Participatory Action Research Essay

The youth group was started in 2004 after the youths realized something was going wrong in the community and they were the right people to rectify the situation. They then came together and registered with the Ministry of Culture and Social Services Youth Affairs. It’s a non-profit making organization whose purpose is to address the needs of the youths and to improve the living standards of the community. The group brings together youths of both genders and has no ethnic or racial barriers as it believes youths from whatever background experience the same problems and must come together in order to solve them. Majority of the youths are trained in various fields of education and so it’s a pool of educated young men and women committed to be difference makers in other people’s lives. Currently the group has thirty five fully registered and active members but there is room for more members to join them. Since its formation, the group has provided their voluntary services beyond area of operation to improve the well being of the community. Their areas of activities include youths and community mobilization and awareness on HIV/AIDS, Sexually Transmitted Diseases (STDs), guidance and counseling services, education on income generating activities, youth and community education on alcohol and drug abuse, education on leadership and administration, planning and accountability, tree planting exercise and offering voluntary services for the well being of the community. The group is seeking to address the most pressing needs that are affecting them and the community where they are living. These pressing need collaborative efforts as they cannot be solved by the community alone as they need technical expertise and some substantial funding. These needs were prioritized according to their impact in the community and they include; the high unemployment rate among the youth, gender disparity due to the culture, and idleness among the youths leading to irresponsible youth behavior, high infection rate of AIDS and other venereal diseases, drug abuse, poor farming methods leading to food insecurity and afforestation problem.. The members agreed that they had the brains, knowledge and skills and if put together and shared will bring a big change among the group members, other youths and the community at large. Though they have had challenges especially from the elderly community members when discussing on sexual issues, the group is committed to continue working until they have attained their set objectives. Their services to the community have effected some positive changes, which have commended by the community members. The group also works with other major stakeholders who have been helpful to the group in terms of training and financial support. These include the Community Based Organizations, Non-Governmental Organizations, Religious Organizations, Society and the Government to improve the living standards of the community. These stakeholders have been very helpful to the youth group because they have been offering training without charging them any fee, giving the youths some incentives as well as the community and funding their projects at some level. They have been able to work with the group since it was started and have promised they will continue working with them as long as keep the agreement with them. The possible research question that could be answered if the researcher collaboratively worked the major stakeholders is to find out whether their input into the group has had and positive impact to the youth group and to the community. This research question will be a guide to getting some critical information which will be used by the group to improve on the areas that they are not performing well (The research question could be as follows; What has been your input to the group and has it had any impact to the group and to the society? ) The benefits of doing the work the researcher is proposing is that it could again help the group to be able to identify their weakness and then find out solutions for them. It will also open another door for them to meet other partners through the researcher who will pump in some more useful input to the group. Through their interaction with them some critical issues may rise which could not have been solved, but it will be an opportunity to solve them. In one way the group could be advertising or selling itself and what they are undertaking through these formal discussions as the contents of the discussions will be published somewhere, which will get some support for the group. This could be beneficial to the group and to the researcher as he/she will be able to learn more about how groups work. As concerns to the ethical issues, the protocol has to be followed and the group has to be consulted first before anything happens. There should be respect for the group and any information about the group should be kept secret as it is. The researcher should make sure that he/she work within the guidelines of the group and should she/he need any information should follow the right channels but not go to public and tell the public about the group against their wishes References Luft, J (1984). An Introduction to Group Dynamics (3rd Edition). Mountain View, CA: Mayfield Toseland, R& Rivas, R. (2005) Introduction to Group Practice, Allyn & Bacon. New York.

Week Final

My upbringing was of a military family with my Father being from central Indiana and my mother coming from Japan, this difference has interestingly shaped my views a little bit differently from hers, but on the same side of things as we have become older shaped a truly similar point of view on ourselves, family, and society. Taking the Myers Briggs test I scored a type SITS and was named a Trustee, meaning that I was more Introverted, sensing, thinking, and Judging than my mate although similar with a type JIFFS and names conservator tying between introverted and extroverted, ensign, feeling, and judging being her higher marked percentages.What I found out is that for me it was pretty accurate I feel as I am more introverted when it comes to accomplishments and things that I can do to make things matter most. Am a thinker and think most before doing something whether It has to do with myself of others, and overtime have become Judging in my perception of Issues or Ideas.My Interviewe e tested similar with the exception of being more feeling, I for one can see this as she is always looking out for the less fortunate, and helping when she can no tater what, spreading her schedule thinner as the days of the week unfold. My interviewer remembers information better if given the opportunity to observe rather than reading about a behavior. The reason was given that to observe Is better than reading as translation can be misconstrued or left out when trying to remember Just what It was you had Just read about.I for one am split between the two as I do learn better by observing an example or technique than reading, but feel strongly that I can also read about behaviors or techniques and then apply what I had just read bout, I also feel that with the more media on sicknesses and disorders in schools and with more kids being diagnosed with ADD it comes to a point that what you take in daily Is the information on what signs to look for and where to seek help, another Instan ce is that It seems like you can Just talk to any given parent who has kids and school and you will find someone who has experienced this firsthand or knows someone who has dealt with it. Interviewee chooses to study at home with distractions and noise as opposed to going to a quiet place like a public library.She feels as though noise and distractions are of no concern over the ability to be comfortable in her own setting at home, and she doesn't really want to be in a place unfamiliar because that alone will give her more distractions than any that could could settle into a calm quiet environment better to be able to concentrate better with little or no distraction apparent. I know that if I chose to study at home and was not able to retreat to my downstairs office for peace and quiet I would not be able to concentrate long enough to do any good. One way I study at home is to do it either early in the morning or later in the evening so that I am not tempted to see what else the fa mily is doing of find myself choosing to partake in other activities other than studying. The results of the Myers Briggs test for the interviewee was one of being a conservator; she was more opt to minister to others needs and desired to be of service to others first besides herself.I on the other hand was one of Trustee, decisive in practical affairs, and a guardian of time honored institutions. My interviewee felt as if the test was somewhat accurate and that it lacked accuracy on how she believed she should of scored, she had a hard time believing that only a little over 13% of the population was indeed similar to her. She felt that with Christianity being as high as it was in the U. S. That more people should have been scored as to have the desire to help others in need and to mentor to them. I thought that the test was fairly accurate for me as I am very traditional in my thinking and decisive, but felt similar as I thought that more than 11% should be like me.My interviewee t hought that childhood memories of church and observations on how her parents treated others shaped her personality as a young women, and then as she matured it grew into a better relationship with her memories of church that helped her to continue to want to go and become better at doing the things that Christ has died for us to become. She felt strongly that it was her desire or the Holy Spirit moving in her lead her to this understanding and defines who she is today. I felt different as I was never brought up in church and didn't even attend church until I aired my wife and was then arrears old. I feel that my parents strong will to be respectable after all my father was in the Ana and I held a pretty straight line or suffered the consequences for my actions, that and the Japanese culture from my mother's side which has a very high respect for a family honor that molded my transformation as a young man to adulthood.I do feel that after living the way I did, which was a typical one as a young man it was later in life when my wife asked me to attend church that I felt something was missing and that desire led to my walk with Christ that shaped my personality today. Interviewee feels as if she is very self monitoring as I pertains to her attitude each and every day, an attitude that starts with what she takes in, what she reads, watches, meditates to, music she listens to, and even the food she eats. She made the comments â€Å"garbage in garbage out†. I felt as if this has also led my day as well. I choose to be conscious of what I say and what I do. This awareness affords me the ability to handle the everyday stresses with work, school, kids, etc. Tit confidence that I can get through the day Just as long as I have the attitude to behave positively and responsibly.The strongest things that influence the interviewee's attitudes are scripture. She gives GOD her first and last each and every day. This positive uplifting meditation that includes, prayer, b ible readings, and awareness allows herself to be charged for positive things and allows her the ability to handle stressful times with integrity and honor to GOD. The thing that I felt strongly about that has the most influence on my attitude is my mind. If I allow things torn down with negative influences. I too feel that a conscious relationship with Christ has offered me and equipped my spirit to handle stressful situations with integrity and honor as well.

Chose an interesting Topic Essay Example | Topics and Well Written Essays - 750 words

Chose an interesting Topic - Essay Example The purpose of this brief paper is to identify the various stages of relationship that my best friend and I went through growing up, identify conflicts that emerged between us, and to formulate a conclusion about the value of such interpersonal relationships. Our friendship was initiated during grade school. Ahmed and I ended up in the same class one particular year, with him being new to the school. Like most kids, I did not pay much attention to the ‘new kids’. Over time, however, I realized that we both had so much in common. We shared the same interests in sports, classes at school, and outside activities. It seemed that we would have been great brothers. During this stage of our just beginning friendship, I suppose we began to explore each other. Good friends are hard to come by, and we both wanted to make sure that we truly desired to invest the time in each other to make such a friendship work, blossom, and become a lifelong partnership. As the months of that scho ol year went by, our friendship began to intensify. This began with us playing simple games in the schoolyard. Before long, Ahmed was regularly in with my own group of friends, and he quickly became one of the ‘gang’. Over time, Ahmed and I spent more time with each other than others in the group because of our intensifying belief that we would make great friends. We had so much in common, it seemed that we were meant to help each other along life’s journey. Naturally, we were typical school age children growing up in the Middle East. We got into mischief, respected our elders when they were in our presence, and scorned them when they were not. During this intensifying portion of our friendship, Ahmed and I frequently would go to each other home’s after school, and we both got to know each other’s family well. In short, we became best friends within the span of a single school year. During the school year, life is quite hectic, especially for a youn g boy. There are many responsibilities to take care of, both at school and at home. Since Ahmed and I only met at the beginning of a school term, we needed that first year to discover one another and begin the process of growing our friendship. It was not until the end of the school year, and the beginning of the summer break, that our relationship turned quite stable. It was during that first summer that we were truly inseparable. Every day we were together, playing together and just enjoying life together. We shared our experiences together and it was during this stable stage of our relationship that I can honestly say forged our friendship for life, even when conflict eventually would arise. We remained like that for several years. A stable foundation had been laid and we were comfortable around one another. We continued to study together, played on various teams together, and our families even became great friends. On two different occasions, Ahmed took a holiday with my family, and I went with him and his family at least once that I can remember. Most every relationship will have its difficult times, and my friendship with Ahmed was no exception. While we had our minor disagreements during grade school, they were easily resolved as being over something petty. As we entered high school, however, our friendship entered into a period of decline. Looking back upon it, different interests got in our way and we both lost sight of what friendship truly was about. In high school, we were often in different classes, separate from

Choose One Research Paper Example | Topics and Well Written Essays - 2500 words

Choose One - Research Paper Example This research is analyzed based on the Sekarana and Bougie framework for research method. The paper is aimed at making a comparative statement and finding out how well the authors have or have not fulfilled each one of the steps mentioned within the steps presented in the figure below. The research also analyses how well each step of the research is connected to the next step of research. The research paper within this study is a business research. By business research, it means that the data gathered and the objective of the research is directed towards addressing and answering causes for a business issue (Rojas, n.d.). The research paper identifies customer dissatisfaction in relation to loyalty programs carried out in almost all industries today. This is relevant for the use of marketing managers who are engaged in customer relationship management services. Loyalty programs are a recent development in the field of customer retention attempts and management of customer relationship. Hence, managers within the industry are increasingly providing rewards for customer loyalty in the form of specialized services and rebates with a view to maintain such loyalty of the consumer and maintain long term business relationships. It has been studied that certain attempt of customer retention initiatives can have serious negative effects and such loyalty programs can be perceived to be discretionary and creating value driven differentiation among customers (Charmaz & McMullen, 2011). There are frequent complains in discussion forums over the web about the ill effects and poor management of such loyalty programs. Such dissatisfaction reduced customer loyalty and thereby economic loss. In this view, the frustration criteria of customer with their experiences in customer loyalty programs was selected based on the idea that dissatisfaction experience by customers might appear reasonable but the study

Graduate Labor Market Of Banking Industry In The United Kingdom Essay

Graduate Labor Market Of Banking Industry In The United Kingdom (Information For 2nd Year Economics Undergraduate.) - Essay Example Careers available in the industry are relatively attractive, and the opportunities are numerous. Accounting is one of the overriding career choices that are highly marketable in banking sector (Clement, 2003). It requires people with requisite analytical skills, accurate performance, and arithmetic techniques. Due to the current competitive market and uncertainties surrounding the future of the financial market, strategic management is proving to be a very essential career choice. It involves exceptional statistical and economic analytical talent. Securities and financial analyst also find significant role in the banking sector among other careers (Clement & Williams, 1989). It is fundamental that a student performs in school and attains better grades, but this is not all as observed by the employers. The current career choice and job placement require a graduate to show competencies beyond the class performance and be able to solve the practical problems in the society (Great Britain, 2010). This begins with even Curriculum Vitae presentation where one needs to show abilities and attributes that match the requirements of the financial market. Any graduate seeking to advance his/her career in banking must have skills that present a resolution to the bank’s placement descriptions (Bonanno & Cavalcanti, 2011). It is imperative that a graduate shows exemplary command of written and spoken English as this shows required communication skills and competencies crucial in this sector. Such abilities may be subjected to test especially during interviews where the aptitude test and oral interview will expose the graduates’ ability (Field, 2002). In order to achieve great in this industry, one needs to join reputable institution and exhibit high standards of discipline (Clark & Daunton,

Five Ways Leading to the Mystical Union Assignment

Five Ways Leading to the Mystical Union - Assignment Example St. Teresa said let me suffer or die. They look at their old selves with disgust. In raising oneself to purity one has to be ready, for example poverty is common, so one has to endure pain and suffering. This phase has two components; mortification and detachment. The later refers to voluntary poverty, which according to the Catholic Church is chastity where, there is cleansing of the soul from all personal desires. Finally one must obey the voice and teachings of God. A good example is the biblical beatitude that says, blessed are the poor in spirit, for they shall receive the kingdom of God. The mystic must detach from all material stuff and aim for purity, because God is pure. Mystics here choose to associate with only clean creatures. Material possessions usually cloud our aim for reaching purity. According to St. John of The Cross, we are nothing; we have nothing and therefore lack nothing. Mortification on the other hand is purification, to ensure the death of old habits of the old self, which prevents oneself from becoming a new being. Any necessary physical and mental torture is required to free oneself from earthly pleasures and satisfaction. It can only stop when one has shed selfhood. Love of all people and creatures, plus service to humanity is important. Old days had the step of physical torture, which included several ways of crucifying oneself. 3) Illumination. This stage transfers self centeredness into a God-centered world. Once detached from earthly attathchments, the mystic is sure of the existence of God. The mystic and the superior being are not yet one, the relationship can be compared to betrothal but not marriage. There is consciousness of the presence of God; therefore there is joy and pleasure. It is a... The essay "Five Ways Leading to the Mystical Union" describes five ways to achieve the state of union with reality and considers the nature of mysticism. According to Evelyn Underhill, mysticism is the state of union with reality. But in order for mysticism to occur there has to be changed in an individual’s life, after the experience beyond human description. The first way 'The awakening of self' is a stage much higher than religious conversion. A person moves from a stage of physical limitations, placed on them by the world and moves to a state of greater revelation. People find meaning in life. The second one is 'Purgation of self'. The awakened parson goes higher, on the slow spiritual journey in order to arrive at a higher consciousness of reality. The path involves shedding off older, evil self of the world and embracing God. The next way 'Illumination' transfers self-centeredness into a God-centered world. Once detached from earthly attachments, the mystic is sure of the existence of God. The mystic and the superior being are not yet one, the relationship can be compared to betrothal but not marriage. 'The dark night of the soul' is the fourth way which is a purification of the spirit before it merges with the absolute. There is no joy but fatigue, deprivation, and darkness. The old temptation of mystics’ desire for earthly desires creeps in, due to exhaustion from friends and family. And the final way 'The unitive life' comes after years of destruction of selfhood. Here the old self is replaced by the divine self.

Luca Pacioli Essay Example | Topics and Well Written Essays - 250 words

Luca Pacioli - Essay Example I find his Christianity perception of things as a major input as he is seen to believe in number mysticism that claims God owns all numbers. It also means that since God created all figure, they are then his direct words. Summa, one of the works he wrote, brings out the full understanding of double entry book keeping and as well explains how accounting is a part of good accounting business practice. His work has contributed greatly into the contemporary world of accounting as most of the work, especially the bookkeeping, is still used. In addition, some major terms used then such as debit and credit have not had any modification in the more than 500 years since their invention. In addition, his conceptual framework that comprised of the journal, the memorandum, and the ledger is still essential in the modern accounting field. Most modern accounting field concepts rely on his works such as summa, which contains true and fair view, stability, trustworthiness, significance, materiality, understandability, full disclosure, and materiality in accounting practices. His trend in displaying accounting figures by use of charts and graphs enables modern world to have ideas on how to communicate figure in a more understandable way. In conclusion, I would say that Pacioli, just as his â€Å"father of all accounting† depict, is indeed a great figure in the accounting world. If it were not for his understanding and his contribution, even if he did not invent the book keeping method, one cannot imagine how it would have turned out. Also, his books have helped deliver information from centuries ago to the modern word, which has played a significant role and will continue to play long from

Dietary Guidelines Assignment Example | Topics and Well Written Essays - 1500 words

Dietary Guidelines - Assignment Example A fit body and a healthy diet are the building blocks of a healthy life. If the body is healthy, its direct impact is positive on your mind .Also our body deserves the best timely nourishment in order to get optimum output. Keeping a track of your fitness level helps you to understand your physical requirements and lead a healthy life. I am a 24 years old male living in an apartment all by myself. I have to cook my own food but don't cook on a regular basis due to my lifestyle and mostly eat out. I play Tennis (State Player) and train with ATP professionals .I exercise in a Gym all by myself as I don't have any personal fitness trainer. My more focus while exercising is on the upper body and therefore my lower body is weaker than the upper body. Whenever I do weights the lactic acid produced in the muscles decreases the flexibility of body muscles. I spend 3 days a week for Tennis and Gym and occasionally enjoy swimming. I mostly drive and walking habit is almost negligible in my lifestyle. The above results show my sporting endeavor. I am of standard height and my BMI is normal. My Waist to Hip Ratio indicates that my body shape is in proportion to the body weight. My skin folds (percentage of Body fat) are slightly high as compared to normal (higher than 14% in men). My body has a high capacity to transport oxygen to muscles for utilization and generation of energy as proven by VO2 Max test. My Sit and Reach Flexibility test gives a good score (Paul Roetert, Todd S. Ellen Becker, Page 19); my muscular endurance is good as proven by Push Up and Sit Up tests. The strength of my forearms is good and I am right handed person as the test results for right hand were higher than the left. My shoulder flexibility has a high variance when compared between right and left. Right arm shoulder flexibility is excellent wherein the flexibility for Left Shoulder is below average. My Shoulder Press indicates low shoulder muscle endurance unlike Bicep curl which is indeed a good weigh t. In my speed test, timing was good in 10m sprint (burnt 1174.5 calories) while I didn't score well in 20m sprint (2350 calories burnt). 505 Agility test indicates that my ability to change directions when required while running was not good at all. The result for Bench Press Test calculated in Per Body Weight (1.3414) was good. The evaluation of my lower body strength i.e. Leg Press was Poor. 24 hours Diet Recall Dietary Assessment Nutrient My

Transforming the balanced scorecard Coursework Example | Topics and Well Written Essays - 250 words

Transforming the balanced scorecard - Coursework Example tion view intangible assets as a source of competitive advantage as opposed to the view of the 19th century and early 20th-century firms (Kaplan and Norton 88). The Balanced Scorecard was introduced to provide a new framework for describing value-creating strategies that link tangible and intangible assets. It describes how to mobilize and combine intangible and tangible assets to develop differentiating customer-value offering and superior financial results. The program has helped over 200 executive teams. It allows the strategy to emerge from meetings and consultations with the senior executives. Then a general framework for describing and implementing the strategy known as the strategy map is developed. It creates a common and comprehensible point of reference for the company (Kaplan and Norton 92). Apart from its industrial application, Balanced Scorecard has also been adopted by non-profit and government organizations (NPGOs), however, it faces the challenge of a strategy that has not been clearly defined. It is important for the class to note that the Balance Scorecard is not just about performance measurement. It has evolved to become the organizing framework, for a new strategic management system. Its adoption has been observed to deliver good result. The Balanced Scorecard provides a recipe to combine with what exists in the organization for long-term value creation. The following points will be in class; strategic maps, other forms of performance measurement, Balanced Scorecard and NPGOs and beyond performance management (Kaplan and Norton

Analysis the Song The Way We Were Essay Example for Free

Analysis the Song The Way We Were Essay There is a song—a love song that has touched several hundred thousand audiences’ hearts; it expresses the overflowing feelings of a woman who used to live in her intense true love. â€Å"The Way We Were,† by Alan Bergman, Marilyn Bergman, and Marvin Hamlisch illustrates the innermost emotions and regret of a middle-aged woman when she reflects on the youth which she had gone through. This song has a light beat and slow tempo forming delightful sensations for the listeners, but it also leaves audiences a profound message to think about. Sophisticated audiences may find themselves in the song. It brings out fervor, especially for people who have been living in love. Marilyn Bergman uses simple words, but it is very touching and emotive. Basically, it is a classical song which was played by symphony orchestras and performed by Barbra Streisand. By just looking at the lyrics, one would feel the sentimental soul and an introspective mind of a sensitive woman. In the first line of the song, she writes â€Å"Memories, light the corners of my mind. Misty watercolor memories of the way we were. These memories have been engraved in her heart; they are neither gloomy nor euphoric, but they are vivid images which she wants to repress in the most innermost sphere of her mind. It is not just something very hurtful; it is not blissful to think of either. Her feeling is a mixture of nostalgia, melancholy, and a little bit of regret that is rushing through her body. Former familiar scenes were depicted in her mind, but, somehow, t hey are both painted with watercolor and blurred, symbolizing a mystical ethereal world that solely exists in her imagination and belongs to her only. Near the middle of the song she wonders, â€Å"If we had the chance to do it all again. Tell me would we? Could we? † She already knows her former love would never come back again; the melody sounds like she is missing and regretting her loss of love. The term â€Å"Would we? Could we? † is deliberately sung slowly and softly as mumbling is also a way to convey her thoughts. Despite her haunting regret, she prefers keeping that regret to making up her love again because she knows wistful moments and romantic longings that she has right now wouldnt exist if her love remained today. It is such an uncanny feeling and an agonizing struggle between the logic and the sentiment of a human being. The last couple lines expose changes in her mood, â€Å"Memories may be beautiful and yet whats too painful to remember. We simply choose to forget, so its the laughter we will remember whenever we remember the way we were. † She used to live in love with both happiness and bitterness, but she had to learn how to forget unpleasant experiences to keep the most exquisite feelings inside herself. Does she â€Å"simply† choose to forget? It is not something easy to do. The way Barbra Streisand sings shows internal struggling when she decides to get rid of mental pains. The word â€Å"laughter† here is not simply something funny and delightful to laugh at; it is also a pang of remorse and regret about the love and the youth that are gone from her life. Marilyn Bergman used simple words to describe emotion of the woman in this song, so it is quite easy for listeners to apprehend the meaning; however, its melody and the way Barbra Streisand performs it, the most essential factor, helps the song convey the message to audiences . The intended stress in every single word of her lyrics is absolutely touching. For example, the word â€Å"smiles† in the second line was purposely lengthened to give a hint to the audiences so that they can comprehend the whole significance of the song. It is a beautiful song evoking diverse memories for listeners. Each listener will feel and interpret the song in different ways depending on their character and their personal experiences. However, one thing for sure is that these audiences will feel more appreciative of people around them so that they will not be regretful later on.

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

Blood Doping :: essays research papers

Running the Race to Obtain the Prize?   Ã‚  Ã‚  Ã‚  Ã‚  Each year athlete’s ability to perform seems to increase by leaps and bounds. Some reasons for this can be attributed to better training methods, better conditioning techniques, and better over all health of the athlete. While most situations involve one or more of the previously scenarios, some athletes always seem to take it to a step further. They engage in a process called blood doping. This procedure does increase physical performance and athletic ability, but potentially may do more harm than good. For purpose of emphasis and understanding, some background information is needed to fully understand exactly what blood doping can do for an individual. In order for muscles to perform, they need a ready supply of oxygen. During high intensity exercise, oxygen is depleted and the body can not get enough oxygen to the muscle in order for them to perform their optimal potential. This lack of ability to get oxygen to the muscle is called oxygen debt and results in lactic acid being formed. Lactic acid is a waste product of anaerobic cellular respiration within the muscle tissue, which can cause muscle sourness that, usually, is felt after a hard or long workout. Fatigue usually sets in with the onset of lactic acid production. Oxygen is carried to the muscle by two delivery systems. Three percent of oxygen is carried in plasma and ninety-seven percent is in hemoglobin, the principal protein in erythrocytes (red blood cells). If hemoglobin amounts are increased, this will lead to increas ed oxygen levels that can be transported to the muscles. Allowing the muscles to become more fatigue resistant.   Ã‚  Ã‚  Ã‚  Ã‚   Blood doping could have opposite effect of those intended. A large infusion of red blood cells could increase blood thickness and cause a decrease in cardiac output and a reduction in oxygen content. Both would reduce aerobic capacity. The human heart was not designed to pump thickened blood throughout the body and, therefore, it could lead to a multitude of problems. The diseases that can be contracted from autologous blood transfusion are severe. Even more frightening is the list of diseases that can be contracted through homologous blood transfusion. It includes hepatitis, AIDS, malaria, and CMV. In addition, shock is a factor to be aware of.   Ã‚  Ã‚  Ã‚  Ã‚  All blood doping procedures used in attempt to improve athletic performance is unethical and unfair. Taking a risk like blood doping to win a race is sad.