How, when, where and by whom should organisational, managerial, product and service performance be measured?
Organisational and Managerial Performance How, when, where and by whom should organisational, managerial, product and service performance be measured? Organisational and managerial performance can be measured in a variety of ways. All methods of measuring performance can be guided by a set of common requirements as stated by Pettinger1. For and organisation and its managers, it is essential that "clarity and purpose of direction" is present. The importance here is that without this element, the measurement of an organisation's performance is meaningless. There is nothing to measure because the meaning of "success" within the organisation has not been defined. A second prerequisite for the effective measurement of successful performance is an adequate level of resources. These may include staff (and related training facilities), information systems and investment. The expertise required to analyse performance results is an obvious requirement. This leads us to the third requirement, an understanding of the market and environment in which the organisation operates. This again is vital because the measurement of performance is usually in done in terms of a specific market or industry. These three fundamentals lead the way for various measure of performance to be carried out with a sense of direction. Performance measurement itself can be divided into a range of areas.
Produce a trailer for a new film of between one and two minutes duration
A2 Media Studies coursework - Critical Evaluation Brief: The task set is to produce a trailer for a new film of between one and two minutes duration. The trailer should clearly conform to or subvert established forms and conventions to make meaning. The product should target a specific audience and should clearly demonstrate the practical use of technical skills and careful planning and show how these contributed to the final production. The accompanying log should also document and give evidence regarding each individual's contribution to the final product. The planning should clearly detail all stages of production such as organisation of time and equipment. It should also show how these measures enabled the production to progress. The final product should be a competent piece of work showing all stages of production and the technical skills and techniques involved in its production. Introduction: Last year's AS production brief was considerably different to that of this year's A2. The obvious reason for this is that the AS production was print-based, whereas this years is Audio-Visual. Whilst both adhere to certain forms and conventions within the media, these forms and conventions are completely different in either production, and so they are not directly comparable in any way. It is also apparent that the A2 level production encourages critical analysis of
Alfred Hitchcock
O Often regarded with a great deal of admiration, not only by a nation but by subsequent generations, as the greatest film director/maker of all time; Alfred Hitchcock cleverly manipulated his virgin audience and brought about not only a new era but a new discovery in film making. Hitchcock mastered not only the art of making films but also the task of taming his own raging imagination. Through inspiration Hitchcock was able to aspire and infuse tension and suspense, leaving him plausible to receive the title of being the "master of suspense." Born and bred in the east London area of Leytonstone, Alfred was the youngest son of William and Emma Hitchcock. As a boy, Alfred became fascinated by the popular London theatre, which flourished prior to World War I. He found an interest in the stars, the glamour, and melodrama, the brave, the handsome heroes, the pure heroines, the wicked villains, and the triumph of good over evil. However Hitchcock also believed that this picture of reality was as false as it was alluring. Within the conventions of popular melodrama, he explored and exploited in his own films, the themes more often associated and linked to the ghastly unrespectabilites than popular entertainment: loneliness, loss of identity, sexual ambiguity, passivity, voyeurism, the triumph of evil, and the oppressive weight of a dead past. Deliberately, Alfred
Teenagers and Drugs
NAME = TAHERA BEGUM FORM = 10U TEACHER = They come in different shapes, sizes and forms, and can cost anything from your weekly pocket money to the thousands. As controversial and political as this maybe, as a society we are facing a new age war of DRUGS and all the consequences it brings with it. Our primary aim for the last half term was not only to extend our own personal knowledge about drugs, but also to delve deeper into this issue, and explore the feelings of people involved in this business and the people hurt or effected by it. Teenagers as a whole are seen as a completely different species to the rest of the human race. This is due to all the stereotyping and assumption based on supposedly typical adolescent behaviour. The way society views certain types of people or groups plays a large role, as this image can be a permanent one. One aspect, which has really stood out, is the fact that society always seems to view and label the extremes. What I mean by that is a teenager in many peoples point of view can never be normal or in between. They are either: ROUGH, RUDE STREETWISE, DRUGGIE TYPES or GEEKY, WEIRD, HIGH ACADEMIC ACHIEVERS Whichever way you look at both descriptions, they are characteristics, which can outcast you in society, and as a whole has the ability to outcast teenagers, as these are the images they are stuck with. Nevertheless, the
How did Hitchcock defy Cinematic convention when he Released
How did Hitchcock defy Cinematic convention when he Released "PSYCHO"? "Psycho" was a groundbreaking film of the 1960's which spawned the Suspense-Thriller genre of films we now watch today. But unlike the films before his he took a brave stance in defying the convention of film at the time in many ways. Some of the most dominant being cinema going, cinematography and narrative techniques as well as breaking many cultural taboos in this period of post-war austerity. But perhaps some of "Psychos" success can be attributed to the fact that when Hitchcock unleashed his film on to the general public it was because of the hype his new film had gained through the critics. But even though Hitchcock did use himself as a selling point for his film he was maybe pushing the boat out too far in hiring well known actors, Truffaut said, "I don't care about the acting; but I do care about the pieces of film and the photography and the soundtrack and all of the technical ingredients which made the audience scream... they were aroused by pure film". And this is what and why "Psycho was so good because it evoked emotion within the audience and was a piece of "pure film" which is sometimes hard to find. "My main satisfaction is that the film had an effect on the audiences, and I consider that very important." Truffaut, 1985. This quote shows the impact the film had on its audiences, and that
Analyse and compare the opening sequences of 'The Bill' and 'Murder City'.
Analyse and compare the opening sequences of 'The Bill' and 'Murder City' All police shows aim at thrilling and exciting their audiences by diverse portrayals of the police and crime. Each one presents the police and crime in their own unique way because each has to be different from the rest in order to attract an audience. For this part of my project, I have chosen two contrasting cop shows - 'The Bill' and 'Murder City' - to help me in exploring and analysing the methods used by the media in entertaining their target audiences via these shows. I shall use the episode of 'The Bill' that went on air on 11.03.2004 and the first episode of 'Murder City'. In analysing and comparing the above two, I shall take a look at their credits, music, graphics, camera work and the introduction of their characters. (1) MUSIC- At the beginning of 'The Bill', we are shown a synopsis of the story from the previous episode so the audience can catch up and understand the order of events. During this recapping, the music of 'The Bill's' opening sequence is played softly in the background. As the credits are shown, the music begins with a heavy pattern to its tune that is repeated at a high pitch. Trumpets, guitars and drums are the instruments used; a siren can be heard in the background. The tune is rhythmic and catchy. The viewers can be drawn by the catchy music without human
Study the language of home shopping channels.
Introduction For my investigation I have chosen to study the language of home shopping channels. I chose this topic because I thought it would be interesting to investigate the discourse of this persuasive language, as such channels represent a growth area in British television. However to make this method of shopping effective the presenter needs to go into great detail in order to describe the product to its full potential as the audience will know what the product is really like as they can not physically touch it. The presenter aims to obscure the fact that the text is monologic and tries to make it like dialogue. She does this by trying to create solidarity with the audience by using a number of techniques as for example the use of personal pronouns and creating that idea of a group definition. To add prestige and worth to the product she makes reference to royalty. She uses sales talk and collocates to add coherence but most importantly she uses sales talk as a means of persuasion. Aim The aim of my investigation is to examine how the presenter uses persuasive techniques in order to influence the audience to buy the products. The main topics I will be looking at are: * Description of the products * Generic features of discourse I expect the features I will find are quite typical of this type of discourse. It will also be interesting to find out the
Six Characters in Search of an Author by Luigi Pirandello, Act One, Scene One, I played the Leading Actor and we focused on Contexts
Unit 1 – Exploration of Drama & Theatre AS First Performance: ‘Six Characters in Search of an Author’ by Luigi Pirandello, Act One, Scene One, I played the ‘Leading Actor’ and we focused on Contexts – Social, Cultural, Historical and Political – Practitioner Contexts First Produced in Rome in 1921, the play’s setting is within a theatre while a rehearsal of ‘The Rules of the Game’ is taking place. The action unfolds in anytown, anytime, outside history. Act One begins with the curtain already up and the theatre in disorder; normal for a working session behind the scenes. It was convention in the 1920’s that the curtain is down, thus defining the fourth wall: society was therefore confronted by something alien. I and the Other Actors therefore decided to take the concept of this idea and break all divisions between us and the audience by entering the stage through the audience: something that society didn’t accept in theatre at the time. To further alienate the audience dialogue had all ready started between the actors offstage, and resulted in the audience being thrown into a confusing situation where the story had already begun without them: crossing the lines between art, which is unchanging, and life, which is an inconstant flux. The gentry and Ladies would go to proclaim Pirandello a ‘madman’ and his play a ‘madhouse.’ A view
In a 1963 interview, following the phenomenal success of "Psycho" Hitchcock agreed with his interviewer that he was "really directing the audience more than the actors!" How does Hitchcock manipulate his audience in "Psycho"?
In a 1963 interview, following the phenomenal success of "Psycho" Hitchcock agreed with his interviewer that he was "really directing the audience more than the actors!" How does Hitchcock manipulate his audience in "Psycho"? Alfred Hitchcock was an ingenious film director born in England in 1899; he began filmmaking in 1919 and produced more then 40 pieces of work including such famous sound films as Vertigo (1958), The Birds (1963), and Psycho (1960), all renowned for demonstrating Hitchcock's strong manipulation of the audience. Hitchcock wanted to involve the audience as much as possible to create even more suspense and anticipation throughout his films. He studied at St. Ignatius College London and became a brilliant technician who expertly blended sex, suspense and humour to become the acknowledged master of the thriller genre. His breakthrough film "The Lodger"(1926) was a prime example of the classic Hitchcock plot: an innocent protagonist falsely accused and then drawn into a web of intrigue, creating the film's storyline. Hitchcock had a theory that suspense is only created by providing the audience with suggestions and information endangering characters, however it is always what you least expect that happens in Hitchcock films. This is exactly so in Psycho: there are plenty of scenes that indicate danger or even peace and
Have decided to explore how Bolt uses the Common Man to emphasise the features of the major characters
The significance of the Common Man in 'A Man For All Seasons.' I have decided to explore how Bolt uses the Common Man to emphasise the features of the major characters and to illustrate the main themes of the play. I will also explore the role the common man plays in the structure of the play and his effect on the audience. The Common Man is the only character who speaks directly to the audience, which I think is important as it means they can feel part of the play: there is interaction between the audience and actors. This communication may increase the enjoyment of the audience as they are more involved with the production and is different to watching a drama or film on television. As Bolt says in the preface, 'The Common Man is intended to draw the audience into the play, not thrust them off it.' The fact that he is the only character that speaks to the audience means he can introduce them to the characters. (Eg: when the audience first sees More, he says 'that's Sir Thomas More') Although this is a very simple function it is important to eliminate any confusion the audience may have. This direct communication also means that he can make judgements on other characters. In the first scene as the steward, for example he observes that Rich will 'come to nothing' and that Thomas More 'will be out of practice' when someone asks him for something he wants to keep. These