Huanting Of Hill House Essay example -- essays research papers

               THE HAUNTING ON HILL HOUSE      Eleanor Vance has consistently been a recluse timid, helpless, and irately angry of the 11 years she lost while nursing her perishing mother. She had spent so much time alone, with nobody to adore, never had a genuine home and with no satisfaction in her life. Eleanor has consistently detected that one day something significant would occur, and one day it does. She gets an abnormal greeting from Dr. John Montague, a man captivated by "supernatural manifestations." He had been searching for a spooky house for his entire life. At that point He caught wind of Hill House and he realizes that he couldn’t let it go. His goals with Hill House, was to go there, live there for some time and take notes of everything that happens inside the house, sort of like apparition chasing. So he leases Hill House for a quarter of a year, composes a phantom watch, welcoming three individuals who have been moved by absurd occasions. A mystic occasion from Eleanor's youth causes her to fit the bill to be a piece of Montague's bizarre investigation, alongside obstinate Theodora who was the not thing like Eleanor, and Luke who is the nephew of the proprietor of Hill House. The purpose behind him being there is on the grounds that the family legal advisor told Dr. Montague that he couldn’t lease the house without the binding nearness of an individual from the family during his remain. They all meet at Hill House a bequest in New England. This is the place I...

Report of Transcom Beverage Bd Essay Example

Report of Transcom Beverage Bd Essay Example Report of Transcom Beverage Bd Paper Report of Transcom Beverage Bd Paper Section 1 (presentation) TRANSCOM 1. 1: Company diagram: Overview: based on an elite Franchise for Bangladesh from Pepsico USA, TBL gained threemodern packaging plants at Dhaka, Chittagong and Bogra from BBIL, Dhaka; EBIL, Chittagongand NBIL, Bogra; in March 2000. TBL fabricates the celebrated Pepsi scope of refreshments Pepsi, 7up, Mirinda Orange, Mirinda Lemon, Slice and Soda. As a corporate resident Pepsicobelieves it has a duty to add to the personal satisfaction in our networks. TBL hasput vigorously this way of thinking throughâ support of social offices, activities and projects and thescope of this help is broad andâ it has not been hard to mix with this way of thinking sincethe TRANSCOM bunch additionally followed such aâ corporate belief system. 1. 2 Objective of the examination: Broad target: Marketing Mix(4 pâ ¶s) Analysis and Competitors Evaluation? Explicit targets: To discover the business arrangement of Transcom Food Beverage ltd. To know the showcasing system of Transcom Food Beverage ltd. To discover the evaluating Transcom Food Beverage items. To discover the Transcom Food Beverage ltd. ommunication framework. To discover the result of  Transcom Food Beverage in  last year To discover theâ last year item execution of  Transcom Food  Beverage ltd. 1. 3 Limitations of the examination: In each exploration many work there is a few restrictions that the specialist faces while preparingdifferent exercises. During the time spent the examin ation work,â we additionally confronted certain impediments thathampered the real discoveries and investigation of our exploration work. A portion of these notablelimitations can be distinguished are: The point is for the most part centered around item advertising methodology of Transcom Food Beverage Ltd. Transcom is a gathering of organization. In any case, here we accentuating on  TranscomFood Beverage Ltd. So it appears to us as aâ limitation of the examination. They are occupied with their ordinary undertaking. In this way, it turns out to be very hard for them to givetime to the outcasts. And furthermore there areâ some decides and guidelines so we cannotenter to the administrative center. In this way, that we need to converse with their organization officers,staffs,employes . That was a bigâ limitation for us. We got just 2-3 weeks to set up this report. This could be a restriction of this examination. We hadâ faced power issue which devoured ourâ lot of time. It was a major constraint for us. Part - 2 Research Methodology 2. 1: Sampling Plan: Sampling Procedure: The testing methodology has been led on thedeliberate examining strategy has utilized whereâ the respondents and the interviewees. Examining Unit: In request to complete theâ research work, the examination was engaged ontaking the meetings of the faculty associated with the Transcom Food refreshment ltd. 1. Number of respondents: 20 2. Age go: 20-40 3. Occupation: Student, housewife, serviceâ holder 4. Financial status: Higher, working class, lowerâ class. 5. Geographic area: Dhaka and outside dhaka. 2. 2 Data Collection Techniques: Questionnaire: Unstructured and open-finished polls (it would be ideal if you see reference section) were solicited to theâ differentpeople from various zones of Bangladesh to discover whether they are happy with Products of Transcom Food Beverage ltd or not. Perceptions: When we visited the Gulshan office of  Transcom Beverage that time we utilized our ownobservations to gather certain pieces ofâ information about their item advertising procedure, newproduct execution just as coming result of  Transcom foodâ Beverage ltd. Optional Information: Secondary data has collectedâ by checking on sites and a few articles printed time totime and other important archives. . 3: Sources of Data Collection: Primary: The essential data is assembled throughâ informal meetings of the  employees working overâ there under  Transcom Food Beverage. Optional: Secondary sources had alsoâ used to gather data. Optional sourcesâ include: Different articles, list of Transcom Food  Beverage ltd. Visiting site of Transcom Company. Physical visiting to Transcom Beverage industrial facility. Different sources Chapter - 3 Finding and investigation (section 1) 3. 1 Business Portfolio of Transcom Beverage: Beverage Items: 1. Pepsi 2. Diet Pepsi 3. Pepsi Blue 4. Pepsi Light 5. 7Up 6. Up ice 7. Mountain Dew 8. Cut 9. Mirinda 10. Mirinda Orange Food Items: Pizza Hut K FC 3. 2: The promoting procedures: Transcom Beverage is one of the leadind sodas proveder. Their answers technique leveragesone of our most prominent resources an arrangement of remarkable quality. separate these solutionsofferings dependent on our top to bottom purchaser understanding, with a solid spotlight on social area. 3. 2. (1): Packaging and Branding: Packaging: Packaging includes structuring and delivering the compartment or wrapper for aproduct . Bundling plays aâ part in conveying refreshments toâ customers securely. In all of  the creation offices, they limit bundling waste from the provisions they receive,and they endeavor to reuse, reuse, or recuperate however much as could reasonably be expected of their waste. nonetheless, Blow-shaping is an assembling procedure usedâ in the plastics and polymers businesses to make hollowbut solid holders for their customers. Polyethylene Terephthalate (P. E. T. ) bottles aremanufactured utilizing the blow-forming process. At present, we areâ constructing a blow-moldingproduction line at the Raleigh creation office. By executing the blow-shaping process,we will dispense with the requesting, delivering lizing of pre-madeP. E. T. bottles. Marking: 7 Up is a brand of a lemon-lime enhanced non-stimulated delicate drinkâ . The rights tothe brand are held by Dr Pepper Snapple Group in the United States, and PepsiCo (or itslicensees) in the remainder of the world, including Puerto Rico, where the concentrateâ is manufacturedat the Pepsi office in Cidra. The7 Uplogo incorporates a red spot between the 7 and Up; this redspot has been vivified and utilized as a mascot for the brand as Cool Spot. KFC is under the Yum! Brand name. Yum! additionally claims Taco Bell, Pizza Hut, LongJohn Silvers and AW, with in excess of 35,000 eateries around the globe. Item situating: An item can be positionedâ in the brains of the client by 1. Keeping up appropriate traits 2. Offering wanted advantages 3. Utilizing solid convictions and qualities. 4. Proceeds with correspondence Pepsi has consistently been brand thatâ embodies the most pervasive youth assumption. Over theâ years as youth has advanced, soâ have Pepsi’s situating and language. Itâ has, in any case, consistentlystood for what the young rely on  ± directly from  µYeh Dil Maange Moreâ ¶ to  µYeh HaiYoungistaan Meri Jaanâ ¶. Brand situating of 7. up: Theâ brandâ ¶s suggestion of ? Ekdum Asli Indian? Totally RealIndian) was gotten alive on outside some exceptionally fascinating ways. KFC : A local credit association that had a picture that was obsolete and didn't reflect theirâ positioning . Their exceptional selling position was oneâ to one relatiomship with their client whowere generally average workers person. They additionally handeled the entirety of their sh owcasing and publicizing 3. 2. (2): Pricing of Transcom food and refreshment Products: Transcom food thing value( pizza hovel kfcâ ) Productâ name  Mrp KFC( special Burger) 180. 00â +â vat KFC(regular) 120. 00â +â vat KFC(Bucket) 850 + vat KFC(French fry) 95 + vat KFC( Soft Drinks) 20. 00â +â vat Pizza Hut(6 inc pizza) 280. 00â +â vat Pizza Hut(12 inc pizza) 520. 00â +â vat Pizza Hut(18 inc pizza) 950. 00â +â vat Pizza Hut(burger) 150. 00â +â vat Pizza Hut(shorma) 95. 00â +â vat Transcom refreshment thing price(soft drinks) Product Name           MRP Pepsiâ (250â ml)  â â â â â â â â 12. 00tk Pepsiâ (500â ml)  â â â â â â â â 28. 00tk Pepsiâ (1â liter)  â â â â â â â â 50. 00tk 7Up(250 ml)  â â â â â â â â 12. 00tk 7Up(500 ml)  â â â â â â â â 28. 00tk 7Up(1 liter)  â â â â â â â â 50. 00tk MountainDew(250ml)  â â â â â â â â 12. 00tk MountainDew(500ml)  â â â â â â â â 28. 00tk Mountain Dew(1liter)  â â â â â â â â 50. 00tk Sliceâ (250ml)  â â â â â â â 15. 00tk Mirinda(250â ml)  â â â â â â â 12. 00tk Mirinda(500â ml)  â â â â â â â 28. 00tk Mirinda(â 1â liter)  â â â â â â â 50. 00tk 3. 2. (3): Transcom food and refreshment correspondence process Television: The TV plug commonly thought about the most significant media. For thisâ â reason,when  Transcom Beverage launchâ a new item they first make a significant advertise,because TVadvertisment get the eyes of client quickly. Individuals are empowered bythe new television advertisment. Internet: Nokia likewise utilize the web and World Wide Web for their overall communicationprocess. Their advertisements incorporate logical promotions that show up on web crawler results pages. Occasion Sponsor:  Every year Transcom Beverage  sponsor different kinds of program. By doing this they getpublicity by implication. For Example in some cases pepsi organize football and Criket coordinate. They likewise organize   Cultural work, show and so on. Press Advertising: Press publicizing portrays promoting in a print medium such asâ newspaper, magazineand diary. Transcom food and drink print their promotions by pressâ medium. Billboard:  This is one of the mainstream medium in correspondence process. Its expense is not exactly tvcommercials. On the off chance that anybody miss the TVads or press publicizing ideally they will �

Marketing Plan for a New Fashion Brand for Women free essay sample

The assortment will contain easygoing, mixed drink and night dresses, coats, shirts, coats, skirts and so on. The business extraordinary to showcase its line as an option in contrast to existing garments lines and separate itself by advertising methodologies, eliteness and high brand mindfulness. All the assortments will be produced in E. U. utilizing â€Å"made in Europe† parts. The Market Description The R. O. I. what's more, UK fashion industry is enormous, full grown, and profoundly divided. Garments sold in Ireland and United Kingdom are created both locally and in outside areas. The UK market can be partitioned into two levels: national brands and other. National brands are created by approximatelyâ 15 sizable organizations and right now represent some 30% of allâ wholesale deals. The subsequent level, representing 70% of all clothing conveyed, involves little brands and store (or private-mark) merchandise. Attire is sold at an assortment of retail outlets. In light of information from NPD Group, markdown stores, off-value retailers, and manufacturing plant outlets represented 30% ofâ 2009 clothing deals, while claim to fame stores and retail establishments represented 22% and 18%, separately. We will compose a custom paper test on Advertising Plan for a New Fashion Brand for Women or on the other hand any comparable subject explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page Another 17% were sold at significant chains, and post office based mail/indexes represented 6%. The rest of the 7% of attire deals happened through different methods for dispersion Market Segmentation The organization intends to target females between the ages ofâ 30 andâ up with a joined family salary of more than â‚ ¬60,000. Inside this gathering, there are noâ ethnical obstructions, and clients have assorted foundations. The brandâ customer is a flexible lady who can fit into any condition and is happy to follow through on a center market cost for quality attire. Client presently shop in quality retail establishments and boutiques for mid to high esteem things that are utilized on uncommon and semi-exceptional events in a work and individual setting. Client is socially dynamic, eating out, voyaging and engaging at home notwithstanding going to business related capacities. The companys target bunch is viewed as having enough extra cash to spend on center market valued quality apparel. Competitionâ in ourâ market fragments is generally determined by who is offering the best quality, most interestingâ design for less. The way to progress is the nature of the garments: how and where it was made and with what materials. The purchasing factors incorporate what is in for each season, and the connection of solace to style every lady is focusing on. A couple of the primary contenders are: L. K. Bennett Karen Millen Hobbs Reiss Marketing procedure and Implementation Theâ brand will use its mastery, item offer and advertising technique to expand its client base while driving deals and benefit. The accompanying segments survey the different systems that will bolster this exertion. SWOT Analysis The accompanying SWOT investigation catches the key qualities and shortcomings inside the organization, and portrays the chances and dangers confronting the brand. Qualities †¢ Strong associations with providers that offer credit courses of action, adaptability, and reaction to uncommon item prerequisites †¢ Distinctive mark style and USP †¢ Excellent and stable staff, offering customized client support †¢ Strong promoting and item introduction. †¢ Contact with awesome PR and Marketing organization †¢ Beautiful and clear site †¢ All the brand assortments are made in E. U. utilizing â€Å"made in Europe† segments. Shortcomings †¢ Ownerâ is as yet climbing the business experience bend †¢ Cash stream †¢ Challenges of the regularity of the business †¢ Customer base not yet settled Openings †¢ Growing business sector with a huge level of our objective market still not realizing we exist. †¢ A creative e-Bespoke application which will allowâ women to alter their preferred apparel †¢ Strategic alliancesâ offering sourcesâ for referrals and joint advertising exercises to expand our compass. †¢ Growing sell in Luxurious merchandise division †¢ Changes in configuration patterns can initiateâ wardrobe refreshing andâ generateâ sales †¢ Internet potential for offering items to different markets the world over. †¢ Potential to take on a selling specialist and PR organization †¢ Potential to differentiate into auxiliary items, for example, packs, shoes, homeware and so on. Key unions or chance to band together with others with integral aptitudes Threats †¢ Continued value pressure because of rivalry or the debilitating business sector decreasing commitment edges †¢ New contender enters advertise †¢ Changes in import and fare laws that influence evaluating or gracefully sources †¢ Changes to trade rates or loan fees. Showcasing Strategy The companys limited time plan is different and incorporates a scope of promoting correspondences: †¢ Press discharges and pictures are given to mold magazines and to the design bloggers around the globe. †¢ Website and online shop and friends blog †¢ Online e-Bespoke application †¢ Company agents will join in and partake in a few public expos London-Pure, Paris - Who’s next, Berlin-Bread and Butter) †¢ Print publicizing like leaflets, business cards, inventories. †¢ Advertisements in magazines and on Fashion and way of life sites and sites. †¢ The organization likewise plans to utilize different channels including Google Ads, and web based life like Facebook, Twitter and Pinterest. †¢ Dressing neighborhood famous people †¢ Organizing altruistic gifts †¢ Host a private trunk shows †¢ Hiring PR organization and deals operator Sales Strategy The business exceptional to showcase its line as an option in contrast to existing apparel lines and separate itself by advertising systems, selectiveness and high brand mindfulness. There will be three appropriation channels of the brand: Online store with prepared to-wear assortment center around fare and nearby market, discount to the boutique proprietors around the globe and through an online e-Bespoke inventive application which will allowâ women to redo their preferred dress (fare and neighborhood center). By far most of our salesâ (app. 70%)â will be produced by our online shop and an imaginative e-Bespoke application which permits clients to modify their preferred thing with the couple of snaps of the mouse. The third channel of dispersion will put the assortments in the top of the line boutiques and retail establishments. The organization deals objective is to produce rehash business and solid informal promoting dependent on extraordinary purchasing experience.

History Dissertations - French and German Cinema - Free Essay Example

A Comparison of French and German Cinema, 19301945 Table of Contents Introduction Chapter One: The effect of fascism on German Culture, 19301945 Chapter Two: Occupied France: Vichy Collaboration in Moulding the Image of Fascist Europe Chapter Three: Josef Goebbels and the Intervention of Propaganda Cinema Chapter Four: Heimatfilme Chapter Five: Exilfilme Chapter Six: Pacifist Cinema Chapter Seven: Technical Similarities and Differences between the French and German Cinematic Experience, 19301945 Conclusion Bibliography Introduction The dissertation aims to analyse the effects of totalitarian politics on the cinematic tradition of two of Europes most cultured nations, Germany and France. The study of cinema during the time period, 19301945 is a highly relevant discussion; one which is infrequently dissected by serious academic debate largely due to the lack of literature on the subject in comparison to studies pertaining to the effects of fas cism upon other implements of the state, in particular religion and the military. Perhaps film students of the West still find it difficult to comprehend the fact that the Nazis were such a long way in front of their competitors when it came to the influence of National Socialist propaganda on the German people. As early as 1928 Hitler had come to understand the fundamental power of utilising modern forms of propaganda in paving the way for tyrannical rule, as he outlines in a speech dated 28 November (1999:151). The more one addresses only one social class, the easier it becomes to make promises. One knows from the beginning what each class wants If you are always only addressing yourself to one category, then political propaganda becomes infinitely easy. Certainly, in tandem with pervasive fascist symbolism and the dissolution of democratic political debate, the saturation of all forms of contemporary media was the key factor in Hitlers total seduction of the German nation. As such, the topic is relevant for the twenty first century where dictators still maintain power over illeducated people whose information is pumped into them via state propaganda machines that feed off insecurity, prejudice and paranoia, as modernday Zimbabwe currently illustrates. The study will be split into chapters as cited on the title page with the aim of creating an advanced understanding of how the Nazis used cinema as a tool of tricking the German people into believing concepts such as Lebensraum and the Jewish Question were issues of national urgency. The study will likewise examine the role of the Vichy collaborators in the seduction of French people, citing the essential similarities and differences of the two in terms of filmic content and production techniques. Clearly, as the instigator of right wing cinema as a political tool of mass hysteria, the German model will be first to be discussed, though the point should be made straight away that the Vichy Regime was n ot merely coerced into collaboration: there was active and passionate interest in France in fascist ideology with plenty of Vichy statesmen wishing to follow the path set about by the Hitler State. At no point should it be believed that Vichy cinema was a symptom of the occupation; it was, and remains, a marker for French sociopolitical beliefs at the time. Famous and infamous films such as Jean Renoirs La Grande Illusion, Bertolt Brechts Kuhle Wampe and Marcel Carnes Les Enfants du Paradis will be featured within the dissertation, citing specific examples from the movies to highlight how dissenters managed to voice their disapproval in highly subtle fashions that were unique to the extreme fear experienced in fascist Europe at the time. Comparisons between movie production under the influence of occupation, dictatorship, peacetime and war will provide fuel for the debate within. A conclusion will be sought as to the overall features that appear uniform within right wing film mak ing, in addition to citing the subtle differences in the experience of movie production under the spectre of totalitarianism, as witnessed in Germany and France between 1930 and 1945. Chapter One: The effect of fascism on German Culture, 19301945 The short lived Weimar Republic is a source of great fascination for students not only of history but also of art, culture and society. Its relevance is in its oddity: the strange timeframe it fits into either side of Kaiser Wilhelm II and the Nazi State, two of the most suffocating and frustrating regimes in European history in terms of creative and artistic achievement. The Weimar Republic was responsible for a brief burgeoning of liberal German film making, art, sculpture, music, theatre and culture that was the envy of the western world at the time. Perversely, the strict socioeconomic conditions of the day appeared to ensure that the Republic would be as frivolous as it was unfortunate; as daring as it was politically unstable. Y et, as Elssaesser (2000:151) suggests, Weimar cinema may also have made it easier for Hitler to cast his cinematic spell on the German people. What has become abundantly clear is that the cinema permeated Weimar society as a very contradictory cultural force, at once part of oppositional Modernist avantgardes and in the forefront of capitalisms own modernising tendencies (as technology, industry and fashion) and for this very reason, invested with the hopes of revolutionary changes while susceptible to being used as the instrument for their containment (in the form of specular seduction, nostalgia, propaganda.) Diversity was the key to Weimar Cinema; it was an expression of multicultural Europe that was unfortunately located in the wrong place and time. With the Prussian aristocracy, disillusioned exmilitary personnel and marginalised masses of unemployed, the Weimar Republic was insufficiently prepared to withstand a structured coup from within when it inevitably came. Furthe rmore, the liberalism of the Republic gave added ammunition to the nascent Nazi State, giving Hitler and his propaganda minister, Josef Goebbels a readymade scapegoat for the deplorable state of German infrastructure during the early part of the 1930s. Indeed, it was Goebbels (1993:159) who highlighted the condition of the German nation before the National Socialists came to power in 1933 the state of the nation according to fascist eyes. Had it not been for the National Revolution, Germany would have been completely swissified, a nation of hotel porters and waiters, a nation having no political sense whatsoever that had lost any idea of its own historical significance. The effect of a onedimensional, intensely political approach to cultural affairs meant a surgical shift in the prism through which German society charted its progress between 1918 and 1933, and 1933 to 1945. Most art and film historians see the change that occurred in German culture after 1933, with the infamo us burning of the books (May 1933) and mass emigration of a wealth of indigenous creative talent, as symptomatic of authoritarianism throughout the world. Bland, repetitive instances of film making and culture took the place of innovation and the first seedlings of avantgarde technique. Aesthetics and the human form took on added significance. Heavy handed plot lines guided the viewer of both art and cinema along a straightforward journey to the ideological heart of work without trusting the audience with the even the slightest semblance of individual reasoning. These are the popular images of authoritarian art forms promulgated after the defeat of fascism in Europe. Yet it would be incorrect to assume that German film making after 1933 was merely an exercise in retrospective propaganda studies; as shall be discussed in following chapters, Goebbels was fond of puncturing all genres of movies with National Socialist ideals with the result that a kaleidoscope of imagery is availabl e to the twenty first century film student, each portraying a different vision of the fascist dream. It should come as little surprise to students of history to see a broad similarity between movies made in Nazi Germany and Soviet Russia: both countries relied upon eradicating the opposition and portraying the leader in an invincible light. Censorship at home and at the national borders also meant that fewer foreign films were being shown; those very few that made it past the German borders having to be screened first by the Nazis in order to gain an audience inside of Germany. Furthermore, the considerable risk that a film maker ran of being arrested, taken to concentration camp or even killed because of making a statement that the Nazi hierarchy did not favour was too great for all but the most ideologically driven of artists to bear. The result was an exodus of talent from Germany and a narrowing of vision to the extent that diversity, as a description of German cinema, became a complete misnomer. Art and cinema in the Third Reich were thus reduced to an entity in support of the regime; the hand over of the baton of creativity to autocracy was assisted by the state overhaul of existing cultural ministries. As part of the broader policy of Gleischaltung (coordination) the Reich Chamber of Culture (established in November 1933) oversaw this new breed of politicised movie making and art that presented a ludicrously perfect form of the Aryan man, engaged in the typical German pursuits of sport, work and family, as Seligmann et al (2003:50) detail. Images depicted Germans not just as modern day heroes but also as the heirs to Europes greatest cultural and imperial tradition, that of Alexander the Great and Caesar. As Aryans and National Socialists were elevated to the status of hero, so the Nazis used cinema and indeed every tool of popular culture at its disposal to reenforce the slide of the enemy into the sociological abyss. Over a short period of time, the Jews took over from the Weimar Republic and the Communists as the central target of Nazi abuse as one by one the political enemies of the state were made obsolete, leaving the racial enemies of the state as the sole carriers of the burden of national pariahs. Propaganda and film would play a disconcertingly influential role in the social facilitation of the Holocaust the essential psychological background whereby a nation might be made complicit in mass, statesponsored murder. As the violence and oppression against the Jews (and against gypsies, the handicapped and homosexuals) was increased, so the state began to use film and culture as a means to making the population complicit in their racial crimes. Reichskristallnacht (89 November 1938), for example, was a stateignited campaign of hatred against Jewry that was completed by the ordinary German people, a spontaneous orgy of destruction that would have been unimaginable were it not for the driptap effect of incess ant fascist film making and media saturation, as Kershaw (2000:1412) underscores. The scale and nature of the savagery, and the apparent aim of maximising degradation and humiliation, reflected the success of propaganda in demonising the figure of the Jew certainly within the organisations of the Party itself and massively enhanced the process, underway since Hitlers takeover of power, of dehumanising Jews and excluding them from German society a vital step on the way to genocide. Der Erwige Jude (The Eternal Jew), the most extreme example of film utilised as a weapon of war, was a blatant and extreme vision of the life of common Jewry; the degradation of the living condition in the Warsaw Ghettoes providing the inspiration for the movies creator, Josef Goebbels who visited the area in 1940. The film portrayed Jews as vermin, cementing the belief in the viewer (coupled with state newspaper and radio) that the Jews were not only the enemy of the state but, more importantly, subhuman. As with all aspects of Nazi Germany, the murderous end effect can only be understood by taking the gradual desensitisation of the nation into account, a phenomenon that propaganda and film were instrumental in helping to bring about. Chapter Two: Occupied France: Vichy Collaboration in Moulding the Image of Fascist Europe The French experience of film was, until the continentwide rise of fascism, much the same as in Germany even if there were also fundamental differences between the two countries that made the transition from democracy to authoritarianism a more traumatic experience for the French, one that the nation has still not fully come to terms with. To start with, France, more than any other European nation, is synonymous with high culture, art and vision, characterised as the trend setting nation for creativity throughout the western world. Via Marcel Duchamp, for example, France was home to the origination of abstract art, his sculpture, Fountain (1917) oft en cited as a watershed in art and visual intention in the history of the West. In addition, France had dictatorship thrust upon it in a different way to the Germans. Clearly, autocracy can only arise from it being forcibly imposed on a population, yet in Germany it was Germans taking control of their own people, whereas, after the symbolic signing of the armistice on 22 June 1940, the French were dictated to by Germany from the vantage point of a vanquished nation. Therefore, there was more a sense of cultural partition between France in the 1930s and France in the 1940s that was not the case over the Alsace border into Germany. This starting point of a nation being defeated in war has been, ultimately, the greatest stumbling block regarding a better historical comprehension of the excesses of Vichy both from within and outside of French borders: for as long as the French were willing to rewrite history to paint the picture of a demoralised people who were fundamentally oppos ed to the right wing ideology of National Socialism, the country would be unable to see its true reflection. However, after the accumulation of two generations of historiography, Vichy was gradually deemed to be an active collaborator in the extremism that was witnessed in French culture and politics between 1940 and 1945 rather than a government coerced into cooperation. Marshall PÃÆ'Â ©tain may have been little more than a puppet figurehead, but he represented a large sector of conservative France that wished to eradicate the achievements of the artistic and philosophical endeavour of the early twentieth century so as to reembrace outmoded notions of colonial France. Indeed, the right wing bloc who made up the core of the Vichy government were sympathetic to the anti-Semitic views of the Nazis the botched military trial of Captain Alfred Dreyfus for spying in 1894 highlighting a chequered history of a country that had barely bothered to even notice its own deeply resentful view s concerning the Jews. The official separation of Church and State by law in 1905 merely paid lip service to a deepseated problem of prejudice in France. Although France had changed geographically, ethnically, politically and culturally between the two decades, a certain sense of continuity is detectable in French cinema of the period, which was certainly not the case in Germany. This was due to a combination of German censorship and genuine Vichy desire to ignore the shameful effect of the Occupation. As JeanPierre Jeancolas attests in his essay on the 1945 Vichy sponsored picture, Les Enfants du Paradis (2000:78), the realism that French cinema was so famous for showed no signs of cracking after 1940. The occupation of France in 1940, the control direct or indirect of its cinema by the German forces, condemned use of the present tense. Fiction films were allowed, at best, to portray a kind of vague present day, a period which had the appearance of the present, but not its singular hardships: the cars or the costumes are of 1943, but the French are depicted in light-hearted romantic entanglements, stories that never show the daily problems of finding food, or the presence of Nazi uniforms. Mention must be made of the division in France after her capitulation in 1940. Put simply, the country was split into half via north and south, whereby Paris, Brittany and the northern shores were deemed to be part of a territory called Free France, while the southern part of the nation, including major cities such Marseilles and Bordeaux (both of which had large ethnic and Jewish communities) was placed under the control of the Vichy Government. Vichy struggled to unite the two divisions until 1943 at the earliest, a time which signalled an increase in French resistance as, after the Battle of Stalingrad (February 1943) the sense of a slow protracted capitulation in the East led to a renewed sense of optimism in the West. It is important, therefore, to recognise the difficulty in defining a singular French brand of cinema after 1940. There were noticeable anomalies in how the Germans treated the two main zones. Newsreel propaganda, for instance, was different: in the Occupied Zone, cinemas screened antiBritish German newsreels, while in the Unoccupied Zone, Vichy largely steered clear of any mention of the war of the German presence in France at all. It is likewise important to recognise that the Vichy propaganda machine was not under the same level of autocratic control as was the case in Germany. There was no allpowerful figurehead to rival Goebbels in France. Pierre Laval was the clearest comparison to him but the Deputy Prime Minister spent much of his time in Paris negotiating with the Germans. In addition, Laval believed fervently in the power of broadcast media as the fundamental tool to seduce a weary population, neglecting largely the cinema and music. Furthermore, Laval delegated control of the propaganda machine to Paul Mario n after 1942, which meant a discernible lack of leadership. A comparable model to Goebbels extensive communications system cannot be found in Vichy France. However, this does not mean to say that the Vichy Government was without persuasion or an ideology of its own. Although Occupied France was under the control of Germany, Vichy was given leeway in terms of national reeducation and, as the administration grew more secure in the southern part of the country (coinciding with entire divisions of German troops leaving France to fight on the increasingly demoralising Eastern Front), so a discernibly French model of fascism was seen in all walks of life, extending quickly to the national movie community. Continuity in all areas is the chief characteristic of Vichy cinema. As beforehand, Paris remained the creative hub of wartime France; many of the cast and directors of the films of the thirties remained to star in Vichy pictures. Jean Gabin and Michele Morgan were two big name sta rs who fled the country, but the rest mostly remained in France and continued to work. The Germans did not permit French films to cross the demarcation line until February 1941 when it became apparent that the same stifling effect of authoritarianism was prevalent in French as well as German cinema: there was no question of antiGerman films being shown because they were not being made. As a rule, movies produced during the Vichy years were unanimously nostalgic. As in the 1930s, many of the movies of the early 1940s were scripted around the French experience of World War One, characterising the recent experiences of the nation in the form of one actor or actress. The core Vichy values of family, la patrie and duty were cited in almost every film of the period, such as La Voile Bleue (1942), an anachronistic view of rural southern France that was the biggest commercial success of the forties in France. However, as Julian Jackson (2001:3201) details and contrary to popular belief, there was not a plethora of explicit right wing propaganda present in films made on the fascist side of the Vichy watershed. Paradoxically, many themes that one might expect to have figured more prominently after 1940, almost disappeared from the screen. Before 1940, many French films contained critical portrayals of British characters; after 1940 the British are absent. Before 1940 films had frequently depicted Germans sympathetically; after 1940, despite collaboration, Germans almost disappear from the screen. In the 1930s, antagonism to foreigners had been a frequent theme; after 1940 it was less present. Most surprisingly of all, whereas hostile depictions of Jews had proliferated in the 1930s, they are almost absent after 1940 As far as feature films are concerned, if they reflect anything different from the films of the 1930s it is Vichys desperate wish to believe the outside world did not exist. If a viewer was unaware of the historical subtext of the films produced dur ing the 1930s and 1940s in France, they would not know occupation occurred at any point. But perhaps this was precisely the point: to cover over the huge dent in national pride at having to endure occupation by pretending that it did not exist. Learning from Goebbels, Vichy would also have been aware that, regarding propaganda, less can often mean more. Chapter Three: Josef Goebbels and the Intervention of Propaganda Cinema Unlike in France where a clear line of cinematic continuity can be traced, in Germany there is little doubt that movies made pre1933 would not be funded under Nazi rule. Kuhle Wampe (1932), for instance, was a decidedly Weimar production. The film was written and coproduced by Bertolt Brecht who was known within Germany to be a left wing film maker and sympathiser, yet one who did not favour the heavyhanded film making approach, as the following excerpt (1996:138) underscores. This way of subordinating everything to a single idea, this passion for propel ling the spectator along a single track where he can look neither right nor left, up nor down, is something that the new school of play righting must reject. Betraying such antiauthoritarian views, it is no surprise that Kuhle Wampe turned out to be a socialist classic, an art house production made all the more poignant due to the cusp of the historical wave upon which contemporary Germany was riding. Brechts vision of a utopian community that rejects pricefixing and imperialism has been viewed as the last independent breathe of Weimar culture the final flourish before people such as the writer left Germany forever. Films such as Kuhle Wampe, as well as The Threepenny Opera, Kameradschaft and The Blue Angel all produced between 1930 and 1932 ensured that the shift, when it inevitably came, towards the right was all the more transparent because pictures such as these simply ceased to exist in Germany after 1933. Propaganda and cinema were married in the Third Reich like neve r before. Deconstruction of the pluralist approach of Weimars brief democratic tradition was the first step the Nazis took in reconfiguring the German nation in their own distorted image, followed inevitably by the edification of a new mythology, built exclusively around the twin pillars of the ubiquitous power of the Fuhrer and the antiGerman predilections of the communists and international Jewry. At first, of the two, the Fuhrer Myth was the most important solidifying effect in the Nazi consolidation of power. Hitler had learnt from Mussolini the herald of Fascism according to Hugh TrevorRoper (1995:174) that a tyrant could exert sole control over a modern, industrial European country but only via eliminating all competing iconography and elevating the leader to a quasireligious status, which could only be achieved by extensive propaganda exercises. As Ian Kershaw (1998:289) explains, the all encompassing image of Hitler portrayed in banners across German cities, in scho ols and in cinemas throughout the nation was vital not only in securing the stability of the Nazi State but also in making a subliminal connection between himself and the traditional heroes of German history within the broader national consciousness. For Hitler himself, the Fuhrer myth was both a propaganda weapon and a central tenet of belief. His own greatness could be implicitly but unmistakably underscored by repeated reference to Bismarck, Frederick the Great and Luther. Initially, even Goebbels was taken aback by the way in which the Nazis were able to instil their extremism throughout the country. A process that should have been osmotic took place with astonishing rapidity, as the Propaganda Minister (1996:41) himself explained in April 1933. What we are now experiencing is only the transfer of our own dynamism and legality to the state. This is taking place with such breathtaking speed that one scarcely has any time to call his own. Goebbels considered himself t o be a man of culture and the filmmakers that he most admired did not come from the right wing stock that one would naturally associate with the Propaganda Minister. For example, Goebbels was a big fan of American cinema and he privately thought that the film making industry in the United States was far ahead of German production to that point. One of his favourite movies, although he denounced it in public, was Gone with the Wind, and he was likewise a great fan of the icon of Soviet propagandist cinema, Eisensteins Battleship Potemkin. Within the broader sphere of German film making during the period 1935 to 1945, Goebbels was the most important man in the country. All of the guidelines pertaining to film production in the postsilent era were rewritten after the Nazis seized power. As ever, culture and film became officially politicised and, as a by-product of Gleischaltung, the movie production apparatus fell into the hands of the Reich Ministry for Popular Enlightenment and P ropaganda. Therefore, without Goebbels patronage a film would never make it past the level of script. His control was absolute, even extending to the question of financing production. Whereas under the Weimar Republic censorship and rating were separate bodies, the Nazis held onto both principles offering a tax rebate for positive film ratings, thus exerting considerable financial pressure on production companies that persisted in making unsatisfactory films. Reuth (1993:1945), in his rich biography of Goebbels, details the full extent of his control over movie making in Germany during this period, a description of a cultural power more potent than any available to the leader of each of the German Armed Forces. He had lists prepared of his favourite actors, as well as of Hitlers. He also kept close track of upandcoming talent, which he insisted on seeing for himself producers also depended on Goebbels favour, for he had created a comprehensive apparatus that allowed him to interv ene in all phases of film production. The film department in the Propaganda Ministry, whose director Ernst Seeger served simultaneously as head of the office of film standards, oversaw production planning. All screenplays were examined for appropriate artistic and intellectual attitudes He [Goebbels] read film scripts almost every evening, and not infrequently revised them according to his own notions, using a green ministers pencil that became infamous among directors. Only after he had approved a project could the Film Credit Bank respond to a request for financing. Goebbels would even intervene in the shooting, often dropping in on studio, checking the rushes, and rating the finished product. From October 1935 on, he alone determined which films would be banned. Goebbels was the first head of communications anywhere in the autocratic world to understand the power of cinema in seducing a country; combined with his absolute control over all areas of broadcasting, films would see to it that Germans saw no other image of themselves apart from the vision in his mind for over ten years. However, this is not to state that films made in Germany during this period ought to be dismissed as wasteful propaganda, good for nothing but a lens through which to view National Socialist ideals. As will become apparent, a great many German productions of this time were goodhumoured, light hearted affairs that do not conform to the preconceived notion of a nation forced to watch endless versions of Der Erwige Jude and similarly dark depictions of dictatorship. Although many films were made that were instantly recognisable as party political broadcasts, such as Patrioten (1937), there were likewise others that provided a more panoramic view of Germanys splintered cultural psyche during the Third Reich. The following two chapters will examine two polar opposites of Third Reich cinema Heimatfilme and Exilfilme two bookends of the typically Nazi notion of home and abroad . As always when revisiting the ideology of National Socialism, there was very little room for any grey area in between extremes Chapter Four: Heimatfilme 47.8 per cent of the films produced during the Third Reich were comedies, 27 per cent were problem films, 11.2 per cent were adventure stories and only 14 per cent were considered outright propaganda films (Reuth, 1993:283). One of the most cherished German films of all time, Die Feuerzangenbowle (1944) was made during the darkest most desperate days of the war when all but the most closeted and narrow minded of Nazis could see that the war was never going to end in a German victory. The story, involving a mature student who never got to enjoy the hilarity of public school, could not have been, aesthetically and emotionally, further away from the politics of the time. But that was the point all along. By manipulating the mood of the audience, the Nazi propaganda state could change focus as and when external events demanded i t. Die Feuerzangenbowle, for instance, might never have been produced if it was created during the honeymoon period of the early years of the dictatorship. Clearly, propaganda can be inserted into a storyline via more subtle camera and plot techniques and this is how Goebbels set about reenforcing core ideals into the German film loving audience. According to Reuth (1993:284), Goebbels and the Nazi propaganda machine preferred a more pervasive approach to political persuasion, especially concerning the most important issue of armed conflict on two fronts. Goebbels saw to it that the war, which became the main theme in films from 1939 on, was linked to the most varied genres, so as to make indoctrination of the audience imperceptible and keep the medium of film attractive. As he expected of all his propaganda ideally, so too in film, one and the same message was to be conveyed over and over again under constantly varied aspects. Of all the creative, cinematic options open to Goebbels, the most popular genre favoured by the Nazi hierarchy was the Heimatfilme, a uniquely German cinematic experience that played on the national obsession with the homeland. Apart from Austria, no other European country has the same nostalgic disposition towards artistic portrayal of the homeland quite like Germany. Because the nation was only unified after the FrancoPrussian War in 1871, successive generations of German film makers consistently looked back to the patriarchal preindustrial period inciting dreamy landscapes and a simple way of life to try to evoke the sense of longing the displaced German people of the countryside may have felt before unification. Manuala Von Papen (1999:12) highlights the reasons why Heimatfilme appealed to the Nazi leadership. This seems to be a genre virtually exclusive to the German-speaking countries and therefore untranslatable. Heimat means home, but also much more than that; it also stands for the entirety of ones cultural, social, ethical and historical heritage and provides an individual, a group of a whole nation with their identity, their HeimatgefÃÆ'Â ¼hl. Clearly, the notions of volk (people) and heimat (home) were central concepts to the longevity of National Socialism. By combining the two, Heimatfilme leant the Nazis the opportunity to pander to the broader European taste for nostalgia as well as reenforcing the belief that Hitler was the true defender of German interests abroad. In a revolutionary move in light of the despotism of the regime, the Third Reich severed the equation of dictatorship with brainwashing propaganda. Goebbels spoke to the German audiences without them even being aware of it. The Nazis used popular plot threads, such as love and music, which were combined with great effect to make Wir tanzem um die Welt (We Dance around the World) in 1941 an essentially upbeat movie that merged dance with military marching and was seen by millions of Germans during the early days of t he war. Moreover, twenty three million went to see Wunschkonzert (Request Concert), a 1940 production that told the tale of a young Aryan girl who had lost touch with her lover, a Luftwaffe lieutenant, only finding her love via the radio request concert, sponsored by the state. Traditionally, Nazi films would mix scenes of nostalgic national triumph, such as the 1936 Berlin Olympics, with typical images of valour and war. They particularly favoured depicting the Luftwaffe in a favourable light and, after he arrived in Tripoli in February 1941, Field Marshall Rommel increasingly took centre stage as an ideal reallife hero whose deeds were easily transferable to the big screen. The most important aspect of the Heimatfilme for the Nazis was that it contained audiences thoughts on a love of their country first and foremost. Significantly, no swastikas were to be seen; it was the duty of newsreels and documentaries that preceded the matinee screening to make contact with the minds of the audience in a political way. The feature films were almost all escapist in nature for the very purposes of securing maximum exposure to the earlier inflammatory propaganda images of Jews, the British and the communists. The truth was that, however much he claimed to despise them at the very end, Hitler needed to keep his people content for as long as he could. Ultimately, and despite the influence of the Gestapo and the SS, Hitler knew that once he had lost mass support from the German people, then the issue of fighting on would be rendered academic. During the early days of the regime, Heimatfilme took on a more overtly ideological nature. Films produced before 1936 constituted the most aesthetically fascist of Third Reich movies, many film makers either consciously or subconsciously producing movies that were an ode to Hitler and his extremist vision of nationalism. With the role of the Church nullified, the Fuhrer could be seen as the Messiah of modern Germany with film ac ting as the medium to bring his message to the masses. As Corrigan (1994:157), explains, this Nazicentric version of Heimatfilme, as seen during the formative years of the Third Reich, was designed solely with the Fuhrer in mind. Continually bordering on a precarious aestheticisation of politics is finally the only way to understand an individual and a social phenomenon which are inseparable from the industrialisation of an artistic impulse: the physical reality of Hitler was that of a petty bourgeois and failed architect; only the representational projection of him can account for the power and scale of his political presence. With this in mind mention must be made of what has been deemed to be the most powerful propaganda film not only in Germany but anywhere in the modern, industrialised world. Leni Riefensthales Triumph des Willens (Triumph of the Will), a 1936 documentary constructed around the premise of the mass fervour that greeted the first years of the Nuremberg Rall ies (it was filmed during the 1934 Rally), stands tall as a film that is worthy of dissection for reasons outside of its blatant propaganda purposes. Considered by many to be art as propaganda (not least because the artist was a woman), Triumph of the Will would have appealed to contemporary audiences for its accentuated references to the aforementioned idyllic Aryan body as well as capturing the prevailing mood of the nation: that a leader had finally been found to replace Germany to its rightful position as leader of mainland industrial Europe. Manvell and Fraenkel (1971:78) explain the reasoning behind the continued awe reserved for Triumph of the Will. She [Riefensthale] lifts what would have been a dreary parade of rhetoric, marches and mass spectacle into an evocation of what Hitler meant to her personally and to the German people, and it is this emotionalism which is conveyed through the whole tempo of the film, with its rhythmic cutting, its carefully contrived sequences binding the ancient traditions of Germany (seen in the architecture of Nuremberg, for example) with the near deification of Hitler as he is received by the assembled mass of supporters. Heimatfilme, and indeed all genres of German cinema after the Nazi seizure of power, was ultimately reduced to a creative force in favour of fascism. Although Heimatfilme remained synonymous with the Third Reich, the style of nostalgic, patriotic, idyllic film making remained common in West Germany for many years. This could be due to a desire not to face up to the truth hidden within posterity or it may also mean that the effect of twelve years of incessant Nazi propaganda was harder to dislodge than outsiders from democratic countries were able to understand. Certainly, foreigners dismay for such nationalistic cinema was fuelled by the artistic output of the Exilfilme community the mirror opposite view of Nazi Germany from German eyes located outside of the Fatherland. Chapter Five: Exilfilm e German exile cinema should not be seen as a marginal phenomenon in a host countrys national production, but rather should be read as German cinema history, parallel to a film history of the Third Reich. It is, in this sense, a piece of anti-fascist culture, produced by the other Germany, to employ the terminology of German exiles. JanChristopher Horaks (1993:383) analysis of the significance of Exilfilme highlights the schizophrenic nature of Germany in the aftermath of Nazism. Before revisionist history of the Third Reich became the preferred angle through which to view Nazi Germany, academic and cultural obituaries were read for the creative output of production during the years 193345 (only since the 1990s has Triumph of the Will been dissected as a film in its own right). To fill the void left by the tainted films of the Third Reich, Exilfilme took up the position of the true standard bearer of German film making ability for the time period, particularly assisted by US p roduction companies who had been employing the displaced Germans during the Nazi dictatorship. However, with a reevaluation of the National Socialist body of work, the truth, as always, lies somewhere in between the two extremes of either castigating or lavishing praise on cinema of the Third Reich. The barometer with which to measure the impact of Exilfilme may lie in comparing the output to that of exiled French film makers where, as has been shown, almost all of the movie talent remained in France after the Armistice. Yet in France there appeared less of a personal risk to filmmakers, highlighted in the Jews that worked in secret on Michael CarnÃÆ'Â ©s Les Enfants du Paradis (even if actor Robert Le Vigans flight from France for a death sentence ordered by the Resistance for collaboration points to a different truth). The decision to flee Germany was therefore a safety issue rather than an artistic one, which negates taking up a position as seeing the Exilfilme makers as aki n to national martyrs. It is more prudent to talk in terms of an exiled genre of films that were more important for the techniques that they bequeathed to American cinema, which, in turn, have fed the western English speaking film diet for over half a century. As Maureen Turim (1989:148) explains, Nietzschaen thought and Freudian theory wove a thread within American cinema that can only logically have been a result of the Exilfilme. In the forties, the melodrama adds to its increasing concern with the psychology of character an explicit psychoanalytical narrative dimension. Perhaps the German films of the twenties that established such Freudian character studies achieved a delayed impact in the US through an expatriate corps of screenwriters and directors. The expressionist style of Weimar cinema can be seen to have been translated into film noir, as characterised by US popular cinema during the 1940s. Furthermore, the fact that so many film makers had fled to America must have influenced mainstream cinema in Hollywood in an even more profound way. The use of shadows and camera angles on lead actors was a unique feature to Weimar cinema that appears with increasing frequency after the exile of a large swathe of creative talent from Germany. According to Lutz Koepnick (2002:10), a definite harmonisation between language and sound can be detected in American cinema as a direct result of Exilfilme influences. Whether they worked in Berlin or Hollywood, German film practitioners embraced synchronous sound as a means to reinforce, modernise, or reject the prominent role of the acoustical in conventional constructions of German identity. By examining the relationship between sounds and images we can best understand how German cinema negotiated the tensions between romanticism and twentieth-century modernism, between autonomous art and the popular. Exilfilme produced between 1933 and 1945, on its own terms, is best defined as a backlash against the con strictions of authoritarianism, a collective creative example of dictatorship and art parting ways. Robert Siodmak, for instance, transferred his taste for Weimar film noir to America where his Exilfilmes, Phantom Lady (1944) and The Spiral Staircase (1945), both use extreme camera angles and notations of sound to highlight the fascist totality of film production where everyone and everything must conform to the preconceived standards of taste. The accent is on how movie making should encourage diversity and innovation, two themes noticeably absent from Nazi cinema. However, as with the mass of German scientists and musicians who fled the Nazi State after 1933, the influence of the Exilfilme has been most detectable within the culture to which they escaped: America, ultimately, benefited from Hitlers stifling cultural prison, while Germany would have to redefine its cinema after 1945 upon the new challenge posed by Allied partition and communism. Chapter Six: Pacifist Cinema P acifist cinema will be forever linked to pacifist politics laissezfaire liberalism as defined by the free market yet marred in reality by the Wall Street Crash; as characterised by diplomatic appeasement yet meted out in real terms by the international facilitation of the rise of fascism in Europe. Although pacifism remains a popular political and cultural creed today, its location in terms of cinema is entirely locked within the interwar years. A desperate desire never to experience the same carnage as beset mainland Europe between 191418, a beleaguered world vision of mass unemployment and a reluctance to embrace modernity meant that pacifist cinema was a discernibly 1930s phenomenon that necessarily appealed to a population that harboured these essentially negative views. It is important to remember that although the French were only defeated in 1940, the spectre of war had been looming large over French culture since at least 1930. There was, thus, already a split between do ve and hawk film making, mirroring the split within the Popular Front government during the late 1930s that had to choose between pacifying the aggressive military manoeuvres of Hitler or attempting to stop his territorial advancement across Europe, which would have been obvious to even casual observers after the Wehrmachts march into the demilitarised Rhineland in 1936. Furthermore, it is imperative to recall the unique French experience of the Great War. More than any other combatant, France was decimated by her experiences on the Western Front: four in ten Frenchmen between the ages of eighteen and thirty years old were dead with a further two out of that same ten crippled, maimed or psychologically damaged enough to render them impotent in terms of active participation in society. Likewise, economics should not be discarded when analysing French cinema before the advent of Vichy, and indeed German cinema before the Nazi seizure of power in 1933. While the 1920s is seen as an essentially frivolous period where the visible demarcation lines between the sexes began to be broken down via music, dance, theatre, art and cinema, the Wall Street Crash in 1929 was such a traumatic event that it collectively destroyed the sense of optimism that was created in Europe after the 1918. The international financial catastrophe infected all facets of life, the arts more than any other. One need only think of the US movie making conglomerates of the 1980s whose obsession with consumer capitalism and the perceived threat of nuclear annihilation via the USSR to understand how pervasive an issue the crash was. With this political and economic instability as the backdrop, pacifism was always likely to be popular with politically aware and concerned movie goers of the 1930s. Writing in hindsight, the most celebrated English language example of pacifist cinema would undoubtedly be All Quiet on the Western Front (1930), a film which asks an unanswered question regarding t he futility of war without providing answers as to the means by which man might be tempted to wage war. La Grande Illusion (1937), on the other hand arguably the greatest pacifist film ever made was quick to highlight the extraordinary social and political changes that were occurring throughout Europe at the time of the Great War. By pairing two French soldiers one aristocratic, one conscript together in a German prisoner of war camp, under the rule of an aristocratic German commander, director Jean Renoir manages to weave the contemporary class struggle into the tapestry of an antiwar film to highlight the uncertainty and chaos of the time. Furthermore, rather than slip into the realms of nostalgia, as many French and German films doubtlessly did during the period 193045, La Grande Illusion ominously supposes that the creation of a new social class would lead to a more dynamic industrial economy that would inevitably wage war on itself. The illusion, therefore, is in the phrase used to describe the Great War at the time: the war to end all wars something that could never be achieved as long as mankind remained in such a state of sociopolitical flux. The Germans likewise made pacifist films before Hitler became Chancellor, particularly after 1930 when it was obvious within Germany that Weimar was mortally wounded and that either the Right or the military would soon enact a coup. Kameradshcaft (1931) was the last of the great German pacifist films, a movie that used the 1906 mining disaster at CourriÃÆ'Â ©res (where German civilians ignored state borders to rescue trapped French workers) as the backdrop to the narrative. The fact that the director, G.W. Pabst, relocated the scene of the action to Lorraine highlights the symbolism at work in Kameradshcaft: by invoking the century old territorial dispute with France, the German director made a profound point about the nature of history repeating itself. Ethics not aesthetics make up the significance of this film, the director (1973:20) claimed when the movie was made and within this statement lays the central oppositional factor between pacifist cinema and fascist cinema. Where one relies on idealised imagery that is beautiful to look at but hollow within, the other invokes hardstriking realism to encourage the viewer to delve beneath the faade of the everyday characters. However, as the case of mainstream Hollywood film making has proved in the second half of the twentieth century, seldom do the audience vote against aesthetics. Chapter Seven: Technical Similarities and Differences between the French and German Cinematic Experience, 19301945 The technology available to France and Germany in the 1930s and 1940s was identical though the way in which film makers from each country chose to use the contemporary advances differed, mirroring the political difference between democracy and autocracy. Both Vichy France and Nazi Germany invoked nostalgic reminisces of prewar Europe though the undertone appeared different in the two countries. While both Popular Front and Vichy France continued to favour the Realist approach to cinema, often invoking Poetic Realism into the narrative, those at the helm of German movie production employed a more populist view of the role of film that meant having to experiment in modern techniques of film production to draw attention away from the narrative. The use of camera and light was therefore more rigid in German cinema where a definite formula of film making was apparent throughout the duration of the Third Reich. French cinema lacked the aesthetics of fascist film where the camera concentrated on the beauty of the man, of the country and of the heroic acts in which he was indulging. This was achieved via lighting, sound and observational techniques that ceded the relevance of the plot to the significance of the visual. Thus, Ellis (1982:38) explains how, considering the rapid technological advancements of the period , subtle differences in technique could lead to a vastly opposing artistic experience. Cinema as a photographic medium instantly poses its images and sounds as recorded phenomena, whose construction occurred in another time and place. Yet though the figures, objects and places represented are absent from the space in which the viewing takes place, they are also (and astoundingly) present. Of the two countries, Germany was home to the more advanced film making at the beginning of the period within the dissertation, its lead largely garnered due to the speed with which the country embraced sound as the modern cinematic medium. Susan Hayward (1999:1345) highlights how, in spite of a rich and varied postwar tradition of its own, French cinema lagged behind the Germans in many fundamental areas, including sound, which was a relatively recent phenomenon at the time. The implementations of three technological developments sound, colour and cinemascope were to have a significant impact on Frances national cinema Commercial necessity brought sound to the screen and, although France had perfected her own sound system, it was to be the Germans and the Americans who carved up the international pie. The first fully sonic French production did not take place until 1930, where LHerbiers LEnfant de lamour managed to transcend the barrier between 1920s Surrealism and the advent of 1930s subjective realism. Unlike in Nazi Germany, French movies of the period were initially taken aback by the arrival of sound with action and plot reduced in scope in its wake. Moreover, French film relied, throughout the period, on literary adaptations for film output far more heavily than did the Nazis. Thus, in comparison, much of the French portfolio of the 1930s and 1940s can be seen to be too introspective and slow in context, whereas the more escapist, fantasy based stories of German film followed a more contemporary outline where the pace of the movie was seen as paramount in maintaining audience participation. Screenwriters in Germany were employed from a smaller creative sect resulting in more uniformity in German cinema than in French where four film styles can be traced: filmed theatre, musical fantasy, realist cinema and subjective narrative film, as opposed to the generally escapist nature of almost all of the National Socialist output. In bringing aesthetics and propaganda to cinema, the Germans likewise stumbled across a new form of editing that evoked a sense of being part of the film in a way that French cinema could not achieve. Braudy and Cohen (1999:3) declare German editing techniques to have greatly assisted the arrival of a more engaging kind of cinema production where the audience was more inclined to immerse itself in the picture rather than contemplate realism or subjectivity. German expressionism was superseded in the 1930s and 1940s by a form of editing more appropriate to the dialogue film. This analytic editing, which charac teristically manifests itself in the dramatic technique of shot/reverse shot, was an important innovation. It is this editing style that helped to make Triumph of the Will become such an icon of postwar movie production. The camera is able to deconstruct the body aesthetic in order to construct a fantasy of the mind. In this way German cinema was able to forge a connection between the visually stunning depictions upon the screen and the creators of the dynamic state. French cinema, although by no means weak in technical comparison, was constructed via a different agenda, which necessitated less utilisation of modernism in cinema. It has already been shown how France was unwilling to recognise the presence of the occupying army, which resulted in a discernibly nostalgic form of poetic realism within movie making. Moreover, the French cinematic experience post1945 spotlights a nation that has remained dogmatic in pursuit of its realist ideals, fuelled by a visceral, ongoing bond between literature and film as opposed to light entertainment and film, which the Germans bequeathed to American cinema. Conclusion In the immediate postwar years it was considered both intellectually and morally deplorable to praise the achievements of Third Reich cinema. At the same time, a sense of empathy for the French experience, where the country was unable to depict itself on screen, made sure that films such as Les Enfants du Paradis were elevated to a cultural status far beyond either Triumph of the Will or Die Feuerzangenbowle, which only became popular via a cult, student following in the 1960s. The reason for this split in opinion rests solely at the feet of politics and the inability of critics to separate film from reality. Although it is difficult to view any movie outside of its specific sociopolitical context, the perpetual association with Hitler has damaged German cinema of the period 193345 in a way unknown to any other national film catalogue. Vichy f ilm, on the other hand, largely fell into obscurity after the war, Michael CarnÃÆ'Â © emerging as one of the few film makers with his reputation still in tact. As time and fresh international crises move Nazism further away from the contemporary gaze, German film produced during the Third Reich has been given a deserved reappraisal. Contrary to all preconceived beliefs, it was not heavyhanded propaganda; rather the opposite: German cinema of the thirties and early forties ought to be seen as the technological and theoretical forerunner of mainstream Hollywood output post1945. French film, likewise, does not conform to imagined notions of how an occupied industrialised nation might view itself and its precarious position. Following the ideology of German propaganda film, Vichy steered clear of references to war, occupation or the Holocaust, invoking retrospective views of prewar France that took the viewers minds off the harsh reality of daytoday existence after 1940. Ultimately , as Stimely (2001:99) attests, the power of Nazi cinema, and the subtlety of Vichy film, was in the very vacuity of their storytelling style and the realisation that there was a time and a place for cultural reeducation. Hitler, Goebbels, and the brilliant Reichsfilmintendent, Fritz Hippler, were all acutely aware of the power of film as a propaganda medium. They were also aware that such use of film could be overdone, and that often people wanted just to be entertained. BIBLIOGRAPHY D. Bordwell N. Carroll, Post Theory: Reconstructing Film Studies (University of Wisconsin Press, 1996) L. Braudy M. Cohen (Edtd.), Film Theory and Criticism: Introductory Readings (Oxford University Press; Oxford New York, 1999) T. Corrigan, New German Film: the Displaced Image: Revised and Expanded Edition (University of Indian Press; Bloomington Indianapolis, 1994) J. DÃÆ'Â ¼lffer, Nazi Germany, 19331945: Faith and Annihilation (Arnold; London New York, 1996) J. Ellis, Vis ible Fictions: Cinema: Television: Video (Routledge; London New York, 1982) T. Elsaesser, Weimar Cinema and After: Germanys Historical Imaginary (Routledge; London New York, 2000) S. Hayward, French National Cinema (Routledge; London New York, 1999) S. Hayward G. Vincendeau (Edtd.), French Film: Texts and Contexts (Routledge; London New York, 2000) JC. Horak, German Exile Cinema: 19331950 (J.B. Metzler; Stuttgart, 1993) J. Jackson, France: the Dark Years, 19401945 (Oxford University Press; Oxford, 2001) I. Kershaw, Hitler: Hubris, 18891936 (Penguin; London, 2000) I. Kershaw, Hitler: Nemesis, 19361945 (Penguin; London, 2000) L. Koepnick, The Dark Mirror: German Cinema between Hitler and Hollywood (University of California Press; Berkeley, 2002) R. Manvell H. Fraenkel, The German Cinema (JM Dent Sons; London, 1971) R.G. Reuth, Goebbels: the Life of Josef Goebbels: The Mephistophelean Genius of Nazi Propaganda (Constable; London, 1993) M. Seligma nn, J. Davison J. McDonald, In the Shadow of the Swastika: Life in Germany Under the Nazis, 19331945 (Spellmount; Staplehurst, 2003) R. Stam, Film Theory: An Introduction (Blackwell: Massachusetts, 2000) H. TrevorRoper, The Last Days of Hitler: Seventh Edition (Papermac; Basingstoke, 1995) M. Turim, Flashbacks in Film: Memory and History (Routledge; London New York, 1989) H.G. Weinberg, Saint Cinema: Writings on the Film, 19291970 (Dover; New York, 1973) D. Welch, The Third Reich: Politics and Propaganda (Routledge; London New York, 1993) R. Zitelmann (Translated by h. BÃÆ'Â ¶gler), Hitler: the Policies of Seduction (London House; London, 1999) Selected Articles L. Braudy M. Cohen, Film Language, quoted in, L. Braudy M. Cohen (Edtd.), Film Theory and Criticism: Introductory Readings (Oxford University Press; Oxford New York, 1999) JP. Jeancolas, Beneath the Despair, the Show goes on: Marcel CarnÃÆ'Â ©s Les Enfants du Paradis (194345), quoted in, S. Hayward G. Vincendeau (Edtd.), French Film: Texts and Contexts (Routledge; London New York, 2000) M. Smith, The Logic and Legacy of Brechtianism, quoted in D. Bordwell N. Carroll, Post Theory: Reconstructing Film Studies (University of Wisconsin Press, 1996) Journals K. Stimely, Book Review: the Golden Age of German Film, quoted in, The Journal of Historical Review, Volume 5, Number 1 (Institute for Historical Review; California, 2001) M. Von Papen, Opportunities and Limitations: the New Woman in Third Reich Cinema, quoted in, Womens History Review, Volume 8, Number 4 (University of Glamorgan; Cardiff, 1999) Filmography Kameradshcaft (G.W. Pabst; Germany, 1931) Kuhle Wampe (Bertolt Brecht; Germany, 1932) Triumph des Willens (Leni Riefensthale; Germany, 1936) La Grande Illusion (Jean Renoir; France, 1937) Die Feuerzangenbowle (Helmut Weiss; Germany, 1944) Les Enfants du Paradis (Michael CarnÃÆ'Â ©; France, 1945)

John F. Kennedy s Strategy On Foreign Policy - 1275 Words

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Alan Patons Cry the Beloved Country Essay - 907 Words

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Business Promotion Strategic Marketing Plan

Question: Discuss about the Business Promotion Strategic Marketing Plan. Answer: Introduction The aim of the present assignment, which is a continuation of assignment one is to establish a profound strategic marketing plan for the organization SolarCity of New Zealand. It is required to mention that while establishing convenient marketing strategies for SolarCity, the paper would first focus on the primary and secondary target markets of the considered organization, which has been thoroughly illustrated in the previous assignment. Thereafter, the present assignment will move on to construct apt strategic functions for product, pricing, distribution or supply chain and integrated marketing communication of SolarCity. From the previous assignment, it has been identified as well as understood that the organization is primarily a limited enterprise in the premise of New Zealand that is involved from developing and manufacturing product to financing and remote monitoring of the solar panels and solar power system. Most importantly, the first assignment has pointed out that the organization has three distinct kinds of target markets presently; the first one is the households of New Zealand while the second one commercial sector of the country. However, the third kind of target market has been identified to be the offshore clients. In case of establishing the product and pricing strategy, the present assignment would have to consider the key buying behavior and concern of the target market of SolarCity, which has been effectively diagnosed in the first assignment. It says that scarcity of natural resources is the main concern that drives the target markets of the organization to buy their products. However, from the competitor analysis, the present assignment have got a hint about what exactly SolarCity would adopt as strategy, which says that the organization would have to beat Green Energy Corporation, Agua Del Sol LLC and Solar Collector Inc mainly. Marketing plan In accordance with the SWOT, situational, stakeholder and competitor analysis from the previous assignment, it has been understood that the following goals and objectives are possessed by the concerned organization. Considering the buying behavior of the target markets and their kinds, marketing plan A would be to devise suitable positioning, distribution and communication strategy that would support SolarCity to influence the minds of the identified target markets and fulfill their demand (Hollensen 2015). Following the marketing goal A, two particular marketing objectives would be To identify needs and basic characteristics of the target markets Seemingly, the specific premise of the objective is to identify the needs and characteristic features of the target market, would be covered within two weeks by the hands of the chief marketing executive of SolarCity. To design appropriate communication and distribution strategy The above goal has been designed keeping in mind about the prime purpose of the assignment, which is to grow the sales and market expansion for SolarCity considering their chief target markets. Therefore, the specific premise for the second objective is understandably the establishment of the suitable strategies with the help of executive marketing director of SolarCity within the time of fifteen days. Marketing goal B Keeping in mind about the marketing goal A, the second goal of SolarCitys marketing would be to increase the profit margin by implementing appropriate pricing and product development strategy. More precisely, the second goal would be to expand in the market by beating the existing rival organizations alongside advancing the rate of sales. Therefore, two accompanying objectives for this distinct goal would be To procure appropriate strategies for developing product The specific premise of the objective, which is to procure strategies for product development would be done within the time of one month through the hands of the chief executive of product scrutiny and development management. To design strategy for selecting appropriate price On behalf of this particular objective, it can be said that the specific aspect of the objective would be to identify the average financial status of the primary and secondary target markets within the time limit of two months. In this context, it should also be mentioned that the responsible person for accomplishing this objective would be the assistance-marketing executives and assistance finance manager of SolarCity. Primary target market According to the market audit report of SolarCity, the primary target market of the considered organization is divided into two major types, which are the commercial sector and the household owners of New Zealand. More elaborately, the primary target market of the concerned organization can be segmented into both males and females of the society. However, if the primary target market can be identified with psychographic attributes, then it can be said occupation wise most of the household owners are homemakers, service men and business professionals. On the other hand, the other part of the primary segment involves the ministry of the economic development and department of conservation. Identifying characteristics and needs of the primary target market The demographic characteristics of the household owners involves both male and female inhabitants of New Zealand whose age range from 24-65. Furthermore, this individual target market possesses the value of saving non-renewable energies alongside they have the strong concern for the increasing the use of renewable energies like the solar power. Therefore, the preference of this kind of target market rests on the unique and most up-to-date design and potentiality of the solar panels. On the other hand, the other kind of the primary target market possesses the value to unique and effective energy solutions. Therefore, understandably the preference of this part of the target market depends on the efficiency of the solar panels and their capacity to resolve energy issues. Therefore, their individual energy issues understandably determine the buying habit of the commercial sector of New Zealand (Slack 2015). However, the buying preference of the households owners unlike the other one main ly depends on the price range of the solar panels as per the fact the solar energy is used for everyday energy needs in the house. Secondary target market According to the previous report of marketing audits, there has been found a third target figure for the organization SolarCity, who are predominantly the offshore or oversees organizations those like the commercial sector of New Zealand searches for innovative energy solution. SolarCitys desire to provide energy solution to other countries in form of market expansion is an indication of the fact that the organization has already planned to beat their archrivals with their preference for target market. Characteristics, basic needs and buying preference The secondary target market is the commercial market of the other countries; therefore, it is understandable that their needs and buying preferences would be approximately similar with commercial sectors of New Zealand. Therefore, it can be said that commercial enterprises, which utilizes a huge amount of energy would have the preference to have energy solutions those are affordable yet efficient. However, it is fortunate that the demographic attributes of this target market would help the considered organization in expanding in an international ground (Baker 2014). Most importantly in this case, the organization has to keep in mind that the basic needs of the secondary target market would not be limited within energy solutions. The organization should anticipate that from offshore clients, demand for both household goods and energy solution devices would come (McDONALD et al. 2016). Product strategy for primary target market Product feature Prior to design a fruitful strategy for product, it is required to denote that for the primary target market, SolarCitys product will be the solar hot water, solar photovoltaic, evacuated panels, evacuated tube based system and installation devices of solar panels. The most significant aspect of the offered products of SolarCity for the primary target market is they are varied and usable for both household and business. Brand name and packaging The products and service will be offered under the brand name of SolarCity with its official logo. However, in case of both product quality and packaging it should be contemplated that the organization would adopt the product strategy of changing the design and performance of the existing products. Most significantly, in terms of packaging, SolarCity should provide two types of packaging for both kinds of the primary target market. One should be a trial package and the other one should be for the final use (Strauss 2016). Positioning strategy For the primary target market, the positioning strategy would be the packaging strategy itself. According to the packaging strategy, the organization would provide the privilege to the target markets to have a trial of the preferred products. Supplemental products and value Each of the offered products for the primary target market would retain the core values that the organization fundamentally proposes. However, the products provided as trial pack would contain experiential attributes as they are for trials (Grant 2016). On the other hand, in terms of supplemental products, SolarCitys service for implementation for both the trial and permanent purpose will act as supplemental products. Product strategy for secondary target market Product feature The product for secondary target market or the clients from other countries would be mainly the evacuated panels and evacuated tube based system and their service for the installation of solar power and technical support. Brand name and packaging Same as the brand name and packaging for the primary target market, the service for the offshore clients will be provided under the same brand name and the packaging strategy would be same (Khan 2014). Positioning strategy For the secondary target market, the positioning strategy would be to provide free installation service for providing tube based systems along with one year of guarantee to every customer. On the other hand, for the installation service, the positioning strategy would be to provide the technical support is relatively low rate than the normal market price (Goi 2015). Supplemental products and value As per the fact that the organization would mainly provide the evacuated tube based system and technical support in terms of implementation service, the organization would provide a twenty four hours of free online customer support to the customers offshore. On the other hand, as all the services are prime services of SolarCity, therefore reasonably the organization would be providing core values to all of them. Pricing strategy for primary and secondary target market Strategy for primary target For the primary target market, SolarCitys overall pricing strategy would be the discount policy as per the fact that the organization attempts to encourage a larger unit purchases. Therefore, the pricing objectives will be the rate of preference for having discount and the current usage rate of the commercial sector and household owners of New Zealand (Bag and Biswas 2013). Most importantly, the pricing strategy will be strongly supported by the proposed designing strategy, which is to provide the privilege of using the trial package. It is because, the fundamental tactic of the discount policy, which is to encourage larger units of purchase by quantity discount will be accomplished by the positioning strategy to provide free installation service (Ferguson and Higgins 2015). Strategy for secondary target The overall pricing strategy for the secondary target market would be the discount policy as well as it would help the organization to maintain a firm competition with the rival organizations of the offshore countries (Antoncic et al. 2016). Therefore, SolarCitys pricing objects for the secondary target market would be to know the usage rate of solar power of the offshore market and the current market rate of discount. The positioning strategy is to provide free installation and free online customer support, which would help to capture the minds of the target market and would accomplish the positioning strategy appropriately. Most significantly, considering the need of price competition to the competitors, it can be said that the organization would keep the rate of discount at least 10% less than their potential rivals would. In this context, one aspect is needed to be mentioned, which are both of the pricing strategies would have connection with the value of monetary costs unlike th e distribution strategy (Certo 2015). Distribution strategy for primary and secondary target markets Strategy for Primary target For the primary target concern, the overall distribution strategy would be to improve service. Therefore, the channels according to this strategy would be the leading national retailers and distributors of solar panels. Alongside, the proper place will be most of the local leading service centers, through which the local household owners will be able to easily become SolarCitys customers. Thus, understandably with the help of local service centers, accomplishments of the positioning strategy to providing free installation will be easy (Florian and Pajzos 2015). Strategy for Secondary target Unlike the primary target market, overall distribution strategy would be change channel strategy, as per the fact that the clients will be from offshore. Therefore, increase of own sales coverage and area specific distribution would be required (Milichovsk and imberov 2015). The channels would be local retailers and leading organizations with service centers of each specific country through which the agenda of providing discount in installation and online customer care would be flexibly maintained. Promotion strategy for the primary target Integrated marketing communication for the primary market will be to increase the exhibition coverage along with increase of social media. Consumer promotion elements For the purpose of promotion for the targeted consumers, SolarCity will advertise through online social sites, for which the organization would use e-mail shots, expand, and improvise its existing websites. Nevertheless, in terms of public relation strategy, the organization would consider setting up Facebook page and Twitter account for planning exhibitions and campaigns. Trade promotion elements In terms trade promotion elements, the considered organization would use both the advertising channels and the elements for public relation strategy. More precisely, company websites, industry specific websites, Facebook and Twitter account all will be used as trade promotion elements. Promotion strategy for the secondary target The overall integrated marketing communication strategy for the secondary target market will be to introduce a new product policy, as the organization would make their venture in several new countries (Willing et al. 2015). Consumer promotion elements In terms of consumer promotion elements, the organization would use industry specific websites and use online advertising campaigns. Similarly, like the public relation strategy of primary target market, for the secondary target market, the public relation strategy would be the same. Trade promotion elements In terms of trade promotion elements, in the offshore countries, online social media like Facebook, Twitter will help SolarCity. Moreover, a modified version of the existing website of SolarCity would also help. Therefore, reasonably both advertising and public relation strategy will be used. Implementation strategy for primary and secondary target markets In case of implementing the strategy for both the target markets o SolarCity, the organization would take concern about the structural issues at the very first. For the households and commercial sector of New Zealand, the organization would change the reporting relationships as well as they need to add some more positions for extending the service to free implementation and free online customer support. On the other side, for the offshore clients, the organizations would have to change some of the line of its authority as new positions of authority would be required in individual offshore places. Four internal marketing activities would be necessary regarding this concern Employee training for accomplishing the strategies for offshore clients Combating employee resistance through organizing meetings and incentives Motivate the existing employees and share each of the decisions regarding strategies through top-down and bottom-up communication (Pathak and Makwana 2015) Hire new employee for the installation and customer service department Evaluation and control Input controls Process control Output control (In general) A detailed outline of the possible capital expenditure Online and offline market research for two months ($50,000) Recruitment of twenty individuals within one month ($20,000) One month of training to the existing employees and management ($30,000) Revise the incentive policy and implement bottom-up communication policy within three weeks (McCormack and Johnson 2016) Regular survey on the field of product modification and development Number of ratings on Facebook and company websites from offshore places Construction of a separate team within one month for monitoring and measuring the marketing performance Use of checklist for measuring whether four objectives have been met or not (Mun et al. 2014) Use of an observing team for measuring and taking feedbacks from the product development field Output control Standards (In details) Options Overall performance 20% increase in dollar sale in the home ground would be monitored by the executive finance officer Acquisition of loyal customers would be monitored by the customer management executive Increase of sales volume up to 15% in the offshore zone would be controlled and monitored by the regional finance officer (Mosca 2016) Price performance Sales analysis and market share analysis will be controlled and evaluated by the finance department through online rating and by detail comparison of the revenue margin Product performance A thorough product testing after each modification and product development in the first three month through the hands of product development executives Distribution performance standards and IMC performance Quarterly survey for analyzing distribution efficiency and analysis of the supply chain integration would be undertaken Analysis of the brand awareness through comparing revenue margin and online ratings To evaluate the proposed advertising strategies, advertising research would be used, which is effective in improving the promotion systems Informal controls Employee self control It is a possibility that the employee may lack in confidence for handling the plans for offshore clients In that case the organization would consider providing training sessions Employee social control Workshop relationship may lack while hiring new stuffs from diverse culture and background for accomplishing marketing target for the offshore clients In that case, SolarCity would consider increasing communicational bond with the new employees Cultural control It is possibility that the marketing activities may not influence the minds of the offshore target market due to different culture and perspective Therefore, SolarCity should think about making a thorough market research and make suitable modifications prior to implement the strategies. Marketing audits (measuring effectivess) Options Measures Responsible person Profit-based Comparison between current profit margin and the previous profit margin Finance executive Time-based Strategy for primary target market would be implemented in the first week Strategy for the secondary target market would be implemented in the second month Marketing executives Measuring effectiveness of modified product and promotion activities Review of customer feedback Keep track of Facebook ratings Product testing on frequent basis and address the analysis made after each product testing Marketing executives Product development executives In case expectation does not meet Assessment and modification of the existing strategies Implementation of new strategies Marketing executives Conclusion The above marketing plan has identified two individual target markets of SolarCity, which are the household owners and the commercial sector of New Zealand in terms of primary and offshore clients to be secondary target market. The plan has been made considering different needs and expectation of the individual target market. The report has pointed out that for satisfying both of the target markets; the organization would provide the facility of using the trail package with discounts. Most importantly, the plan has implicated that for promoting the products for both kinds of target markets, SolarCity would concentrate upon creating online websites and Facebook page along with online exhibitions and campaigns. References Antoncic, B., Auer Antoncic, J. and Aaltonen, H.M., 2016. Marketing self-efficacy and firm creation.Journal of Small Business and Enterprise Development,23(1), pp.90-104. Bag, S. and Biswas, D., 2013. Four P's compass model in new paradigm of marketing mix.International Journal of Applied Services Marketing Perspectives,2(1), p.273. Baker, M.J., 2014.Marketing strategy and management. Palgrave Macmillan. Certo, S., 2015.Supervision: Concepts and skill-building. McGraw-Hill Higher Education. 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