Criminal Profiling A Psychological And Behavioral...

Hannah Nguyen Mrs. Fischer Psychology 19 October 2017 Criminal Profiling What is criminal profiling? Criminal profiling is the analysis of a person’s psychological and behavioral characteristics, so as to assess whether they are likely to have committed a crime under investigation. The job of a criminal profiler is to create depiction of the perpetrators. This job relies heavily on criminal psychology because psychologists must identify the thought process and/or patterns in reoccurring crimes. One of the most famous criminal profiling studies was the study of the Suffolk Sniper. In this case, a man killed one person, attempted to murder another two, and later confessed to burglary and rape of a fifteen year old girl. The first†¦show more content†¦Other times, it is people s brain chemistry or genetic makeup that cause them to commit crimes. All these theories and studies are answers to the question of what causes people to become criminals, but criminal profilers help identify which specific answer fits the criminal’s crime according to their past history and psychological state of mind. When talking about symptoms of this â€Å"disorder†, the crimes committed are what we look at. The most committed crimes are larceny, burglary, motor vehicle theft, aggravate assault, and robbery. People around the ages of fifteen to twenty-four make up forty percent of criminals. With the age growing so young, the more aware and negligent we must be. White males are the ones to most likely commit crimes. As of September 11, 2017 St. Louis, Missouri is the city with the highest crime rate followed by Baltimore, Maryland and Detroit, Michigan. With such catastrophic and horrific events happening in our world lately, it is important to know the physical and emotional ways to spot a criminal. Criminals usually have the glibness trait meaning they are smooth talkers. They talk very smoothly, quickly, and easily. They also have superficial charm which means they seem charming and slick. C riminals also usually look at things with grandiosity, or an unrealistic sense of superiority. Pathological lying is also a trait ofShow MoreRelatedThe Importance of Criminal Justice1617 Words   |  7 PagesThe Use of Criminal Profiling Criminal Profiling is a method of identifying the perpetrator of a crime based on an analysis of the nature of the offense and the manner in which it was committed. It most notably can be traced back to work done in the later part of the last century, and possibly even earlier in a variety of forms. There has been a definite growth since this early work, with many individuals doing a great deal of both research and practical work in criminal profiling. The investigativeRead MoreCriminal Profiling : An Investigative Tool1359 Words   |  6 Pagesforces such as the FBI and the police use criminal profiling as an investigative tool aimed at helping them identify or predict characteristics of criminals who are not yet identified. Criminal profiling as an investigation tool allows investigators to compile and establish the right description of the criminal implicated. Investigators can also use geographical profiling to establish the location of the criminal. The criminal profiling pro cedure is used by detectives to satisfy certain needs inRead MoreEssay about Issues In Psychological Profiling1329 Words   |  6 PagesIssues In Psychological Profiling Historically, crime and criminals have always caught the attention of law-abiding citizens. Whenever there is mention of serial killers or unsolved murders or abductions, psychological profiling, floats to the top of the list of concerns (Egger, 1999). Psychological profiling is an attempt to provide investigators with more information about an offender who has not yet been identified (Egger, 1999). Its purpose is to develop a behavioral composite that combinesRead MoreCriminal Profiling: Does it Really Work? Essay1468 Words   |  6 PagesCriminal profiling has become a very popular and controversial topic. Profiling is used in many different ways to identify a suspect or offender in a criminal investigation. â€Å"Criminal profiling is the process of using behavioral and scientific evidence left at a crime scene to make inferences about the offender, including inferences about personality characteristics and psychopathology† (Torres, Boccaccini, Miller, 2006, p. 51). †Å"The science of profiling rests on two foundation blocks, basic forensicRead MoreThe Validity Of Criminal Profiling Essay1531 Words   |  7 PagesThe Validity of Criminal Profiling and its Effectiveness on Solving Crime In law, law enforcement relies on a variety of approaches to solving crimes. One method of doing so, is criminal profiling. Police use criminal profiling as an aid to identify the typology of individuals most likely to fit the suspect profile. In this approach, evidence of a crime is used to identify the characteristics of the criminal in relation to their personality and psychological state of mind. As wellRead MoreEthnic Vs Behavioral Profiling Rough Draft1663 Words   |  7 Pages Ethnic vs Behavioral Profiling Rough Draft On September 11th, the President proclaimed that the security of the airline business needs to be augmented. He invoked the Federal Bureau of Investigation, Office of Transportation, Central Intelligence Agency, and other federal organizations to oversee this operation. Surprisingly, this speech was given thirty years prior to 9/11 by President Nixon. His speech was given in response to advice pertaining to airport security, and then 9/11 caught theRead MoreProfiling in Law Enforcement751 Words   |  3 PagesThe term profiling is defined as â€Å"the use of personal characteristics or behavior patterns to make a generalization about a person†; therefore, this refers to gender profiling. The second part of the definition also states the â€Å"use of these characteristics to determine whether a person may be engaged in illegal activity† refers to what is called racial profiling (Dictionary.com, n.d.). Profiling has been used within in law enforcement for a number of y ears, as it provides informational analysisRead MoreCriminal Crime And The Criminal Justice System1693 Words   |  7 PagesCriminal Profiler/Psychologist’s are people in the Criminal Justice System that create psychological profiles of criminals in order to identify behavioral patterns, in efforts to help officers narrow down their searches to people who fit that particular description. Profiler’s examine crime scenes, analyze evidence, read reports from investigators, write reports, and interview witnesses and victims in order to collect information. They may work for local, state, or federal law enforcement. ProfilersRead MoreThe Future of Psychological Profiling1658 Words   |  7 PagesThe Future of Psychological Profiling CJ430-01: Psychological Profiling Professor William Formby Kaplan University May 18, 2012 The purpose of this paper is to provide an assessment of psychological profiling as an investigative tool for the future. The paper will try to focus on what happens if profiles are developed that have not accurately portrayed the apprehended. Additionally this paper will be reviewing the Baton Rouge Serial Killer and The Unabomer cases in order to answer additionalRead MoreBehavioral Analysis Unit1076 Words   |  5 PagesInvestigation 12/1/2010 Behavioral Analysis Unit One of the many age old questions facing society today, is what makes a criminal suceptible to committing that particular crime; or why was that person targeted as a victim. This question has sparked many debates within the criminal justice field, which is the reason the Behavioral Science Unit was created by the Federal Bereau of Investigation. In certain cases, knowing how a criminals mind operates, will help lead an investigation in the right

The Collision Of Cultures Chinua Achebe s Things Fall...

The Collision of Cultures Change is a reoccurring theme throughout history. It destroys and creates. It displaces and introduces. It can cause death and life. The movement of imperialism in Africa brought great change to the native tribal life. Forcing the indigenous people to turn away from their century-old traditions caused violent rifts between the European settlers and the tribes, as well as internal problems between once amiable members of the Ibo culture. With the introduction of the foreign Western Society in Chinua Achebe’s Things Fall Apart, the tribe’s life and ideals are drastically altered as the new ethics and principles collide with the old traditions and laws, causing the members of the society to either adapt or be crushed underneath the foot of colonialism. Achebe’s character, Okonkwo, was impacted immensely by the cultural collision, as his previous way of life was pulverized before his eyes, and he found no reason to live any longer. Life before the coming of the Westerners was the life Okonkwo loved. â€Å"Okonkwo was well known throughout the nine villages and even beyond. His fame rested on solid personal achievements. As a young man of eighteen he had brought honour to his village by throwing Amalinze the Cat† (Achebe 1). With his entire life ahead of him, Okonkwo had brought great fame to his name and had already achieved what it took some men a lifetime before he turned twenty. He was regarded as â€Å"one of the greatest men of all time† (Achebe 3). Not onlyShow MoreRelatedImperialism In The 19Th Century Resulted In European Countries1726 Words   |  7 Pagescountries.When Chinua Achebe published Things fall apart in 1958, a novel criticizing the European aspects of imperialism, his aspiration was to teach readers that â€Å"their past-with all its imperfections-was not one long night of savagery from which the first Europeans acting on God’s behalf delivered them†(Chinua Ache be on the Role of the African Writer, 1964). Chinua Achebe helped change the western perception of African culture by using the characters and story of Things Fall Apart to give readersRead MoreChinua Achebe’s Things Fall Apart Essay1736 Words   |  7 PagesThe classic African literary tale Things Fall Apart, written by Chinua Achebe, is a brilliant account of historical African culture and the destruction colonialism can cause upon such cultures. As the reader follows the narrative and complexity of the characters through the novel, a sense of pride, trust, and faith in history emerges. Yet, with the introduction of colonialism the characters must learn to embrace and adapt to a new culture and set of beliefs or face termination from society. TheRead MoreThings Fall Apart By Chinua Achebe1625 Words   |  7 Pagesof thought. You’re living in pure harmony and feel as if your life is going to be peaceful forever. But what if one day someone comes along and changes your world, taking away your custom beliefs and changing your culture. What would you do? In the novel Things Fall Apart, by Chinua Achebe, the character Okonkwo, an indigenous member of the Ibo tribe, comes in conflict with the European settlers as they try to convert his tribe to Christianity. Even though many people choose to convert to this newRead MoreThings Fall Apart By Chinua Achebe1783 Words   |  8 Pagesof their identity that make them all unique beings, but just what is an identity and how does it affect the culture we live in? Like, each individual finger print each person is born with, we are all a combination of a variety of aspects that are affected and affect the culture one live in. Identity is not just what a person is like, but attitudes of one, that are quintessential of one s character, and plays a role in various social environments. In this time, in the novel, the missionaries arrival

Mary Shelley s Frankenstein - 1646 Words

Mary Shelley’s Frankenstein is a mishmash of stories within stories within a story, and several other texts are referenced within this amalgamation of literature. The intertextual links made in Frankenstein help to provide the reader with a greater insight into the mind of Mary Shelley and her most famous work. References to the text Paradise lost and Greek mythology in the development of characters adds depth to a tale of creation and destruction, causing the questions Shelley asks about humanity to resonate far more poignantly with the reader. Frankenstein in many ways acts as a mirror, reflecting Milton’s Paradise Lost explicitly throughout the text. Milton’s purpose in writing Paradise Lost was to â€Å"justify the way of God to man†, this†¦show more content†¦Victor, like Satan does not consider the ramifications of his actions. He â€Å"ardently desired knowledge† in an attempt to become more than his father, his creator (of sorts) even if it lead to his destruction. The word â€Å"ardently† is typically a feminine and irrational feeling conveying his recklessness and contrasting the rationality of science causing the reader to question Victor’s ability as a scientist or creator. In Milton’s works Eve never interacts with god. The women in Frankenstein, Walton’s sister and Elizabeth are kept away from the main story and the action; they are used mostly as narrative or plot devices: the sister as giving someone for Walton to write to and Elizabeth as a com panion and then catalyst for Victor and the Monster’s chase. The narrator of Paradise Lost describes Adam as created for God, and Eve as created for Adam, and that she was designed for the purpose of companionship much like Elizabeth’s depiction. Although the gender imbalances of Paradise Lost are based on the current societal ideologies and those of the bible, Shelley’s depiction (or lack thereof) can been seen to suggest their importance in the creation of life. Victor Frankenstein, through his speech and actions is constructed as a symbolic parallel to God, particularly through his creation of life. However Shelley’s God figure is

Case Study Chase’s Strategy for Syndicating the Hong Kong...

Case Study Chase’s Strategy for Syndicating the Hong Kong Disneyland Loan Analysts: Bian Min, Luo Min, Wang Hongyu, Zhu Haidong Syndicated loan, with two or more bank lenders and a single set of legal documents, have gained tremendous popularity among corporations to finance their projects. This report aimed at evaluating the process by which Chase Manhattan Bank (â€Å"Chase†) syndicated the HK$3.3 billion Hong Kong Disneyland financing. To begin with, a detailed analysis of the first-round bidding concerns will be provided, followed by a discussion on the ‘market flex’ terms in the standard commitment letter. After that, alternative syndication strategies will be examined, supplemented with the risk-return trade-offs of†¦show more content†¦In terms of pricing, it could quote an underwriting fee of between 100bp and 150bp, based on the analysis of comparable transactions. Moreover, these fees could be further lowered if Chase was awarded with the sole lead arranger mandate. Considering Chase’s competitive pricing, global leadership in syndicated finance and full commitmen t to the deal, Disney would most likely shortlist Chase in the first round. This is exactly what happened. In fact, Chase outcompeted other 5 shortlisted banks in the final round and gained the sole-mandate in leading the syndicated loan. 2. Singing the Commitment Letter Disney’s Concern We believe signing the standard commitment letter is not in Disney’s best interest and therefore not advisable. Viewing from Disney’s perspective, the ‘market flex’ provision in the standard commitment letter is significantly detrimental as it inflicts additional market volatility risk and uncertainty to Disney in the syndication process. It entitles Chase to subsequently adjust the features of the Facility including the terms, amount, structure and pricing given a change in Hong Kong Dollar market, which effectively transfers the underwriting risk from Chase to Disney. If Disney would assume such risks, there is no point in choosing a lead arranger of syndicated lo an through a bid, because the least expensive terms proposed are subject to change once interest rate fluctuates. It is somewhat

Cinematography Everything You Need To Know Essay Example For Students

Cinematography Everything You Need To Know Essay Cinematography: Everything You Need To Know(sin-uh-muh-tahg-ruh-fee)Cinematography is the technique and art of making motion pictures, whichare a sequence of photographs of a single subject that are taken over timeand then projected in the same sequence to create an illusion of motion. Each image of a moving object is slightly different from the preceding one. ProjectorA motion-picture projector projects the sequence of picture frames,contained on a ribbon of film, in their proper order. A claw engagesperforations in the film and pulls the film down into the film gate,placing each new frame in exactly the same position as the preceding one. When the frame is in position, it is projected onto the screen byilluminating it with a beam of light. The period of time between theprojection of each still image when no image is projected is normally notnoticed by the viewer. Two perceptual phenomenapersistence of vision and the critical flickerfrequencycause a continuous image. Persistence of a vision is theability of the viewer to retain or in some way remember the impression ofan image after it has been withdrawn from view. The critical flickerfrequency is the minimum rate of interruption of the projected light beamthat will not cause the motion picture to appear to flicker. A frequencyabove about 48 interruptions a second will eliminate flicker. CameraLike a still camera (see CAMERA), a movie camera shoots each pictureindividually. The movie camera, however, must also move the film preciselyand control the shutter, keeping the amount of light reaching the filmnearly constant from frame to frame. The shutter of a movie camera isessentially a circular plate rotated by an electric motor. An opening inthe plate exposes the film frame only after the film has been positionedand has come to rest. The plate itself continues to rotate smoothly. Photographic materials must be manufactured with great precision. Theperforations, or holes in the film, must be precisely positioned. Thepitchthe distance from one hole to anothermust be maintained by correctfilm storage. By the late 1920s, a sound-on-film system of synchronousSOUND RECORDING was developed and gained widespread popularity. In thisprocess, the sound is recorded separately on a machine synchronized withthe picture camera. Unlike the picture portion of the film, the soundportion is recorded and played back continuously rather than inintermittent motion. Although editing still makes use of perforated filmfor flexibility, a more modern technique uses conventional magnetic tapefor original recording and synchronizes the recording to the pictureelectronically (see TAPE RECORDER). If the number of photographs projected per unit time (frame rate) differsfrom the number produced per unit time by the camera, an apparent speedingup or slowing down of the normal rate is created. Changes in the framerates are used occasionally for comic effect or motion analysis. Cinematography becomes an art when the filmmaker attempts to make movingimages that relate directly to human perception, provide visualsignificance and information, and provoke emotional response. History of Film TechnologySeveral parlor toys of the early 1800s used visual illusions similar tothose of the motion picture. These include the thaumatrope (1825); thephenakistiscope (1832); the stroboscope (1832); and the zoetrope (1834). The photographic movie, however, was first used as a means of investigationrather than of theatrical illusion. Leland Stanford, then governor ofCalifornia, hired photographer Eadweard MUYBRIDGE to prove that at sometime in a horses gallop all four legs are simultaneously off the ground. Muybridge did so by using several cameras to produce a series ofphotographs with very short time intervals between them. Such a multiplephotographic record was used in the kinetoscope, which displayed aphotographic moving image and was commercially successful for a time. The kinetoscope was invented either by Thomas Alva EDISON or by hisassistant William K. L. Dickson, both of whom had experimented originallywith moving pictures as a supplement to the phonograph record. They laterturned to George EASTMAN, who provided a flexible celluloid film base tostore the large number of images necessary to create motion pictures. The mechanical means of cinematography were gradually perfected. It wasdiscovered that it was better to display the sequence of imagesintermittently rather than continuously. This technique allowed a greaterpresentation time and more light for the projection of each frame. Anotherimprovement was the loop above and below the film gate in both the cameraand the projector, which prevented the film from tearing. By the late 1920s, synchronized sound was being introduced in movies. These sound films soon replaced silent films in popularity. To prevent themicrophones from picking up camera noise, a portable housing was designedthat muffled noises and allowed the camera to be moved about. In recentyears, equipment, lighting, and film have all been improved, but theprocesses involved remain essentially the same. RICHARD FLOBERGBibliographyBibliography: Fielding, Raymond, ed., A Technological History of MotionPictures and Television (1967); Happe, I. Bernard, Basic Motion PictureTechnology, 2d ed. (1975); Malkiewicz, J. Kris, and Rogers, Robert E.,Cinematography (1973); Wheeler, Leslie J., Principles of Cinematography,4th ed. (1973). film:film, history ofThe history of film has been dominated by the discovery and testing of theparadoxes inherent in the medium itself. Film uses machines to recordimages of life; it combines still photographs to give the illusion ofcontinuous motion; it seems to present life itself, but it also offersimpossible unrealities approached only in dreams.^The motion picture wasdeveloped in the 1890s from the union of still PHOTOGRAPHY, which recordsphysical reality, with the persistence-of-vision toy, which made drawnfigures appear to move. Four major film traditions have developed sincethen: fictional narrative film, which tells stories about people with whoman audience can identify because their world looks familiar; nonfictionaldocumentary film, which focuses on the real world either to instruct or toreveal some sort of truth about it; animated film, which makes drawn orsculpted figures look as if they are moving and speaking; and experimentalfilm, which exploits films ability to creat e a purely abstract,nonrealistic world unlike any previously seen.^Film is considered theyoungest art form and has inherited much from the older and moretraditional arts. Like the novel, it can tell stories; like the drama, itcan portray conflict between live characters; like painting, it composes inspace with light, color, shade, shape, and texture; like music, it moves intime according to principles of rhythm and tone; like dance, it presentsthe movement of figures in space and is often underscored by music; andlike photography, it presents a two-dimensional rendering of what appearsto be three-dimensional reality, using perspective, depth, andshading.^Film, however, is one of the few arts that is both spatial andtemporal, intentionally manipulating both space and time. This synthesishas given rise to two conflicting theories about film and its historicaldevelopment. Some theorists, such as S. M. EISENSTEIN and RudolfArnheim, have argued that film must take the path of the other m odern artsand concentrate not on telling stories or representing reality but oninvestigating time and space in a pure and consciously abstract way. Others, such as Andre Bazin and Siegfried KRACAUER, maintain that film mustfully and carefully develop its connection with nature so that it canportray human events as excitingly and revealingly as possible.^Because ofhis fame, his success at publicizing his activities, and his habit ofpatenting machines before actually inventing them, Thomas EDISON receivedmost of the credit for having invented the motion picture; as early as1887, he patented a motion picture camera, but this could not produceimages. In reality, many inventors contributed to the development ofmoving pictures. Perhaps the first important contribution was the seriesof motion photographs made by Eadweard MUYBRIDGE between 1872 and 1877. Hired by the governor of California, Leland Stanford, to capture on filmthe movement of a racehorse, Muybridge tied a series of wires across thetrack and connected each one to the shutter of a still camera. The runninghorse tripped the wires and exposed a series of still photographs, whichMuybridge then mounted on a stroboscopic disk and projected with a magiclantern to reproduce an image of the horse in motion. Muybridge shothundreds of such studies and went on to lecture in Europe, where his workintrigued the French scientist E. J. MAREY. Marey devised a means ofshooting motion photographs with what he called a photographic gun.^Edisonbecame interested in the possibilities of motion photography after hearingMuybridge lecture in West Orange, N.J. Edisons motion pictureexperiments, under the direction of William Kennedy Laurie Dickson, beganin 1888 with an attempt to record the photographs on wax cylinders similarto those used to make the original phonograph recordings. Dickson made amajor breakthrough when he decided to use George EASTMANs celluloid filminstead. Celluloid was tough but supple and could be manufactured in longrolls, making it an excellent medium for motion photography, which requiredgreat lengths of film. Between 1891 and 1895, Dickson shot many 15-secondfilms using the Edison camera, or Kinetograph, but Edison decided againstprojecting the films for audiencesin part because the visual results wereinadequate and in part because he felt that motion pictures would havelittle public appeal. Instead, Edison marketed an electrically drivenpeep-hole viewing machine (the Kinetoscope) that displayed the marvelsrecorded to one viewer at a time.^Edison thought so little of theKinetoscope that he failed to extend his patent rights to England andEurope, an oversight that allowed two Frenchmen, Louis and Auguste LUMIERE,to manufacture a more portable camera and a functional projector, theCinematographe, based on Edisons machine. The movie era might be said tohave begun officially on Dec. 28, 1895, when the Lumieres presented aprogram of brief motion pictures to a paying audience in the basement of aParis cafe. English and German inventors also copied and improved upon theEdison machines, as did many other experimenters in the United States. Bythe end of the 19th century vast numbers of people in both Europe andAmerica had been exposed to some form of motion pictures.^The earliestfilms presented 15- to 60-second glimpses of real scenes recorded outdoors(workmen, trains, fire engines, boats, parades, soldiers) or of stagedtheatrical performances shot indoors. These two early tendenciestorecord life as it is and to dramatize life for artistic effectcan beviewed as the two dominant paths of film history.^Georges MELIES was themost important of the early theatrical filmmakers. A magician by trade,Melies, in such films as A Trip to the Moon (1902), showed how the cinemacould perform the most amazing magic tricks of all: simply by stopping t hecamera, adding something to the scene or removing something from it, andthen starting the camera again, he made things seem to appear anddisappear. Early English and French filmmakers such as Cecil Hepworth,James Williamson, and Ferdinand Zecca also discovered how rhythmic movement(the chase) and rhythmic editing could make cinemas treatment of time andspace more exciting. American Film in the Silent Era (1903-1928)A most interesting primitive American film was The Great Train Robbery(1903), directed by Edwin S. PORTER of the Edison Company. This earlywestern used much freer editing and camera work than usual to tell itsstory, which included bandits, a holdup, a chase by a posse, and a finalshoot-out. When other companies (Vitagraph, the American Mutoscope andBiograph Company, Lubin, and Kalem among them) began producing films thatrivaled those of the Edison Company, Edison sued them for infringement ofhis patent rights. This so-called patents war lasted 10 years (1898-1908),ending only when nine leading film companies merged to form the MotionPicture Patents Company.^One reason for the settlement was the enormousprofits to be derived from what had begun merely as a cheap novelty. Before 1905 motion pictures were usually shown in vaudeville houses as oneact on the bill. After 1905 a growing number of small, storefront theaterscalled nickelodeons, accommodating less than 200 patrons, began to showmotion pictures exclusively. By 1908 an estimated 10 million Americanswere paying their nickels and dimes to see such films. Young speculatorssuch as William Fox and Marcus Loew saw their theaters, which initiallycost but $1,600 each, grow into enterprises worth $150,000 each within 5years. Called the drama of the people, the early motion pictures attractedprimarily working-class and immigrant audiences who found the nickelodeon apleasant family diversion; they might not have been able to read the wordsin novels and newspapers, but they understood the silent language ofpictures.^The popularity of the moving pictures led to the first attacksagainst it by crusading moralists, police, and politicians. Localcensorship boards were established to eliminate objectionable mate rial fromfilms. In 1909 the infant U.S. film industry waged a counterattack bycreating the first of many self-censorship boards, the National Board ofCensorship (after 1916 called the National Board of Review), whose purposewas to set moral standards for films and thereby save them from costlymutilation.^A nickelodeon program consisted of about six 10-minute films,usually including an adventure, a comedy, an informational film, a chasefilm, and a melodrama. The most accomplished maker of these films wasBiographs D. W. GRIFFITH, who almost singlehandedly transformed both theart and the business of the motion picture. Griffith made over 400 shortfilms between 1908 and 1913, in this period discovering or developingalmost every major technique by which film manipulates time and space: theuse of alternating close-ups, medium shots, and distant panoramas; thesubtle control of rhythmic editing; the effective use of traveling shots,atmospheric lighting, narrative commentary, poetic detail, and visualsymbolism; and the advantages of understated acting, at which his actingcompany excelled. The culmination of Griffiths work was The Birth of aNation (1915), a mammoth, 3-hour epic of the Civil War and Reconstruction. Its historical detail, suspense, and passionate conviction were to outdatethe 10-minute film altogether.^The decade between 1908 and 1918 was one ofthe most important in the history of American film. The full-lengthfeature film replaced the program of short films; World War I destroyed orrestricted the film industries of Europe, promoting greater technicalinnovation, growth, and commercial stability in America; the FILM INDUSTRYwas consolidated with the founding of the first major studios in Hollywood,Calif. (Fox, Paramount, and Universal); and the great American silentcomedies were born. Mack SENNETT became the driving force behind theKeystone Company soon after joining it in 1912; Hal Roach founded hiscomedy company in 1914; and Charlie CHAPLIN probably had the best-knownface in the world in 1916.^During this period the first movie stars rose tofame, replacing the anonymous players of the short films. In 1918,Americas two favorite stars, Charlie Chaplin and Mary PICKFORD, bothsigne d contracts for over $1 million. Other familiar stars of the decadeincluded comedians Fatty ARBUCKLE and John Bunny, cowboys William S. HARTand Bronco Billy Anderson, matinee idols Rudolph VALENTINO and JohnGilbert, and the alluring females Theda BARA and Clara BOW. Along with thestars came the first movie fan magazines; Photoplay published its inauguralissue in 1912. That same year also saw the first of the FILM SERIALS, ThePerils of Pauline, starring Pearl White.^The next decade in American filmhistory, 1918 to 1928, was a period of stabilization rather than expansion. Films were made within studio complexes, which were, in essence, factoriesdesigned to produce films in the same way that Henry Fords factoriesproduced automobiles. Film companies became monopolies in that they notonly made films but distributed them to theaters and owned the theaters inwhich they were shown as well. This vertical integration formed thecommercial foundation of the film industry for the next 30 years. Two newproducing companies founded during the decade were Warner Brothers (1923),which would become powerful with its early conversion to synchronizedsound, and Metro-Goldwyn (1924; later Metro-Goldwyn-Mayer), the producingarm of Loews, under the direction of Louis B. MAYER and IrvingTHALBERG.^Attacks against immorality in films intensified during thisdecade, spurred by the sensual implications and sexual practices of themovie stars both on and off the screen. In 1921, after several nationallypublicized sex and drug scandals, the industry headed off the threat offederal C ENSORSHIP by creating the office of the Motion Picture Producersand Distributors of America (now the Motion Picture Association ofAmerica), under the direction of Will HAYS. Hays, who had been postmastergeneral of the United States and Warren G. Hardings campaign manager,began a series of public relations campaigns to underscore the importanceof motion pictures to American life. He also circulated several lists ofpractices that were henceforth forbidden on and off the screen.^Hollywoodfilms of the 1920s became more polished, subtle, and skillful, andespecially imaginative in handling the absence of sound. It was the greatage of comedy. Chaplin retained a hold on his world-following withfull-length features such as The Kid (1920) and The Gold Rush (1925);Harold LLOYD climbed his way to successand got the girlno matter howgreat the obstacles as Grandmas Boy (1922) or The Freshman (1925); BusterKEATON remained deadpan through a succession of wildly bizarre sight gagsin Sherlock Jr. and The Navigator (both 1924); Harry Langdon was ever theinnocent elf cast adrift in a mean, tough world; and director ErnstLUBITSCH, fresh from Germany, brought his touch to understated comediesof manners, sex, and marriage. The decade saw the United Statess firstgreat war film (The Big Parade, 1925), its first great westerns (TheCovered Wagon, 1923; The Iron Horse, 1924), and its first great biblicalepics (The Ten Commandments, 1923, and King of Kings, 1927, both made byCecil B. DE MILLE). Other films of this era included Erich Von STROHEIMssexual studies, Lon CHANEYs grotesque costume melodramas, and the firstgreat documentary feature, Robert J. FLAHERTYs Nanook of the North(1922). Bipolar Disorder 2 EssayYoshiro Ozus poetic studies of modern domestic relations (Tokyo Story,1953; An Autumn Afternoon, (1962) introduced Western audiences to apersonal sensitivity that was both intensely national and universal. Younger directors, whose careers date from the postwar burgeoning of theJapanese film, include Teinosuke Kinugasa (Gate of Hell, 1953), HiroshiTeshigahara (Woman of the Dunes, 1964, from a script by the novelist ABEKOBO), Masahiro Shinoda (Under the Cherry Blossoms, 1975), Nagisa Oshima(The Ceremony, 1971) and Musaki Kobayashi, best known for his nine-hourtrilogy on the Japanese occupation of Manchuria, The Human Condition(1959-61), and Harakiri (1962), a deglamorization of the samuraitradition.^The film industry in India, which ranks among the largest in theworld, has produced very little for international consumption. Its mostfamous director, Satyajit RAY, vividly brings to life the problems of anIndia in transition, in particular in the trilogy comprising PatherPanchali (1955), Aparajito (1956), and The World of Apu (1958). Bengali isthe language used in almost all Rays films. In 1977, however, he producedThe Chess Players, with sound tracks in both Hindi and English. American Film TodayThroughout the 1960s and 70s, the American film industry accommodateditself to the competition of this world market; to a film audience that hadshrunk from 80 million to 20 million weekly; to the tastes of a primarilyyoung and educated audience; and to the new social and sexual valuessweeping the United States and much of the rest of the industrializedworld. The Hollywood studios that have survived in name (Paramount,Warners, Universal, MGM, Fox) are today primarily offices for filmdistribution. Many are subsidiaries of such huge conglomerates as the CocaCola Company or Gulf and Western. Increasingly, major films are being shotin places other than Hollywood (New York City, for example, is recoveringits early status as a filmmaking center), and Hollywood now produces farmore television movies, series, and commercials than it does motionpictures.^American movies of the past 20 years have moved more stronglyinto social criticism (Doctor Strangelove, 1963; The Graduate , 1967; TheGodfather, 1971; One Flew over the Cuckoos Nest, 1975; The Deer Hunter,1978; Norma Rae, 1979; Apocalypse Now, 1979; Missing, 1982); or they haveoffered an escape from social reality into the realm of fantasy, aided bythe often beautiful, sometimes awesome effects produced by new filmtechnologies (2001: A Space Odyssey, 1968; Jaws, 1975; Star Wars and CloseEncounters of the Third Kind, 1977; Altered States, 1979; E. T., 1982); orthey have returned to earnest or comic investigations of the dilemmas ofeveryday life (a troubled family, in Ordinary People, 1980; divorce lifeand male parenting, in Kramer v. Kramer, 1979; women in a male world, inNine to Five, 1979, and Tootsie, 1982). The most successful directors ofthe past 15 yearsStanley KUBRICK, Robert ALTMAN, Francis Ford COPPOLA,Woody ALLEN, George LUCAS, and Steven SPIELBERGare those who have playedmost imaginatively with the tools of film communication itself. The starsof recent years (with the exceptions of Paul NEWMAN and Robert REDFORD)have, for their part, been more offbeat and less glamorous than theirpredecessors of the studio eraRobert DE NIRO, Jane Fonda (see FONDAFAMILY), Dustin HOFFMAN, Jack NICHOLSON, Al PACINO, and Meryl STREEP.^Thelast two decades have seen the virtual extinction of animated film, whichis too expensive to make well, and the rebirth of U.S. documentary film inthe insightful work of Fred WISEMAN, the Maysles brothers, Richard Leacockand Donn Pennebaker, and, in Europe, of Marcel OPHULS. Even richer is theexperimental, or underground, movement of the 1960s and 1970s, in whichfilmmakers such as Stan BRAKHAGE, Kenneth Anger, Bruce Baillie, HollisFrampton, Michael Snow, and Robert Breer have worked as personally andabstractly with issues of visual and psychological perception as havemodern painters and poets. The new vitality of these two oppositetraditionsthe one devoted to revealing external reality, the other torevealing the life of the mindunderscores the persistence of thedichotomy inherent in the film medium. In the future, film will probablycontinue to explore these opposing potentialities. Narrative films inparticular will probably continue trends that began with the French NewWave, experimenting with more elliptical ways of telling film stories andeither borrowing or rediscovering many of the images, themes, and devicesof the experimental film itself. GERALD MASTBibliographyBibliography:GENERAL HISTORIES AND CRITICISM: Arnheim, Rudolf, Film as Art(1957; repr. 1971); Bazin, Andre, What is Cinema?, 2 vols., trans. byHugh Gray (1967, 1971); Cook, David A., A History of Narrative Film,1889-1979 (1981); Cowie, Peter, ed., Concise History of the Cinema, 2 vols. (1970); Eisenstein, Sergei M., Film Form (1949; repr. 1969); Halliwell,Leslie, Filmgoers Companion, 6th ed. (1977); Jowett, Garth, Film: TheDemocratic Art (1976); Kael, Pauline, Reeling (1976), and 5,000 Nights atthe Movies: A Guide from A to Z (1982); Kracauer, Siegfried, Theory ofFilm: The Redemption of Physical Reality (1960); Mast, Gerald, A ShortHistory of the Movies, 2d ed. (1976); Mast, Gerald, and Cohen, Marshall,Film Theory and Criticism: Introductory Readings (1974); Monaco, James, Howto Read a Film (1977); Peary, Danny, Cult Movies (1981); Robinson, David,The History of World Cinema (1973).^ NATIONAL FILM HISTORIES: AMERICAN:Higham, Charles, The Art of American Film, 1900-1971 (1973); Monaco, James,American Film Now: The People, the Power, the Movies (1979); Sarris,Andrew, The American Cinema: Directors and Directions, 1929-1968 (1968);Sklar, Robert, Movie-Made America (1975).^AUSTRALIAN: Stratton, David, TheLast New Wave: The Australian Film Revival (1981).^BRITISH: Armes , Roy, AHistory of British Cinema (1978); Low, Rachael, The History of BritishFilm, 4 vols. (1973); Manvell, Roger, New Cinema in Britain(1969).^FRENCH: Armes, Roy, The French Cinema Since 1946, 2 vols., rev. ed. (1970); Harvey, Sylvia, May 68 and Film Culture (rev. ed., 1980);Monaco, James, The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette(1976); Sadoul, Georges, French Film (1953; repr. 1972).^GERMAN: Barlow,John D., German Expressionist Film (1982); Hull, David S., Film of theThird Reich: A Study of the German Cinema, 1933-1945 (1969); Manvell,Roger, and Fraenkel, Heinrich, The German Cinema (1971); Sandford, John TheNew German Cinema (1980); Wollenberg, H. H., Fifty Years of German Film(1948; repr. 1972).^ITALIAN: Jarratt, Vernon, Italian Cinema (1951; repr. 1972); Leprohon, Pierre, The Italian Cinema (1972); Rondi, Gian, ItalianCinema Today (1965); Witcombe, Roger, The New Italian Cinema(1982).^JAPANESE: Mellen, Joan, The Waves at Genjis Door: Japan ThroughIts Cinema (1976); Richie, Donald, The Films of Akira Kurosawa (1965), andThe Japanese Movie: An Illustrated History (1966); Sato, Tadao, Currentsin Japanese Cinema (1982).^RUSSIAN: Cohen, Louis H., TheCultural-Political Traditions and Development of the Soviet Cinema,1917-1972 (1974); Dickenson, Thorold, and De La Roche, Catherine, SovietCinema (1948; repr. 1972); Leyda, Jay, Kino: A History of the Russian andSoviet Film (1960; repr. 1973); Taylor, Richard, Film Propaganda: SovietRussia and Nazi Germany (1979).^SWEDISH: Cowie, Peter, Swedish Cinema(1966); Donner, Jorn, The Personal Vision of Ingmar Bergman (1964); Hardy,Forsyth, The Scandinavian Film (1952; repr. 1972). Porter, ColeCole Porter, b. Peru, Ind., June 9, 1892, d. Oct. 15, 1964, was anAmerican lyricist and composer of popular songs for stage and screen. Agraduate of Yale College, he attended Harvard School of Arts and Sciencesfor 2 years and later studied under the French composer Vincent dIndy. Both his lyrics and music have a witty sophistication, technicalvirtuosity, and exquisite sense of style that have rarely been paralleledin popular music. He contributed brilliant scores to numerous Broadwaymusicals, such as Anything Goes (1934) and Kiss Me, Kate (1948), and tomotion pictures. His best songs have become classics; these include Beginthe Beguine, Night and Day, and I Love Paris. DAVID EWENBibliography: Eells, George, The Life that Late He Led: A Biography of ColePorter (1967); Kimball, Robert, ed., Cole (1971); Schwartz, Charles, ColePorter (1977). Griffith, D. W. David Lewelyn Wark Griffith, b. La Grange, Ky., Jan. 23, 1875, d. July23, 1948, is recognized as the greatest single film director and mostconsistently innovative artist of the early American film industry. Hisinfluence on the development of cinema was worldwide. After gaining experience with a Louisville stock company, he was employedas an actor and writer by the Biograph Film Company of New York in 1907. The following year he was offered a director-producer contract and, for thenext five years, oversaw the production of more than 400 one- and two-reelfilms. As his ideas grew bolder, however, he felt increasingly frustratedby the limitations imposed by his employers. Griffith left Biograph in1913 to join Reliance-Majestic as head of production, and in 1914, he beganhis most famous film, based on the novel The Clansman by Thomas Dixon. This Civil War Reconstruction epic, known as The Birth of a Nation (1915),became a landmark in American filmmaking, both for its artistic merits andfor its unprecedented use of such innovative techniques as flashbacks,fade-outs, and close-ups. The film was harshly condemned, however, for itsracial bias and glorification of the Ku Klux Klan; several subsequentlynchings were blamed on the film. In response to this criticism, Griffithmade what many consider his finest film, Intolerance (1916), in which theevils of intolerance were depicted in four parallel storiesa frameworkthat required a scope of vision and production never before approached. Although Griffith made numerous other films up to 1931, none ranked withhis first two classics. Among the best of these later efforts were Heartsof the World (1918); Broken Blossoms (1919), released by his own newlyformed corporation, United Artists; Way Down East (1920); Orphans of theStorm (1922); America (1924); Isnt Life Wonderful? (1924); and AbrahamLincoln (1930). Of the many actors trained by Griffith and associated withhis name, Mary PICKFORD, Dorothy and Lillian GISH, and Lionel Barrymore(see BARRYMORE family) are the most famous. In 1935, Griffith was honoredby the Academy of Motion Picture Arts and Sciences with a special award. Bibliography: Barry, Iris, D. W. Griffith, American Film Master (1940);Brown, Karl, Adventures with D. W. Griffith (1976); Geduld, Harry M.,ed., Focus on D. W. Griffith (1971); Gish, Lillian, Lillian Gish: TheMovies, Mr. Griffith and Me (1969); Henderson, Robert M., D. W. Griffith:His Life and Work (1972) and D. W. Griffith: The Years at Biograph(1970); ODell, Paul, Griffith and the Rise of Hollywood (1970);Wagenknecht, Edward C., The Films of D. W. Griffith (1975). film industryThe first four decades of the film age (roughly 1908-48) saw the increasingconcentration of control in the hands of a few giant Hollywood concerns. Since the late 1940s, however, that trend has been reversed; the monolithicstudio system has given way to independent production and diversificationat all levels of the industry.^Although in the silent era small,independent producers were common, by the 1930s, in the so-called goldenage of Hollywood, the overwhelming majority of films were produced,distributed, and exhibited by one of the large California studios. Led byM-G-M, Paramount, RKO, 20th-Century-Fox, Warner Brothers, Columbia, andUniversal, the industry enjoyed the benefits of total vertical integration:because the studios owned their own theater chains, they could requiretheater managers to charge fixed minimum admission rates, to purchasegroups of pictures rather than single releases (block booking), and toaccept films without first previewing them (blind buying). For more thantwo decades the major studios completely controlled their contracted stars,managed vast indoor and outdoor studio sets, and in general profited fro mwhat amounted to a virtual monopoly of the industry.^Shortly after WorldWar II, three factors contributed to the loss of the majors hegemony. First, a number of federal court decisions forced the studios to enddiscriminatory distribution practices, including block booking, blindselling, and the setting of fixed admission prices; in 1948 the SupremeCourt ordered divestiture of their theater chains. Second, the HouseCommittee on Un-American Activities investigated the industry, whichresponded by blacklisting several prominent screenwriters and directorsanaction that called into question the industrys reliability as a promoterof unfettered creative talent. Third, television began to depriveHollywood of large segments of its audience, and the industry reactedtimidly and late to the possibilities for diversification presented by thenew medium.^The effects of these developments were immediate and longlasting. Weekly attendance figures fell from 80 million in 1946 to justover 12 million by 1972. Box-ofice revenues in the same period droppedfrom $1.75 billion to $1.4 billionand this despite constant inflation andadmission prices t hat were often 10 times the prewar average. The moviecolony experienced unprecedented unemployment. The number of films madeyearly declined from an average of 445 in the 1940s to under 150 in the1970s, as the industry sought solvency in blockbusters rather than in thesolid but unspectacular products that had brought it a mass audience beforethe age of television. Between 1948 and 1956 the number of U.S. theatersfell from 20,000 to 10,000, and although 4,000 new drive-in theaterssomewhat offset this attrition, by the mid-1970s less than half of theAmerican spectators amusement dollar was being spent on movies; in the1940s the yearly average had been over 80 cents.^By the late 1960s themajor studios had entered a grave economic slump, for many of their bigpicture gambles fell through. In 1970, 20th-Century-Fox lost $36 million,and United Artists, which as the industry leader had more to lose, ended upmore than $50 million in the red. In response to this devastation of itsprofits, the industry underwent a profound reorganization. Following the1951 lead of United Artists, the majors backed away from production (sinceits cost had contributed heavily to their decline) and restructuredthemselves as loan guarantors and distributors. At the same time, most ofthem became subsidiaries of conglomerates such as Gulf and Western, KinneyNational Service, and Transamerica and began to look to television salesand recording contracts for the revenues that previously had come from thetheater audience alone.^In setting up these new contractual relationshipsthe independent producer played a central role. Such a figure, who by nowhas replaced the old studio mogul as the industrys driving force, bringstogether the various properties associated with a film (including actors, adirector, and book rights) to create a package often financedindependently but distributed by a film company in exchange for a share ofthe rental receipts. Working with the conglomerates and accepting thereality of a permanently reduced market, these private promoters havepartially succeeded in revitalizing the industry.^The rise of independentproduction has been accompanied by diversification of subject matter, withclose attention to the interests of specialized audiences. This trend,which began in the 1950s as an attempt to capture the art house audienceand the youth market, is evident today in the success of martial-arts,rock-music, pornographic, documentary, and black-culture films. Simultaneously, production has moved away from the Hollywood sets andtoward location filming. For many producers, New York City has become theNew filmmakers mecca, while shooting in foreign countries, where cheaplabor is often plentiful, has given the modern film a new internationaltexture; foreign markets have also become increasingly important. Bothgeographically and financially, therefore, the film industry has begun torecapture some of the variety and independence that were common in the daysbefore studio control. THADDEUS F. TULEJABibliography: Balio, Tino, ed., The American Film Industry (1976); Brownlow,Kevin, Hollywood: The Pioneers (1980); David, Saul, The Industry: Life in theHollywood Fast Lane (1981); Phillips, Gene D., The Movie Makers: Artists in anIndustry (1973); Stanley, Robert H., The Celluloid Empire (1978). Table: TEN TOP-GROSSING FILMSTEN TOP-GROSSING FILMS (as of Jan. 1, 1984)FilmYear Gross Earnings*1. E.T. The ExtraTerrestrial1982 $209,567,0002. Star Wars 1977193,500,0003. Return of the Jedi1983165,500,0004. The Empire Strikes Back1980141,600,0005. Jaws 1975133,435,0006. Raiders of the Lost Ark1981115,598,0007. Grease197896,300,0008. Tootsie198294,571,6139. The Exorcist197389,000,00010. The Godfather197286,275,000SOURCE: Variety (1984). *Distributors percentage has been subtracted. Sennett, Mack(sen-et)A pioneer of slapstick film comedy, Mack Sennett, b. Michael Sinnott,Richmond, Quebec, Jan. 17, 1880, d. Nov. 5, 1960, was an uneducatedIrish-Canadian who drifted into films as D. W. Griffiths apprentice. In1912 he started his own comedy studio, called Keystone, where he developedthe Keystone Kops and discovered such major talents as Charlie Chaplin andFrank Capra. With the advent of sound films, comedy shorts became lesspopular, and in the 1930s Sennett, who failed to change with the times,lost his entire fortune. Sennett is, however, still remembered asHollywoods King of Comedy and received a special Academy Award in 1937for his contribution to cinema comedy. LEONARD MALTINBibliography: Fowler, Gene, Father Goose (1934; repr. 1974); Lahue, KaltonC., and Brewer, Terry, Kops and Custards: The Legend of Keystone Films(1968); Sennett, Mack, King of Comedy (1954; repr. 1975). Chaplin, CharlieCharles Spencer Chaplin, b. Apr. 16, 1889, d. Dec. 25, 1977, cinemasmost celebrated comedian-director, achieved international fame with hisportrayals of the mustachioed Little Tramp. As the director, producer,writer, and interpreter of his many movies, he made a major contribution to

BABA Contemporary Issues in Business and Management †Free Samples

Question: Discuss about the BABA Contemporary Issues in Business and Management. Answer: Introduction In the modernized business there are larger numbers of contemporary issues that have risen. Due to these issues, companies need to effectively manage their operations so as to eliminate it (Maylor, Blackmon and Huemann, 2016). This will help company in ensuring its growth rate which is essential for having control over the market. This report highlights the problems that are faced by organizations. It also illustrates the ways in which managers uses contemporary tools for overcoming these issues as well as the theories that support the emerging management practices. Causes and impact of management problems There are many kinds of management problems that arise within a firm (Jeston and Nelis, 2014). Some of the common challenges that modern day organisation faces are: Globalisation: Due to globalisation not only, new opportunities for the companies have come up but they also started facing several new kinds of challenges. One of the biggest challenges is competition (Bookboon, 2011). Innovation: This is also the problem for the organisation as they have to continuously make innovation in their approach of business as well as the product and services they are delivering (Van Der Aalst, La Rosa and Santoro, 2016). Technology: In every six month the advancements in the technology that is used inside the industries are getting doubled. This has created problems for the organisations as they have to make continuous changes in their technology use which requires whole lot money (Wheelen, et. al., 2017). Government policy and regulation: The regulations and policies made by the government is becoming a challenge for the company as they need to make sure that they follow all the guidelines for making the business successful. Diversity: In an organisation there are many people that are coming from different cultural backgrounds (Stark, 2015). This has forced companies to make sure that they adopt all the strategies in a better way so that they work as a team to achieve common goals in spite of such diversity. Ways that managers adopt to overcome these issues There are many ways that can be adopted by the managers to make sure that all the issues that are coming to the business are taken care off in a better manner. There are various types of companies that exist i.e. national, international and local (Heizer, 2016). All these are facing different kinds of challenges. It is the role of the management to make sure that they overcome these challenges in order to ensure higher profits. There are many tools that are used by the mangers so as to check that these problems do not make negative impact on the operations of the firm. The issues that arise in the society due to these problems are as follows: Globalisation: Due to globalisation competition has got intense. This has given choices to the people. On the other hand, it has also forced companies to make changes in the business process otherwise they may lag in their operation which can be dangerous for the survival of the company (Goetsch and Davis, 2014). For example, Coca cola is the multinational beverage brand and is facing problems related to the Globalisation. This company has to face the competition from many bigger and smaller local beverage companies. Its biggest competitor PEPSI co. has given them major challenge in almost all the markets. One of the best methods that this company has adopted is to preserve its trade secrets. This helps them in making sure that they have originality in their product which assists them in leading into the market and face globalisation. They have taken the use of management tool named benchmarking. They have set standards in the beverage industry which only few of its competitors can m atch. They have made particular set of standards for all their existing products and keep monitoring itself in terms of quality that it delivers in its products. This has helped them in their survival. Innovation: Innovation is necessary for the survival of any company. It has also helped society in solving their day to day life problems. Companies need to invest a lot in the research of new products as well as the demands and the requirements of the market (Wheelen and Hunger, 2011). For example, Fujifilm is one of the primary examples of the company that is facing problems related to innovation. This company has learned from the mistakes of Kodak who believed that marketing and branding is sufficient for the survival. This company is facing problem that they want to incorporate open innovation inside the firm. This cannot be possible without incorporating face to face communication inside the firm. They have taken use of the tool named customer segmentation. This helps them in developing products as per the demand of the target consumers. This helps them in making innovation aligned with the demands of the market which helps them in getting success in the market. Technology: It has come up as the gift for the society as it has made the works of the people easier (Adekola and Sergi, 2016). It has also helped businesses in making the cost cuts which is major challenge for the firm. It has brought effectiveness in the operations of the firm which is necessary for manufacturing quality products and services. For example, Wells Fargo bank which is one the leading American banking firm is facing problems related to technology. The speed with which the technology is changing and the treats that are present in the use of IT mediums for banking has created problems for Wells Fargo bank. In order to reduce such type of issues they have taken use of customer relationship management. This has helped them in retaining of consumers by implementing centralised data storage and retention facility. They have taken use of such technology that helps in enhancing the efficiency of CRM. Government policy and regulations: Companies these have to make sure that they have good relations with the government in order to influence them for having regulations that benefits them. For example, Amazon is one the biggest IT related firm in the whole world. Since the government policies and regulation related to E-commerce market have changed. Government of India in its new FDI rules have specified that now e-commerce platform can sale more than 25% products from one vendor. This has created problems for the company and hence This Company has decided to use the tool called Supply Chain Management (Chanchani, 2011). Diversity: Companies need to make sure that they have a strategic human resource management plan so that they can manage the diversity at their workplace (Storbacka, 2011). With the use of strategic plan for diversity company can make sure that they have health employee relations. For example, Google which is another biggest firm in the IT industry is facing problems related to diversity. This is due to the reason that Google has employees from all around the world. Google need to make sure that they have managed their employee strength in a better way. Since diversity is strength of the company as very different types of talent comes to the company. They took the use of the management tool i.e. their mission and vision. This management tools helps in bringing all the employees irrespective of the diversity in their skills or culture into one unit. They all make efforts for achieving the common goal and objectives of the organisation. Theories and concepts of the contemporary management tool used There are various theories and concepts that have been given by various researchers in order to support emerging management practices (Pappas and Cannon, Optimum Outcomes LLC, 2011). Some of the major theories in this regard are as follows: Benchmarking theory: This is theory that is generally utilised by the firms in order to understand the gap they have in their processes and make changes accordingly (Johnson, 2015). It is understood as the quality management theory which aims to enhance the quality of the products and services. This theory suggests finding the gap by continuously measuring the products and services against the set standards inside the firm as well as with products of other competitors. It helps Coca-cola to enhance consumer satisfaction in terms of cost, product, quality etc. It motivates them for making improvement in the overall operations within the firm. It also helps in stimulating continuous performance that can give them competitive edge over other competitors. On the negative side it does not account for the fact that under which circumstances competitors like Pepsi co. have gained those standards. It gives arrogance and complacency in the firms like Coca-cola which stops them from developing further. Customer segmentation theory: This theory explains the need of making smaller segments in the whole market. This helps company in producing products as per the demand of the smaller segments. These segments are made according to some criteria then company develops products according. This helps them in achieving higher level of consumer satisfaction. It also helps to appeal to the consumers as per their demand which is necessary in the case of Fujifilms who are facing such a large competition. It helps Fujifilms to capture the market that competitors have not pursued. Fujifilms also need to be take care of the fact that this theory generally confuses company about the customers. In the use of this theory costing is not taken into consideration which can be dangerous for the company. Customer relationship management: It is a holistic process of retaining, acquiring and growing consumers. It involves all in-line and off-line relationship management. As mentioned above it is very helpful for the banking sector that is facing the challenges like technology, commoditisation, globalisation and deregulation. It helps in increasing consumer loyalty. It will assist Wells Fargo bank to manage its increasing database and speed of growth process. It also helps in centralisation of data that may generate at any branch of the bank that may help in making automations in many services like sending of emails. On the negative side implementation of CRM is difficult as switching from manual modes of operations to automatic modes in banking. Apart from this when CRM is implemented within an organisation then there is a chance of computers getting hacked. Mission and vision: This concept helps in communicating the objectives of the organisation as well as defining the purpose of the firm to stakeholders (David, 2011). It also helps in binding the whole organisation in one knot so that everyone works for achieving the common goals of the company. This concept when implemented helps in aligning the efforts of the stakeholder in one direction. Defining mission and vision in a more elaborated manner can help Google them in showing the paths to the stakeholders about the ways in which they have to do their work at the workplace. This will help in managing the diversity at the workplace. It also assists in making sure that company does not practice any wring means to achieve success. On the negative side setting mission and vision tends to overburden the stakeholders to follow some specific norms for achieving higher growth. Supply Chain Management: This theory advocates maintaining the flow of goods and services so that they can maintain the demand and supply chain. This involves movement, storage of work in process inventory as well as the final goods and products. This will help Amazon in managing the problem related to new regulations by Indian Government. A new investment in suppliers service will be done by the company in the coming years so as to reduce it by the use of SCM. Conclusion There are many problems or challenges occur in the daily operations of the firm. It is the role of the managers within a firm to make sure that these problems does not have negative impact on the operations of the firm. Due to various kinds of reasons these problems pose both negative and positive impact on the society. There are various tools that are used by the managers so as to manage the impact and causes of these problems. They also take use of the various theories and concepts related to contemporary business management which can help in tackling these issues. References Adekola, A. and Sergi, B.S., (2016)Global business management: A cross-cultural perspective. Routledge. pp. 16-20 Bookboon. (2011) How globalisation affects business. [Online]. Available at: https: https://bookboon.com/blog/2011/10/how-globalization-affects-business/. [Accessed on: 9th March 2018]. Chanchani, M. (2011) With clarity in FDI rules, Amazon will invest more: Amit Agarwal, Amazon India. [Online]. Available at: https: https://economictimes.indiatimes.com/opinion/interviews/with-clarity-in-fdi-rules-amazon-will-invest-more-amit-agarwal-amazon-india/articleshow/52285116.cms. [Accessed on: 14th March 2018]. David, F.R., (2011)Strategic management: Concepts and cases. Pearson/Prentice Hall. pp. 130-164. Goetsch, D.L. and Davis, S.B., (2014)Quality management for organizational excellence. Upper Saddle River, NJ: Pearson. pp. 20-27 Heizer, J., (2016)Operations Management, 11/e. Pearson Education India. pp. 67-69 Jeston, J. and Nelis, J., (2014)Business process management. Routledge. pp. 1-7 Johnson, M.P., (2015) Sustainability management and small and medium?sized enterprises: Managers' awareness and implementation of innovative tools.Corporate Social Responsibility and Environmental Management,22(5), pp.271-285. Maylor, H., Blackmon, K. and Huemann, M., (2016)Researching business and management. Palgrave. pp. 4-18 Pappas, G. and Cannon, J., Optimum Outcomes LLC, (2011)Business management tool. U.S. Patent 7,945,472. Stark, J., (2015) Product lifecycle management. InProduct Lifecycle Management (Volume 1)(pp. 1-29). Springer, Cham. Storbacka, K., (2011) A solution business model: Capabilities and management practices for integrated solutions.Industrial Marketing Management,40(5), pp.699-711. Van Der Aalst, W.M., La Rosa, M. and Santoro, F.M., (2016) Business process management. pp. 2-6 Wheelen, T.L. and Hunger, J.D., (2011)Concepts in strategic management and business policy. Pearson Education India. pp. 42-87 Wheelen, T.L., Hunger, J.D., Hoffman, A.N. and Bamford, C.E., (2017)Strategic management and business policy. Pearson. pp. 10-23