Free Essays on Finanical Analysis

Financial Analysis The May Department Stores Company May Department Stores Company began in 1877, David May opened the first store of what was to become The May Department Stores Company in Leadville, Colo., a silver-mining boom town. May headquarters moved to St. Louis in1905. 1910 the May Department Stores Company was incorporated. Earnings were $1 million. The company was listed on the New York Stock Exchange in 1911. In St. Louis, May acquired the William Barr Dry Goods Company and combined it with The Famous Clothing Store to form Famous-Barr. May Merchandising Company was formed under the original name of The Sostman Mercantile Company and became May Merchandising in 1969. The May Department Stores Company operates six regional department store divisions in the United States. . May Department Stores Company is more diverse than it’s direct competitors, Dillard’s Inc., Federated Department Stores Inc. and Saks Inc.. The department store divisions are Lord Filene's and Kaufmann's; Robinsons-May and Meier Hecht's and Strawbridge's; Foley's, and Famous-Barr, L.S. Ayres and The Jones Store. As of January 31, 2004, May operated 444 department stores in 36 states and the District of Columbia. May National Bank of Ohio, an indirect subsidiary, extend credit to customers of May's six department store divisions. May Merchandising Company, an indirect subsidiary, works closely with its six department store divisions and merchandise vendors to communicate emerging fashion trends and to develop merchandise assortments. In addition to its department stores, May's Bridal Group operates 210 David's Bridal stores, 460 After Hours Formalwear stores and 1 0 Priscilla of Boston stores. In July 2004, the Company acquired the Marshall Field's department store group from Target Corporation. May Department Stores Company is a collection of some of the most well-respected names in the retail busines... Free Essays on Finanical Analysis Free Essays on Finanical Analysis Financial Analysis The May Department Stores Company May Department Stores Company began in 1877, David May opened the first store of what was to become The May Department Stores Company in Leadville, Colo., a silver-mining boom town. May headquarters moved to St. Louis in1905. 1910 the May Department Stores Company was incorporated. Earnings were $1 million. The company was listed on the New York Stock Exchange in 1911. In St. Louis, May acquired the William Barr Dry Goods Company and combined it with The Famous Clothing Store to form Famous-Barr. May Merchandising Company was formed under the original name of The Sostman Mercantile Company and became May Merchandising in 1969. The May Department Stores Company operates six regional department store divisions in the United States. . May Department Stores Company is more diverse than it’s direct competitors, Dillard’s Inc., Federated Department Stores Inc. and Saks Inc.. The department store divisions are Lord Filene's and Kaufmann's; Robinsons-May and Meier Hecht's and Strawbridge's; Foley's, and Famous-Barr, L.S. Ayres and The Jones Store. As of January 31, 2004, May operated 444 department stores in 36 states and the District of Columbia. May National Bank of Ohio, an indirect subsidiary, extend credit to customers of May's six department store divisions. May Merchandising Company, an indirect subsidiary, works closely with its six department store divisions and merchandise vendors to communicate emerging fashion trends and to develop merchandise assortments. In addition to its department stores, May's Bridal Group operates 210 David's Bridal stores, 460 After Hours Formalwear stores and 1 0 Priscilla of Boston stores. In July 2004, the Company acquired the Marshall Field's department store group from Target Corporation. May Department Stores Company is a collection of some of the most well-respected names in the retail busines...

Article review 2 Essay Example | Topics and Well Written Essays - 500 words

Article review 2 - Essay Example rules and concepts that govern the field of accounting as the basic accounting  principles and guidelines that form the basis for Financial Accounting Standards Board (FASB) and the Generally Accepted Accounting Principles (GAAP). The article notes the requirement and importance of using the generally accepted accounting principles in the preparation of financial statements. The GAAP ensures professionalism, consistency,  and uniformity in accounting. However, the article notes that GAAP have become more complex over the years because financial transactions have become more complex. The article recognizes ten basic accounting principles and guidelines that form the basis of the Generally Accepted Accounting Principles. They include the economic entity assumption, monetary unit assumption, time period assumption, cost principle, full disclosure principle, going concern principle, matching principle, revenue recognition principle, materiality, and conservatism principle (Accounting Coach 1). I agree with the article’s position and insight on the basic accounting principles and guidelines for various informed reasons. Indeed, all financial statements must comply with the set rules and standards to reflect professionalism, consistency, and uniformity in accounting. Public organizations must present financial statements to the shareholders and directors quoting the Generally Accepted Accounting Principles used to reach at such financial positions. The use of such principles is significant in accounting since the operations, shareholders, and directors of public companies emanate from all over the world hence the need for a standardized code of accounting to represent the diverse backgrounds of the concerned parties. This is also significant in comparing different public companies. The ten basic accounting principles and guidelines relevantly encompass all the financial aspects and needs of any business entity, big or small. The points discussed in the article,

Economy Assignment Essay Example | Topics and Well Written Essays - 5250 words

Economy Assignment - Essay Example We know that exchange rate is influenced by the demand of the particular currency. Sterling exchange rate against Yen has shown significant growth in the first quarter of year 2002. It indicates that the demand of the Sterling have grown against Yen. In the year 2003 Yen have appreciated against Sterling. In reviewing the exchange rate on a broader base than quarterly it is evident that although although 2000 was a year of decline for the Sterling against the Yen, there was a remarkable jumps in the first quarter of 2001 which saw the quarter ending at the same rate per se as the first quarter of 2000 (the quarter in which we began the analysis.) In total for year 2001 the Sterling saw no depreciation against the Yen. After its approximate 12 point jump between the 4th quarter of 2000 and the 1st quarter of 2001, the remainder of the year saw slight growth. Then although not as dramatic as was the 10 point leap between 4th quarter of 2001 and the 1st quarter of 2002. During 2002 saw the first depreciation in the Sterling of approximately 4 points in quarter 2 where it remained constant through the 3rd quarter. Again in between quarter 3 of 2002 and the 4th quarter of 2002 the Sterling gained almost 8 points before dropping slightly in the 1st quarter of 2003 only to moderate in the 2nd quarter and then steadily decline through the end of the quarter. A noticeable factor during the four year analysis other than quarter fluctuations the last quarter of 2003 ended with the Sterling just shy of gaining 15 points against the Yen. Figure 1 As we can see from the graph above, the Sterling exchange rates have depreciated to its minimum during the fourth quarter of year 2000. It was the period when the Iraq war had impacted the global economy as a whole and was not in particular related specifically to the Yen. In the year 2001 it has shown slow and steady growth. The value ranged 172.26 to 178.45 with a growing pattern. During the first quarter of year 2002 it was a good jump in the value of sterling against Yen with an increase realization of almost 12. It was 188.79. This value depreciated in the next two quarters. The fourth quarter of the same year it was maximum of all the four years. The fluctuation pattern of the Sterling exchange rate in the year 2003 has been of depreciation. The Sterling value has increased to 191.9 in the quarter 2 of the 2003 which was higher than the first quarter which again depreciated sharply in the next two quarters. The Sterling Exchange Rate against The Japanese Yen 2000-2003 Quarter 1 Quarter 2 Quarter 3 Quarter 4 2000 171.99 163.52 159.19 158.89 2001 172.26 174.19 174.67 178.45 2002 188.79 185.29 184.85 192.42 2003 190.67 191.9 189.14 185.64 Source: Economic Trends (2004), Table 6.1, P126 Table 1: Sterling Exchange Rate against Japanese Yen Year 2000-2003 b. Provide an analysis of the possible causes of exchange rate appreciation of Sterling against Yen.(20 Marks) (a n b 1250 words) Answer: The fluctuation of the value of any currency means appreciation or depreciation of the value of the currency against the other currency. The cause of fluctuation of any currency

Should priciples of justice in a community begin with the maximin Essay

Should priciples of justice in a community begin with the maximin assumption evident in John Rawls' work A theory of justice - Essay Example Rawls was primarily concerned with questions of how best social justice could be organized as a â€Å"basis structure† in a liberal and democratic society (Ibid: 6). For Rawls, his idea of justice was directed at how a societys main political, social, and economic institutions should cooperate together in distributing fundamental rights and duties to everyone in an ordered society (Ibid: 6). His objective of A Theory of Justice, published in 1971, was to provide an alternative solution to the then dominant utilitarian principle of justice, which held that, a society is â€Å"right and morally just,† if major institutions maximized what is intrinsically good, to the satisfaction of the vast majority of people in a society (Ibid: 21). In rejecting the utilitarian principle of utiltiy, Rawls set forth his conception of justice, which was egalitarian in nature. It would perhaps be helpful to look at some definitions of justice, before analyzing Rawlss conception of justice. The dictionary of legal theory define justice as the set of moral and political constrains on human interactions (Bix, 2004: 108). There have been significant debates about the nature and source of standards of justice, and some sceptical thinkers argued that standards of justice were grounded only in the conventional views of society, or in a communitys traditions (Ibid: 108). Other theories viewed the principles of justice as a general agreement among people under certain ideal conditions. A traditional view of justice described standards that are eternal and unchangeable, established by God, the nature of the universe, human nature, or some combination of these (Ibid). D.D.Raphael (2001:1), a theorist of justice, recognized justice as a complex concept that pervaded social thought, and is basic to law, ethics, and politics alike (Raphael:1). In social and political ethics,

The impact of globalization Essay Example for Free

The impact of globalization Essay This paper has discussed the impact of globalization on the changing patterns of work in industrialized countries. We have discussed the concept of globalization as it has made promise for companies to work on a real-time basis, whereby products and services are conveyed to the right place at the right time. We further discussed Competitiveness trends and interconnectedness in past and present to have better understanding of employment patterns and their impact on industrial relations policy. Introduction Globalization refers to a world in which civilizations, cultures, polities and economies have, in several logics, come closer simultaneously. It is usually measured to refer to a sequence of social processes and consequently is not typified by the institutional accouterments (Amin, A. 1994). Moreover, globalization is considered as being in the dominance, changing economic, cultural and social surroundings so far regardless of its elemental effects, globalization as a phenomenon remains mainly tolerant (Massey, D. 1994). According to Giddens (1990:64), the concept can be defined as the intensification of worldwide social relations which link distant localities in such a way that local happenings are shaped by events occurring many miles away and vice versa. Thus, the job of a coal miner in Britain might depend on events in South Africa or Poland as much as on local management or national government decisions. Although the notion does not just refer to global interconnectedness. Globalization is best understood as expressing fundamental aspects of time-space distanciation. Globalization concerns the intersection of presence and absence, the interlacing of social events and social relations at a distance with local contextualities (Giddens 1991:21). Amin, A. and Palan, R. (2000:240), too, refers to the fact that globalization describes our changing experience of time and space, or time-space compression. According to Jessop, phenomena firmly within an ontologically broader context of capitalist socio-economic and sociopolitical restructuring in order to ascertain exactly how they intervene in power struggles over this restructuring. This would be in order to clarify whether or not these interventions are contingent or can be attributed to objective necessities. In this context, it makes no sense to postulate the market and the state axiomatically against one another since the two really presuppose one another (Jessop 1997:50-52). Hence and indeed following Jessop, (Magnus Ryner; 2002: 101) suggest that we pose the question of globalization with reference to the manner in which: (a) socio-economic orders become materially reproduced (or not) through the configuration of a regime of accumulation and mode of regulation; (b) Potential and tendential social conflicts are managed (or not)-that is, how they are mediated, regulated and neutralized-through socially embedded authority structures; (c) This order is (or is not) normalized and stabilized through the articulation of the terms of legitimacy which engenders the social order with a stable consensual mass base; (d) Questions (a), (b) and (c) interrelate to form (or not) a Gramscian historic bloc or sets of interacting historic blocs. Changing Patterns The elating trade barriers, liberalization of capital markets, as well as speedy technical development, particularly in the fields of information technology, transport and telecommunications, have infinitely improved and hasten the faction of people, information, possessions and resources. In the same way, they have also expanded the variety of issues which spread out the boundaries of nation-States necessitating international median setting and directive and, consequently, conference and formal discussions on a global or district scale. numerous of the tribulations distressing the world today such as poverty, ecological pollution, financial crises, organized crime and terror campaign – are ever more transnational in nature, and cannot be pact with simply at the national level, nor by State to State negotiations (Cerny, P. G. 1990). Immense economic as well as social interdependence seems to influence national decision making processes in two essential ways. It calls for a transfer of decisions to the worldwide level and, due to an increase in the stipulate for participation it as well needs numerous decisions to be relocated to confined levels of government (Dodd, N. 1994). Thereby, globalization requires multifaceted decision-making processes, which occurs at diverse levels, explicitly sub-national, national and global, pavement the way to an emergent multi-layered structure of power. The truth that collaboration and directive are requisite on numerous levels as a outcome of the intricacies and international nature of present world issues has led a numeral of scholars to envisage the end of national state power. Several disagree that the State might only fiddle with globalization, but not have a dynamic role in it. Several believe that the State will turn out to be archaic (Peck, J. 1998). Regardless of the numerous concerns regarding the loss of independence, the State remnants the key actor in the domestic as well as global arenas. The accepted postulation that the appearance of global civil society, as well as escalating levels of cross-border trade, investment and cash flows turns the State into a survival is wrong. In the worldwide arena, closer collaboration and rigorous action amongst States symbolize an exercise of state dominion. Such strenuous action does not essentially wane States; rather, it can reinforce them by generating a more unwavering international surroundings and by giving them better extent to develop their exchanges in a diversity of fields. Besides, globalization devoid of effective and vigorous multilateralism is bounce to lead to crisis as markets are neither innately stable nor evenhanded. The numerous challenges that we face up to today be afar the reach of any state to convene on its own. At the state level we should govern better, and at the international level we should learn to manage better mutually (Robertson, R. 1995).

Strategies and Definitions of 3D Animation

Strategies and Definitions of 3D Animation 2.1 Definition of Animation 2.1.1 A Technical Definition of Animation Various definitions of animation exist that cover technical, physiological, through to philosophical aspects. In a technical sense, Myers (1999, [Online]) describes animation, the form that we have become familiar with, as a series of drawings that are linked together and photographed. The drawings have been slightly changed between individualized frames so when they are played back in rapid succession there appears to be seamless movement within the drawings'(Myers 1999, [Online]). Jonsson (1978, p. 2) also describes animation in a technical sense: A strip of movie film consists of still pictures called frames each one slightly different from the one preceding it. When the film is projected and run continuously these still pictures give an illusion of movement (Jonsson 1978, p. 2). Morrison (1994, p. 5) simply defines, animation as the illusion of movement: This illusion of movement can be achieved by quickly displaying a series of images that show slight incremental changes in one of the depicted objects. If you play back these images fast enough, the eye will perceive movement (Morrison 1994, p. 5). It is safe for one to conclude that animation and motion picture in general, when viewed by a human is an illusion, the rapid succession of ordered singular frames tricking the viewers eye into perceiving there is an apparent seamless movement. This technical definition of animation is closely linked to the history and evolution of motion picture, also to human physiology and how the eye and the brain perceive movement. 2.1.2 The Beginnings of the Motion Picture Animation cannot be achieved without first understanding a fundamental principle of the human eye: the persistence of vision'(James 2002, [Online]). Animation literature shows that the appreciation of this principle is not only linked with the history of animation and motion picture but much earlier, beginning long ago in our past. Since the beginnings of time, human beings have tried to capture a sense of motion in their art'(James 2002, [Online]). Williams (2001) points out several examples; a 35,000 year old pre-historic cave painting of a boar in Northern Spain displaying four pairs of legs to show motion'(Williams 2001, p. 11). Egyptian temple paintings of figures that progressively changed position'(Williams 2001, p. 12). Ancient Greek decorated pots with figures in successive stages of action. Spinning the pot would create a sense of motion'(Williams 2001, p. 12). Other examples are cave and wall paintings, medieval tapestries, scrolls, and paintings which all tell continuous storiesand some of which attempt to illustrate repetitive motions'(James 2002, [Online]). Theories that were born in the ancient world by classical scholars were to prove very important in the genesis of animation, as The Private Lessons Channel (2002, [Online]) points out. It identifies historical figures such as the Greek Aristotle (384-322 BC), who observed light and motion after effects, dating back to 340 BC (The Private Lessons Channel 2002, [Online]). The Private Lessons Channel (2002, [Online]) then points out that later, in 130 AD, Greek astronomer and geographer Ptolemy (100-178 AD) discovered the aforementioned persistence of vision. In elaborating a point made by Thomas (1964, p. 8), one can see how these ancient scholars came to such discoveries; Imagine a torch lighted with fire, being whisked around in a circular motion in the darkness, the eye seeing a continuous unbroken circle of light. This type of phenomenon must have been known to the ancients'(Thomas 1964, p. 8). 2.1.3 A Physiological Definition of Animation The Persistence of Vision While there is evidence of a fascination with the visual documentation of movement and narrative in prehistoric and classical periods, it was not until these notions were later revisited by 19th century inventors, that modern animation principles emerged. One of these inventors was the Frenchman Peter Mark Roget, also the author of the famous Rogets Thesaurus, who in the 1820s rediscovered the vital principle, the persistence of vision'(Williams 2001, p. 13). Williams (2001, p. 13) explains the persistence of vision on the following way: This principle rests on the fact that that our eyes temporarily retain the image of anything theyve just seen. If this wasnt so, we would never get the illusion of an unbroken connection in a series of images, and neither movies nor animation would be possible. Many people dont realise the movies dont actually move, and that they are still images that appear to move when they are projected in a series (Williams 2001, p. 13). Jonsson (1978, p. 2) gives a more physiologically oriented explanation: What makes this possible is a quality of our brain called persistence of vision that is; although the frame we are viewing at any given moment is in fact still, the image burns itself onto our retina, so that it remains with us for a small fraction of time while we view the next one and if the difference seems to be a reasonable follow-on, an illusion is created (Jonsson 1978, p. 2). Concluding that technical and physiological aspects work hand-in-hand in motion picture, Jonsson (1978, p. 2) explains that for the eye to record an apparent continuous seamless movement, a certain frequency of frames per second needs to be displayed. Morrison (1994, p. 5) states that human visual acuity is low enough that only 12-15 different pictures (or frames) need to be displayed per second to produce the illusion of movement. The Private Lessons Channel (2002, [Online]) states that the number of frames per second, or fps, directly correlates to how smooth the movement appears. If the frame rate is too slow, the motion will look awkward and jerky. If the frame rate is too high the motion will blur'(The Private Lessons Channel 2002, [Online]). For the eye to record a normal, continuous movement that is not too fast, and not too slow there needs to be a frequency of around 24 to 30 fps displayed by a projector. Jonsson (1978, p. 2), states that this is the sole principle by which both live-action and animated films work. 24 fps is used in cinema, 25 fps is used for PAL television (Europe and Australia), and 30 fps is used for NTSC television (America and Japan). In relation to the illusion of movement and persistence of vision, both Wells (1998 p. 10) and Furniss (1998 p. 5) portrays the view of well-known Scottish-born animation identity Norman McClaren: Animation is not the art of drawings that move, but rather the art of movements that are drawn. What happens between each frame is more important than what happens on each frame; Animation is therefore the art of manipulating the invisible interstices that lie between the frames (McClaren qtd. in Furniss 1998 p. 5). James (2002, [Online]) states that Roget demonstrated the persistence of vision principle in his invention, the thaumatrope. James (2002, [Online]) and Williams (2001, p. 13), describe it as a disc held between two pieces of string, which was attached to both of the disc edges. Each flat side of the disc had different images; one a bird, the other an empty birdcage. Twirling of the disc with the pulling of the string results in the bird appearing to be in the cage. This proved that the eye retains images when it is exposed to a series of pictures, one at a time'(James 2002, [Online]). The Private Lessons Channel (2002, [Online]) notes that two other inventors are credited with this invention, the Frenchman Dr. John Ayrton, and Englishman Dr. Fitton, depending on the source. 2.1.4 The Early Evolution of the Motion Picture Crucial to the evolution of Animation and indeed Motion Picture were other related inventions. James (2002, [Online]) describes other optical devices of a similar nature to the thaumatrope, such as the phenakistoscopeinvented in 1826 by Joseph Plateau, and the zoetropeinvented in 1860 by Pierre Desvignes. Williams (2001, p. 14) mentions another similar invention, the praxinoscope, invented by the Frenchman Emile Reynaud in 1877. Clark (1979, p. 8) states that these contraptions relied for their effect on either an endless paper band or a cardboard disc bearing series of pictures drawn in progressive stages of an action. Viewed intermittently through slots or reflected in mirrors the drawings came to life and appeared to move'(Clark 1979, p. 8). Another invention included the flipbook, or kineograph pad, first appearing in 1868. Another important invention relevant to Motion Picture was photography. The first photographs were taken in the late 1820s by a Frenchman, Nicà ©phore Nià ©pce'(Thomas 1964, p. 6). In the 1870s Sir Charles Wheatstones moving picture stereoviewerwas created to view a series of actual photographs in ordered succession (Thomas 1964, p. 16). Thomas (1964, p. 18) points out that the first to capture and record a sequence of images, was the English/American Eadweard J. Muybridge, where he famously captured a horse and carriage trotting. He then played the captured images back in a viewing device, known as the zoopraxiscope. Another important revolution in the evolution of the Motion Picture was that of nitrate celluloid film invented by H.W. Goodwin in 1887. Nitrate celluloid film was a chemical combination of gun cotton and gum camphor'(McLaughlin 2001, [Online]). Thomas (1964, p. 29) acknowledges the birth of Cinema to the famous American inventor Thomas A. Edison, and the Scot William Kennedy Laurie Dickson. In 1892 Edison and Dickson succeeded in building a camera capable of taking moving pictures at a rate of forty-six per second on Eastman celluloid film'(Thomas 1964, p. 29). Edisons and Dicksons viewing device, influenced by Austrian Ottomar Anschà ¼tz, was named the kinetoscope. Thomas (1964, p. 29) describes it as a viewing cabinet by means of which only one person could view a film at a time. As the images were not projected, the viewer had to use a small eyepiece to look into the cabinet in order to see the moving images. Instigated and influenced by the work Edison and Dickson, other inventors set about evolving the kinetoscoperesulting in viewing devices with the ability to project images. The most well-known of these inventors were the Lumià ¨re brothers, who in 1895 designed a camera and projector which they call the cinà ©matographe'(Thomas 1964, p. 30). The Lumià ¨re brothers became the first to give a public exhibition of moving pictures'(Thomas 1964, p. 30), which they held on the 28th of December 1895, at the Grand Cafà © in Paris. It is interesting to note that Estonian animator Priit Pà ¤rn in his surrealist-inspired short film 1895, pays tribute to the Lumià ¨re brothers, and invention of the cinà ©matographe. Thomas (1964, p. 31), concludes that the interest shown by the public in these first cinema shows gave rise to a rapid growth in a new industry. In time, with the advent and advancement of various technologies and techniques, the first true animated films were born. 2.1.5 A Philosophical Definition and Discussion of Animation Animation is the art of bringing something to life. How its brought to life can be done any number of different ways, simply states Ludwin (1998, [Online]). Bringing something to life is indeed a very important theme in animation. To better understand the definition of animation, it is useful to find out the original term from which the word animation derives. Wells (1998, p. 10) notes that animation derives from the latin word animare, which means to give life to, and that the animated film largely means the artificial creation of the illusion of movement in inanimate lines and forms. The famous Zagreb School of Croatia relates the definition of to animate back to this original meaning. They suggest, that to animate is to give life and soul to a design, not through the copying but through the transformation of reality(Wells 1998, p. 10). When youre animating and moving an object, youre instilling life in something'(Lubin 2003). This leads us onto animators philosophies, ideologies and animation aesthetics. There are many differences in philosophy among animators and opinion of what the essence of animation actually is. One interesting example illustrating the philosophical differences of opinion is with respect to the extent of which animation should reflect real-life. For instance, the copying of real-life movements using motion capture techniques, are not favoured by all animators. Stefan Marjoram of the Aardman studio notes that motion capture is alright in sports games, but it doesnt necessarily make you a good animator. Animations not about copying real life, after all a lot of people use motion capture for that. For me animation is about exaggerating real life'(Ricketts 2002, p. 51). Lubin (2003) agrees: Thats absolutely right. I mean if youre doing a game and you want to get Tiger Woodsswing, fine. But Motion Capture which is only about animating humanoid animation, why bother? Just get real actors (Lubin 2003). When asked the question on what the public perception of Animation is, Tom Lubin in an interview on 1 April 2003 stated that it depends on who you askand it depends on the show. Some animation would be dismissed as stuff for something to baby-sitlittle kids with, whilst other animation has a broader market encompassing all age groups. I think the public has a very broad view of it depending on their interests'(Lubin 2003). Lubin (2003) also pointed out that animation has been successful for a really long time, and he stated that it was telling that the Academy Awards now, in the last few years, actually gives an Oscar for the best feature in animation. This has to do with the publics perception of animation as a viable stand alone'(Lubin 2003). Animation at its most creative, is a truly beautiful artform'(White 1988, p. 9). The term art and its related words feature heavily in many animation definitions and philosophies originating from the birth of modern animation. Winsor McCay the first American animator of the early 1900s, who many have dubbed the father of the animated cartoon, once stated: Animation should be an artwhat you fellows have done with it is making it into a tradenot an art, but a tradebad luck (Crandol 1999, [Online]). Crandol (1999, [Online]) points out that McCays warning and prediction inevitably became true. Indeed a studio production system with a streamlined, assembly-line processwas formed out of the necessity to satisfy time, expense and demand factors (Crandol 1999, [Online]). Wells (1998) also mentions several times that the domination and the proliferation of mass-produced cel animation'(p. 35), such as that produced in America and Japan, has led to animation being understood in a limited wayby society (p. 24). Wells (1998, p. 35) elaborates stating that: The amount of cheaply produced, highly industrialised cel animation made in the USA and Japan had colonised television schedules, and perhaps, more importantly, the imaginations of viewers (Wells 1998, p. 35). Crandol (1999, [Online]) also points out that the collective nature of the studio may prevent the artists from receiving the amount of praise an artist working solo garners. Wells (1998, p. 7) makes the point that this type of animation has somewhat diminished animation in the eyes of society as a legitimate artform: Animation has been trivialised and ignored despite its radical tendencies and self-evident artistic achievements at the technical and aesthetic level. Ironically, the dominance of the cartoon(i.e. traditional celanimation in the style of Disney or Warner Brothers, which is predicated on painting forms and figures directly onto sheets of celluloid which are then photographed) has unfortunately misrepresented and the animated film because it art seems invisible or, more precisely, is taken for granted by its viewers. The cartoon seems part of an easily dismissed popular culture; animation, as a term, at least carries with it an aspiration for recognition as an art and, indeed the popular evaluation of other animated forms (Wells 1998, p. 7). Although there appears to be a domination of the of American and Japanese style of animation and its entertainment premise as suggested, affecting the common perception of animation, large difference in styles and approaches have occurred and do exist. In an interview with an animation Domain Expert on 1 May 2003, he made the point that European animation, due to the many various nations and peoples, have contributed a large number of diverse artistic visual styles, contrasting to the American or Japanese styles. He also stated that many animated works are not always of the purely entertainment premise. One example he stated was in the communist period of Eastern Europe where animation was state controlled, focusing on allegorical social comment, the animators slipping in their own secret messages in the films past the censors. Even with the domination of industrialised mass-produced animation, and the influences it has on the audience, Crandol (1999, [Online]) remarks that there have been many animators careful not to let business logistics overwhelm the artistic potential of the medium. Crandol (1999, [Online]) concludes that as long as are creative people working, animation will continue to be the best of both worlds: a trade and an art. Tom Lubin, Head of Training at FTI (Film Television Institute), in an interview on 1 April 2003, in response to the question of animation being an art responded I think it is. Well you need art skills to do it. But actually that not as important to me as storytelling. What animation is, is storytelling. Storytelling and its importance to Animation will be specifically discussed and investigated in Chapter 3: The Principles of Storytelling. To give life towas a major inspirational theme in the animation process I went through, so to was the art of animation, as I have personally and purposefully embraced it when conducting the creative animation process. This will be touched upon in part 2 of the dissertation; The Self-Reflective Case Study. 2.2 The Animation Process The Angus Robertson Dictionary and Thesaurus (1992, p. 788) defines the word process as a series of actions which produce a change or development, and a method of doing or producing something. From these meanings the animation process can be described as what I am researching and undertaking in my Honours project; the pattern of methods an animator undertakes from start to finish in the creation of an animated work, or animation. Animation and the animation process, like many other disciplines, have undergone a paradigm shift due to technological advancements. Indeed technology has been the catalyst for many paradigm shifts as Utz (1993, p. 16) points out. Due to the ever-increasing accessibility and affordability of various technologies, an animators methods, actions and options have changed when implementing the animation process. See Appendix 2: Paradigm Shift in the Animation Process, for a more detailed discussion of this subject. Referring to these changes in the animation process, animator George Griffin believes the role of the animator in an artistic sense has changed very little: Despite the enormous upheavals in technology, the independent animators artistic role remains essentially the same: to draw time, to construct a model of ideas and emotions, using any means available (Griffin qtd. in Laybourne 1998, p. xi). 2.3 Types of Animation For a description of the various types of animation such as traditional 2D animation, stop-motion animation and computer generated 3D animation, please refer to Appendix 2: Paradigm Shift in the Animation Process. 2.4 Conclusion Through investigating the various definitions of animation it can be seen that they cover and include many different aspects. The technical definition of animation is closely linked to the history and evolution of motion picture, and this is turn is linked to the understanding of human physiology and how the eye and the brain perceive movement. The different philosophical definitions and viewpoints animators hold also cover many different aspects, varying immensely. This chapter directly relates to the practical component of the Honours project, as described in part 2 of the dissertation; The Self-Reflective Case Study. This is due to the fact that when creating the 3D animated pilot and series concept, I related to and strongly agreed with various animation philosophies that were discussed in this chapter e.g. to give life to, as mentioned beforehand. On some occasions these philosophies affected and influenced the way that I would conduct my own practical animation process. A brief investigation on societys perception of animation subject matter was also relevant for the target audience of the series concept.

Successful and Unsuccessful Spin Doctoring Case in Public Relations Ess

This essay focuses on how spin doctoring became a phenomenon among public relations, journalists, politician and even a massive campaign. This essay considers the tool used by the spin doctoring team to engage and steer public opinion. Spin team must have a strategy in using each tool and we will discuss how this strategy affected how well the result will be. Overall, this essay has been written to show two spin teams use different spin tools in order to change public’s perspectives. The brief explanation shows how well the strategy they use to the success of the campaign and how it can be unsuccessful. The mainstream model of liberal journalism believes that it’s practices result in stories that are an accurate reflection of reality, journalist believe they simply hold a mirror up to society (Louw, 2010). In constructing a story, spin team must have an insight on how the society believe nowadays, and it’s not only to just follow that believe, but give society an option to consider another belief. Therefore the spin team need to understand their audience first, what is the best tool they can use as a strategy, how to talk with those audience, generate comprehensive media knowledge and the ability to spin current perspective. The public relations / spin industry is geared to planting stories in the media by using journalists to disseminate stories serving the spin doctors agenda (Louw, 2010). Nowadays, in developing a campaign, the role of spin team is very powerful. It’s not about how well the messages received to the public or remembered but becoming a share worthy and meaningful messages that shows empathy as well as emotionally attached with everyone. The Dove â€Å"real beauty† campaign shows a successful role of spin team, the... ...cians and Creating Celebrity. The media and political process (2 ed., p. 126). London: SAGE. Louw, P. E. (2010). Spin Doctoring: The Art of Public Relations. The media and political process (2ed., p. 81). London: SAGE. Stampler, L. (2013, May 23). How Dove's 'Real Beauty Sketches' Became The Most Viral Video Ad Of All Time | Business Insider. Retrieved April 25, 2014, from http://www.businessinsider.com.au/how-doves-real-beauty-sketches-became-the-most-viral-ad-video-of-all-time-2013-5 Tempo (2014, January 20). 7 Ekspresi Sewot Ani SBY di Instagram | -nasional- | Tempo.co. Retrieved April 25, 2014, from http://www.tempo.co/read/news/2014/01/20/078546694/7-Ekspresi-Sewot-Ani-SBY-di-Instagram The Dove ® Campaign for Real Beauty. (n.d.). The Dove ® Campaign for Real Beauty. Retrieved April 25, 2014, from http://www.dove.us/Social-Mission/campaign-for-real-beauty.aspx