinity and has since led to a crisis in it. Men feel there is a need to differentiate themselves from the female characters and assert their masculinity and dominance within the society, re-constructing the gender stereotype to create the NAM. The Dynamic Nature of the Society. Films impact audiences (Gilpatric, 2010) and may portray a reflection of the society. The dynamic nature of the society portrayed through films has been a contributing factor to the deconstruction of the male gender stereotype to form the NAM. Relative to the past, women today are generally more educated, enabling them to take up jobs also held by men (Buchbinder, 2008). Accelerated by the feminist movement, women today are equally as likely as men to be casted to play professional roles and jobs like doctors and lawyers (Gilpatric, 2010). There is an increase of female characters holding major roles from 12% in 1960 to 32% in 1990 (Neuendorf et. al., 2010) and female characters in films can be a true representation of their position in the society as 51% US workers who hold high-paying management and professional jobs are women (Gilpatric, 2010). Similarly, most young man today expects to go through at least three major career changes in his life (Buchbinder, 2008). Also, improvemen ts in the economy have enabled both women and men to spend on luxury items. Narcissistic concern with ones look and body, traditionally marked as feminine are being linked to men, making it harder to comply with the traditional masculinity trait of a man (Buchbinder, 2008). There has also been a shift in the portrayal of men in films today. In the past, men have always adopted the central figure but roles recently played by men and women in films have been blurred as the gap between masculinity and feminity. According to Breillat, There is no masculine psychology in my cinema. They contain only what women feel and desire. Therefore, men must not try to recognise themselves in my male characters (Russell-Watts, 2010, p. 72). This shows that men play secondary roles to women in todays films restricting them to relate to the traditional male masculinity. Moreover, men are also increasingly portrayed in films as the figure of the schlemiel. Schlemiel is a Yiddish word which means a foolish personà ¢Ã¢â€š ¬Ã‚ ¦a social misfit (Buchbinder, 2008, p. 228) and is unable to meet the performance and attitudinal requirements of traditional masculinity (Buchbinder, 2008, p. 230). For instance, Bond girls have been known to play independent and intelligent roles eve n outwitting Bond himself in the latest Bond movie. Despite Bond films representing Bond as having a chauvinistic persona (Neuendorf et. al., 2010), this places Bond in the Schlemiel category of a foolish character causing men to view this as a crisis to their masculinity. These factors when combined has resulted men to lose its masculine traits and restricted them to conform to the traditional masculine traits deconstructing the traditional male stereotype and reconstruct the NAM to help them assimilate back into society and be of an equal standing or higher to the women. Stereotypes Still Prevails. Some might argue that despite the rising prominence and dominance of women, the subservient and submissive nature of womens portrayal still prevail while mens masculinity are still confined to the traditional stereotype. Women in films are still regarded as subservient and submissive as the dominance exerted is based on a maternal motif, creating a stereotype of mothers or wives to save her child or loved ones (Gilpatric, 2010). Moreover, the societal movement of feminism is lacking, as women in films today still report to a more dominant male character (Neuendorf et. al., 2010), acting as a sidekick to a male character and getting involved in a romantic relationship with them (Gilpatric, 2010). Male characters though may have less masculine traits as portrayed by Robert in the movie Romance, his masculinity is emphasised through his occupation, being the boss of the main female character (Russell-Watts, 2010). This proves that despite being portrayed as dominant character in films t oday, women still conform to the gender stereotype of the traditional feminine traits of reporting to a more dominant male character. Some may argue also that films may not be a true reflection of society hence the portrayal of men as less masculine are not true. Films portray women as successful only when they are thin and attractive (Neuendorf et. al., 2010) when in fact, success is judged based on merit and not only looks. Building on, by showcasing one man as less masculine in the form of the schlemiel figure, subtly it provides a foil for other male characters to stand out, bringing out the masculine traits in the other male characters, (Buchbinder, 2008) indicating that male characters in movies still conform to the male gender stereotype of masculinity. New Age Man is the New Man. Despite the portrayal of women as subservient and submissive, women are still just as likely as men to commit violent acts in films. Presently, women are more likely to show acts of aggression (Neundorf et. al., 2010) and masculinity levels in male and females have increased (Eschholz and Bufkin, 2001). Though many may argue that the feminist movement may not have reached its promised desire, it cannot be regarded as a failure. Womens role in movies has since increased transcending the traditional feminine traits (Gilpatric, 2010). No longer women are being portrayed as one-dimensional who plays stereotypical female characters. Moreover, men today are unlikely to conform to the traditional form of masculinity although they may still hold superiority over the female characters as masculinity portrayed by men in films today is excessive in nature and something that men cannot relate to. The rugged masculinity shown through characters played by Mel Gibson, Sylvester Stallone and Arnold Schwarzenegger is being described as a fantasy (Eschholz and Bufkin, 2001). Men feels there is a need to form a new identity something that they can relate to and has slowly since give rise to the birth of the NAM. Though portraying men as less masculine or as the schlemiel figure helps to bring out the masculinity in other male characters (Buchbinder, 2008), this very need has proved that there is a decreasing trend in films, which showcase men as masculine. Conclusion. Films have evolved tremendously down the years and will continue to do so at such rapid rate. As womens roles in films continue to rise and take centre stage, male characters in films have since taken steps in the opposite direction, adopting lesser of the traditional masculine traits but instead adopt more feminine traits. This has not being helped by the changing nature of the society where women continue to rise in status at workplaces challenging men for jobs. The birth of the NAM has been heavily attributed to the rising dominance and prominence of female characters in films and also the changing nature of the society. As the world become more globalized, womens status in society is also expected to improve and NAM may well form a new stereotype for men in times to come. (1996 Words)

Bureaucracy and the Pacific Way Essay -- Literary Analysis, The Sevent

Bureaucracy and the Pacific Way In Mike Judge’s movie Office Space, the main character Peter is a cog in the bureaucratic wheel. He works a middling job for several different bosses, none of who care about him on any personal or emotional level. The system functions smoothly, allowing the business to operate efficiently and effectively. These corporations, like a government bureaucracy are compartmentalized, impersonal, and utilitarian. Every component of every department works toward the goal of efficiency and development. Consequently, the bureaucracy represents the culmination and manifestation of Western business ideal. Ultimately, the bureaucracy is successful when its members relinquish their own personal identity in favor of the bureaucratic ideal. Although these organizations have a significant importance in a society that values efficiency, punctuality, and materialism, the reality is that these values of Western progress are not embodied throughout the world. Other cultures have and maintain belie fs independent from this mindset. In Epeli Hau’ofa’s novel Tales of the Tikongs, the island of Tiko is a uniquely Pacific land that is the subject of a new development effort by the United Kingdom. In the name of progress, the imperialists attempt to modernize a culture they consider â€Å"native† (5). Although the Western imperialists claim these efforts are for the benefit of the Tikongs, through an analysis of the bureaucratic institutions in the stories â€Å"The Seventh and Other Days† and â€Å"The Glorious Pacific Way†, the true purpose of development is exposed to be the pacification of Pacific culture. The opening of the collection of short stories, â€Å"The Seventh and Other Days† provides the contextual background for an understand... ...orming Tiko into a submissive participant in their international funding games. The Tikongs lost their tradition and identity because of the premeditated actions of the bureaucracy. Furthermore, as evidenced by Pasifikiwei’s symbolic change, even their self-respect disappeared. Like Peter in Office Space, the people of Tiko became the faceless and nameless workers in a government induced pipe dream for the attainment of actual progress. Although the bureaucracy never truly succeeded in incorporating its policies in Tiko, by dehumanizing the Tikongs, undercutting their culture, and convincing the populace to work for â€Å"progress†, the bureaucracy pacified the Tikongs. Development did not improve their way of life; instead it turned them into another casualty of colonialism, a people without a culture in a perpetual struggle towards a non-existent goal.

Homeric Parallels of Greek and Trojan Culture

The Parallels of Greek and Trojan Culture Homer’s The Iliad paints an epic and gruesome picture of the Achaeans and Trojans civilizations warring over a ten-year span. If one were to compare these once great cultures, the striking similarities would suggest friendship rather than enemies. Not only did both nations perform similar rituals and sacrifices, but also these rites were directed to the same group of gods. Specifically the Trojans and Achaeans had a tremendous respect for the dead and the Underworld.Also, the philosophies of both cultures centered on, arete, which for a warrior was excellence determined by a man’s prowess as a soldier during wartime or as an athlete in peace (Chiekova 9/11). Another parallel of the cultures was hubris, and the refusal to admit one’s wrongdoing because of pride. A final irony is the fact that Apollo is considered to be the â€Å"most† Greek of all gods, and yet he fought for the Trojans. Essentially both nations pra yed to the same gods, performed identical rites, followed the same core set of principles and yet from all these similarities, neither nation could find a way to form a truce.The first parallel of Achaean and Trojan culture stems from praying to shared gods. It was common knowledge of the ancients that if one were to honor the gods with sacrifices, the god would eventually reciprocate. And so both nations attempted to win favor. â€Å"At once we’ll sacrifice twelve heifers in your shrine, yearlings never broken, if only you’ll pity Troy, the Trojan wives and all our helpless children,† exclaims Theano, a Trojan Priestess (The Iliad, Book 7, page 180), while the Greeks also relied on divine intervention.Nestor recalls past sacrifices hoping the gods will once again return to the Achaeans, â€Å" There we slaughtered fine victims to mighty Zeus, a bull to Alpheus River, a bull to lord Poseidon, and an unyoked cow to blazing eyed Athena,† (The Iliad, Book 11 , page 266). Not only are the Trojans and Greeks sacrificing the same animal but also in this instance they are praying to the same goddesses. Another example of the same religious practices regards to paying tribute to the dead.Both believed that a soul remained restless and was unable to cross the River Styx and enter the underworld until burial rites were conferred. An example of the importance of proper burial occurs at the end of Book 7, after the duel between Hector and Great Ajax, â€Å"†¦If you are willing come, we’ll halt the brutal war until we can burn the bodies of our dead,† (The Iliad, Book 7, page 196). The mutual respect for the process of death is just another instance of the parallels between societies.The next example of how the Achaeans and Trojans were eerily similar is in regards to cultural beliefs. In order to become a great man or hero, one must possess arete. Arete is earned by performing exceptional feats and in turn gaining glory for on e’s name and country. To understand how important arete was to the ancient Greeks, the story how Achilles was brought into battle can be recalled. Achilles, mother Thetis, hid him amongst the women of Lycomedes. Achilles remained hidden until Odysseus arrived at the island with various gifts.Achilles was the only one interested by the fine swords and shields Odysseus brought, and thus revealed himself. Odysseus then continued to remind Achilles of his destiny, that if he enters the Trojan War he would die, but earn himself immeasurable glory on the battlefield (Chiekova 9/28). Earning arete was more important than living for not only Achilles and the Achaeans but also the Trojans. Hector earned his arete by proving his intense loyalty and returning to battle even though he knew he was going to die, too.Andromache pleads â€Å"Yes, soon they will kill you off, all the Achaean forces massed for assault, and the bereft of you, better for me to sink into the Earth,† (The I liad, Book 6, page 183). Another common theme found in both cultures is of hubris. Countless examples of characters making choices based on pride can be found throughout the epic. One specific example of pride influencing choices of the Achaeans is when Menelaus calls his men cowards for not volunteering to battle with Hector. What disgrace it will be-shame, cringing shame, if not one Danaan, now steps up to battle Hector. You can all turn to earth and water-rot away! † (The Iliad, Book 7, page 190). This is a classic example of challenging ones pride or shaming one into action. For the Trojans, even when it seems that the city is about to fall, he refuses to return Helen to Menelaus. He proclaims â€Å"I say no, straight out- I won’t give up the woman,† (The Iliad, Book 7, page 197). Paris would rather see the entire of city of Troy fall then return his prized Helen and damage his pride.The final great irony of the Trojan War is the concept that Apollo was the m ost Greek of all gods, and yet he fought for the Trojans (Chiekova 9/25). Apollo epitomizes everything the Achaeans strived for. He is often depicted as a young man perfected in beauty and grace and referred to as the sun god. Besides being a great archer, Apollo had many noble characteristics including being the god of healing, music, archery, and crafts. He is often identified by his iconic laurel wreath lyre, and bow. The Achaeans viewed all of Apollo’s traits as virtuous and emulated themselves after him (Chiekova 9/21).The great paradox is that the Greeks offend Apollo by refusing to return the daughters of one his priests. This causes Apollo to side with the Trojans and deliver a vicious plague upon the Greeks. Homer writes, â€Å" The arrows clanged at his back as the god quaked with rage, the god himself on the march and down he came like night. Over against the ships, he dropped to a knee let fly a shaft and a terrifying clash rang out from his great silver bow†¦He cut them down in droves- and the corpses-fires burned on, night and day, no end in sight,† (The Iliad, Book 1, page 88).Comparing Achaean and Trojan society it becomes quite apparent that the cultures were more similar than different. Each society practiced the same religion, strived to achieve greatness and respect in battle, and had a unique respect for Apollo. The parallels between civilizations almost seems as if the Achaeans and Trojans should have been allied with one another, but it seems that there eerie similarities almost led to conflict.

Conjugation of the Spanish Verb Dar

Conjugation of the Spanish Verb Dar Here are the simple conjugations of dar, a common Spanish verb that usually is translated as to give. English translations are given for convenience; in many situations, other translations may be possible. In addition to the conjugations listed below, the perfect tenses can be formed by combining the past participle dado with forms of haber, and progressive tenses can be formed by combining the gerund dando with forms of estar. Also note that Spanish pronouns listed below can usually be omitted but are included here for clarity. Irregular forms are shown in boldface. Infinitive (infinitivo): dar (to give) Gerund (gerundio): dando (giving) Participle (participio): dado (given) Present indicative (presente del indicativo): yo doy (I give), tà º das (you give), usted/à ©l/ella da (you give / he/she gives), nosotros/as damos (we give), vosotros/as daà ­s (you give), ustedes/ellos/ellas dan (you/they give) Preterite (pretà ©rito): yo di (I gave), tu diste (you gave), usted/à ©l/ella dio (you/he/she gave), nosotros/as dimos (we gave), vosotros/as disteis (you gave), ustedes/ellos/ellas dieron (you/they gave) Imperfect indicative (imperfecto del indicativo): yo daba (I used to give), tà º dabas (you used to give), usted/à ©l/ella daba (you/he/she used to give), nosotros/as dbamos (we used to give), vosotros/as dabais (you used to give), ustedes/ellos/ellas daban (you/they used to give) Future (el futuro): yo darà © (I will give), tà º dars (you will give), usted/à ©l/ella dar (you/she/she will give), nosotros/as daremos (we will give), vosotros/as darà ©is (you will give), ustedes/ellos/ellas darn (you/they will give) Conditional (condicional): yo darà ­a (I would give), tà º darà ­as (you would give), usted/à ©l/ella darà ­a (you/he/she would give), nosotros/as darà ­amos (we would give), vosotros/as darà ­ais (you would give), ustedes/ellos/ellas darà ­an (you/they would give) Present subjunctive (presente del subjuntivo): que yo dà © (that I give), que tà º des (that you give), que usted/à ©l/ella dà © (that you/he/she give), que nosotros/as demos (that we give), que vosotros/as deis (that you give), que ustedes/ellos/ellas den (that you/they give) Imperfect subjunctive (imperfecto del subjuntivo): que yo diera/diese (that I gave), que tà º dieras/dieses (that you gave), que usted/à ©l/ella diera/diese (that you/he/she gave), que nosotros/as dià ©ramos/dià ©semos (that we gave), que vosotros/as dierais/dieseis (that you gave), que ustedes/ellos/ellas dieran/diesen (that you/they gave) Imperative (imperativo): da tà º (give), no des tà º (dont give), dà © usted (give), demos nosotros/as (lets give), dad vosotros/as (give), no deis vosotros/as (dont give), den ustedes (give) Sample Sentences Showing Conjugation of Dar El dar es siempre una prueba de madurez. (Giving is always a gift of maturity. Infinitive.) He dado la vida por este equipo. I have given my life for this team. (Present perfect.) Nunca te doy la pelota. No es mi estilo y lo sabes. (I will never give you the ball. It isnt my style, and you know it.) Present indicative.) Los romanos dieron a los judà ­os en ese tiempo un autogobierno limitado. (The Romans at that time gave the Jews a limited self-government. Preterite.) Me daba apuro hablar de eso delante de mis padres. (I felt uncomfortable talking about that in front of my parents. Imperfect.) El asteroide nos dar un susto. (The asteroid will give us a scare. Future.) La madre dijo que le darà ­a un pulmà ³n a su hijo. (The mother said she would donate a lung to her son.  Conditional.) Es importante que des la informacià ³n correcta. (It is important that you provide the correct information. Present subjunctive.) Las aplicaciones maliciosas eran capaces de engaà ±ar a los usuarios para que dieran sus contraseà ±as. (The malicious applications were capable of tricking their users into giving up their passwords. Imperfect subjunctive.)  ¡Dmelo ahora! (Give it to me now! Imperative.)

The Service You Can Count On for Academic Success

The Service You Can Count On for Academic Success If someone attempted to discover a way in which to connect even the most varying cultures from around the globe, then it would be music. This subject, by its description, is a kind of art which arranges sounds in a particular way and serves as a technique of artistic recognition. What is a music essay? Most probably, you’re not aware of what this is. If you are a student taking a musical course, you know that other than passion and creativity, mastering this subject requires a lot of hard work and diligence. While gaining the practical know-how is significant, studying theory is no less critical because it will give you an improved comprehension of the subject’s elements, types, forms, performing means, genres and kinds, etc. Practicing this subject alone could take so much of your everyday time, and the need to craft such essays and study them could take up so much of your time and make your work even harder. If deciding on topic ideas for your content and making time to craft them is such a struggle, then it is about time that you get help from an expert writing service. A simple search online will refer you to multiple companies. Most of them will promise to handle any kind of paper and meet your deadlines. However, you need to be wary before selecting just any service. Our company is the most convenient and qualified service to handle your essays. We will guarantee to deliver a top-notch quality paper at an affordable rate. So, reach out to us if you need assistance. Also, if you need guidelines on how to write a music essay step by step, you will find them right here. The Ultimate Guide on How to Write a Music Essay It is compulsory to craft essays in school, whether at the high school, college, or university level. While it may sound straightforward, it is not necessarily the easiest job. Most people think that it only involves sitting in front of your laptop and getting down to typing. However, there are more complexities to the process. If you’ve never crafted essays before, or you’re struggling with creating a music essay and want to improve your skills, then you should go through our guide on how to write a good music essay. It is a detailed description that shows you how you should choose the type of paper to handle, brainstorm the topic, conduct research, come up with a thesis, outline the paper, write it, and finally edit the content to ensure that grammar and spelling are correct. The Guidelines on How to Start a Music Essay We understand that you have no idea how to begin a music essay, which is why we are here to assist you. First, you need to select the type of paper that you want to handle. Is it narrative, descriptive, expository, or persuasive? This will make it easier for you to select the topic and structure your paper in the best way possible. Next, you need to brainstorm. You cannot craft a paper if you don’t have an idea of what you want to talk about. Here, come up with a suitable topic for your paper. There are very many topic ideas that you can choose from. Your topic should neither be too narrow nor too broad, and it should be something that you’re passionate about. Next, research the topic. You can interview people, go to the library, surf the internet, etc. to come up with relevant information on your topic. Next, come up with a thesis. The key point of your paper is your thesis statement. It will describe what your paper is about. Also, make sure to outline your paper. What is it that you want to write about? This will help you ensure that the paper is well organized, logical, and it flows properly. Next, you can write your paper. Make sure that you follow the correct structure of a music essay. Come up with a catchy introduction, which should be followed by the main body which contains various sections of analysis and finally, the conclusion, which will round up your reflections. Finally, proofread and edit the document for grammar and spelling mistakes. Professional Tips for Writing a Music Essay If you’ve decided that you will be writing a music essay by yourself, make use of our brief yet incredibly effective and valuable tips that will help you along the way: Stop wasting too much time going through so many samples online since not all of them can be counted on. One sample is enough to guide you because there is no one-size-fits-all technique to handle your assignment. Focus on doing more for your topic and making the most out of the information you find. Make sure that you get personal and general at the same time. When writing the paper, you can’t avoid discussing information in general terms, which can be boring. You can make this part short and quickly head to the part where you demonstrate how the general information has directly impacted your life. You can expound more on general information by getting more specific. Use basic language. While using the most difficult terms will make you look like Einstein, you need to be coherent and ensure that the terms that you use can be understood. However, make use of different words that have identical meaning rather than repeating similar words over and over. Also, check your content for any logical inconsistencies and grammar mistakes. Go over your paper several times. Take a break to ensure that you’re fresh enough to polish it to perfection. Order from Us Today for an Impressive Paper from an Expert Writer We completely understand if going through all the guidelines on how to make a music essay wasn’t enough motivation for you to create your paper. You can still get help from us with crafting your assignment. Leave your paper to a professional writer from our team who knows exactly what he/she is doing. Order today for a quality paper.

Required to undertake research on organisational texts or talkat work Paper

Required to undertake on organisational texts or talkat work. This will involve the collection and analysis of data (either audio recordings or other texts) - Research Paper Example The brand awareness has been enhanced by focusing on promotional activities. The promotional activity of Nestle Company for Maggi is to offer gifts in return for empty packet of noodle. The language that can be noticed from Maggi packaging is influential and persuasive which draws attention of people, specially working men and women, who have less time for cooking. There are different patterns of language that can be found in Maggi packaging which are effectively highlighted and presented in the paper. The approach that has been undertaken in this paper is based on discourse analysis. Visual and text elements that can be found on packaging of Maggi are being effectively analyzed in the research. The pictures of product packaging of Maggi have been taken personally. The packaging is described as the form of advertisement which uses integrated brand design. According to Polly Williams, associate creative director of Blue marlin Sydney states that food photography that has been presented in the packaging is to deliver speed, convenience customer ease to drive the intention household. The techniques that have been introduced in the literature of advertisement are based on looking at the usage of metaphors, narratives, texts and images. The feature of every packaging of products is based on depiction of happy and exultant atmosphere. One of the formidable barriers that multinational corporations like Nestle have to surmount is language. It is vital for businesses to decide and evaluate what patters of language that are required to be implemented for their packaging or product labels. Furthermore, corporations also have to notice the rate of adaptation of consumers towards the use of different patterns of language on `product packaging. According to Kotler, the emotion and perception of consumers can be heavily influenced by features of the packaging. Some of the

Adverse Effects of the Arab Spring Essay Example | Topics and Well Written Essays - 1000 words - 140

Adverse Effects of the Arab Spring - Essay Example Three years after the Arab Spring, the countries that experienced the revolts are still struggling to become stable and peaceful democracies (RÃ ³zsa 17). The Arab world is now experiencing rebellions that have toppled the new regimes and lacks democratic institutions. Apparently, Islam that is the dominant force in the Middle East cannot embrace democracy that dilutes the democratization hopes of the Arab Spring. After the Arab Spring, the Syrian government is now using crude weapons against the unarmed pro-democracy protestors and militarized non-state actors like Hezbollah are now taking charge in the Syrian conflict that depicts instability in the nation. The uprisings have led to a civil war between Assad loyalist and opposition forces (RÃ ³zsa 1). Moreover, Sunni and Shia Muslim groups have heightened tension in Bahrain while the Assad regime is guilty of crimes against humanity depicting the destabilized social identities and states (Hashemi 1). In Tunisia, the revolts overthrew the Ben Ali regime leading to elections that passed power to Ennahda Islamist party. However, in 2013, protests sparked again allowing independent technocrats to cease power from the Ennahda coalition government leading the passage of a new constitution that spelled new and presidential elections (Schwartz 1). These events manifest the political instability in Tunisia after the Arab Spring. In Egypt, the revolts forced President Hosni Mubarak to resign in 2011, and Muslim Brotherhood and Mohammed Morsi of the Muslim Brotherhood assumed power in 2012 after winning the presidential and parliamentary elections respectively (Schwartz 1). However, this did not guarantee the democratization of Egypt since the Islamist-dominated constituent assembly drafted a constitution in the same year against President Mohammed Morsi, who was equally facing protests.