Personality Analysis on ‘The Breakfast Club’ Essay

Discharged in 1985 and coordinated by John Hughes ‘ The Breakfast Club’ is a film about young people that appear to be changed on a superficial level yet come to find in any case . At the point when five understudies from various secondary school inner circles are compelled to spend their Saturday in confinement, the mind, competitor, psychopath, princess and the criminal together are confronted with the subject of who they think they are. The five characters set aside the ir dissimilarities in help to endure the difficult eight hour detainment and in the process they find they aren’t as unalike all things considered. The Breakfast Club is a n untouched great film that depicts various individual and complex characters. It is noticeable in the film that every youngster has their own attributes and qualities because of different conditions, for example, natural and parental impacts . The character center will be John Bender, the alleged ‘the criminal’ of the five young person s . Upon first look, Bender is by all accounts the normal secondary school ‘bad boy’ getting his situation in this particular detainment for pulling a bogus alarm . This gives watchers th e thought that his character does whatever he can for consideration. Drinking spree likewise tends to state and do things that will get an adverse response out of an individual, by insul chime and antagoni sing each character sooner or later in the film . By applying Maslow’s pecking order of necessities and B. F. Skinner’s hypothesis of character you ge t an increasingly scholarly mental comprehension of Bender’s character. Abraham Maslow built up his Hierarchy of Needs hypothesis in 1954 to support himself and other humanistic scholars to all the more likely comprehend what inspires individuals. Maslow accepted that individuals are propelled to fulfill explicit requirements, in saying this he made a five phase pyramid that portrays the request for significance of these particular needs. Maslow has recommended that o nce one need or class is fulfilled and satisfied by individual they would then be able to proceed onward to satisfying the following need . (McLeod 2007) Figure 1 (Maslow’s Hierarchy of Needs graph 1954) Hence as indicated by Maslow; if an individual doesn't satisfy their essential physiological needs they lose inspiration to fulfill having a place and regard needs. At the point when this happens the individual feels a lack of engagement to mingle and make companions, regularly driving in said individual to get ill bred and discourteous of the sentiments of others and their supposition. (NetMBA 2010) Drinking spree is unmistakably depicted all through the film as an individual who has neglected to meet the initial two essential needs of the chain of importance table; allude to figure 1 . In the film, when mid-day break is initiated it is demonstrated that Bender has accompanied no nourishment for lunch, while different characters have all got generous pressed snacks. This could be delegated a sign that shows that Bender’s physiological requirements are not being satisfied. At the point when Bender pulls out a folding knife during a warmed conversation you get the possibility that Bender unmistakably doesn’t have a sense of security and that he needs a weapon as type of assurance, indicating that Bender is obviously inadequate with regards to a conviction that all is good and wellbeing . Further development of the possibility that Bender doesn't have considerable or compensating home life takes course when Bender shows the gathering a scar on his fore arm, given to him by father as negligible discipline for inadvertently spilling paint in the carport. That being stated, it is seen all through the film that Bender is neglecting to sufficiently fulfill his physiological and security needs, leaving him impartial in satisfying social needs and ailing in confidence and regard. Bender’s absence of inspiration in mingling and making companions is the most prevailing part of his ‘bad boy’ character, he continually affronts different characters in the film about things that truly disturbed them - obviously driving them away. Drinking spree likewise experiences low confidence which is the reason he repays by putting on an extreme, ‘bad boy’ front. You see this through the manner by which he dresses, defies the Principals orders, continually challenge s another male character and furthermore in the manner that disregards the school and its property. In social scholar B. F. Skinner’s point of view; a people character improvement is vigorously affected by their condition and related involvements (Sincero 2012) , he composed that ‘A individual doesn't follow up on theâ world, the work follows up on him’ (Skinner 1971) . Skinner suggested that the advancement of a people character is to a great extent dependant in transit in which critical grown-ups in their lives would compensate or rebuff then over the span of their adolescence. (Carter Grivas 2005, p. 407-408) Therefore, youngsters and teenagers raised by damaging and forceful guardians are progressively disposed to likewise be come forceful and threatening towards peers. (Hellesvig-Gaskell n.d) All through The Breakfast Club (Hughes 1985) there are numerous scenes that express the pessimistic home life wherein Bender is being raised and how it is impacting his character. In a particular scene Bender emulates a past warmed conversation among him and his dad and as per Bender his dad called him â€Å"stupid, useless, horrible, goddamn, freeloading bastard. Hindered, huge mouth, smarty pants, butt face, jerk† then Bender emulates getting punched in the face by his dad because of Bender fighting back. In a behaviorists viewpoint this would legitimize Drinking sprees forceful character and propensity to lash-out and affront different characters. When contrasting Bender with Brian Johnson; the character depicted as the ‘brain’ or the geek of the gathering, it is noticeable that as consequence of perfect inverse home situations that Brian and Bender have e qually inverse characters. Brian’s family are appeared as over strong and pushy in his school work, yet still empathetic. T his is all around represented again in the lunch scene of the film when Brian unloads his nutritious, home-made lunch , while Bender has been sent to class with nothing to eat. Brian’s character puts on a show of being meek and restless, and not once all through the film does Brian fight back towards Bender when he acts in an antagonistic or savage way in spite of the fact that if the jobs were turned around and Brian was acting along these lines toward Bender he w ould lash-out viciously or give indications of animosity consequently , similarly as father would to him. By contrasting Brian’s character and Bender ‘s; you come to comprehend the effect an abusiveâ home domain and contrary parental impacts has on Bender’s character. Al t hough both Maslow’s and Skinner’s speculations o f character aid better comprehension Bender’s character; the two scholars have are totally inverse points of view on character and how it is created. Behaviorists accept that character is dictated by condition and the manner in which an individual responds to various improvements (Sternburg 1995, p.589), while Humanistic speculations express that character is a cognizant and free decision for the person to control. (Coon 1998, p.543) Behaviorist s likewise express that character is persuaded by a wide range of drives, while Humanists feel that character is spurred by the need to satisfy self-actualisation. All in all, the utilization of Maslow’s humanistic point of view and Skinner’s conduct ist sees help to comprehend Bender’s character effectively. Disposing of the point that the two scholars totally negate each other the two of them give a more profound clarification into why Bender decides to be annoying and why he needs enthusiasm for making companions, alongside defending Bender’s fury and animosity battles. By and large humanist and behaviorist speculations on character aid the way toward comprehension and assessing the character that makes John Bender of The Breakfast Club. (Hughes 1985) List of sources- Coon, D 1998, Introduction to Psychology Exploration and Application , Brooks/Cole Publishing Company , California, United States of America. Grivas, J, Carter, L 2005, Psychology VCE Units 1 and 2 , John Wiley and Sons Australia , Queensland, Australia. Hellesvig-Gaskell, K n.d, Parental Influence on Personality , Viewed 12 th March 2014, http://everydaylife.globalpost.com/parental-impact character 5605.html McLeod, S 2007, Maslow’s Hierarchy of Needs , Viewed 12 th March 2014, http://www.simplypsychology.org/maslow.html n.a, 2010, Maslow’s Hierarchy of Needs, Viewed 12 th March 2014, http://www.netmba.com/mgmt/ob/inspiration/maslow/ Sincero, S 2012, Behaviorists Theories of Personality, Viewed on 12 th March 2014, http://explorable.com/behaviorist-speculations of-character Skinner, B 1971, Beyond Freedom and Dignity , Hackett Publishing Company, Inc. Indianapolis, Indian, United States of America. Sternberg, R 1995, In Search of the Human Mind , Earl McPeek , Orlando, United States of America. Van Lersel, H, Bradley, K, Clarke, V, Coon, Koerner, J, Montalto, S, Rossborough, A, Spackman-Williams, M, Stone, A 2005, Nelson Psychology VCE Units 1 and 2 , Nelson, Southbank, Victoria.

Trip to the Pole---Annie Dillard analysis essays

Outing to the Pole-Annie Dillard investigation papers In her exposition, An Expedition to the Pole, Annie Dillard approaches the dubious procedure of imagery and mystical pictures to depict her contemplations on religion, while keeping away from the perils of making it excessively confounding, or excessively long winded. Depictions joined with the portrayal of the crazy are viably utilized even without illuminating the peruser that her material withdraws from their own desires for what is genuine. Her composing is loaded up with explicit, important, apparently arbitrary considerations that in the long run grow profound figurative force. All in all, Dillard composes, I don't discover Christians, outside of the mausoleums, adequately reasonable of conditions. Does anybody have the foggiest thought what kind of intensity we so cheerfully conjure? This announcement suggests that regulated religion has some way or another reduced the genuine feelings and opportunities of nature and experience. Maybe the structure of a sorted out religion once in a while expect us to shroud our real sentiments, and supplant them with what we are assume to feel, or following. Dillard writes in a shrewd clever instructing tone that sparkles a mysterious light around thoughts in the most clear writing. Indeed, even in the most dreamlike of successions, we can in any case feel her disarray, nervousness, and dissatisfaction. She composes, The houses of worship are youngsters playing on the floor with their science sets, stirring up a group of TNT to kill a Sunday morning. Dillard, similar to her individual church-goers have resulted in these present circumstances church in quest for the wonderful, however the presence of numerous clichés and logical inconsistencies appear to affront her feeling of pride. She is by all accounts saying that an individual would forfeit instruction, reason, and nobility for a brief look at the hallowed and heavenly. It appears as though the congregation ought to be anticipating a ... <!

Lolita, Estella, Lana, and Me

Lolita, Estella, Lana, and Me “This is probably way too personal,” is a thing I think quite frequently when writing for the internet. “You never know who might be reading it.” Which is both a good thing and a bad thing, really, because sure, someone it’s vaguely about could be reading itbut so could someone who feels it’s about them, and isn’t that much more important? I think it is, so here I am, about to tell you stuff about my life that I really don’t talk about, only writewritewrite. Remember the first time you read something that reminded you of something else you’d read? It was long before you learned the word intertextuality, I’m sure (at least, it was for me). For me, it was the same moment I realized that I had read enough that such a thing could finally happen. I mean, okay, in my case I was 13 and it was the title of Tori Amos’s Boys for Pele  that reminded  me of a Sweet Valley Twins Super Edition called The Unicorns Go Hawaiian; still, I felt pretty cool because I had learned from the book that Pele was a volcano goddess and understood on a very basic level what Boys for Pele meant. The title, not the album; I was waaaayyy too young for that album when I bought it, thank goddess, or I might not have loved it as hard as I did. Anyway. On to the personal. When I first read Lolita, I was 21. When I first read Great Expectations, I was 16. When I first heard Lana Del Rey, I was 28. I’m far from a Lana fangirl, but  I feel like I get her persona because to me, it’s a character that couldn’t exist without Lolita and Estella. She became the link between the Nabokov, the Dickens, and my own history, somehow; now I can’t separate her from them. It’s just math, really: Lolita + Estella + Lana = me, for a highly formative five-year period of my life. I should be very thankful that it’s not me now at all, now that I’m happily married and just sitting around crocheting and reading books and hiding from excitement as best I can; not me now, finally feeling healed and alive and strong instead of sad and broken and Interestingâ„¢. I cringe now when I think about being 16, being 21, and the time in between when I was so busy playing characters that I’m only just now getting around to processing what really happene d (in writing of course, the way I process everything). I cringe, and I write, and I put it on the internet. *** As a survivor of a very specific type of psychological and physical violence from a young age until a slightly less-young age, I adopted the persona of a girl who could take it. I stood up and fought back, but never enough to deter the perpetrators from striking again. And again. And again. Bruised and sore, I was, but never ever willing to back down from a fight. I even convinced myself that I provoked the fights just to prove how tough I was. Tough as nails, rough as pine bark. In control, in other words. But no: nice, sugar and spice, a powder puff, a teary-eyed  puddlebut only in private. When I first read Lolita, I intentionally read her as the same, to console myself, to lift myself up and share a pedestal with this idealized-but-victimized young girl. That’s what my 21-year-old self needed, flooded as I was with memories I had no idea what to do with; flooded as I had been for five fucking years with all the awfulness I’d repressed. I needed to be idealized, and had been; we’ll get to that. I needed a pedestal because how else could I be sure everyone was looking at me, but only at the carefully-constructed version I wanted them to see. Let’s go back, shall we, even further? When I was 16, I liked a guy. I can’t call him a boy, really, because he was much older, but “man” doesn’t feel right either. I can’t call it like, really, because it turned much bigger and darker. He gave me Wuthering Heights. From there, I went to Jane Eyre and promptly to Dickens. Of course, it helped me along that path when, in 1998, Tori Amos had a song on the soundtrack to the Ethan Hawke/Gwyneth Paltrow abomination  adaptation of Great Expectations. (I actually like that film just fine, but I know I’m not really supposed to.) I paraded myself in front of this guy as much as I could. I preened. I acted out, but only when he was looking. I faked sending flirtatious AOL IMs (it was the late 90s) “to the wrong person, oops, sorry!” You know, to test the water. I wanted him to desire me, to think me wise beyond my years, an old soul, so much smarter than he was at my ageall those things older men should never say to teenage girls but always do anyway. Still, those words were all I was hungry for, and when I finally got them, mere days (okay, nights) shy of my eighteenth birthday, I had no idea what to do with them. When he invited me to his house, I pulled back. This is when he called me Estella for the first time, and I thought that actually, pulling back was showing him I was in control. It implied that he had invested something in me, maybe just lust and maybe a hefty dose of perversity, and that I had the ability to refuse him what he wanted (sex) when I realized he wasn’t going to reciprocate in the way I wanted him to (with love). I needn’t reveal more to get my point across. I hope he doesn’t read this and know himself immediately. I hope he does. That whole era of my life, those two years and the three-yes-three it took to move on, feels like something out of a book. Actually, it is technically  in a book because I wrote literally hundreds of poems about it all, and more. I was prepared in a couple of unique ways, at least, to accept the character Lana Del Rey embodies in her songs. It’s been argued that she glorifies violence against women, that she’s the ultimate poseur, that she plain sucks, and so on. I don’t really keep up with her outside of her music, honestly, so I don’t have opinions on those things. (As a semi-ranty aside, I will say that, while I know she has distanced herself from feminism, it actually hurts rather than helps when other women tear her down for that. We should be asking what feminism is doing wrong that alienates women like her.) All I know is that so many of Lana’s lyrics perfectly narrate my feelings for The Guy. He wasn’t as old as Humbert, and he wasn’t rich like a skeezy old man  in a LDR song, but I’m a little shocked he didn’t quote “light of my life, fire of my loins” at me at some point. The more damaged I painted myself to be, the more interested he became. As if all my past experiences led to me being just exactlywhat?desperate unhinged appealingly crazy enough to give him what he wanted. I persisted; I held back. I took so I could refuse to give. When  Lana Del Rey released Ultraviolence earlier this year, immediately the play on words struck me: Is she trying to talk about the level of violence that’s there but invisible, like ultraviolet light? Verbal abuse. Sexual coercion without physical force. Psychological torture. Everything unnameable and evil that never leaves a bruise, never brings blood, never mars the surface. She sings “he hit me and it felt like a kiss,” sounding disturbingly disaffected, in the voice of a woman who is as accustomed to violence as other women are to affection. She tells herself a man is shitty to her because “I’m pretty when I cry.” She is as trapped as Lolita, as disillusioned as Estella. She’s a link between the two that makes sense to me because of my strained relationship with them both. *** Hi, I’m an open book built of other books, of music and poetry, and especially of the too-personal, rambling essays I’m fond of putting on the internet. I want to know whose words you’re made of, so tell me in the comments.

When Art Speaks an Analysis of Two Artist and Two Works...

When Art Speaks: An Analysis of Two Artist and Two Works of Art Wanda M. Argersinger Southern New Hanpshire University When Art Speaks The Italian Renaissance produced many artists and even more works of art, but there were three artists considered to be the Trinity of Great Masters, Michelangelo, Leonardo da Vinci and Raffaelo Santi, or simply Raphael. While these artists often worked in different mediums, Michelangelo preferred stone and Raphael preferred oil paint. Michelangelo and Raphael were able to portray emotions in their work. In two of these works, The Pieta and La Madonna di San Sisto, these artists were able to bring to works of art the raw emotions felt by their subjects. Though their works are quite different,†¦show more content†¦They look puzzled and somewhat bored, a bit mischievous and not at all reverent. The colors are similar to others used during this period but do not contain all the colors used by Michelangelo in his painting of The Sistine Chapel. They are not bright or harsh, but rather muted. There is sparing use of red and blue, but show more use of brown and gold. The curtai ns and clothes are dark. The images have little shadowing, showing only under the feet of Mary and one of the saints. The lines of the painting show an opened curtain and clouds on which Mary and the saints stand. The cherubs appear to be leaning on a solid surface that is, in fact, the very bottom of the painting, which is the only straight line of the piece. The clothes appear to be flowing, captured by the use of curved lines and shadowing in the folds. The light source appears to be the clouds which are the brightest of the piece. Personally, it is the cherubs that speak to me, and not the entire work of art. I like the playfulness they show in their eyes. I like the idea that not all religious work is completely serious and that some fun exists in religion. Intellectually, I wonder what the purpose Raphael had in including them in a Church commissioned work. This work is much like other works of the time – religious in nature, done in oil, and displayed in a house of wor ship. No doubt that Rafael was influenced by other artists and the trend in art of the time, and yet from this one workShow MoreRelatedArtemisia as a Feminist1030 Words   |  5 PagesNanette Salomon, a very well known feminist writer, wrote the article, â€Å"Judging Artemisia: A Baroque Woman in Modern Art History.† The article opens up with a discussion about the 2001-2 exhibition of Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy. 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Stem Cell Research Is It Humane - 1686 Words

Michelle Carter Mrs. Williamson AP Lang- Orange 2 25 February 2015 Stem-Cell Research--Is it humane? The studying of stem cells is a very controversial issue that has been around since 1998 when the research of the use of embryonic stem cell treatment began. The main issues surrounding the discussion of treating people with life-altering disabilities through the use of these pluripotent cells is the ethicality of the matter and whether or not it is a savage act against a fetus. Many who oppose the use of these stem cells derived from excess embryos use the formerly stated opinion to support their argument, while those who are pro research argue that the destroying of one life could save another. The core complications that arise in studying stem cells lies in many Christian-like ethics and morals, otherwise called Christian bioethics. These are rooted in the modern day controversies arising due to advancements made in biology and medicine, mixed with religious views that argue against it. The conflicting interests of the polar oppos ites which are scientists and those with religious views have caused many complications along the way to discovering new treatments and cures for diseased cells. This bumpy road which has refrained scientists from making tremendous breakthroughs must smooth itself out, and the only way possible is through coming to an agreement that certain stem cell research should be practiced, such as the IPSC and adult stem cells, and others like theShow MoreRelatedEssay on Stem Cell Research: Should it be Permitted?868 Words   |  4 PagesStem cell related diseases affect over 100 million americans (White). 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Beauty is not so easily measured Free Essays

While love is something that can be sensed as being palatable and felt directly within one’s self, beauty is not so easily measured—an aesthetic that is judged by each person according to his or her own likes or dislikes. Kawabata Yasunari’s classic short stories â€Å"The Man Who Did Not Smile† and â€Å"Immorality† both look at love and beauty and how they are measured, each in a poetic and colorful way. â€Å"The Man Who Did Not Smile† is a 1929 short story, or â€Å"palm of the hand story,† as Yasunari called them (Ljukkonen, online), about a film writer and his relationship to beauty via his movie that is being filmed, and via his relationship with his wife and children. We will write a custom essay sample on Beauty is not so easily measured or any similar topic only for you Order Now    It is a story about beauty and this man’s relationship to beauty, and the psychological relationship he has to the idea of beauty and what is behind the idea of beauty. Yasunari wrote â€Å"The Man Who Did Not Smile† as a first-person account from the film writer’s standpoint.   The man is on location for a film he has written about patients in a mental hospital, and is in the process of discovering a final scene for his film.   He finds it one morning while â€Å"gazing out on the Kamo River,† (Yasunari, 1929/1990, p. 128) upon waking, finding himself amid the memories of a previous day and recalling a mask that he had seen in a display window.   It is that image that gives him the idea for his final scene of the movie, â€Å"a daydream† (p. 129) filled with masks of smiling faces. The search for the masks to be used in the film becomes the central drama of the story—and the protagonist’s relationship to those masks once he takes them to his wife and children after the filming of the movie is complete.   The masks are delicate and the actors must handle them carefully.   Yet, there is some power within those masks.   The film writer decides to buy them so they can be handled without fear of them being destroyed, and it is in the power of those masks that the protagonist realizes his own relationship with beauty. â€Å"Well then, I’ll buy them.   I did actually want them.   I daydreamed as if awaiting the future when the world would be in harmony and people would all wear the same gentle face as these masks.   (p. 131) His children love the masks, but he refuses to wear them.   His wife agrees to put one on, and it is in that moment that he discovers his true relationship to his wife’s beauty.   â€Å"The moment she removed the mask, my wife’s face somehow appeared ugly† (p. 131).   It is as though he is seeing her face for the first time—and his own idea of her beauty, or, in this case, the â€Å"ugliness of her own countenance† (p. 131).   As his wife lay in the hospital bed, he is faced not only with a new idea of beauty, but his own sense of self—one that might appear as â€Å"an ugly demon† (p. 132) to his wife.   He would be exposed to his real self, his true nature. Psychologist C. G. Jung writes that the mask can be seen as the outer persona we show to the world, the way we want to be seen (Jung, 1929/1983, p. 96).   â€Å"The mask is the ad hoc adopted attitude, I have called the persona, which was the name for the masks worn by actors in antiquity† (Jung, 1921/1983, p. 98).   The narrator is forced to confront not only what lies behind his wife’s beauty/ugliness, but also his idea of his own beauty/ugliness.   The â€Å"beautiful mask† (p. 132) reveals another question, too:   whether or not the face he sees on his wife could be artificial, too, â€Å"just like the mask† (p. 132).   It’s a perplexing question, but one that reveals, like the mask, much about the filmmaker’s relationship to himself and his world. While the idea of beauty colors Yasunari’s 1963 â€Å"palm-of-the-hand† story â€Å"Immortality,† the concept of eternal love is the central theme.   In this short story, two lovers have reunited after being apart for at least five decades—but their reunion comes in the afterlife, as they are now each dead.   Yasunari presents a portrait of an eighteen-year-old girl and a man sixty years her senior walking through some woods in a land they’d both known together while alive.   The scene is haunting as the girl is not aware the man has passed on into the afterlife until the end, when, upon that realization, the two â€Å"go into the tree and stay† (Yasunari, 1963/2005, p. 326). The love between the two has been eternal, in a sense—the girl killed herself because of her love for the man when they had to separate, and he wound up spending much of his life on the land overlooking that spot in the ocean where she died. The man has returned to the land where she died to reclaim her.   He wants to be with her forever.   However, he doesn’t know he is dead, and neither does she. Once she realizes he, too, is dead, they are able to reunite into eternity in nature, merging themselves into an old tree where they will live forever. Like â€Å"The Man Who Did Not Smile,† Yasunari uses the idea of beauty and the mask that we wear—Jung’s â€Å"persona†Ã¢â‚¬â€as an aspect of â€Å"Immortality.†Ã‚   The girl tells the old man, Shintaro, that she has lived in the afterlife with the image of him as a young man.   â€Å"You are eternally young to me,† (p. 325) she says, even though the man is now old. If I hadn’t drowned myself and you came to the village now to see me, I’d be an old woman. How disgusting.   I wouldn’t want you to see me like that.   (p. 325) For the girl, memories are important.   Her spirit carries them as she lives in the afterlife.   Scholar James Hillman says that memories are important for the soul, carrying with them energy that thrives for the departed person.   The girl realizes this, too, in a way:   â€Å"If you were to die, there wouldn’t be anyone on earth who would remember me,† she says (p. 325). The soul, they say, needs models for its mimesis in order to recollect eternal verities and primordial images.   If in its life on earth it does not meet these as mirrors of the soul’s core, mirrors in which the soul can recognize its truths, then its flame will die and its genius wither.   (p. 159) The girl imagines ugliness representing old age—that ancient mask we all wear once we have passed from the prime years of our life.   Even though the old man is wearing that mask, she doesn’t see it:   she has only her memories carried with her at the time of her death, so she sees him as an eighteen-year-old, also.   For the man, he never experienced his lover as an old woman; thus, her youth is indeed eternal for him. Yasunari uses few characters in both stories, keeping each â€Å"palm-of-the-hand† short and simple.   The narrator in â€Å"The Man Who Did Not Smile† is joined by the mask buyer, his wife, and his children in the tale, while it is only Shintaro and his young lover in â€Å"Immortality.†Ã‚   We do not see deeply driven characterization in either story, as Yasunari essentially paints portraits of each actor through their thoughts and actions.   Like a beautiful painting of a sunset or sunrise, we must use our imagination amidst the texture and colors of the painting to grasp its deeper meaning. Indeed, Yasunari’s beautiful use of words shines in both stories in his colorful imagery.   It is simple:   â€Å"An old man and a young girl were walking together,† he writes to begin â€Å"Immortality.†Ã‚   He ends that story almost the same way he begins â€Å"The Man Who Did Not Smile†Ã¢â‚¬â€with the picture of the sky. The color at evening began to drift onto the small saplings behind the great trees.   The sky beyond turned a faint red where the ocean sounded.   (p. 326). â€Å"The Man Who Did Not Smile,† on the other hand, begins with the image of the sky as well.   â€Å"The sky had turned a deep shade; it looked like the surface of a beautiful celadon porcelain piece† (p. 128).   It is a daydream of sorts, a beautiful portrait into which Yasunari takes the reader as he moves through the inner world of the film writer. Both stories are magical.   It is the â€Å"magic of those trees† (p. 325) that captures the imagination of Shintaro and his young lover.   Those trees are part of land his family owned, and he later sold to the men who turned the land into a golfer’s driving range.   The trees are on land overseeing the ocean where the girl jumped to her death.   Trees are sacred and magical in many mythologies.   Buddha gained enlightenment under the Bodhi Tree, and many myths use trees as the focus for rebirth (Anderson, 1990, p. 25).   In the same regard, the ocean, too, is a mythical place:   from where gods and goddess reside and in the Greek legend Odysseus sailed before being reuniting with his lover (Anderson, p. 25). The magic of â€Å"The Man Who Did Not Smile† comes in the healing properties of the masks.   It is through the image of the mask that the film writer is able to create an ending for his story—a â€Å"beautiful daydream† (p. 128) to conclude the â€Å"dark story† (p. 129).   The masks represent his own distrust of himself and the world around him, covering with an artificial beauty the truth that lies behind them.   The masks magically hide what is true and meant to be revealed—whether it is an â€Å"ugly demon† (p. 132) or an â€Å"ever-smiling gentle face† (p. 132). What is also interesting about â€Å"The Man Who Did Not Smile† is in how the film writer’s screenplay is based on a scene inside a mental hospital.   We learn later that his wife is in a hospital of sorts—and we never learn the exact nature of her illness.   Could it be a mental hospital?   And might her hospitalization also be a reflection of his â€Å"gloomy† personality (p. 129)?   He’s afraid of what is hiding behind the masks—so much that his initial reaction to putting on the mask himself is fear.   â€Å"The mask is no good.   Art is no good† (p. 132).   Masks and art each reveal the hidden dimensions.   The film writer himself uses his films to balance his own â€Å"gloomy† personality.   Yet the shadows of life are revealed through film and art, and are experienced in hospitals.   Each is an aspect of â€Å"The Man Who Did Not Smile.† Yasunari gives much to think about regarding our relationship to each other and ourselves in â€Å"The Man Who Did Not Smile,† and to our relationship with the magic of eternal love in â€Å"Immortality.†Ã‚   Both reveal the hidden aspects of our existence on earth, offering us a short look at the feeling of living in a world of melancholy and loneliness amid what we call beauty.   Our own mortality rises from the depths of eternity through these stories, and it is in the hidden beauty of our daily lives that Yasunari’s works can be realized. Bibliography Anderson, William.   (1990).   Green man:   The archetype of our oneness with the earth. London:   HarperCollins. Hillman, James.   (1996).   The soul’s code.   New York:   Warner Books. Jung, C. G.   (1983). Definitions.   (R. F. C. Hull,Trans.). In   A. Storr (Ed.). The essential Jung:   Selected writings.   (V. S. de Laszlo, Ed.) (Pp. 97-105).   Princeton:   Princeton University Press.   (Original work published 1921). Jung, C. G.   (1983). The relations between the ego and the unconscious.   (R. F. C. Hull, Trans.). In   A. Storr (Ed.). The essential Jung:   Selected writings.   (V. S. de Laszlo, Ed.) (Pp. 94-97).   Princeton:   Princeton University Press.   (Original work published 1929). Ljukkonen, Petri.   (2005).   Yasunari Yasunari.   Retrieved November 19, 2005 from http://www.kirjasto.sci.fi/Yasunari.htm. Yasunari, Yasunari.   (1990).   The man who did not smile.   (L. Dunlop, Trans.).   In Palm-of-the-hand Stories.   (J. Martin Holman, Trans.).   (Pp. 128-132).   San Francisco:   North Point Press.   (Original work published 1929). Yasunari, Yasunari.   (2005).   Immortality.   In (G. Dasgupta, J. Mei, Ed).   Stories about us.   (Pp. 323-325).   Nashville:   Thomas Nelson Publishers.   (Original work published 1963). How to cite Beauty is not so easily measured, Essay examples

The Fashion Channel Case Essay Example

The Fashion Channel Case Paper In doing this we need to focus on ways to increase our share of the market (targeting ratings), and how we can ultimately target ways to boost our viewers versus the increasingly competitive assign programming being released by CNN and Lifetime. The two key levers to drive revenue growth would be Increased viewers (ratings), and increased advertising pricing. Also Important Is to deliver quality audiences, as demanded by advertisers. Based on these key Issues It will be vital to choose the scenario for implementation that will increases TV ratings and advertising revenue. The state of the economy at the beginning of 2007 was promising (pre-housing bubble and job loss). The Fashion Channel at that time had been around for 11 years. The company was started by two entrepreneurs in 1996, with up to date entertainment features that focused on material relating to fashion only on 24 hour a day, 7 days a week schedule. To that point the mall audience was women aged 35-54 and the company tagging was Fashion for Everyone. Coming off of revenues of $310. Million and only $230 million in ad sales, the goal going forward was to find a way to increase that amount. In 2005, one of the more popular series on TFH was a show called Look Great on Saturday Night for Under $100. Other networks like CNN and Lifetime began following the programming plan put on by TFH which started to come more popular In comparison to the programs being broadcast by TFH. This in effect resulted In direct competition against TFH and directly affected the ad revenue shares. We will write a custom essay sample on The Fashion Channel Case specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on The Fashion Channel Case specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on The Fashion Channel Case specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Vice President Norm Frazier had advised the management team to decrease the ad pricing by 10% in order to increase our viewers. As mentioned earlier, a key issue to attack in this marketing plan is to improve our average rating compared to similar programming being broadcasted on CNN and Lifetime. Utilizing information obtained in Exhibit 1, Tiffs average rating was 1. 0 based off of 1. 1 million households. In comparison, CNN relished an average rating of 4. 0 (4. 4 million households) while Lifetime enjoyed an average rating of 3. 0 (3. 3 million households) respectively. Major differences exist amongst these three networks based on the fact that Tiffs programming only revolves around fashion 24 hours a day, 7 days a week, whereas CNN and Lifetime serve a larger target audience and therefore only present programs dedicated to fashion Monday through Friday from 9-11 pm (Lifetime) and Monday through Friday from 8-pm and Saturday and Sunday Trot 10-11 pm ) Because tense networks are not ovate to a spectral ice, it allows them the opportunity to capture a larger audience that may have never looked for fashion programming if it werent for Fashion Today and Fashion Tonight. The other key objective of The Fashion Channels new marketing plan was to boost advertising revenue. On pages 3 and 4 of the case study, it is noted that advertisers would pay a premium CPM (cost per thousand, represented by the price an advertiser would pay for a moment of viewing) to reach certain groups, and at the time of this study these groups were men of all ages and women aged 18-34, respectively. Based on information in Exhibit 1, TFH is currently in the most unfavorable position amongst the big three networks based on consumer demographics. CNN carried the best percentage of the male audience at 45 % while TFH at 39%. Lifetime carried the best percentage of the 18-34 female audience at 43% while TFH captured Just 33%. Lack of consumer interest, awareness, and value added to potential advertisers could be negatively impacting their advertising revenue. In the competitive threats section of the case study, TFH is noted as being below average in many important categories based on the Alpha research study. They received ratings of 3. 8 for consumer interest, 4. 1 for awareness, and a 3. 7 on value added (perceived value). The other two networks outscored TFH by at least . 4 points on all questions asked. I believe this to be an indirect consequence of programming for a specific niche market. In order for TFH to increase ad revenue we must find a way to penetrate the high dollar CPM groups that our ad buyers are most focused on attracting. Based on our key goals and objectives mentioned earlier, I believe that we have three courses of action to discuss and decide on as a team. These approaches include a broad-based marketing plan (scenario #1), the Factionists segmentation, and the Factionists plus Planners/Shoppers segmentation. I will list the pros and cons of each below as well as the final decision and rationale based on the final decision. Broad-Based Marketing pros: When comparing this plan to the base numbers of 2007, we see that the broad- based scenario delivers the company almost $40 million more in potential net income ($94. 9 million versus $54. 6). This scenario also doesnt require additional incremental programming expense that will cost the other two plans at least $1 5 million to implement. Additionally, women aged 18-34 in all four clusters, so The Fashion Channel will be marketing to 100% of all 18-34 year-olds. This scenario will also allow awareness and viewers to increase by investing in a major marketing campaign across all clusters in the spectrum. Cons: While this marketing plan produces a higher net income the 2007 base, the CPM is $. 20 lower than the current CPM of $2. 00. This plan also lacks a specific target audience and we would run the risk of our competitors penetrating the premium CPM groups, causing our revenue to decrease even further. Differentiation would change as a result of implementation and as a company we would struggle to compete against ten toner two networks walkout canalling our programming. Factionists Segmentation Compared to the 2007 base numbers, this scenario produces almost $100 million more in net income ($1 51. 4 million versus $54. 6 million). This plan also targets a premium CPM group, which increases Techs average CPM from $2. 00 to $3. 50. This plan would make TFH a more attractive ad producer for advertisers because 50% of factionists are females ag ed 18-34. Targeting this segment will help us compete against Lifetime, which is currently the market leader in female audience members aged 18-34. Cons: The factionists segmentation results in a . % reduction in TV ratings for The Fashion Channel. There is also a requirement of $15 million incremental programming expense in order to reposition our programming. The factionists segment is the smallest of the four clusters, which would decrease our viewers amongst the remaining clusters. Its also possible to the targeting only the factionists target is too specific of a niche and will lack the ability for TFH to attract new nonusers. This will pose a threat to us by not allowing us to compete against the CNN and Lifetime which offer programming to a broader segment. By targeting the smallest cluster, awareness amongst our consumers would not change, and our ratings over the long term might decrease even further. Factionists plus Planners/ Shoppers Segmentation Compared to the 2007 base numbers, this scenario produces almost $1 1 5 million more in potential net income ($168. 8 million versus $54. 6 million). The plan improves our TV ratings from 1% to 1. 2% and the average CPM from $2 to $2. 0. Targeting these two clusters will allow us to market to 50% of all TV households also allows us to advertise to the clusters that are made up of 50% and 25% of women aged 18-34. Effectively targeting these two segments will increase advertising revenue by increasing the proportion of women aged 18-34 audience members. This new found repositioning will allow The Fashion Channel to differentiate its programming by producing programs specific to these two separate segments. Cons: Although the scenario produces favorable numbers in terms of ratings and CPM, here is a requirement of incremental programming expense of $20 million to reposition our programming. This scenario only targets 50% of households. This could lead to a reduction amongst our loyal viewers and might adversely affect our TV rating. Decision We at The Fashion Channel should focus our efforts on the third scenario which targets factionists plus planners/shoppers. There is an immense risk associated with this plan because we will Jeopardize losing some of our most loyal consumers by positioning ourselves more towards the higher ad revenue drivers. The $20 million incremental programming expense is another added possibility that could set the company up for failure. However, based on our analysis and forecasting, the benefits outweigh the potential setbacks as we will see an increase in average rating, CPM, and an almost 40% contribution margin (up 10% from 2006). Advertising revenue will increase because of the premium increase in CPM that women aged 18-34 wall erelong In T all I v nauseous out represent ten largest viewers for fashion). This plan is clearly more favorable than the second scenario hat left out the important segment including planners and shippers. While both scenarios provide substantial increases in net income, the long term growth associated with rating and ad revenue increase clearly define the third scenario as our focus. Implementation The largest challenge associated with this new marketing plan will be to keep our loyal consumers while also attracting the factionists and planners/ shoppers. In order do this we need to review past ratings from television shows, and find new time slots for these shows that are not in prime spots for the new programming. It is important to keep this in mind because although women aged 18-34 because of the CPM benefits, our past market currently makes up 67% of our total audience. We should study the plans of CNN and Lifetime, specifically their Fashion Today and Fashion Tonight shows. If we can gain a better understanding how they target women aged 18-34, and more importantly how their total audience of 43% comes from the premium CPM audience, then we could put ourselves in a more advantageous position amongst our competition. Lastly, we must find other ways to improve consumer interest, awareness, ND perceived value of The Fashion Channel. In order to do this I recommend a further plan to build brand recognition. This idea will build consumer loyalty and also bring our fans more emotionally connected to our brand and our company. I am proposing a plan that I anticipate will take about 6-8 months to roll out. Once we begin this new plan it will take another year to carry out the plan. I am proposing that we pick 12 destinations throughout the United States that are in the most popular fashion markets (Los Angles, New York, Chicago, etc.. ), and also base it on our most attached regions based on TV ratings. We will then come up with themes based on the locations and get our audience involved in our brand and show. Within six to eight months we should be able to pick out locations and venues for audience themed shows. We will be able to use our current programming to promote the upcoming audience experience which will not drastically change our incremental advertising expenses. I believe this plan coupled with the third scenario which will be rolled out incrementally, will provide the plan for The Fashion Channel moving forward.