Most Writers of Fiction Do Not Earn Enough Money to Live from Their Writing Essay Example for Free

Most Writers of Fiction Do Not Earn Enough Money to Live from Their Writing Essay Here are some conditions under which a novelist could reasonably expect some government suport. In general terms, if the writer has already proved that he or she can write well, and if the stories produced are stimulating and interesting, then I consider that some financial help might be given. Language quality is difficult to define, but if the writing shows, for example, good grammar, a wide vocabulary, and elegance and imagination, then I can see a valid reason for assisting an author to spend some time free from money problems. Such a writing needs to be encouraged. the entertainment value of a book would be also a factor in deciding whether to provide assistance to an author. Further consideration would include social and educational values expressed in the authors work. However, if the ideas were socially irresponsible, or if the stories contain unnecessary violence or pornography for its own sake, then I would not want to see the author sponsored to write stories which do not benefit society. Other exceptions are the many writers of good books who do not require financial help. Books which proved to be extremely popular, such as the Harry Potter stories, clearly need no subsidy at all because the authors have become rich through their writing. Views on what good quality writing means will vary widely, and so if any author is to be given money for writing, then the decision would have to be made by a committee or panel of judge. An individual opinion would certainly cause disagreement among the reading public.

The Role Of Stereotyping In Fairytales English Literature Essay

The Role Of Stereotyping In Fairytales English Literature Essay Fairy tales have a great history in Europe and they were transmitted from the one generation to the other by oral speech, until the Grimm brothers decided to commit many of them, around 1815. The fairy tales stories are very important for childrens psychology, as psychoanalyst Bruno Bettelheim says, because they communicate with the unconscious of the child, through their secret messages, like the battle between the good and the evil, where the good always wins. So, the children feel more hopeful and ready to pass through the difficulties that emerge in their lives (Salkind, 2004). Fairytales contain material that influences a lot the feelings and the cognition of children. Contemporary research has shown they are not coming into the world as black slates, but they bring reflexes, predispositions and capacities, with their birth. Although schemas, the cognitive structures, that represent organized knowledge about a given concept or stimulus, that influence perception, memory and inference, (Hewstone, Stroebe Stephenson, 1997, p.617), are transmitted to them through the contact with their guardians and the society (Hewstone et al., 1997). Another effect of fairytales is the elongation of some schemas, specially those that concern gender. There are three types of schemas, according to Baron and Burne (2009); those that have to do with persons, with roles and with events. The role schemas, that are correlated with specific social roles, concern the way that people act and are like. Gender identity is one of the major role schemas that people cope with (Baron, Branscombe Burne, 2009). Gender roles affect the behavior of men and women throughout their life, social and personal. Some characteristics of the male stereotype is that the man is able to be a leader, aggressive, forceful, competitive, independent, individualistic and defending his own beliefs. On the other hand, woman is affectionate, compassionate, shy, soft-spoken, tender, she loves children and she is sensitive to the needs of others. Men are also considered as the owners of their family and like the head of the wife. Stereotypes like that have still their place in many religions, but are also tought to the children through the fairy tales. Women are still presented as followers of the active male figures or helpless with the need to be rescued. Children attain the meaning of gender identity, the fact that they are boys or girls, by the age of two and between the ages of four and seven, they realize that the gender is a basic attribute of the person. As they grow up they come in contact with the stereotypes that concern what it means to be male or female, and they are enforced by their environment to show these traits Children also, learn gender stereotypes very early in their life. By the age of two they know to accord stereotyped behaviors and traits with each gender and at the ages between three and six, they seem more strongly sex stereotyped than adults. Furthermore they are convinced that these stereotypes are true. In particular, in the research of Urberg (1982, cited in Golombok Fivush, 1994), it was found that children espouse unconditionally the gender stereotypes at the age of five, but at the age of seven they become more conciliatory. Another finding of the same research was that children tend to stereotype oth er children more than stereotype adults. In another study of Haugh, Hoffman Cowan (1980, cited in Golombok Fivush, 1994), it was shown on a screen to two groups of children of three and five year old, a shortcut with two twelve month infants playing. The children of the first group were told that the infant on the left was male, and on the right female, and to the other group the opposite. Both groups described the babies labeled as males, with characteristics like big, mad, fast, strong, loud, smart, and hard, while the female labeled as small, scared, slow, weak, quiet, dumb, and soft. As for the predictions that children can make about the preferences of the two sexes, in the study of Martin (1989, cited in Golombok Fivush, 1994), it was found that children of all ages tented to predict the characters interest about some toys, based on his or her gender. But only the younger children relied absolutely on this trait. It seems that younger children are more categorical with gend er stereotypes, and the gender of an individual is determinant for his or her characteristics and habits (Baron, Branscombe Burne, 2009, Golombok Fivush, 1994). The research about the gender roles in fairytales, has shown that even though women represent more than the half percent of the population, they are represented much less in childrens literature. Research during 60s decade found that women were underrepresented in a big amount in the book titles, central roles and the illustrations of popular childrens stories. After the political changes of the decades of 70s and 80s, it was found that women are better represented in childrens literature, but the male characters were represented double times. When a woman had a leading role was described as the males that had the same character. But when she had a secondary role, she was described with the traditional characteristics, as passive and depended (Golombok Fivush, 1994, Godden Godden, 2001). Furthermore, it was found by a research of DeLoache et al., cited in Golombok Fivush, 1994, that children get in contact with the gender stereotypes not only through the characters of their stories, but also by the way that their parents present the gender roles, while they are reading them a book. In particular, mothers that were reading a book to their children were presenting the 90% of the characters with unknown roles as males. Also, when they were asked to read a picture book with bears of indetermined gender, the 62% of them represented the bears to their children as male and a small percentage, about the 16% as female. It was also observed that the bears that were labeled as females, where those that were not been presented to interact with other bears (Golombok Fivush, 1994). According to the Banduras Social learning theory, cited in Cole Cole, 2002, gender is formed by social factors. He supported that the childs behavior is formed by that one of the others and specific by parents behavior, through the learning processes of reinforcement and observation or imitation of a model. Other factors responsible for socialization can be the teachers, the peers and generally the people that get in contact with the child, without underestimating the role of media, like tvs and children readings (Cole Cole, 2002). It has been observed that parents provide to their children except of patterns of imitation, rewards, when the behaviors of the last are compatible with their gender and they punish them for the behaviors that are not accord with it. In the studies of Beverly Fagot, cited in Cole Cole, 2002, in families, it was found that the parents were praising their daughters when they were trying clothes, dancing, playing with their dolls, or when were following them and they were punishing them when they were exploring things, running and climbing around. Contrary they were praising their sons when they were playing with cubes and they were punishing them, when they were playing with dolls, giving or asking for help. These findings are also supported by other studies, like those of Langois Downs, cited in Cole Cole, 2002. Except of the rewards, it has been observed by studies that the fathers in contrast with the mothers, treat their sons much more different than their daughters. More specifically they were considering boys as more strong and taugh and they were enforcing them to do similar activities, while they were rating them more strict than their mothers when they were playing with dolls. Also, when the boys were between the age of two and twelve, they were becoming stricter, more equable, less affectionate and more directional than with their daughters. Furthermore, it seems that the pressure to the boys to conform to their gender role, is bigger than this one that touch girls. As a result the gender role of boys is more cohesive than for the girls, something that continues to exist in mens and womens roles, when the male characteristics and roles are acceptable for women, while the opposite is not acceptable. Another stereotypic role for women in fairytales is that they have to stay in silence. Its inappropriate for them to express their thoughts and claim for their rights. This could be like an insult to their husband and only evil women, like witches, are taught with these behaviors. The only way for the women in fairytales to speak is only after asking a mans permission. Its also common for the man in fairytales to hit his wife when she dares to interrupt him. Women can only express themselves by crying and show helpless (Afanasev, 1973, Bottigheimer, 1986). In Snow White, Brothers Grimm classic fairy tale, the female gender is represented in a negative way. Snow White is displayed as being frightened, naive and helpless, and the evil Queen, her stepmother, the only other prominent female character is a narcissist. Thus, after reading or hearing this fairy tale, society begins to mold into these stereotypes. This quote demonstrates what society considers to be womens role. These traits are presented when the huntsman spares Snow Whites life and when the Dwarfs expect Snow White to do house work in order to live safely with them. Although the queen ironically is very powerful in this fairy tale, she also falls into the stereotype for females. She only uses her power for negatives, rather than positives, scheming vindictive plots on Snow White throughout the whole story. In which, naive Snow White falls victim, not once but three times. The evil queen sends the huntsmen to kill Snow White. This setting introduces the readers to Snow White as a scared helpless girl, a typical expected role of a female (Zipes, 2000). Although there are exceptions, the rule is that a woman has to lose her voice and her identity in order to provide a place in the society for herself. There are specific gender roles in the classic fairy tales that state that the men have the voice and the women are to be collateral. In the classic fairy tale, The Little Mermaid, the character of the seventh daughter is being taught what it is to be a woman. When she complains about grooming for her first trip above water, her grandmother remind her that someone cant have beauty without paying a cost. A woman must be beautiful and must suffer for the cost in silence. Silence is repeated throughout the tale as being a virtue. The mermaid suffers the pain and blood of her feet and the cutting out of her tongue as to be with her love, even though the man does not want her in return. The Disney version of this tale also shows Ariel learning about the importance of outward beauty and suppression. Ursula convinces Ariel that she doesnt need her voice in the human world. She has her beauty, her lovely face and she can use her body language. A woman can live in the mans world, only if she will lose her opinion. At first, Disneys Ariel seems not to follow the typical stereotype role for a woman. She is active, curious and rebellious sometimes. However, when she falls in love, her independent character, transforms into a dependent woman that only wants to become the wife of her beloved man. Moreover she decides to sacrifice her voice, as to become a human, and leave her underwater kingdom to live next to her man (Bell, Haas, Sells, 1995). Another example of the importance of women silence, is in the story of The Merchants Daughter and the Slanderer where the king decides to marry her only when it is mentioned to him that she is quiet and vestal. The value of silence is correlated with those of speech and power. Generally in fairy tales the speech comes from people that have authority, which most of the times are not the women. The women that appear to speak are evil, like witches, and only when they give a curse to their enemies, as it was mentioned before (Afanasev, 1973, Bottigheimer, 1986). Another stereotype in fairy tales, is that the mans role is to work and provide food to his family by this work. Besides that, in many fairy tales, the opposite fact happens. In Constantino Fortunato of Straparola, it is a woman, the mother Soriana, who provides the food to her three adult sons, who end helpless when she is dead. Their only way to survive is to use the items she left them and because they do not have any qualifications for work they become dependent on other people. Because of the fact that they have never worked, they do not appreciate the people who help them and they forget each one when a new person who can help them appears. And thats what Constantino does when is been ensured to him the marriage with the princess. In this fairytale the sons are completely dependent on their mother who has the main character in that. She is described as a very poor woman who had three sons, a description that appears in many points of the story. The important to notice is that never this family is been demonstrated as a poor family, but there is only a really poor mother and her sons. The sons are not considered as independed members of this family and they are not responsible for their poverty, even though they are old enough to have a job. They stay sideliners even when their mother is dead. Their only way to survive is to wait for their neighbors to ask them to borrow some of the items their mother left and give them something in return. When Constantinos brothers get a sweet like a gift from their neighbors they eat it by themselves and they dont keep anything for him but only advice him to ask the cat for help. That is what happens and the cat begins to provide everything to the young man, even his marriag e with the princess. When he becomes a prince he has to face many responsibilities but even in that time he denies to do it and continues to count on womens of the palace help (Zipes, 2000). Another common characteristic for the women in fairy tales is their passivity. Most of them when they find themselves in trouble, are waiting for a male to rescue them and dont take the situation in their own hands. In the story of The Footless Champion and the Handless Champion the sister of the family has to endure every day the minatory visits of a dragon, without doing anything to protect herself like to escape, but only waiting for her brothers to come back from a hunter travel, to save her (Afanasev, 1973). Another message that fairy tales give to women is that disobedience to men and possible will for power will be strict punished. The womans role is to serve the husband and do the housekeeping. In the Mayoress fairy tale, the woman explains to her husband her intention to become mayoress and he decides to punish her with some elder men. Because of her inability as a mayoress she spends the public money and then its impossible to collect the taxes in time. Even though she makes efforts to control the situation, the Cossack decides to punish her by beating her. The meaning of this story is that this woman should never desire a position of power and disobey her husband. Generally this story teaches women to stay allegiant to the authority of their husband and also men that women are incapable for positions that have to do with the public affairs and power. Beauty is another value that is overestimated in fairy tales. Usually we meet in their pages, young and beautiful girls to be chosen by men with power, but ugly and much older, like what happened in Beauty and the Beast and the ugly girls to be rejected not only from men but also from society. It is also common that the beauty is correlated with traits, like honesty, purity, virginity, delicacy and modesty. Beauty is also a virtue that has to be well protected from the world outside and be well guarded like a treasure. In the story of Dawn, Evening and Midnight the king watches his daughters during all day not allowing to anyone else to see their beauty. He doesnt even leave the sun or the wind to touch them. It is obvious that he adores his daughters only because they are extremely beautiful. It is not only the beauty that determine a wedding but also the ability of woman for reproduction. More specifically, it is the ability of the woman to make male children. It is considered as an ability of the woman to control the sex of her child, something that does not correspond to the contemporary knowledge and when she fails to make a boy, she is usually considered as cursed or worthless and she is driven away from her husband. This is obvious in the Singing Tree and the Talking Bird, when the king chooses his future wife only after she promises him to make three children, two males and one female. No other traits are more decisive than this, like the worth of a woman is considered first of all, with her ability of reproduction (Afanasev, 1973). It seems that even nowadays fairytales attribute to women the stereotyping traits of their gender, like passivity and silence, and to men those of power and courage, as it was shown through the fairytales of Snow White, The Little Mermaid, Ariel and The Footless Champion and the Handless Champion. Although there are traditional fairytales like Constantino Fortunato, that shows the woman in a position of power, this one of the head of the family and modern, that describe their heroine with some male characteristics, like Ariel of the Little Mermaid, who is independed and curious, before falls in love with a man, it seems that social sciences have to make a lot of efforts to modify the gender stereotypes in children literature (Zipes, 2000, Afanas ev, 1973).

Business environment of indian entertainment industry

Business environment of indian entertainment industry The liberalization efforts by the Indian government have resulted in the emergence of numerous sectors, which offer great possibilities for Indias development. One such recent sector was interactive media and entertainment, along with information and communication technologies (ICTs). The entertainment and interactive media industry in India has been making headlines of late, not so much for its impact on the domestic market, but as a premier outsourcing destination for western entertainment companies. This was paper examines the growth and development of the interactive media and entertainment industry in India. It discusses Indias position and Indias advantages in the global entertainment industry, the challenges that India faces in this was industry, the path ahead, and opportunities for international collaboration in this was sector. The global film and entertainment industry was expanding fast. The Entertainment Council of Philippines estimates that the revenues from entertainment industry worldwide have been growing annually at 20% to 30% over the past few years. According to Indias National Association of Software and Services Companies (NASSCM), revenues from the global entertainment industry will amount to US$50-US$70 billion by end-2005. Today, entertainment products are increasingly used in films, TV programmes, commercials, games and online education. Following Walt DISNEY 1988 production Who Framed Roger Rabbit, worldwide interest in entertainment feature films has been raising. Four major entertainment movies released in 2004 collected record revenues. Childrens channels across the world have seen their numbers rising ever so rapidly in the last few years. Entertainment products also have applications in the medical, architecture, and legal fields.1 the global non-entertainment entertainment industry, i ncluding work in scientific and medical entertainment, now accounts for revenues worth $15 billion. ENTERTAINMENT INDUSTRY The Entertainment Industry in India though a late starter, was considered as one of the fastest growing segments of the entertainment and media industry. The Entertainment Industry in India gained significance as an outsourced destination for entertainment work due to low cost, skilled labour as its many advantages. In the recent past Indian entertainment companies and entertainment studios have been moving up the value chain to create their own intellectual property rights with Hanuman, Roadside Romeo, etc. and partnering with international studios to produce animated properties for the global audience. Though a majority of the work done by the entertainment industry in India was outsourced work, this was was expected to change in the future with increased demand from the domestic entertainment industry. This was industry can be categorized into four different components: Entertainment, education, content development and multimedia/web design. The entertainment market in India was r elatively new compared to some other Asian countries. But it was among the fastest-growing in the Indian entertainment sector. With approximately 200 entertainment studios, India has emerged as a global outsourcing hub for entertainment technology services. The key drivers for the entertainment industry are the increasing domestic demand for entertainment movies and the increase in entertainment studios and training centers across the country. MEANING OF PESTLE ANALYSIS P-Political E-Economical S-Social T-Technological L-Legal E-Environmental Political factors are how and to what degree a government intervenes in the economy. Specifically, political factors include areas such as tax policy, labour law, environmental law, trade restrictions, tariffs, and political stability. Political factors may also include goods and services which the government wants to provide or be provided (merit goods) and those that the government does not want to be provided (demerit goods or merit bads). Furthermore, governments have great influence on the health, education, and infrastructure of a nation. Economical factors include economic growth, interest rates, exchange rates and the inflation rate. These factors have major impacts on how businesses operate and make decisions. For example, interest rates affect a firms cost of capital and therefore to what extent a business grows and expands. Exchange rates affect the costs of exporting goods and the supply and price of imported goods in an economy Social factors include the cultural aspects and include health consciousness, population growth rate, age distribution, career attitudes and emphasis on safety. Trends in social factors affect the demand for a companys products and how that company operates. For example, an ageing population may imply a smaller and less-willing workforce (thus increasing the cost of labour). Furthermore, companies may change various management strategies to adapt to these social trends (such as recruiting older workers). Technological factors include ecological and environmental aspects, such as RD activity, automation, technology incentives and the rate of technological change. They can determine barriers to entry, minimum efficient production level and influence outsourcing decisions. Furthermore, technological shifts can affect costs, quality, and lead to innovation. Legal factors include discrimination law, consumer law, antitrust law, employment law, and health and safety law. These factors can affect how a company operates, its costs, and the demand for its products. Consumer protection laws are designed to ensure fair competition and the free flow of truthful information in the marketplace. These factors can affect how a company operates, its costs, and the demand for its products. Environmental factors include weather, climate, and climate change, which may especially affect industries such as tourism, farming, and insurance. Furthermore, growing awareness to climate change was affecting how companies operate and the products they offerit was both creating new markets and diminishing or destroying existing ones. POLITICAL ANALYSIS OF ENTERTAINMENT INDUSTRY Government Support Mr. Kapil Sibal, Minister of State for Science and Technology, identified entertainment industry as one of the important sector for Indias export oriented growth.10 However, compared to governments in other countries; efforts by the Indian government to encourage the sector have been very minimal. The government of South Korea funds entertainment ventures on a partnership baswas.11 Bangladesh has a World Bank-funded support programme for the entertainment industry. In contrast, there have not been many initiatives from the Indian government to promote the entertainment industry, at least till the past one year. The Indian government signed co-production treaty with France about 20 years ago and efforts are on to reactivate it. A treaty was signed with the Italian government, which in turn sent a delegation to Goa. Efforts are also on to sign similar agreements with Britain, Japan, Brazil, Canada, Netherlands and China. These treaties will lead to sharing of costs by partner nations and also the dispersion of technical know-how amongst the partner nations. New Government Initiatives A 25-acre Special Export Zone (SEZ) was going to be constructed in the outskirts of Thiruvananthapuram exclusively for the entertainment industry. The commerce ministry was said to have approved the creation of the SEZ within the Film and Video Park (FV Park) set up by the Kerala Industrial Infrastructure Development Corporation near Thiruvananthapuram. The state government was said to have created a 15,000 sq meters entertainment facility to welcome entertainment houses to create their bases. The FV Park made a good start when the Chennai-based Prasad Labs has made it its base to process all Malayalam films for the next two years. Kerala has been making efforts at convergence in the areas of information technology and cinema. The Entertainment Production Association of India recently suggested to the Information and Broadcasting Ministry of India that all TV channels must ensure 10% reservation for local animated content. The government can further encourage investments and particip ation in this sector by providing tax benefits. It can provide grants to Indian animators for participation in international conference and for taking up training programs abroad 2. ECONOMICAL ANALYSIS OF ENTERTAINMENT INDUSTRY Indias attractiveness as an entertainment hub lies in the presence of an English-speaking workforce, high-quality software engineers, a large pool of creative talent, good studios and low costs. The cost of producing a 30-minute 3D entertainment programme in India was US$60,000 compared to US$250,000-400,000 in the United States and Canada. India has a cost advantage compared to the Philippines, which was another low cost producer of entertainments. The average monthly salary of an entertainment professional in India was US$600 compared to US$1,000-US$1,200 in the Philippines. The cost of outsourcing one hour of entertainment work to India was estimated to be 30% to 40% of the corresponding costs in leading entertainment centres in Korea, Taiwan and the Philippines. Indias advantages in low costs have been exploited by many multinational firms and production studios. The advent of digital entertainment coincided with the liberalization of the Indian economy and India offered the benefits of lower production costs, strong creative and technical skills and a large English speaking population. This has led to the development of state of the art entertainment studios in several Indian cities, and these studios are collaborating with global entertainment companies. FACTOR THAT AFFECTING THE ECONOMIC GROWTH OF ENTERTAINMENT INDUSTRY Lack of Finance Indian entertainment firms cannot match their western counterparts in financial strength. It was pointed out that state support in the form of tax holidays was crucial for success in the entertainment business. Canada, for example, offers major incentives to its studios for developing entertainment products. However, financial institutions in India have not been much forthcoming in funding projects in entertainment and interactive media. The long gestation period before fruition of projects discourages potential investors. This can be a major hurdle, and it has, in fact, led to the stoppage of a few production ventures. For example, Jadooworks had to stop production of animated epic of Krishna due to technical problems and lack of funding. The firm was supposedly on the verge of bankruptcy and this has led to the retrenchment of about 250 workers.7 Interestingly, Jadooworks was the same firm which drew appreciation from Thomas Friedman in an article in February 2004 for employing tra ditional artistes and transforming their skills to computerised digital painting he was arguing that globalisation can have beneficial impact on traditional artwasts.8 The experience of Jadoo works underlines the fact that it was still too ambitious for Indian companies to single-handedly enter into entertainment projects. Even a small project in the entertainment industry entails a budget of US$30 million, which was not affordable for Indian firms. 3. SOCIAL ANALYSIS OF ENTERTAINMENT INDUSTRY Entertainment Products for Illiterates The interactive media and entertainment industry in India has a large domestic market too to tap on. A field-study based research conducted by one of the authors in July-August 2004 on the diffusion of ICTs in Indias rural areas offers some interesting results in this regard.6 The study showed that televsion was a highly popular medium as a source of information in the Indian countryside, as it combines visual and audio effects and was less demanding of the cognitive skills of the user. Almost 35 per cent of Indias over 1 billion population was illiterate. There was great demand from this segment of Indian population for an innovative medium that facilitate communication and information sharing, while at the same time, being easily accessible to the masses via the television. Products of interactive media and entertainment can fill this demand gap to a large extent; they can be great tools for education, entertainment and awareness among illiterates in Indias rural and urban areas. SOCIAL FACTORS AFFECTING FILM AND ENTERTAINMENT INDUSTRY The Indian Entertainment industry: Facing the manpower challenge Despite the impressive growth forecasts, the Indian Entertainment and Gaming industry will account for less than two percent of the worldwide market in 2010. Obviously a much larger opportunity exists beyond what was currently being envisaged and the potential remains high. India can participate in a more significant way in the global Entertainment market, provided the country has built up requisite manpower, with the relevant expertise, to fuel its growth. According to analysts, India has the potential to grow its Entertainment industry to around US$ 1 billion by 2010, but will remain restricted to US$ 869 million on account of a looming demand-supply gap in the area of employable human resources.   A similar situation exists in the gaming segment as well, which has the potential to achieve revenues of US$ 732 million by 2010, but was expected to touch only around US$ 424 million by that period, owing to the paucity of skilled manpower.   The employment statistics for the Indian  entertainment  and gaming industry during 2006 were as follows: Around 16,500 professionals were employed by the Indian Entertainment industry during 2006. This figure was forecast to increase at a CAGR of 14-15 percent and exceed 26,000 by 2010. There were nearly 150 gaming companies in India, employing about 2,500 people. This number was forecast to increase at a CAGR of over 50 percent to exceed 13,000 by 2010, with the industry revenue forecast to grow nearly ten-fold and reach US$ 424 million. 4. TECHNOLOGICAL ANALYSIS OF ENTERTAINMENT INDUSTRY While it was true that Indias entertainment industry was growing at a remarkable pace, the fact remains that this growth was largely a result of the mushrooming of studios-for-hire. In entertainment feature films, for example, while Indian companies carry out the technological entertainment work, character design, and storyboarding are done abroad. India was yet to become a successful player in concept creation, the high value-adding segment of the industry which remains a preserve of western firms. Indias advantages of low costs in this industry will be too short-lived, and sooner rather than later, the country will have to start developing new technologies. Skills The entertainment industry was still young. Indian cinema was yet to make its mark on the global stage. The booming entertainment outsourcing industry was constantly demanding new skills and fresh infusion of new talent into the industry. As such, it was imperative that we have a healthy pipeline to supply talent to the industry. Skills required in the entertainment field can be clubbed under two broad categories, mainly technical skills and soft skills. Programming expertise, analytical ability, and proficiency on the software are basic requirements for technical skills. The number of professionals joining the entertainment industry has been growing at a compound annual growth rate (CAGR) of 18.2 percent and was expected to grow at the same rate. Though India possesses the manpower with the requisite skill set, what remains an area of concern was the education imparted to this manpower from the quality perspective. This has resulted in mushrooming of multimedia institutes. What was interesting was that quite a few reputed organizations have come forward and started a chain of multimedia institutions for two reasons. One, they can use the trained professionals for in-house entertainment development and secondly, use this education channel for market diversification and penetration. However, companies need to invest considerable time and money in bringing these students up to the levels where they start earning revenue for the organization. Need For technological training to employees There are no academic institutes like Indian Institutes of Technology, Regional Engineering Colleges, Polytechnics, etc., churning out animators by the thousands. What we have are only fine arts schools which teach the fundamentals but not the technical skills required for production, points out K. Chandrasekhar, General Manager, Media Works, and Tata Elxsi. According to him, this was a major drawback for the industry in India. Education in new media has to be embedded into the mainstream curriculum. Students have to realize that they can have a lucrative career as animators, and the governments as well as educational institutions have to start programmes for their career development. The entertainment sector will benefit greatly by giving encouragement to the community of traditional artists as much as to technically trained professionals. In other words, integration of the rural and urban talent will prove highly beneficial. Also, NASSCOMs President Kiran Karnik believes that there was a need for an entertainment academy to build a steady inflow of entertainment professionals in the industry. NASSCOM extended its help to the government for framing the curriculum and also work with the industry players to enhance the academic-industry interface. 5. LEGAL ANALYSIS OF ENTERTAINMENT INDUSTRY Intellectual property Outsourcers have always been concerned with the protection of their intellectual property in India. India was one of the few countries which have failed to take stern action against its infringement. India needs to strengthen its IP policy and ensure that companies operating in the outsourcing sphere take stringent steps to take care of clients IP rights. International Cooperation in the Entertainment industry The Indian government was signing co-production treaties with other countries. Professional organisations too are trying to promote the Indian entertainment sector abroad. ASIFA, India, organises film festivals, conducts workshops and entertainment film competitions at the international level. Kahani and Entertainment Bridge have showcased their entertainment shows at Cannes Mipcom (a summit where mobile, broadband and interactive professionals from 95 countries interact with broadcasters, producers and distributors) in October 2005. X-media Lab has been floated to help local, independent digital media producers reach their ideas successfully to the market with assistance from outstanding international new media professionals, who act as mentors to the companies and project teams. The second lab held in Singapore from 17 19 November 2005, Creating Successful Computer Games, attracted worldwide response. Indian developers have also been invited to interact with eight of the best games people in the world. There was also a plan to do a lab in India next year.14 According to Mohit Anand, Country Manager, Microsoft Entertainment and Devices Division, Microsoft India, Gaming in the last 7-8 years has really come a long way but it still has a long way to go. Critical factors like PC penetration, organised retail, broadband, and gaming hardware need to be addressed to help the industry. Those factors are gradually changing and the future definitely looks bright. India was the youngest country in the world, and the new generation was completely tech savvy. We believe that gaming was definitely here to stay and evolve.15 What are the opportunities for engagement between India, Singapore and other Southeast Asian countries in the field of interactive media and entertainment industry? To begin with, Singapore and Southeast Asia will be an important market for products from Indias entertainment industry. Singapore has significant expertise in telecommunication and media industry. Harnessing the favourable trade and investment climate offered by the Comprehensive Economic Cooperation Agreement between the two countries, firms in Singapore should consider investing in Indias entertainment and media business. Maya Academy of Advanced Cinematic, a leading player in the Indian entertainment industry, was planning to extend its operations to Singapore. It was currently working on a project for BBC and has also been involved in the video games division. Entertainment was one of the fastest growing sectors in India-ASEAN relations. The entertainment industry was expected to grow at a compound annual growth rate of 20 percent from 2002 to 2007. The entertainment industry, with total revenues of US$3.6 billion in 2002, was projected to grow up to US$8.7 billion by 2007. ASEAN was a big market for Indian films. There are tremendous collaboration opportunities between India and ASEAN in the area of 3D entertainment, graphics, etc. The Philippines was, until recently, a fast growing entertainment industry, rich in creative talent, and it was a major destination for outsourcing by entertainment firms in the United States. However, with rise in costs, the entertainment industry in the Philippines has begun to decline, and Filipino workers in the industry have been migrating to India and Singapore in search of jobs. India, the Philippines, Singapore and even China must realize that there was little to be gained in the entertainment industry in the long run by competing with each other on costs. Rather, they should seek avenues for cooperation, and direct their efforts at acquiring intellectual property rights in this creative industry. 6. ENVIRONMENTAL ANALYSIS OF ENTERTAINMENT INDUSTRY Ability to scale operations. Indian firms are facing a talent shortage which affects their ability to scale up their operations based on client demands. This also affects the clients confidence in off shoring large chunks of work. Though Indian companies have put in place huge expansion plans, these are often marred by various reasons. Tie-ups with educational institutes are helping overcome thwas difficulty. Opportunities in Collaborations Indian companies are trying to improve quality and making attempts to compete globally with the market leaders in the industry. It was said that the year 2004 was a watershed for the Indian entertainment and gaming industry (according to the Federation of Indian Chambers of Commerce and Industry [FICCI] report on the Entertainment Industry). The year was marked by increased use of entertainment in the Bollywood segment. According to the FICCI report, the increasing demand for downloads of games on mobile phones will enhance the opportunities for gaming companies and bring in new entrants. Several Indian companies are entering into collaborations with foreign new media companies, which outsource their work to the Indian companies. Recently, Toonz Entertainment floated a joint venture with First Serve International LLC, a global media company which aims to produce and distribute top-notch entertainment programming for the world market. The new venture will be headed by former Walt Disney executive Ed Bordering. In 2004, a Chinese company also invested in India Games Ltd. Toronto-based entertainment Products Company Kahani was collaborating with Mumbai based Entertainment Bridge. In this venture, Kahani was expected to invest US$30-US$40 million over the next three years to engage in film production. The storylines and scripts will be completed in Canada whilst product development and promotion are expected to be done in India. The company was also planning to tie up with Bangalore and Hyderabad-based studios. Zees entertainment arm, Padmalaya Telefilms, has signed a US$14 million contract with Italian producer-distributor, Mondo TV, to co-produce four new animated series. Padmalaya also has collaborations with British entertainment companies Mallard Media and Ealing Entertainment. CONCLUSION The Indian interactive media and entertainment industry has seen tremendous growth in the last year or so. It was fast emerging from being an outsourcing destination for western entertainment companies to develop and showcase its own capabilities and potentials. The emergence of various industry-related organizations and companies, and the availability of affordable and talented expertise, point to tremendous potential this sector has to offer. Whilst there are internal challenges to the Indian interactive media and entertainment industry, given the efforts being undertaken by the government and like-minded organizations, it will be sooner rather than later, that India lays a strong claim as a major international player in this industry. It was thus opportune for Singapore and countries in the region to identify potential opportunities for collaboration so that we are able to ride on the waves of the Indian interactive media and entertainment industry.

Analysis of JNY and LIZ Financial Data Essay -- GCSE Business Marketin

Analysis of JNY and LIZ Financial Data The following paper will compare the five-year performance of two apparel manufacturers utilizing the DuPont Framework and Return on Equity. Then a three- year analysis of common-size income statements will be undertaken to explain changes in income and expenses within each company. Jones Apparel Group (JNY) and Liz Claiborne (LIZ) are the industry leaders in the manufacturing of better clothing, footwear, fragrances, and costume jewelry, and the subject of this analysis. Jones Apparel Group’s recognized brands include: Jones New York, Polo Jeans Company, Nine West, Napier, and costume jewelry licensed under the Tommy Hilfiger brand. Jones aims to gain stability in the apparel industry as well as retail markets through building â€Å"complete lifestyle brands serving a wide breadth of consumers in a wide range of income levels and shopping destination preferences.† (PR Newswire, 2/7/01). Liz Claiborne’s brands include: Claiborne, Curve, Lucky Brand, Monet, and licenses to produce DKNY Jeans and DKNY Active. The company’s success can be attributed to its â€Å"multi-brand, multi-channel strategy† of diversification in the apparel marketplace. (PR Newswire, 2/23/01). The apparel industry is among the most volatile sectors in the market today. Subject to overnight changes in trends and fashion, the industry leaders must be accurate with their predictions and quick to accommodate changes. Because of these fluctuations, it is very hard to assign a competitive advantage to one company over another. While Jones Apparel Group seems to have a comparative advantage in profitability and leverage, Liz Claiborne has been historically more effective at generating revenue from its assets. While Liz is surging to eclipse Jones’ ROE numbers as of late, Jones Apparel Group holds a historical comparative advantage in return on equity and overall financial health. One look at the common-size income statements for these companies can tell a story. While Jones Apparel Group was lagging at year ended 1998, even with a restructuring charge on Liz Claiborne’s income statement, 1999 was a different story. Huge growth at Jones lead to revenues double of that one year ago while Liz, while increasing, was quickly falling behind. The growth for both of these companies continued into the year ended 2000, but Jones Apparel Grou... ...eaders must be accurate with their predictions and quick to accommodate changes. Because of these fluctuations, it is very hard to assign a competitive advantage to one company over another. While Jones Apparel Group seems to have a comparative advantage in profitability and leverage, Liz Claiborne has been historically more effective at generating revenue from its assets. While Liz is surging to eclipse Jones’ ROE numbers as of late, Jones Apparel Group holds a historical comparative advantage in return on equity and overall financial health. One look at the common-size income statements for these companies can tell a story. While Jones Apparel Group was lagging at year ended 1998, even with a restructuring charge on Liz Claiborne’s income statement, 1999 was a different story. Huge growth at Jones lead to revenues double of that one year ago while Liz, while increasing, was quickly falling behind. The growth for both of these companies continued into the year ended 2000, but Jones Apparel Group’s results were brilliant compared to Liz Claiborne’s. One billion dollar growth in revenues as well as higher net income is making Jones Apparel Group the company of the future.

Character Identification: Hiding from a poisoned memory (Circle) :: miscellaneous

Character Identification: â€Å"Hiding from a poisoned memory† (Circle) Characters from different sources of literature can often be linked together and seem to have the same feelings, background, moral standing, or struggles. They may experience the same hardships, driving them to suffering, which other characters in literature encounter. In the book Jasmine by Bharati Mukherjee, the main character was told from the age of seven the hardships she would encounter in her lifetime (Mukherjee 3). Pecola, from The Bluest Eye by Toni Morrison, experiences rape by her father and the miscarriage of their child. The main character in â€Å"Barn Burning,† by William Faulkner, deals with a father that ruins his life and the struggle to stop his father from burning buildings. These character experience hardships throughout their lives. They live with the rejection their lives have given them and try to survive in the world of injustice by themselves. Each story starts with the character’s family and group identity. Jasmine lives in India with her parents at the beginning of her life. She later moves to the United States to escape hardships. Sarty from â€Å"Barn Burning† lives with his poor and rejected family moving from place to place. His family has been rejected by society because his father would not stop burning buildings when he got mad at the people he worked for. Pecola lived with her poor family as well. Her mother was gone most of the time and her father would get drunk almost every night before coming home. She was moved out of her house for a little while until her family could pull themselves together and provide a suitable place from her to live in. In each piece of literature, the character starts with family, a place to call home, people who accept them, and a place of the same race and nationality. As the stories progress, each character experiences their own desire for better; they have found something that will better their lives. As they struggle to gain their prize, hardships string into place to hinder their path. Jasmine must overcome the death of her husband to get to America. She must also find her way illegally into the country and settle somewhere suitable. When a man helps her into the country, she is very grateful, but the man rapes her. She kills the man, â€Å"the human form beneath it grew smaller and smaller† (Mukherjee 119), and escapes to finish the job she had set out for. Character Identification: Hiding from a poisoned memory (Circle) :: miscellaneous Character Identification: â€Å"Hiding from a poisoned memory† (Circle) Characters from different sources of literature can often be linked together and seem to have the same feelings, background, moral standing, or struggles. They may experience the same hardships, driving them to suffering, which other characters in literature encounter. In the book Jasmine by Bharati Mukherjee, the main character was told from the age of seven the hardships she would encounter in her lifetime (Mukherjee 3). Pecola, from The Bluest Eye by Toni Morrison, experiences rape by her father and the miscarriage of their child. The main character in â€Å"Barn Burning,† by William Faulkner, deals with a father that ruins his life and the struggle to stop his father from burning buildings. These character experience hardships throughout their lives. They live with the rejection their lives have given them and try to survive in the world of injustice by themselves. Each story starts with the character’s family and group identity. Jasmine lives in India with her parents at the beginning of her life. She later moves to the United States to escape hardships. Sarty from â€Å"Barn Burning† lives with his poor and rejected family moving from place to place. His family has been rejected by society because his father would not stop burning buildings when he got mad at the people he worked for. Pecola lived with her poor family as well. Her mother was gone most of the time and her father would get drunk almost every night before coming home. She was moved out of her house for a little while until her family could pull themselves together and provide a suitable place from her to live in. In each piece of literature, the character starts with family, a place to call home, people who accept them, and a place of the same race and nationality. As the stories progress, each character experiences their own desire for better; they have found something that will better their lives. As they struggle to gain their prize, hardships string into place to hinder their path. Jasmine must overcome the death of her husband to get to America. She must also find her way illegally into the country and settle somewhere suitable. When a man helps her into the country, she is very grateful, but the man rapes her. She kills the man, â€Å"the human form beneath it grew smaller and smaller† (Mukherjee 119), and escapes to finish the job she had set out for.

Delivering Lifelong Learning

Delivering Lifelong Learning Enhancing learning through using technology Thinking back to when I delivered in work focused training sessions I found that technology was a huge aid to the learning for the students. I would set them web quests and get them research topics around the subject of day, One in particular that I remember was asking them to look at the human right act I asked them to work in pairs and put together some information about what the act was and why it was so important and how it linked into working in Health and social care.I gave them a set amount of time to do this then asked that they nominated a person to feedback to the group about what they had learnt. Looking back now I see that by encouraging learners to use this technology this was supporting the differentiation off the group it supported all the learners to gain knowledge and understanding even the ones who were not as confident in speaking up as others.I guess the other main way I support learners to u se technology is to encourage them to use the online etrack site to check there progress once I get a learner engaged with this I find that they look forward to checking their progress after each visit it’s a good tool for motivation. And another way would be by getting the learners to access and use the BKSB to support there learning with the maths and English it’s an excellent online tool that will guide them to up skill in the specific areas needed.It can however, as mentioned before highlight too many areas for development and perhaps scare the learner completely so this aid has negatives and positives. Technology can also support learners when writing written assignments they can use Microsoft word and send work over on email for electronic submission or send it to etrack a secure site to make additional progress in between assessments with their assessor. Learners can also use internet for research to support their learning. I also use offline exams that once upl oaded can give instant results, this is good as the learner knows.I have put together a case study of some of the various technology that can be used to support learners and have looked at what the positives and negatives of them are. |Technology available |Positives |Negatives | |Blogs, chat rooms and online discussion |Will help learners to communicate with each other. |Not all learners have | |forums |Accessible and inclusive. Can aid learning from peers. |internet. Connection | | |Is flexible the learner can log on in there own time. problems IT issues, would | | | |not support learners with | | | |low literacy levels. | |Cameras and mobile phones. |Aids communication. Often an instant response. Take |Not always cost effective | | |pictures of evidence |to all learners may create | | | |barriers for some.Bad | | | |signals. Unable to read a | | | |learners body language and | | | |vice versa | |Computer facilities to enable word |Can save work /use spell checker/ word coun t can go back|Not all learners have | |processing assignments and saving |and amend if needed. access to a home | |documents. | |computer/Can not be used | | | |during power cuts? Viruses | | | |could cause work to be | | | |lost. |Digital media for visual/audio recording|Good to play back work/ film to aid recall |Again learners may not have| |and playback | |access to this equipment. | |Electronic portfolios/etrack |Accessible/ sustainable i. e. no need for paper. |Again can create barriers | | |Can access supporting materials. |as not all will have access| | | |at home.Internet | | | |connection problems. | |Email |Electronic submission of work/communication/feedback |See above and also not | | |Can help evidence work set and completed |always an immediate | | | |response.IT issues may | | | |prevent you from receiving. | |Internet access |Accessible and inclusive/ Can access resources |Can lead to plagiarism | |Mobile phones |Aids communication/ Take pictures of evidenc e/ Internet |Not cost effective to all | | |access/Apps |learners/ may create | | | |barriers for some.Poor | | | |signal. Not always an | | | |immediate response. | |Online/offline and on demand tests |sustainable i. e. no need for paper instant results e. g. May highlight lots of work | | |diagnostics exams |required/ may not be a pass| | | |could de motivate | |Online discussion forums |Can be flexible to the learner/ can aid learning from |Again learners may not have| | |peers |access to this equipment. | | |Poor internet connection. | |Presentation software |Visual aid for learners/ can be emailed and used as a |Does not support all | | |reference |learning styles | |Scanners |Can upload documents evidence immediately |Again learners may not have| | | |access to this equipment. |Web cameras and video conferencing |If you cannot be in the same place as your learner and |See above | | |need to observe them | | |VLE |Can access supporting materials |See above | |Specialist equipment such as readers |Can aid learners with visual impairment or limited |See above | |tape recorders, Talking |verbal communication | | |calculators/Computer terminals with | | | |speech output | | | |DVR |Can be played back uploaded for evidence |Some people don’t feel | | | |comfortable being recorded. |Expectations of the minimum core in relation to delivering lifelong learning Firstly I would like to explain the importance of good communication it is imperative to ensure that information is given and received. It is the key to motivation, managing behaviour and promoting good working relationships. It includes verbal non verbal and written and can include various technology email/webinar and forums. I must ensure that I have excellent communication techniques to be able to maintain learner’s attention and to show professionalism when giving feedback. I need to be aware of my tone and facial expressions knowing when to change my tone to say show sympathy an d understanding r to take control of a disruptive group.I need to ensure that if I use jargon that the learner is supported in understanding what that is? ETRACK what is etrack a demonstration needs to be given so that the learner understands. Speaking/ Listening/Reading/Writing are the four skills I must demonstrate when supporting learners in Literacy, language and ICT I have looked at Tuckman’s theory of group work in relation to how people in groups communicate. He came up with a development model that shows the stages of development of how groups will communicate. Forming In the first stages of team building, the forming of the team takes place. The individual's behavior is driven by a desire to be accepted by the others, and avoid controversy or conflict.Serious issues and feelings are avoided, and people focus on being busy with routines, such as team organization, who does what, when to meet, etc. individuals are also gathering information and impressions – abo ut each other, and about the scope of the task and how to approach it. This is a comfortable stage to be in, but the avoidance of conflict and threat means that not much actually gets done. Storming Every group will next enter the storming stage in which different ideas compete for consideration. The team addresses issues such as what problems they are really supposed to solve, how they will function independently and together and what leadership model they will accept.Team members open up to each other and confront each other's ideas and perspectives. In some cases storming can be resolved quickly. In others, the team never leaves this stage. The maturity of some team members usually determines whether the team will ever move out of this stage. Some team members will focus on minutiae to evade real issues. Norming The team manages to have one goal and come to a mutual plan for the team at this stage. Some may have to give up their own ideas and agree with others in order to make th e team function. In this stage, all team members take the responsibility and have the ambition to work for the success of the team's goals. Performing It is possible for some teams to reach the performing stage.These high-performing teams are able to function as a unit as they find ways to get the job done smoothly and effectively without inappropriate conflict or the need for external supervision. By this time, they are motivated and knowledgeable. The team members are now competent, autonomous and able to handle the decision-making process without supervision. Dissent is expected and allowed as long as it is channeled through means acceptable to the team. 1. ^ The Five Stages of Project Team Development, Gina Abudi – Retrieved May 18th 2010 Its not very often I deliver to groups but this research has helped me to look at the importance of it and also the importance of communication not only from myself but between learners.I often teach learners individually however they te nds to be a group within one setting and they will often work together to learn and gain knowledge for the award. So it’s important that I have an understanding the theory and psychological dynamics of group work. Evaluation of own practice in delivering inclusive learning and teaching I feel that I do adapt my teaching to try to suit each individual need. I have some learners for example who need much more support with their functional skills than others and in these cases I have arranged extra visits with and given one to one support. I do feel that since delivering Functional skills my practice has improved.At the start I found it difficult to know where to start with supporting learners and with experience I have gained confidence and knowledge of the support materials available. I have also recently obtained some really helpful handouts to support learners with understanding the requirements of literacy. They are like flash cards and are very easy to understand. Looking back I can think of learners that this resource will have been very helpful. And I wish now that I had sourced them sooner. I am also not entirely confident in speaking in group situations and I know that the only way to prepare for this is to be fully prepared and to ensure that I have researched a subject fully.I have passed my functional skill level 2 in literacy and Math but would like to go on to complete the level 3 as I feel this will enhance my knowledge and confidence and thus can only benefit my learners. I intend to complete a diagnostic on the BKSB to identify what areas I need to improve on. I also need to work on some of my ICT skills in particular spreadsheets as I work in health and social care its not to often I have deliver ICT so I feel I have not focused on this area as much as I should have. I In particular I know I need to work on spreadsheets and I have been working through some workbooks on the BKSB to help with this. I would hate to ever be in a situation wh ere a learner wanted support in this area and I was unable to give it.

Explain why Roosevelt introduced the New Deal in America

America was in a severe economic Depression when Franklin D. Roosevelt made his New Deal speech in June 1932. The Wall Street Crash of 1929 made the Depression in America much worse. Roosevelt had to do something to bring confidence back to the country. There was despair all around the country, 23,000 people committed suicide, the largest yearly figure of American history. Employment was a very big problem during the Depression. Over twelve million Americans were unemployed this was a quarter of the countries workforce and the number of people out of work was going up by 12,000 every day. 0,000 companies whose shares were now worthless went out of business, putting even more people out of work. There was no government system of unemployment pay in America, so most people had to rely on charity to stay alive. The unemployed lined up in queues that could be seen in every city, these queues were called ‘Breadlines' and the people were waiting for free bread and soup just to say alive. This was very humiliating for men because they were used to providing for their family. Because people didn't have jobs, esteem was low and this is one of the reasons why Roosevelt introduced the New Deal. Another reason why Roosevelt introduced the New Deal was for the people in agriculture. People in agricultural areas were hardest hit by the Depression, because the 1920's had not been kind to them in any way. Huge numbers of farmers were unable to pay their mortgages. By 1932, one in twenty of all farm-owners had been evicted because they were unable to pay their mortgage. Because people were out of work the people in the cities could not all the food the farmers produced therefore their incomes dropped. Most farmers however had no choice but to pack their belongings into their trucks and live on the road. They picked up work where they could. Things couldn't get have got any worse for farmers, over farming and drought in the central southern states turned millions of acres into a dust bowl, this badly ruined farmers and drove them off their land. Homelessness was very high during the Depression and something had to be done. Over a million of the unemployed were homeless. Without wages many people could not afford to pay rent or mortgages. 250,000 Americans stopped paying their mortgages in 1932 alone. When this happened they were evicted from their homes. This meant many had to take to the roads and they often became ‘hobos' or tramps. The others moved onto the waste ground in the cities where they built huts with old wood, scrap metal and sacking, which they found in rubbish dumps, they often called these places ‘Hoovervilles' after Herbert Hoover, the President of that time in the Depression. People were living horribly and there was no hope left, Roosevelt wanted to sort this problem out through the New Deal. In the Depression, many people with savings in the bank stayed alive by taking out their savings. This led to a new problem because some small banks did not have enough ready cash to pay savers their money, so the banks went bankrupt. When a bank failed this scared people so they rushed to their banks taking money out, thinking it was safer to keep it all at home. This sent people panic-stricken and savers demanded their money at once, but the banks too found they didn't have enough ready cash, so they also had to close down. In 1932, 1616 banks had closed down for this reason, and the number of bank failure was increasing every month. Economic and social problems affected the whole country during the Depression as seen from the historical evidence. Prosperity would not return by it self and when the presidential election of 1932 the Americans were looking for hope and they hope to find this in Roosevelt's New Deal. He believed that â€Å"the only thing we have to fear is fear itself. † This put hope into people's hearts. Roosevelt's over riding aim was to create confidence and help the forgotten man, this is why he introduced the New Deal.