Anime vs Cartoons Essay

A conversation like this often occurs in conversations between teenagers and adults. Although both Cartoons and Anime are caricatures that may be animated, they differ in visual characteristics and topics/themes. In terms of visual characteristics, Anime is obviously closer to reality than Cartoons. Anime characters have distinct facial expressions and a wide variation of physical characteristics. They depict the tone, energy, and movement of a real human being. Cartoons, however, have features that are not relative to the rest of the body. Unlike Anime, Cartoon characters tend to represent almost anything, inanimate objects or animals, making its idea further from reality. Anime topics and themes concentrate mostly in life issues or things tied closer to human emotions. Japanese animators tend to add the sense of realism in Anime. This is done by animating how water flows, how fire burns wood, and how tears manage to fall from someone’s eyes. These characteristics are what make Anime much appealing to most audiences. On the other hand, Cartoons are generally made to make people laugh, that’s why most cartoon characters are somewhat disproportional, colorful, and comical. Cartoon character traits are far from reality. They are works of imagination which are humorous. However, Cartoons lack the sense of realism. For example, when a Cartoon character cries, it isn’t that effective to audiences because of the way the tears are coming from the character’s eyes. Furthermore, whatever emotion should you try to incorporate with a Cartoon character, it will still be funny. As an overall evaluation, Anime could be much better than Cartoons since it can incorporate different human movements and emotions. Unlike Cartoons, Anime’s aim isn’t just to induce laughter, but also to depict true human nature, feelings, and emotions.

Strictly Ballroom

Study Guide Strictly Ballroom fiieducation SYNOPSIS At the Waratah Championships ballroom dancer Scott Hastings goes against Federation rules and impulsively dances his own steps, causing partner Liz Holt to dump him. Then Fran, ugly duckling of the beginners’ class, offers to be Scott’s new partner. Initially sceptical, he is persuaded by her ideas, and together they plan to dance their own steps at the Pan-Pacific Grand Prix Championships. But Scott’s rebelliousness does not go unchallenged.His mother Shirley and coach Les Kendall try various ways to prevent Scott from dancing with Fran, while corrupt President Barry Fife plots Scott’s downfall by concocting a story about his parents’ dancing career that will convince him to compete at the Pan-Pacifics without Fran. All seems lost until Scott’s father Doug reveals the truth. With Barry Fife’s desperate attempts at sabotage having little effect, Scott and Fran complete their spectacul ar dance to rapturous applause from the crowd. Everyone takes to the dance floor in celebration. CAST Scott Hastings Fran Barry Fife Doug Hastings Shirley HastingsLiz Holt Les Rico Ya Ya Paul Mercurio Tara Morice Bill Hunter Barry Otto Pat Thomson Gia Carides Peter Whitford Antonio Vargas Armonia Benedito Ken Railings Tina Sparkle Charm Leachman Wayne Burns John Hannan Sonia Kruger Kris McQuade Pip Mushin Vanessa Cronin Kylie Luke Leonie Page Lauren Hewett Steve Grace CREDITS Director Producer Screenplay Baz Luhrmann Tristram Miall Baz Luhrmann and Running Time Craig Pearce 94 Minutes CONTENTS Introduction 4 Images of Australia 5 Baz Luhrmann’s Vision 7 The World of the Film 10 Hero, Heroine, Villain 14 APPENDICES A – Baz Luhrmann interview 18 B – Tristram Miall interview 20C – Sequences for study 22 D – Key moments 23 E – Film language 24 F – Filmography 25 INTRODUCTION Australian director Baz Luhrmann's flamboyant and colourful debu t feature Strictly Ballroom (1992) opens with a theatrical swish of red velvet curtains and leads us into the larger-thanlife world of competitive ballroom dancing. It tells the story of Scott and Fran, who rebel against Dance Federation rules in order to dance their own steps. The film is the first in Baz Luhrmann's ‘red curtain' film trilogy, and can also be described as a combination of the following: a fairy tale, a romantic comedy, a dance musical, even a satire.This study guide is aimed at teachers who are teaching the film as a comparative text in the Leaving Certificate English syllabus. As well as sections relevant to modes of comparison such as The World of the Film, (for Cultural Context/Social Setting) and Hero, Heroine, Villain, a central feature of the study guide is our exclusive interview with director Baz Luhrmann. He discusses his artistic vision and defines red curtain cinema, the concept central to his trilogy of films Strictly Ballroom (1992), Shakespeare' s Romeo & Juliet (1996) and Moulin Rouge (2001).We are also very pleased to include an interview with Strictly Ballroom producer Tristram Miall in which he discusses his involvement in the making of Strictly Ballroom, and also provides insights into his role as a film producer in the Australian film industry. Both interviews will provide invaluable background material for both teachers and students. Strictly Ballroom is an excellent choice for comparative study as it is accessible, fun and fast-paced, but it also has serious themes and ultimately celebrates Australia's multicultural society, a view that has strong resonance for contemporary Ireland.I hope you will find this guide an interesting, useful and enjoyable resource in your teaching of Strictly Ballroom. Grateful thanks to my colleagues Alicia McGivern, Grainne Humphreys and Liz Fehilly for their valuable suggestions and editorial contributions. Ann Ryan Schools Officer fiieducation The Film Institute of Ireland STRICTLY BA LLROOM 4 Uluru (Ayers Rock) IMAGES OF AUSTRALIA â€Å"You will find a warm welcome waiting for you in Australia, one of the most fascinating and spectacular places on earth. A land of contrasts, at once a youthful, vital nation and the home of the planet’s oldest continuous culture. † 1A SPECTACULAR HOLIDAY DESTINATION A SUCCESSFUL MIGRANT NATION Just as the Irish Tourist Board represents Ireland in a certain way to attract tourists, the Australian Tourist Commission promotes travel to Australia by highlighting its bright, colourful aspects. Famous landmarks such as the Sydney Opera House, Uluru (Ayers Rock) and the Great Barrier Reef are featured as well as Australia’s indigenous people, the aborigines. Ever since Australia was first colonised by British settlers more than two hundred years ago, there have been successive waves of migration to its shores. The majority of migrants came from Britain,Ireland and northern Europe until after the Second World War, wh en Australia welcomed refugees from war-torn Europe and also began to accept thousands of migrants from southern European countries such as Italy and Greece. (Melbourne for instance has the largest Greek population of any city in the world outside Greece). STEREOTYPICAL IMAGES What expectations do we have of Australia and its people? There are several familiar Australian stereotypes, including the enduring image of Aussie bushman hero seen in Paul Hogan’s Crocodile Dundee. This is continued in recent film release Crocodile Hunter: Collision Course (2002) tarring TV naturalist Steve Irwin. A more negative stereotype is that of a Today, Australians whose ancestors hail from Britain or Ireland2 still form a majority of Australia’s population but the country has also become one of the most successful migrant nations in the world, welcoming people from all corners of the globe to its shores. Notwithstanding the typical Australian male being depicted as beer-swilling, loud-m outhed and uncultured, like Barry Humphries’ comic creation Sir Les Patterson, ‘Australia’s 2002 government’s controversial stance on illegal immigrants, contemporary Australia is a diverse and vibrant multicultural society. ultural attache. ’ Characters and settings in Australian TV soaps such as Home & Away and Neighbours conform to stereotypical views of Australia, such as the mistaken AUSTRALIAN CINEMA* During the 1970s the Australian film belief that it is permanently sunny there, or that people are always tanned, goodlooking, athletic ‘surfie’ types. Perhaps the soaps’ appeal lies in their representation of industry experienced a revival of its fortunes. The development of a government-assisted film industry reflected a desire to develop and nurture Australia as a sunny suburban paradise, a far cry from the more downbeat settings ofEastenders or Fair City. a national cinema. Films made during the 1970s and since reflect Aus tralia’s increasing cultural diversity. STRICTLY BALLROOM 5 The Dish, Australia’s biggest ever box office success Peter Weir is an important figure in the Australian film renaissance. His haunting success. This gentle comedy is set in July 1969 in a small rural town in New South 1 Australian Tourist Commission Traveller’s Guide 2002, p3 and atmospheric Picnic at Hanging Rock (1975) was a success both in Australia and Wales. Australian scientists become unlikely heroes because of the part they play in 3 Adrian Martin, More than Muriel, Sight and Sound nternationally. Adapted from the novel by Joan Lindsey, the film is set in 1900 on Valentine’s Day, when a group of schoolgirls on a picnic at Hanging Rock in Victoria disappear without trace. broadcasting the first TV pictures of the Apollo moon landing. In the 1980s the phenomenally successful Crocodile Dundee (1987) relied on the bushman stereotype for its comedy. In 3 addition to 1990s ‘kitsch comed y’ successes like Strictly Ballroom, Priscilla, Queen of the Desert (1993) and Muriel’s Wedding (1994), other comedies also proved popular. The Dish (2000) emerged as Australia’s biggest ever box officeAnother box office success is Phillip Noyce's film Rabbit Proof Fence (2002), which explores a significant and tragic part of Australian history: ‘The Stolen Generations. ‘ From 1905 to 1970 part-Aboriginal children were forcibly removed from their families and placed in institutions. Set in the 1930s and starring Kenneth Branagh, the film tells the story of three Aboriginal girls who escape from the institution they have been placed in and walk 1500 kilometres across the continent to find their way home. STUDENT EXPLORATIONS 1 Travel brochures promote Australia as one of the world’s most spectacular holiday destinations. What mpressions of Ireland are shown in travel brochures, do you think? 2 Describe a stereotypical Australian, then a typical Irish person. In what ways are these stereotypes limiting? Where do we see such stereotypes used? 3 Do you think Australian TV soaps are realistic? What images of Australia do they present? Compare their stories, characters and settings to an Irish or UK TV soap. 4 Compare another Australian film to Rabbit Proof Fence  © Miramax Release Date Ireland: 8/11/02 Strictly Ballroom. In what ways are they similar/different? What impressions of Australia do you receive in each film? *See Filmography (Appendix F) for ore details of Australian films. STRICTLY BALLROOM 6 2 Known as Anglo-Australians, or Anglo-Celtic Australians Vol. 5 No. 6 (1995) p30 – 32 (p30) Picnic at Hanging Rock BAZ LUHRMANN’S VISION ORIGINS OF STRICTLY BALLROOM company, the Six Years Old Company, subsequently revived the play for a it won the Festival’s Prix de Jeunesse. Strictly Ballroom also won several other Ballroom dancing is hugely popular in several countries around the world. With success ful season at the Wharf Theatre in Sydney before touring to the World Expo awards, including eight Australian Film Institute Awards, three British Academy ts garish costumes, obsession with detail and rigorous rules, it has evolved into a dance sport and has recently been introduced to the Olympics. There are clubs and societies in countries around the world devoted to the promotion of ballroom dancing. Baz Luhrmann was introduced to the world of competitive ballroom dancing as a child growing up in Australia. His mother was a dancing teacher, and he took lessons, danced competitively and became a champion ballroom dancer himself. at Brisbane, Queensland in 1988. Awards and a Golden Globe nomination. FROM PLAY TO FILM VISION & PASSION The next phase in Strictly Ballroom’s evelopment, however, was more challenging. Adapting the successful stage play into a film became what the filmakers describe as a â€Å"David and Goliath journey†. Producers Tristram Miall and Ted Alb ert had approached Baz Luhrmann with a view to buying the film rights. They agreed that he would write the script and direct the film. In 1991 Baz Luhrmann and Craig Pearce wrote the final screenplay for Strictly Ballroom, but the Australian Film Finance Corporation were cautious about financing a first time director, producer and a largely unknown team. Few films were being made in Australia in the early 1990s, as it was in the midst of an conomic recession. In many ways the ‘David and Goliath’ struggle to get the film made reflects Scott’s struggle to dance his own steps in the film. His creativity and vision eventually win out despite the obstacles in his way. Similarly Baz Luhrmann’s team overcame what seemed to be impossible odds to triumph. Their vision and passion, combined with tenacity, hard work and determination helped them succeed in getting Strictly Ballroom made. Given the economic circumstances in Australia at the time, and the fact that Baz Luhrmann had never directed a feature film before, this was indeed a substantial achievement. AT DRAMA SCHOOLBy 1985 Luhrmann was studying drama at the prestigious National Institute of Dramatic Art1 (NIDA) in Sydney, where he felt that its traditional teaching methods and strict rules were oppressive, stifling students’ creativity. Inspired by this experience, the original premise for Strictly Ballroom was based on overcoming oppression. Luhrmann chose the world of ballroom dancing because of his own experiences in that world. A DEVISED PLAY STUDENT EXPLORATIONS Despite several setbacks, including the 1 Baz Luhrmann and the producers have described the experience of making Strictly Ballroom into a film as a ‘David & Goliath’ struggle.Find out about the sudden death of producer Ted Albert, the money was eventually raised to make the film, with the Australian Film Finance Corporation as main investor. But there story of ‘David & Goliath’, and discuss how it has parallels with Scott’s story. 2 The theme of overcoming oppression was the premise for Baz Luhrmann and SETBACKS The first version of Strictly Ballroom was a thirty minute devised play, created by Luhrmann and fellow students (including long time friend and co-writer Craig were other difficulties along the way, including Paul Mercurio (Scott) injuring his ankle just before the start of filming, and he Film Finance Corporation allegedly Pearce). Luhrmann then directed the first ever stage production of Strictly Ballroom at NIDA. The play’s success led to its selection for the 1986 World Youth ‘hating’ the film after viewing a rough-cut. (See Interview with Tristram Miall). Despite all these difficulties, Strictly Ballroom became a huge hit in Australia and Theatre Festival in Czechoslovakia, where it received awards for best production and best director. Luhrmann’s theatre overseas. Made for $3. 5 million Australian dollars, it screened a t the prestigious international film festival at Cannes, where fellow NIDA students when they evised the play version of Strictly Ballroom. The students felt oppressed by the strict regime at their drama school. Do you have any personal experience or knowledge of such a regime? Give some examples. 3 Discuss the different stages by which Strictly Ballroom became a film. What impressions do you receive of Baz Luhrmann and his team? STRICTLY BALLROOM 7 â€Å"All our films use this cinema form which we call theatricalised cinema, red curtain cinema†¦Ã¢â‚¬  Baz Luhrmann Moulin Rouge (2001)  © Twentieth Century Fox RED CURTAIN CINEMA Shakespearean language, and Moulin Rouge is a musical. Once the audience Baz Luhrmann describes his trilogy of ilms as examples of red curtain cinema. accepts that they are always watching a movie and are not seduced into believing This concept, which he defines as a theatricalised, participatory cinema form set in a heightened world, is central to o ur understanding of his work. Strictly Ballroom, the first film in the red curtain trilogy was released in 1992, followed by Shakespeare’s Romeo & Juliet (1996) and finally Moulin Rouge (2001). that it is real, Luhrmann believes that they will be able to participate actively in the viewing experience. According to Baz Luhrmann, there are rules and conventions in red curtain inema just as in other film genres. The first rule is that the story needs to be set in a heightened creative world. Strictly Ballroom opens with a theatrical swish of red velvet curtains. The opening image leads us into the world of competitive ballroom dancing, peopled by larger-than-life characters obsessed with winning. The second rule is that the story should be based on a recognisable story shape. In Strictly Ballroom, the David & Goliath myth can be seen quite clearly in Scott’s Romeo & Juliet (1996)  © Twentieth Century Fox struggle against the mighty Dance Federation. Similarly, the fairy tale about he ugly duckling being transformed into a swan is mirrored in the character of Fran. Baz Luhrmann for a detailed account of his artistic vision & (Appendix B) Interview with producer Tristram Miall for details of his involvement in Strictly Ballroom. Thirdly, and finally, red curtain cinema is also audience participation cinema. For Luhrmann, the audience needs to be aware that what they are watching is not meant to be real. Unlike other films which give the illusion of reality, red curtain films use ‘devices’ to keep the audience aware that the film is heightened and stylised. In Strictly Ballroom the central device is ancing; in Romeo & Juliet it is See (Appendix A) Interview with director DISCUSSION from his review of Moulin Rouge reveals: â€Å"The director clearly exults in the thrilling films like Top Hat (1935), the all-powerful Dance Federation is represented as the Luhrmann is influenced by radical theatre practitioner Bertolt Brecht, who was theat ricality of the genre, which he communicates so infectiously to the enemy in Strictly Ballroom. ‘Mockumentary’ interviews in the opening interested in creating ‘active spectators’ in theatre audiences. To achieve this he employed distancing techniques to ensure that the spectator stands outside the xperience. 2 Brecht’s aim was to keep the audience intellectually involved, but emotionally detached. Baz Luhrmann wants the audience to be active participants, aware that they are watching a film. He describes red curtain cinema as being like ‘Brecht with heart’ because he also welcomes their emotional involvement. audience in this exuberant, intoxicating spectacle, a blissfully romantic paean to the power of love. †3 sequence provide another example of the film’s parodying of conventions. So does red curtain cinema work, and are we convinced by it as a new cinema form? The world created in Strictly Ballroom is indeed larger-than -life, lamboyant and stylised. And in Shakespeare’s Romeo & Juliet and Moulin Rouge Luhrmann continues the concept of red curtain cinema in ever more fantastical ways. The Verona in Shakespeare’s Romeo & Juliet is hot, sexy and violent, a created world comprising of twentieth century icons. Moulin Rouge, STUDENT EXPLORATIONS There is no doubt that Baz Luhrmann’s red curtain films offer audiences larger-thanlife fantastical created worlds, stunning visual spectacle and stories based on recognisable myths. But perhaps the audience participation element of red curtain cinema works more convincingly in Strictly Ballroom and Romeo & Juliet han in Moulin Rouge because in the final film of the trilogy the pace is just too frenetic and rushed. Those who love watching MTV may disagree, but in my view the audience simply does not have time to absorb the myriad images, sounds, sweeping camera angles and special effects. Far from encouraging our emotional involvement with t he characters and storyline, these distancing techniques in fact have the opposite effect. A COMBINATION OF GENRES 1 Define ‘red curtain cinema’ in your own words. 2 We are used to seeing films at the cinema that are set in the ‘real world’. Give some examples of films like this. How do Baz Luhrmann’s films differ?Do you prefer films that have a realistic setting/storyline or films that are obviously set in a heightened, fantasy world? 3 What do you think of Baz Luhrmann’s concept of red curtain cinema? Does it work, in your opinion? (Consider Luhrmann’s other films, Romeo & Juliet and Moulin Rouge as well as Strictly Ballroom in your response). 4 Strictly Ballroom also draws from other traditions in film and theatre. Give examples of key moments from the film that illustrate its combination of genres (eg. ‘mockumentary’, fairy tale, dance the final film in the red curtain trilogy, is an extraordinary musical love story, se t in computer-generated Paris of 1899, featuring music from artists as diverse as Baz Luhrmann defines Strictly Ballroom as red curtain cinema, but it also draws from several traditions in film and theatre: slapstick elements of silent film; musical). Randy Crawford and Nirvana. Luhrmann’s red curtain films have been box office successes and are hugely popular with audiences. This is clear commedia dell’arte; even ‘mockumentary’. It can be described as a combination of the following genres: a romantic comedy, a fairy tale, a dance musical, a satire, and evidence that many people enjoy the experience of watching his films, and are illing, either consciously or unconsciously, to accept the conventions finally an example of ‘kitsch comedy. ’ Baz Luhrmann uses these conventions in Strictly Ballroom, but he also parodies them. The film self-consciously subverts loosely in English as distance alienation or the ‘A’ of red curtain cinema. Film critic Michael Dwyer is an enthusiastic admirer of Baz Luhrmann’s work, as the following extract our expectations of the backstage musical, so that far from being a celebration of the show business dance community as in narration, mask, song, and actors playing a variety 1 The National Institute of Dramatic Art (NIDA) is ne of Australia’s best-known drama schools. Graduates include Mel Gibson, Cate Blanchett and Toni Collette. 2 The concept of ‘verfremdungseffekt’, translated effect, is used in Brecht’s epic theatre to remind the audience that they are watching a play. (A-effects include a presentational style of acting, use of of roles). 3 Dwyer M. , The Irish Times, 5 September 2001 STRICTLY BALLROOM STRICTLY BALLROOM 7 9 THE WORLD OF THE FILM As we have seen in the discussion on red curtain cinema, one of its conventions is that the story takes place in a heightened, fantastical world. There are two contrasting worlds in Strictly Ballroom.B oth are located physically in the suburbs of Sydney, but they are distinct and separate, reflecting the film’s collision of wills and cultures. THE BALLROOM DANCING WORLD The first world we enter is the competitive world of ballroom dancing. Locations in this world are always interior. It is represented as being fiercely conservative, with rigid rules that must be obeyed. Characters are Anglo-Australian comic stereotypes, whose costumes are garish and glitzy. They wear heavy make up, have elaborate, cartoon-like hairdos, and are overly concerned with outward appearances. Obsessed with winning ballroom dancing competitions, they are nable to talk about anything else. They have created an insular, claustrophobic world where outsiders are not welcome and innovation is seen as a threat. The heightened and stylised ballroom dancing world satirises aspects of Australian society. It serves as a metaphor Scott: I’m just asking you what you think of the steps. Liz: I donâ€℠¢t think. I don’t give a shit about them. We lost. (New Partners: Sequence 2) FRAN’S WORLD The second world is the Toledo Milk Bar, where Fran’s Spanish family lives. As recent migrants to Australia they are shown as living on the fringes of mainstream society, literally beside the railway tracks.Providing a stark contrast to the artificiality of the ballroom dancing world, their world is shown as more real. The exterior location suggests space and freedom. Characters are portrayed as more passionate and authentic than the winning-obsessed AngloAustralians because they dance from the heart rather than from a desire to win competitions. Baz Luhrmann explains: for a particular Anglo-Australian attitude, shown here as hierarchical and conservative. The Dance Federation’s obsession with rules and conformity â€Å"The Anglo world took the Paso Doble, which is a dance of expression, and put a whole lot of rules on it, and made it about inning. Whereas in Franà ¢â‚¬â„¢s family, dancing is could also be said to represent a fear of change in a part of Australian society that discourages spontaneity and creativity. a tradition, it comes from life, it is an expression of life. † Scott’s crowd-pleasing steps are seen as pointless compared to the obsession with winning competitions. After Scott and Liz lose the Waratah Championships Liz is inherent in dance before it became restrained and stifled. When Ya Ya encourages Scott to â€Å"listen to the rhythm† (Paso Doble: Sequence 5), the film furious. Scott tries to persuade her to listen to his ideas but she is only nterested in winning: suggests that expression in dance should be lived and enjoyed, rather than made into a competitive sport. The film tries to capture the original passion STRICTLY BALLROOM 10 FAMILY ultimate patriarchal, authoritarian figure, treats women as decorative objects. His forced me into it – where the man goes the lady must follow – I had no choice. † Although they appear conventional enough, with a mother, father and two scenes with ‘loyal companion’ Charm Leachman (No New Steps: Sequence 6) (Waratah Championships: Sequence 1) Liz’s words are ironic, especially when we children, the Anglo-Australian Hastings amily is shown as dysfunctional. The film subverts our expectations of the ‘average’ family. Shirley, like the other characters from the ballroom dancing world is onedimensional. She is depicted as a stereotypical domineering wife, browbeating mild-mannered husband Doug. She is also a stage mother who lives vicariously through her children’s successes. Shirley is ambitious for her son Scott to win the Pan Pacific Dance Championships, but only if he dances the Federation way. and when he demonstrates the Bogo Pogo dance step to Wayne and Vanessa (The Pan-Pacifics: Sequence 7) reveal his sleazy side. consider that she is the one who refuses o dance with Scott after he dances his own steps, and throws a temper tantrum when she does not get her own way (New Partners: Sequence 2). Similarly, Shirley bursts into tears at the dance studio when the efforts to get Scott and Liz back together fail. Fran’s Spanish family is portrayed more sympathetically, but also somewhat stereotypically. Like Cinderella, her real mother has died. Her father Rico is shown as swarthy, unshaven and ultra-strict. Fran’s body language and actions suggest that she is afraid of him and when we first meet Rico after Scott walks Fran home (Sequence 3) his words to Fran are harsh.Fran’s grandmother Ya Ya, dressed in black with a crucifix around her neck, grey hair But elsewhere there are men who do not have such authority. The ‘camp’ representation of Les Kendall throughout the film indicates that he is homosexual. The fact that he is different, the film suggests, has not been to his advantage. Barry Fife calls him â€Å"a pathetic fag,† at the Pan-Pacifics (Sequence 8) when Les discovers the truth about the 1967 Championships. Doug Hastings is also different. Far from being the conventional male head of the family, he is bullied by his wife Shirley and seems to have no authority at home.Whenever he tries to talk to Scott he is ignored, until the Pan-Pacifics (Sequence 7) when he is finally able to make Scott listen. Their portrayal is in marked contrast to the way Fran is depicted. Shown very much as a fairy tale heroine, Fran is shown more positively. Her shyness and lack of self-confidence give way to her blossoming courage and independence. Her natural appearance contrasts with the heavily made-up ballroom dancers, again reinforcing the idea that Fran is genuine and has more depth than the superficial female characters of the ballroom dancing world. Doug’s role as father is in marked contrastChildren There are two children in the film, Kylie, Scott’s younger sister, and Luke, her dance partner. Bot h are aged ten, and are tied back in a bun at first looks like a stereotypical ‘ethnic’ grandmother, but her appearance is deceptive. She is in fact Fran’s ally, covering for her when she goes to the way Rico is depicted. As a strict, authoritarian father, he is also portrayed as strong and masculine, his dance prowess seen as a macho attribute. He dressed as miniature ballroom dancers, complete with elaborate costumes and hairdos. Their function is to comment honestly and insightfully on the action, ut, and revealing a playful sense of humour at Scott’s expense during the Paso Doble scene (Sequence 5) when she speaks in Spanish about Scott’s becomes a mentor, even a father figure to Scott when he teaches him about the real meaning of dance. (Practising for the Pan-Pacifics: Sequence 6). and they also provide comic asides, for example when Kylie says: â€Å"It’s the inconceivable sight of Scott dancing with Fran,† as she watches them d ance ROLES OF MEN, WOMEN, CHILDREN Women The film satirises Anglo-Australian women by depicting them as hysterical, bitchy and backstage at the State Championships (Sequence 4). Kylie and Luke also act uring the Pan-Pacifics (Sequence 8) to help Fran and Scott. Realising that Barry Men In the ballroom dancing world, the men appear to be in control. Barry Fife, the manipulative. The following melodramatic comments by Liz Holt suggest that men lead, at least on the dancefloor: â€Å"He Fife plans to cut the music, they lock themselves into the sound booth so that his plans are thwarted. Their heroic â€Å"nice body†. STRICTLY BALLROOM 11 actions at the end and the way they cheer for Scott and Fran suggest that they European migrants started arriving in Australia. It is clear that Fran’s family is not represent a brighter future for dance. s financially well off as the AngloAustralians. But the fiesta that takes place WORK at the back of the house (Paso Doble: Sequence 5 ) conveys that there is life and soul here. Although dancing is an amateur pastime for most of the characters in the ballroom dancing world, they are so obsessed that it dominates their lives. For some of the characters, ballroom dancing also provides their livelihoods. Les Kendall and Shirley run Kendall’s Dance Studio together. Shirley’s explanation of why she dumped Doug at the Pan-Pacifics in 1967 reveals her fear of insecurity. It also suggests that in this world people feel hey have to sacrifice their dreams to obtain job security: â€Å"There was too much at stake. Our dancing career was on the line. I couldn’t throw all that away on a dream. We had to survive. We would never have been able to teach. † (The Pan-Pacifics: Sequence 7) Barry Fife displays quite a different attitude to work. He uses his position as Federation President to further his own business interests, notably the way he POWER The Anglo-Australian characters are those who are depi cted as having power in the film. But Barry Fife’s power is represented as hierarchical and corrupt. During the Waratah Championships (Sequence 1) theDance Federation judging panel is framed with a low angle shot, showing Barry and his fellow officials placed on a stage above the audience, reflecting their superior status. Barry is willing to fix the Pan-Pacific Grand Prix Dance Championships, so that Scott doesn’t win, as his words to a drunk Ken Railings reveal: â€Å"Your year, Ken. Just get on the floor, go through the motions and it’s in the bag. † (Scott & Fran’s Big Moment: Sequence 8) Throughout the film, his unscrupulous places his video, Dance to Win, on display at every opportunity, and gives a copy to Wayne as a sweetener to get him on his side against Scott (The State ethods reveal that he is willing to do anything to hang onto power. He is portrayed much like a corrupt politician or businessman who will do favours for Championships: S equence 4). certain people in order to gain personal advantages. By contrast, Fran’s family business is the Toledo Milk Bar. Business does not seem In contrast, Fran’s family, who live on the to be booming, as the milk bar looks shabby and rundown. Its paintwork is dingy and worn and there are bins full of rubbish in front. In some ways the Toledo edges of society, are depicted as less powerful because they are not part of the established, dominant Anglo-Australian ulture. However, their sympathetic Milk Bar suggests an earlier era, the 1950s, when such places were first popular, and also when southern portrayal in the film suggests that despite their marginal status, they are culturally richer than their Anglo counterparts. CLASS others. (The Try-Outs: Sequence 3). It is as if Fran’s ethnicity marks her as different, STUDENT EXPLORATIONS Although the film shows two cultures in opposition, it is more difficult to position and is considered a drawback to her inte gration and acceptance into the 1 Baz Luhrmann’s describes the world of Strictly Ballroom as ‘heightened and them in terms of class.The AngloAustralians can be described as white working-class or lower middle-class. They have more money and status in society than the characters in the Spanish world, which places them in a higher position. Yet their values and attitudes are satirised in the film, so that the Anglo-Australian world is presented as tacky and artificial, lacking depth. The Spanish characters, living on the margins of an urban society can also be described as working-class. However, their values are celebrated in the film, placing them above the Anglo-Australians. Anglo-Australian world. At the Pan-Pacifics Fran tells Scott how difficult it has been for her:RACE In the film the Anglo-Australian world is shown as dominant, and ‘normal’, with Fran’s Spanish world represented as the ethnic ‘other’. This could be said to mirror t he migrant experience in Australia, where Anglo-Australians form a majority of the population and have lived there longer than more recent arrivals. Fran’s â€Å"Frangipannidelasqueegymop. Wash the coffee cups Fran. How’s your skin Fran? † (At the Pan-Pacifics: Sequence 7). When Scott is introduced to the Spanish world, he is at first treated with suspicion by Rico (Paso Doble: Sequence 5). At first characters speak in Spanish in front of Scott, often at his expense, and as a way f excluding him from their conversation. For the first time Scott experiences what it is like to be an outsider. But after initial suspicion he is accepted. Scott is willing to learn from Rico and Ya Ya, and realises that the experience is enriching. It is interesting that as Rico and Ya Ya help Scott and Fran practice for the Pan-Pacifics (Sequence 6) they begin to speak both Spanish and English, indicating their growing acceptance of him and their openness to the Anglo world. 2 3 4 5 fantastical’. How does the film language used illustrate this? See Appendix E: Film Language. (Comment on costume, lighting, characters, amerawork, colour, music in each of the contrasting settings). How does the film depict the Anglo Australian characters? How does this compare with the film’s portrayal of Fran’s Spanish family? Who is portrayed more sympathetically, do you think? Many of the characters in Strictly Ballroom are cartoon-like and one dimensional. What advantages are there in creating characters that are stereotypes? Can you see any disadvantages? â€Å"No new steps! † Why do you think some of the characters were so frightened of new dance steps? Discuss the relevant characters/key moments. Do you sympathise with any of them? Why/why not?Do you agree with Baz Luhrmann that dance should be ‘an expression of life’ rather than a competitive sport? Do you experience at Kendall’s Dance Studio reflects this marginal status. Sh e is known as ‘just Fran’ rather than by her full name Francisca. She is reluctant to say her The film’s triumphant finale, which shows the two cultures uniting on the dance floor, offers a celebration of Australia’s multicultural society. As characters from have any personal experience of dancing competitively? (Irish dancing, for example) What is your opinion on such competitions? Spanish name because it reinforces her outsider status, making her a potential arget for name-calling by Liz and Vanessa. Fran’s appearance is also the ballroom dancing world and Fran’s Spanish world dance together, Rico with Liz Holt, Ya Ya with Les, the film offers an optimistic ending. From being two 6 How does the world of Strictly Ballroom differ from the cultural contexts/social settings of other comparative texts you have studied? Are there any similarities? different. Her dark hair and natural skin provide a contrast to the artificial glamour of the other ballroom dancers. Shirley, in her role as cosmetician, is always separate, distinct cultures, the finale ensures that they intermingle, each nriched by the other. Only Barry Fife seems not to fit into this new, inclusive encouraging Fran to use apricot scrub or Buf Puf to improve her skin, and tries making her up so that she looks like the world, suggesting that he really does belong to a bygone era. STRICTLY BALLROOM 13 HERO, HEROINE, VILLAIN Mainstream Hollywood cinema draws from principles and structures established in Greek mythology. Stories are driven by the struggle between a central hero and another, usually darker force. The conventional cinematic hero is strong and virile, who proves himself by overcoming obstacles set out for him by the narrative.The hero always achieves his goal and wins the love of a woman through combat or physical confrontation with another male. HERO Scott is the central character in the film. Positioned as the hero, he is a passionate, ambitious bal lroom dancer who also wants to dance his own steps. Scott has to balance his desire to win with a need for individuality and creativity. As he progresses through the film, he overcomes pressures and obstacles in his way and finds the courage to dance his own steps with Fran at the Pan-Pacifics. How film language* positions Scott as the Hero We know that Scott is the hero because he is central to the plot.The action he takes at the Waratah Championships when he dances his own steps is the catalyst for the story. But the way the story is told through film language also shows us that he is the a desire to win marks him as unconventional. He is also put under pressure to conform at different times during the film from Shirley, Les and Barry Fife, and he gives into the pressure more than once. The hero’s qualities of physical strength and virility are shown through ballroom dancing, an activity not normally associated with macho cinematic heroes. Scott’s Journey Scott also has to change his own attitudes to fully understand the true meaning of ance. There are several key moments in the film that illustrate Scott’s emotional journey: New Partners (Sequence 2) Fran approaches Scott When Fran asks to try out as Scott’s new hero. The camera frames Scott in particular ways to emphasise this. The following elements in camerawork illustrate how a film can position the hero: Scott: You’ve come up to me who’s been dancing since I was six years old†¦ and †¢ Framing of shots – the camera stays with the character as much as possible †¢ Close-ups of the character’s face reveal you want to dance non-Federation, and convince the judges at the Pan-Pacific Grand Prix with 3 weeks to train?Fran: Yeah. how the character is feeling †¢ Point-of-view shots make the audience see things from his perspective *See also Appendix E: Film Language STRICTLY BALLROOM 14 An Untypical Hero? Scott is an untypical cinematic hero. His interest in artistic self-expression more than partner, he is dismissive of her ability: Scott: I don’t think so. Scott only listens to Fran after she loses her temper and tells him he’s a â€Å"gutless wonder† for not having the courage to give her a chance. Even after Scott accepts Fran as his new partner, he holds onto the attitudes and beliefs of the ballroom dancing world. As they dance the ne last look at Liz, Shirley and the other competitors before jumping offstage to An Untypical Heroine? But if Fran fulfils many of the rumba, he instructs Fran to â€Å"look at me like you’re in love,† emphasising the artificiality find Fran. requirements of a fairy tale heroine, she is also untypical. Although Fran appears to of the ballroom dancing style. STUDENT EXPLORATIONS State Championships (Sequence 4) Scott and Fran dance together backstage Scott is caught between wanting to win the competition and his desire to dance new steps with Fran . The opportunity to dance with Tina Sparkle is tempting, and he is esitant when Fran asks him directly what he intends to do: 1 What are the qualities of a typical Hollywood hero? 2 Give examples of 2 other films in which the central character can be described as heroic, and give reasons for your choices. 3 How does the film position Scott as the hero? 4 Give examples of key moments that show Scott as the hero, and explain how film language conveys this to the audience. be a passive and shy individual at the beginning, at important moments she shows determination and defiance. But she also falters under pressure at times, particularly when faced with Scott’s indecision, or when bullied by ShirleyHastings. Fran: Are you going to dance with Tina? Scott: I†¦ she’s a champion. But as Fran watches Tina Sparkle and Nathan perform, Scott follows her gaze. The close-up shot of his reaction indicates that he is beginning to realise what he wants to do. As he dances with F ran backstage the lyrics to the song ‘Perhaps’ – â€Å"If you can’t make your mind up, we’ll never get started,† fit the scene perfectly. HEROINE Fran’s Journey Unlike the journey Scott makes to change his attitude towards dance, Fran already knows that she wants to dance ‘from the heart’. The Spanish proverb, ‘Vivir con miedo, es como vivir a medias/A life lived n fear is a life half-lived’ is one of the main messages of the film, and is closely associated with Fran. Her journey is about overcoming her fear so that she can reach her potential and live life to the full. Paso Doble (Sequence 5) Rico and Ya Ya dance the Paso Doble Rico and Ya Ya, having laughed at Scott and Fran Fran is positioned as the heroine in the film. Like Scott, she is a complex character who has to overcome obstacles to achieve her goals. In many ways she fulfils the requirements of a fairy tale heroine, with clear similarities between her character and Cinderella or The Ugly Duckling. At irst she is portrayed as a shy, awkward Fran’s ballroom dancing version of the Paso Doble, teach Scott their way. As Ya Ya encourages him to â€Å"listen to the rhythm,† Scott is transformed by the experience and beginner dancer. Wearing glasses, no make-up and a baggy T-shirt, her plainness provides a contrast to the glitz and glamour of the other ballroom rejects her shows her strength of feeling: learns that dancing from the heart makes it more meaningful and real. dancers. you’re just really scared, you’re really scared to give someone new a go because you think, you know, they might just be better than you are.Well, you’re just There are several key moments that illustrate Fran’s journey: New Partners (Sequence 2) Fran approaches Scott Fran’s angry response to Scott when he â€Å"You’re just like the rest of them. You think you’re different but you’re not because The Pan-Pacific Grand Prix Dance The film shows Fran’s journey towards confidence and fulfilment through the Championship (Sequence 7) Doug reveals the truth When Doug catches up with Scott and tells him the truth about the 1967 changes in her costume and appearance. From the opening sequence which features a close-up shot of an ordinary looking Fran speaking to camera about athetic and you’re gutless. You’re a gutless wonder. Vivir con miedo, es como vivir a medias! † Championships, Scott realises that he can dance with Fran at last. The film moves into slow motion as he spins around to have Scott and Liz’s ‘wonderful steps’, she undergoes a transformation, blossoming into a beautiful, confident dancer. Fran is then positioned in the centre of the frame, standing in the spotlight, just as Scott had been earlier. This indicates STRICTLY BALLROOM 15 that she too wants to dance her own steps, and suggests that she and Scott go ho me rather than spoil Scott’s chances. The use of low angle close-ups of Shirley, re more closely linked than we have previously realised. Vanessa and Liz, seen from Fran’s point of view, represent them as villains and Fran as a victim of bullying. The Try-Outs (Sequence 3) This montage sequence shows several aspects of the story that happen over the same period of time. Scott’s try-outs with prospective new partners are juxtaposed with Scott and Fran continuing to practice together. The camera also cuts to dates being crossed off the calendar, indicating that time has passed, and the soundtrack, appropriately, is the song Time After Time. The montage also shows how Fran’s transformation is taking place. Gradually er appearance begins to change, her hair becomes darker and more attractive and she wears skirts rather than leggings. The use of colour is also significant, and by the end of the sequence she is shown wearing stronger colours (black and red), re flecting her growing confidence. The State Championships (Sequence 4) Fran and Scott dance together backstage After the revelation that Tina is to be Scott’s new partner, Fran retreats backstage where Scott finds her. But the spell is broken when Liz Holt scathingly comments: â€Å"You’re kidding! † when she sees Fran and Scott dancing together. Fran becomes self-conscious again, and falls ver, injuring her ankle. Practising for the Pan-Pacifics (Sequence 6) Fran and Scott practice for the Pan-Pacifics with the guidance and support of Rico and Ya Ya. When Fran dances complicated steps with confidence and poise during a practice with her father, the reaction shot of Rico shows his surprise and pride. It is as if he is seeing his daughter in a new light. Like Ya Ya, he accepts that Fran has overcome her shyness and is ready to dance at the Pan-Pacifics. STUDENT EXPLORATIONS 1 Fran can be described as being like a fairytale heroine. Choose 3 key moments from the fi lm that show parallels between Fran and a fairytale heroine. How does the film reveal Fran’s transformation? Give some examples of key moments where Fran’s image changes, referring to costume, facial expression, movement, camerawork etc. Is the transformation more than just her appearance, do you think? VILLAIN Barry Fife There is one obvious villain in the film – Shirley, Liz and Vanessa persuade Fran to go home This scene in the dressing room is Barry Fife, President of the Australian Dance Federation. Symbolising a bygone patriarchal, authoritarian era Barry is portrayed as being shifty and corrupt. Like reminiscent of Cinderella, when Shirley (like the wicked stepmother), Vanessa andLiz (as the ugly sisters) persuade Fran to many of the characters in the ballroom dancing world, Barry is depicted as a cartoon-like stereotype. He is often filmed STRICTLY BALLROOM 16 in low angle close-ups, which make his face look grotesque, and his shiny blue speech about her oes to Les, which is both comic and satirical, bearing similarities to table and is shown on the floor looking dishevelled and defeated. The high angle suits, red face and false hairpiece convey to the audience that he is not to be the kind of speeches we are accustomed to hearing from certain politicians: camera shot used here makes him appear ulnerable for the first time. To symbolise trusted. Barry’s fear of change, combined with his desperation to remain the allpowerful President by ruthless and corrupt means, results in his loss of power and authority at the end of the film. Barry fulfils the role of a typical cinematic villain, being the darker force that tries to prevent Scott from dancing his own steps. Despite his villainous ways, he is also responsible for many of the film’s funniest moments, particularly when he confuses proverbs and sayings like: ‘Let’s not chuck the baby out with the bathtub,’ and ‘One bad egg can rot the whole ba rrel. ’ Several ey moments reveal Barry Fife as a villain: Waratah Championships (Sequence 1) Barry’s office Barry is sitting in his office behind his desk, a position that emphasises his authority. Speaking directly to camera, Barry’s statement hints strongly that he is more than an impartial judge at the dance competition: â€Å"You can dance any steps you like, but that doesn’t mean you’ll†¦ win. † â€Å"Let’s not forget, Les, that a Pan-Pacific Champion becomes a hero, a guiding light to all dancers. Someone who’ll set the right example†¦ I love dancing, Les, and I won’t let what we’ve fought for all these years be destroyed. †The film then cuts to an obviously drunk Ken Railings dancing with Liz, providing an ironic comment on what exactly Barry Fife has fought for all these years. Practising for the Pan-Pacifics (Sequence 6) Barry’s version of Doug’s downfall When Barry tells S cott that Doug’s crazy steps lost the 1967 Pan-Pacifics for Shirley and Doug, the audience does not yet know the truth. Barry’s fake version of events is conveyed to us through a flashback sequence, which he narrates. The past is depicted as a drama, a playwithin-a-play in which Barry, naturally is represented positively. His version of the past is designed to create a rosy nostalgia, ut his words sound unconvincing and false: The film language used during this scene conveys Barry’s untrustworthy nature. The ADDITIONAL EXPLORATIONS 1 The final sequence at the Pan-Pacifics reveals acts of heroism by other characters in the film. Name the characters involved, and describe the actions they take that might be considered heroic. 2 From your study of Strictly Ballroom as well as other comparative texts, compare the heroic qualities of each of the main protagonists. In what ways are they similar/different? The Pan-Pacific Grand Prix Dance Championships (Sequence 7) Bar ry falls and knocks over the trophiesLes that he wants Scott to dance with Tina Sparkle. To the tune of Danny Boy in the background, Barry makes a sentimental 1 How does the film communicate that Barry Fife is a villain? Comment on the film language used and refer to selected key moments in your response. 2 Is Barry Fife more than just a villain? Are there any reasons why we might feel sympathy for him in the film? we used to scruff it together†¦ Lessie’d come along of course. The three of us together, the old gang. We were a bunch of old funsters. † State Championships (Sequence 4) Barry talks to Les Barry’s motives become clearer as he tells STUDENT EXPLORATIONS I was your dad’s best mate in those days, lighting is shadowy and the camera zooms in to a close-up of his mouth when he says the word â€Å"win,† which echoes ominously. Barry’s sudden and dramatic fall from power, his hairpiece has fallen off and the trophies are scattered ar ound him. After Barry’s schemes have been foiled, one of the last images we see of him is when he literally topples over the trophy STRICTLY BALLROOM 17 APPENDIX A BAZ LUHRMANN INTERVIEW FII: When did you first see cinematic overcoming seemingly impossible odds, on the culture of Australia. But beyond that, possibilities for Strictly Ballroom?BL: Well, what happened was I did it as a and it’s finally about the fact that the young David with the belief, comes up because it is David and Goliath, and because there was an election campaign at play and then I met this producer and he said, look I’d like to buy the rights, and I with the solution†¦ No one wanted to finance the film, I was a first-time director, the time about republicanism it had political implications too. The all-powerful said, well I’d like to make a film of it and they agreed to let me do the film. But I you know what I mean, there were lots of no’s. I went to Cannes the year be fore andFederation, they have a very particular Australian attitude, which is an old guy always thought it would be a film and I always thought it would be a musical as doors were slammed in my face. Not twelve months later the same people that going, â€Å"There’s only one way to cha cha cha mate, and you’ve got to do it that way or well. I mean all our films we make have this cinema form which we call had said, â€Å"What a waste of time†¦ † were like crying with tears going, â€Å"Remember else. † It started to smash away at that. FII: What films have influenced you? I theatricalised cinema, red curtain cinema Strictly Ballroom, Romeo and Juliet and

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INTERNATIONAL EXPANSION STRATEGY IN Zarraffa's Coffee Essay

INTERNATIONAL EXPANSION STRATEGY IN Zarraffa's Coffee - Essay Example A market analysis of the Chinese coffee market has been conducted through industry analysis framework. The project also shed light on how Zarraffa’s Coffee should go about the expansion plan in the next five years through the franchisee model. The twenty-first century is often cited as the age of competition, this century is associated with globalisation, which has resulted in organizations breaching geographical boundaries to gain access to markets across the globe. Competition is the buzzword of globalisation with every product category being offered by numerous organizations resulting in a highly competitive environment. The present study deals with the issue of international expansion by organizations. International expansion can be of many types which include setting up Greenfield projects, Joint ventures, Tie ups and Franchising. The study would try to analyse the international expansion of a firm using the franchisee model. Zarraffa’s Coffee has been chosen as the firm for study, and the Chinese market has been chosen as the nation for the firm’s expansion. The choice of the nation assumes significance as it represents the fastest growing economy of the world whish offers a huge potential for players to expand their business operations. According to a study the Chinese coffee market is still in its growth phase, the report also states that the coffee consumption by the Chinese consumers has grown by approximately 20 percent (Li, 1995, p.6). Zarraffa’s Coffeein an Australian based coffee shop which was established in the year 1996 by Kenton Campbell. The first store of Zarraffa’s was based in the city of Southport in Australia. The company provides excellent service to its customers which are in accordance with its mission to provide a perfect cup of coffee to every customer (Zaraffa’s Coffee, n.d.). Presently the organization has its presence across 42 stores which are spread around Australia. The company has gone a long

Switching WhitePaper Essay Example for Free

Switching WhitePaper Essay Source MAC addresses are learned from incoming frames. A table of MAC addresses and their associated ports are built and maintained. Unknown unicast, broadcast and multicast frames are flooded to all ports (except the incoming port) Bridges and switches communicate with each other using spanning tree protocol to eliminate bridging loops. Layer 2 Switching A layer 2 switch performs the same functionality as a transparent bridge, however a switch is like a multiport bridge that performs hardware-based-bridging. Frames are forwarded using specialized hardware, called application-specific integrated circuits (ASIC). This hardware gives switching great scalability, with wire-speed performance, low latency, and high port density. As long as Layer 2 switch frames between two Layer 1 interfaces of the same media type, such as two Ethernet connection or an Ethernet connection and a Fast Ethernet connection, the frames do not have to be modified. However, if two interfaces are different media, such as Ethernet and Token Ring or Ethernet and Fibre Distributed data Interface (FDDI), the Layer 2 switch must translate the frame contents before sending out the Layer 1 interface. Layer 2 Switching One draw back to Layer 2 switching is that it can not be scaled effectively. Switches must forward broadcast traffic to all ports, causing large switched networks to become a large broadcast domain. In addition, STP can have a slow convergence time when the switch topology changes. Layer 2 switching alone can not provide an effective, scalable network design. Layer 2 Switches Functions: Source MAC Address learning Filtering/ forwarding Loop avoidance Frame Switching Modes Store and forward Cut through Fast Forwarding Fragment Free Layer 3 Switching Packets are forwarded at Layer 3, just as a router would do. Packets are switched using specialized hardware, ASIC, for high speed and low latency. Packets can be forwarded with security control and quality of service (QOS) using layer 3 address translation. Layer 3 switches are designed to examine and forward packets in high-speed LAN environments. Whereas a router might impose a bottleneck to forwarding throughput, a Layer 3 switch can be placed anywhere in the network, with little or no performance penalty. Layer 4 Switching Packets are forwarded using hardware switching, based on layer 3 addressing and Layer 4 application information. (Layer 2 addressing is also inherently used) Layer 4 protocol types (UDP or TCP, for example) in packet headers are examined. Layer 4 segment headers are examined to determine application port numbers. Allows finer control over movement of information. Layer 4 Switching A Layer 4 switch must allocate a large amount of memory to its forwarding table. Layer 2 and Layer 3 addresses have forwarding tables based on MAC and network addresses, making those tables only as large as the number of network devices. Layer 4 devices, however, must keep track of application protocols and conversations occurring in the network. Their forwarding tables become proportional to the number of devices multiplied by the number of applications. Multilayer Switching Packets are forwarded in hardware that combine Layer 2, Layer 3, Layer 4 switching. Packets are forwarded at wire speed. The traditional Layer 3 routing function is provided using Cisco Express Forwarding (CEF), in which a database of routes to every destination network is maintained and distributed to switching ASICs for very high forwarding performance. Multilayer Switching Cisco switches perform multilayer switching at Layer 3 and Layer 4 The Catalyst family of switches cache traffic flow based on IP addresses. At layer 4, traffic flows are cached based on source and destination addresses, in addition to source and destination ports. All switching is performed in hardware, providing equal performance at both Layer 3 and Layer 4 switching. Reference: http://www.lantronix.com/resources/net-tutor-switching.html http://www.cs.virginia.edu/~cs757/slidespdf/757-01-CommNetworks.pdf

Effectiveness Of Motivational Strategy In Habib Bank

Effectiveness Of Motivational Strategy In Habib Bank In this modernized world where globalization is fast crating an effect, the workplace realities of the ancient organizations no longer exists (Roberts, 2003). It has become past and needs to be revised very carefully before any aspect of it can be implemented nowadays. It has become increasingly important for the organizations to introduce new methods and meet the new motivational needs of the employees. The reality of workplace, the changing work environment has increased the end for the managers to reconsider the methodologies of developing durable and strong relationship between the employees and organization that ultimately leads to the achievement of the organizations goals and objectives. A thorough and complete understanding of the employees motivational need has became important for the management in order to accomplish what employees expect from the organization in order to return what organization expect from them ( Beer et al, 1984).. Therefore it becomes clear from the re searches that a motivated work-force is an instrument of success for full filling the needs of a rapidly changing work environment for both, the employees and the organization. It also becomes clear that a well- motivated workforce will eventually lead to the organization achieving its goals and objectives in a better an efficient manner. To serve this purpose ob building a strong bond between the management and workforce, the role of the top management is very crucial in this respect. According to Carnige (1985), human capital is capable of playing a pivotal role compared to financial capital, in the effectiveness of the organization. In modern times people are believed to me a source of competitive advantage and carry more importance in leading a company towards success, rather than finance. What is actually motivation and how and why does it matter? In business terms, motivation is the desire of a firm to see a job done well and quickly. The highly motivated workforce becomes an instrument for the business to achieve its goals and objectives as cost effectively as may be possible. Motivated worker also try to reach their own personal objectives. The employers should be well aware of what these are .This is because the greatest motivation will develop if workers feel that working towards the business objectives is ultimately helping them achieve their own goals. A milestone in a success of an organization is fulfilling the continually changing needs of employees and the organization. A heavy responsibility rests on the shoulder of the management to develop durable and strong relationships between them. Companies expect workers to follow the rules according to the terms and conditions set for them. Employees in return expect fir pay, good working conditions, secure career, fair treatment, involvement in decisions and power. These expectations of both groups vary from company to company. For any business to deal with these expectations successfully a complete understanding of the employee motivation becomes necessary. (Beer et al, 1984 from pdf file motivation pak bank). It is usually that it is the organization and not managers that fail to hold managers responsible for creating motivation among the people. They fail to understand the role of motivation and its connection to job performance. One of the biggest challenges for HR is to persuade line managers to develop and manage people. These line managers should be able to build string and personal relationship with the employees through effective communication. There is a need for the line mangers to understand the nature of the employee and his subordinates and should be able to deal with the problems of workers effectively. A thorough understanding of the needs of the subordinates will eventually let the managers know what the employee aims for and what are their goals and objectives. They can then decide how to develop and implement strategies that will achieve the objectives of the company while letting the employees achieve their personal goals. Staff that is unmotivated will be reluctant to do their jobs quickly and efficiently and will only provide the minimal of what is required of them from the organization. It is important to know how well motivated staff will alter the levels of productivity and performance within a company, thus affecting the competitiveness of the business. A well motivated staff is not only able to increase productivity and performance but is also prepared to accept responsibility, willingly and happily. There is low labor turnover which reduces the business cost of hiring and training new labor. With a highly motivate staff, a business also benefits from low absenteeism rate and employees participate on making suggestions for improvements. (Peter) Theories of motivation and their significance in today world: There are many theories of well known theorists that deal with the factors that affect motivation. F. W Taylor- theory of scientific management. F.W Taylor proposed a theory of scientific management that emphasized that money is the motivating factor that affects the employees to the most. Scientific management defines a method of establishing an idea after studying, analyzing and recording performance at work, then altering working conditions and recording performance. This is the approach that Taylor used to establish his idea. This method of scientific management is still used in the companies today. Taylors theory was based upon the notion of economic man and he believed that when wages are based on output, it increases workers productivity. He maintained his belief that a fair days pay for fair days work is what motivated staff to do better. But critics also say that money moves the workers to work, not motivate them. The other renowned theory of theorist is the Elton mayo Hawthorne affect. He carried out some experiments with a group of line workers. Changes in rest periods, canteen food, assembly bench lay out were made at a particular interval. Before every major change, the upcoming change was discussed with the workers. At the end of the experiment when working conditions were returned to the original, it was noticed that the output rose far above the level before the experiment. He drew some conclusions from his work that is as follows: Alterations in financial rewards or changes in working conditions have little or no effect on a workers productivity When management consult with workers before any major changes are made that affects them, motivation is improved When some control over their own working lives is given to workers, there is improved motivation Groups can establish their own targets and goals, and these can be greatly influenced by the informal leaders of the group. Taylors approach is important but not widely held today. Many workers, now a days seek for a respectable job rather than a one which is not valued but is being paid. Workers who have money as their basic need still moves towards a job offering a handsome wage/salary but they are unable to be motivated and still continue the job for money. This reduces job performance and productivity is affected. Maslow- hierarchy of needs One of another major theorist that takes a good position among the motivation theorist is Maslow. He extensively wrote on the subject concepts of the hierarchy of needs. He became a leader of the humanistic school of psychology and looked at the needs of human beings arranged like a hierarchy. The Maslow theory consists of two parts. The first one concerns the classification of the needs and the second part relates theses needs with each other. Maslow arranged the needs in a pyramid. Maslow proposed a hierarchy of needs that workers have. He suggested that these have to be fulfilled step by step. He identified and classified the basic needs that a human being has. The pyramid starts from physical needs that occupy the lowest level of hierarchy. The top level becomes the self actualization with three levels of needs in between. Maslow suggested that once a worker achieves the lower level of need, he strives for the next level. Management should be aware on what level their employees a re, and moving them trio next level, thus keeping him motivated for his job. The sequence of the Maslows pyramid is as follows: Physiological needs: these are the strongest needs. This is because if a person is deprived, the physiological needs would come first to fulfill his satisfaction. The physiological needs consist of needs like oxygen, clothing, food and shelter. These needs are the priority before any other class of need. Safety needs: this class of needs includes job security accompanied with a secured working environment. A sense of job security is essential for an employee to stay motivated towards his work with the addition of a hygiene environment with safe equipments if required. Love and belonging: the need of belonging and affection is necessary to overcome the feeling of loneliness. To overcome this, team work should be encouraged within an organization along with other social activities that instill in an employee a feeling of belonging and being a part of the organization. Esteem needs: this class of need is defined by the receipt of recognition of what the employee has achieved at work. There are chances that a worker may feel worthless and in valuable if he is not appreciated. This level of need can be achieved by the announcement of achievements publicly at events. Self actualization: this is the top level of the hierarchy. Very few workers have the potential to reach this level. This class defines need as to be given added responsibility with new challenges and promotions in his career. This theory has its own complications. Maslow did not suggest any criteria to measure which level of need has actually been satisfied. Each kevel is dependent upon the level below. The whole system might collapse if a level goes missing in between. It is also hard to say that a particular level is achieved of an employee and now the next level must be targeted. Adam- equity theory Another theory of motivation, widely recognized is the Adams equity theory of motivation. Adam proposed a very simple theory that suggested that employees balance their inputs against their out. The input is not only in the form of time that is put into work measured against the financial reward that is received as output but input also includes all the factors affecting working conditions and the worker at work. Similarly, output also includes the response, the recognition and the praise or the negative attitude experienced as a result of the job being done. The attitudes that lead to positive outcomes is repeated and attitude that lead to negative outcomes is avoided. It becomes difficult for the managers to know exactly what the employee perceives of the output against their input. Moreover inputs of the work and out puts of the work cannot be measured literally in order to calculate and balance both against each other. Herzberg- two factor theory But here our major focus would be on the Herzberg motivational theory that we desire to implement on our project. Herzberg (1923-2000) proposed a theory recognized by the world as the two factor theory. Herzberg, despite basing his research on just 200 professional workers, Herzbergs two factor theory and his conclusions has left the greatest impact on motivational practices. A survey was conducted through interviews and questionnaires that aim to know the following things: Identification of these factors that lead the workers to think very positively about their work and those factors that led them to think very negatively about their job. His conclusions reveled the following: Advancement, work itself, responsibility, achievement and the recognition for achievement were the factors relating to job satisfaction. Administration and company policy, salary, supervision, relationship with others and working conditions were these factors that lead to job dissatisfaction. These factors were termed as hygiene factors by Herzberg. Conclusions of Herzbergs work. Herzbergs two factor theory carried the hygiene factors and the motivators. Hygiene factors included working conditions, pay rates etc. these hygiene factors can eb improved in order to remove dissatisfaction from the jab but they will not help creating a motivated albor for ce. Herzberg argued that it was readily possible to move someone to do a job by paying him but it will not actually motivate him for doing the job. Similarly, he proposed that motivators, that are principles of job enrichment (encouragement, added responsibility, recognition), need to be in place to motivate the labor force to perform a task. These principles of job enrichment include Offering complete units of work: a typical mass production method only allows workers to assemble small units of a finished product. This is not motivating as the repetitive and small, invaluable task is not interesting. It also prevents workers to receive the appreciation and the importance what they are contributing to the production process. When workers are offered the complete tasks, it gives them the motivation to do a job effectively. It bears in them feeling of achievement of producing the goods themselves. Herzberg puts this idea as if u want your employees to perform a good job, offer them a good job. Feed back on performance: this communication enables workers to feel recognized and they are motivated to achieve more. A range of tasks: a range of tasks, when offered to workers is challenging and makes it interesting as their first experience if given them the first time. This provides the employees the opportunity to explore their abilities and provide incentive for the business to achieve the full potential of the workers. Analysis and evaluation of Herzberg work: As we will be implementing Herzbergs approach to her research, an analysis and evaluation of its work becomes necessary. Team working and delegation of complete tasks with much less close supervision is becoming increasingly popular in todays industrial world. Organization ensure effective communication is present between management and the workforce and this two way effective communication itself becomes a motivating factor. There is little doubt that that the increasing trend towards Herzberg approach is fast becoming popular, but many researchers who have used Herzbergs methods still argue and theory experimenting failed to arrive at such a clear cut conclusion. This wouldnt be wrong to hold Herzberg responsible for this evolution and this change would have been slower without the theories put forward by the Herzberg. Herzberg identified five main factors that resulted in job satisfaction. These factors can easily be identified in an organization and can be used for evaluation. The five main factors include achievement, recognition for achievement, responsibility, nature of work itself and advancement. These are the factors which can easily be identified if they exist in an organization. Similarly Herzberg gave five main factors that resulted in job dissatisfaction. These are termed as companys administration and policy, salary, supervision working conditions and relationships. This factor can easily be searched for in an organization to determine the effects of motivation. Service sector throughout the world is greatly dependent upon the human resource. Be it Habib bank ltd in Pakistan or RBS in Scotland, the banking sector and its success mainly depends upon the level of skilled, capable and most important motivated workforce. A motivated workforce does not only increase the performance at work but increased performance and satisfactory interaction among the clients and colleagues leads to high productivity. This in turn creates satisfied customers which forms the basis of success for any organization. Significance of motivation for commercial banks: Commercial banks are structures that are maintained and developed my human resources that ensure the delivery of a good service. The process that ensures the delivery of a good eservice is affected by the individual motivation of labor force whether skilled, unskilled, professional or unprofessional. The increased growth of service industry, commercial banks are struggling foe workers possessing the ability of providing quality service. And their labor is the best source if providing best services to their customers. Excellent services being offered and provided by the employees is able to create a positive perception among the eyes of the banking consumers. ( pdf file motivation pak bank petcharak 2004) Commercial banks play a vital role in the world wide economy. Research concludes that today it is becoming challenging for management in Pakistan to motivate their employees, especially those employed at commercial banks, to provide a quality service with increasing competitive market in the specified sector, i.e. commercial banks. The tough competition is making difficult to provide best of services to its clientele, thus satisfying their needs effectively. Theoretical frame work. Our research aims to find out the effectiveness of motivation strategies at HBL. To measure the effectiveness, the first step is to find out the variables that are creating motivation within the employees at HBL. Once the variables are identified a sample of 75 respondents will be selected from various departments of various posts, qualification and experience. These sample size is selected to determine the research question and research objective. The questionnaire will carry pout the research and will obtain the result that will identify the factors that create little or no, and high motivation among the employees. These factors when identifies will be classified under the motivators and the hygiene factors. These motivators and hygiene factors must be forming a part of the motivational strategy of the management at HBL that will effective or ineffective in creating motivation. The highly effective and the little effective will then be measured against the performance level of the workers when implemented. According to the results, those strategies will be labeled as successful or unsuccessful. For the unsuccessful strategies recommendations will be made . Research conducted through a questionnaire Identification of the factors affecting the level of motivation Identification of factors creating job satisfaction and job dissatisfaction Classifying them into hygiene factors and motivators Result on motivation result on motivation when When hygiene factors motivators implemented. implemented. Measure the effect Measure the effect on work On work performance performance. Employee motivation and work performance: Improving the work performance has always been and will continue to be the major concern of all businesses. It is the performance of work that creates satisfied managers and/or dissatisfied managers. The work performance has always been an important issue for the businesses as their success and failure depends upon the performance displays by their workforce. A manager when pays the employee, expects to return the worth of what is paid to him. In case of failure to do so, many workplace issues are created that managers then need to deal with. It is not always possible for managers to repay the accurately the input employee has put into work. This is because there exist no method to measure the input against the output wh9ich the employee receives or perceives. Failure to come up to the expectation results in demotivation. Is also seen, as described by the expectancy theory that workers expect according to what they see around. Now it becomes difficult for managers to know how they pe rceive their work output and it is compared to whose job. The performance at work is not only dependent upon the skills and abilities the worker possesses but there are many factors that exist which creates and leave an impact upon the performance of the employee. A well-motivated employee results in well performed job and an unsatisfied employee who is unmotivated towards his job naturally results in a poor job performance. But the question what motivates man to perform better has many answers. There are many motivational factors as discussed above that leaves an impact upon the motivation of the employees. When discussing and implementing the Herzberg theory, we see the hygiene factors create job satisfaction and not motivation but the motivators when placed creates motivation that results in a high performance of the job. For instance providing hygiene conditions at work place will not create motivation for the worker to perform the job but the satisfactory working conditions will make the employee continue the job a and not create a desire to do the job. Therefore a hygiene working environment will have no effect upon the performance of the job. But, if on the other hand, a worker is praised for his achievements and efforts, he will be happy and will be eager to achieve more, thus increasing his job performance. Increasing job performance includes increased productivity, putting in extra effort in the job and probably low absenteeism with happy workers who look at the golas and objectives of the company through which they can not only achieve their personal objective but companies goals become their goals and business objectives as their objectives. When performance at work is increased in any of the forms mentioned above, the company benefits from it. For a manufacturing business increased quality and quantity of it products will attract consumers which will benefit the company. In the service sector, a motivated staff will result in a cooperative and positive attitude and interactions with the customers and colleagues which will create thousands of satisfied customers. Customer service being very important in the service sector is completely dependent upon the attitude and behavior of the employees which is directly proportional to their motivation level. This motivation level is depended upon many factors like motivators described by Herzberg and others as described by many of the other renowned theorists. Linkage between objectives and questions with the theories and concept Research question/objectives Theories and concepts