The Key Factors Contributing To An Effective Destination Marketing Essay

The Key Factors Contributing To An Effective Destination Marketing Essay According to Blain 2001, before defining the concept of destination branding, it was essential to define branding in its general term. Henceforth to provide a better insight of the traditional definition of a brand a definition by Aaker (1990) in Managing Brand Equity was firstly identified. He defines brand as a name, term, sign, symbol, or design, or a combination of them, intended to identify the goods and services of one seller or group of sellers and to differentiate them from those of competitors. According to the traditional perspective, a brand was solely associated with the product/service which would help the product/service to be distinguished amongst others. Moreover, Kotler (2000) also shared the same viewpoint as he defined brand as the name associated with one or more items in the product line, which is used to identify the source of character of the item(s) (Kotler 2000, p. 396). In addition, as the word keeps evolving and becomes more challenging, Blain (2001) in his definition of branding explained the difference between brand and logo. He argued that the logo design is the symbol or visual representation of the brand, which includes image, identity and perceptions of the perceived product. Creating a logo is one key aspect of branding but the branding of a product/service involves more than just a logo as the brand name also is an important factor. Hence, both the brand and the logo are interdependent. Within this view, Keller (2003a) states that, à ¢Ã¢â€š ¬Ã‚ ¦whenever a marketer creates a new name, logo, or symbol for a new product, he or she has created a brand (p. 3). However, Kapferer (1997) mentioned that the brand is a sign- therefore external- whose function is to disclose the hidden qualities of the product which are inaccessible to contact (p 28). Here, the perception of branding is totally different compared to previous research. Kapferer put much emphasis on the identity that a brand name projects and which will further help the product/service to distinguish itself from competition. Taking the example of the global fast food industry namely McDonalds, Ghosh et al (2010) stated that there are certain value propositions that the company offers to its customers to satisfy their needs. McDonalds offers hygienic environment, good ambience and great service. It can hence be considered that the hidden qualities as mentioned earlier by Kapferer here is the perception which people have with regards to the ambience at Mc Donald. Henceforth, Kohli and Thakor (1997) suggest that, The challenge today is to create a strong and distinctive image (p. 208 ). Initially, a brand was simply a name, it gradually became a representation of a product and now a brand not only represent a product or service alone but marketers can also brand a city, a state, a nation or even a country. Branding is also about creating awareness of a destination. According to Upshaw (1995), it is useful to review a summary of the terminologies of branding as it helps to understanding the various terms of branding used in the branding of destinations. Brand Equity The total accumulated value or worth of a brand; the tangible and intangible assets that the brand contributes to its corporate parent, both financially and in terms of selling leverage. Brand identity Part of the brands overall equity; the total perception of a brand in the marketplace, driven mostly by its positioning and personality. Brand positioning What a brand stands for in the minds of customers and prospects, relative to its competition, in terms of benefits and promises. Brand personality The outward face of a brand; its tonal characteristics most closely associated with human traits. Brand essence The core or distillation of the brand identity. Brand character Having to do with the internal constitution of the brand; how it is seen in terms of integrity, honesty and trustworthiness. Brand soul Related to the brand character, defined as the values and emotional core of the brand. Brand culture The system of values that surrounds a brand, much like the cultural aspects of a people or a country. Brand image Generally synonymous with either the brands strategic personality or its reputation as a whole. Table 1: The basic terminologies of branding (Upshaw 1995) With these terminologies as a foundation, a definition of destination branding can be developed which will help to have a better overview of the tourism destination branding. DESTINATION BRANDING Despite being uncertain about referring the branding concept to the tourism destination context (OShaughnessy OShaughnessy 2000), that concept has only recently captured the interest of tourism destination researchers and practitioners (Curtis 2001; Anholt 2002; Cai 2002; Morgan Pritchard 2002; Olins 2002). The notion of branding in the tourism industry has only recently to come in the limelight and apparently became a debatable and examinable topic in the late 1990s according to Pike (2002) and Tasci Kozak (2006). Ricardo (2009) also supported the fact that although branding has been an old aged concept, the study of destination branding is a relatively new addition in the tourism research field. With reference to the definition of branding that Aaker (1991) derived from his research, he explained destination branding as a distinguishing name and/ or symbol (such as a logo, or trademark) intended to identify the destination and to differentiate it from competitive destinations. ( p.7). Here also, the researcher put much emphasis on the name and symbol that would contribute to the personalization of the destination from competitors. However, some researchers do not limit their definition of branding to a simple name and symbol. According to Ritchie and Crouch (2003), the destination branding concept is also about feelings and emotional attachment that the visitor would experience when visiting the destination. Within this perspective, they proposed the following definition: A destination brand is a name, symbol, logo trademark or other graphic that both identifies and differentiates the destination; furthermore, it conveys the promise of a memorable travel experience that is uniquely associated with the destination. It also serves to consolidate and reinforce the post- travel recollection of pleasurable memories of the destination experience. Henceforth, a destination brand is far more complex than a product brand. The destination brand must have two attributes to be efficient compared to the brand of a product/service. Firstly, it is necessary to differentiate itself from other destinations as put forward by Aaker (1991), and secondly people visiting the destination should also experience the promise associated with the brand message. The marketer must make sure to deliver the experience promised. Taking the example of Columbia, the brand associated is The only risk is wanting to stay. According to Buncle (2009), when a sightseer visits Columbia, he should want to prolonged his visit, only then the marketer could have the satisfaction of a successful destination brand. Additionally, Cai (2002) defined destination branding from a much similar perspective. He described destination brand as perceptions about a place as reflected by the associations held in tourist memory (Cai 2002, p. 273). His definition reflects that of R itchie and Crouch (2003) as both consider destination brands as an essence, a perception that tourists have when visiting a destination. However, Kerr (2006) considered the concept of competitiveness, the promise of a memorable travel experience and the recollection of pleasurable memories to derive his own definition. To summarize the concept of destination branding, De Chernatony McDonald (1992) commented that the concept of branding is increasingly being applied to people and places. Furthermore, Kotler et al (1999) argue that the concept of a brand name extends to tourist destinations. Acapulco, Palm Springs and the French Riviera have developed strong reputations, consumer perceptions and expectations. In similar ways, Virginia builds on Birthplace of Presidents, Mississippi on The Heart of Dixie, Niagara Falls is Romance, Greece is The Birthplace of Democracy and Florence The centre of the Renaissance. According to Kotler et al (1993), the concept of destination branding is linked to the specific attraction that the destination has to offer and is a platform for building a places image. Finally, the most comprehensive definition of destination branding to date was proposed by Blain et al (2005, p. 337), which includes both supply and demand perspectives: Destination branding is the set of marketing activities that (1) support the creation of a name, symbol, logo, word mark or other graphic that readily identifies and differentiates a destination; that (2) consistently convey the expectation of a memorable travel experience that is uniquely associated with the destination; that (3) serve to consolidate and reinforce the emotional connection between the visitor and the destination; and that (4) reduce consumer search costs and perceived risk. Collectively, these activities can help a destination have a positive influence on the visitor while the latter makes his choice of destination. The definition proposed by Blain et al (2005) covers all the needs and wants a traveler would want to have for his trip. To summarize, defining destination branding is a complex process as it is not only the marketing of a destination but also the sense of promise that the marketer would associate with the brand to all the potential visitors. It also encompasses the satisfaction the visitors would derive when experiencing the destination. COUNTRY BRAND VERSUS DESTINATION BRAND Not much research has been done till now to differentiate between a country brand and a destination brand. However according to Szondi (2007), the aim of destination branding is to attract visitors and boost tourism, while country branding promotes economic, commercial and political interests at home and abroad. Szondi (2007) further suggest that a country brand can consist of different brands, such as a destination brand, an export brand, an investment brand, a political brand, which can be all different rather than having a central, all-encompassing country brand. Some of these sub-brands can be stronger and more successful than others. He further argues that country brands have both intangible and tangible elements, such as the products or services of the particular country. The more specific aims of country branding are to create or advance the country-of-origin effect, to promote exports or attract investors or a skilled workforce. Country brands can serve as a sort of umbrella under which further sub-brands can be developed. Taking the case of Mauritius as example, it can be noted that its country brand is Mauritius- its a pleasure whilst its tourism brand is Les Iles Vanilles, on technological grounds, Mauritius has branded itself as Cyber- Mauritius and ecologically, the island has been termed as Maurice- Ile durable. Sub- brands are very important for a destination as it helps both investors and travelers to have an overview on the political, economical, social, technological, ecological and legal aspect of the destination. Another concrete example which shows an evidence of the difference is the case of India. The country brand of India is Incredible India, but several destinations of the country itself are branded separately. Table 2 clearly shows the difference between the country brand and the destination brand. Country brand Destination brands Table 2: Difference between a country brand and a destination brand REASONS DESTINATIONS DEVELOP BRANDS Research has proved that branding improve destination image among visitors and help Destination Marketing Organizations (DMOs), who are the stakeholders of the tourism industry of a destination, in measuring the success of that branding concept. Branding successes include the Courtyard by Marriott (Alford 1998), Forte Hotels (Connell 1994), and Florida (American Marketing Association 1997). In addition, the 1998 Annual Travel and Tourism Research Association conference has reported a number of destination branding success stories. These included New York, Tasmania, Australia, Canada, New Orleans, Lousiana, Texas, and Oregon. The branding success in the hospitality firms (Beirne 1999; Higley 1999; Hodge 1998; Salomon 1998) has also been recognized. Also, from a nation branding perspective, Hamilton (2000) viewed Scotland as uniquely strong in integrity, inventiveness, tenacity, and spirit. Henceforth, it can be concluded that all the studies stress the importance of reinforcing a uniq ue image and personality as well as differentiating the destination from competitors to be successful and to be a recognized destination and nation around the world. Additionally, according to Rainisto (2004), a successful brand is a key national asset that is why every nation brands itself. In other words, branding is considered as a marketing tool to promote a destination and in the process of developing a successful brand the place itself is developed. Brown et al (2002) took the example of Australia and the Sydney 2000 Olympics to describe such a development. Branding Australia as a whole has changed the perspectives of many. With the Sydney Olympic game, other countries and even the local population viewed Australia differently as the targeted group was satisfied with the Sydney Olympic and Australia brand image was boosted. To summarize, destinations develop brands to be economically stable and develop as well as exploit existing resources for the benefit of the destination itself. Moreover, destinations develop brands so that they can sell themselves by citing only category benefits. For example, several tropical destinations mostly islands like Jamaica, The Bahamas, Puerto Rico, Virgin Islands, Bermuda, Mexico and the Cayman Islands praise their clear blue water and white or pink or black sandy beaches to attract maximum number of tourists1. They sell fun, excitement or relaxation or the various activities that their destination offers with an added value of local culture which will outsmart the destination when compared to others as each destination has its own culture. Thus, it can be concluded that destinations develop brands to achieve fame and success by selling themselves to potential visitors. 1:http://www.stealingshare.com/pages/%20Destination%20Brand%20Development%20and%20Tourism%20Brand.htm DESTINATION IMAGE: The aim of destination branding is to put emphasis on the importance of a tourism brand and present the targeted market a favorable image of the mentioned brand according to Jalilvand et al (2010). It can therefore be understood that the image of a destination holds much importance and is considered as one of the key success factor brand. Moreover, Lin et al (2007) also agrees with the fact that destination image plays an important role in shaping tourists preferences and decisions to visit a particular destination. Henceforth, according to Morgan and Pritchard (1998), There is undoubtedly current interest in image. Image is exhorted as the defining experience of the decade, as the new reality. It is commonly recognized that destination image is, the sum of beliefs, ideas, and impressions that a person has of a destination (Crompton 1979, p. 18), it is also an important aspect in successful destination marketing (Tasci Gartner 2007). Some researchers relate destination image as one of the key component for the overall success of a destination in the field of tourism (Chen and Kerstetter 1999; Dadgostar and Isotalo 1992; Hunt 1975). Additionally, according to Echtner and Ritchie (1991), destination image is defined as not only the perceptions of individual destination attributes but also the holistic impression made by the destination (p. 8). Therefore destination image has proved to be a major factor in determining visitor choice (Lee, OLeary, and Hong 2002). The 3- Gap tourism destination image formation model: Moreover, as destination image has a great impact on the tourist behavior, researchers has been trying to identify the determinants that define, modify, and strengthen this concept (Tasci Gartner 2007). Therefore, past studies have considered destination image as a dependent variable suggesting that several factors play a role in the destination image formation (Alhemoud and Armstrong 1996; Bramwell and Rawding 1996; Gartner and Shen 1992; Gunn 1972; MacKay and Fesenmaier 1997; MacKay and Fesenmaier 2000; Smith and MacKay 2001; Sonmez, Apostolopoulos, and Tarlow 1999). Figure 1 below illustrates the destination image formation model and subsequently identifies those elements that have a direct influence on how the perceived destination image is formulated in the mind of the visitor. According to the diagram, there are three main types of destination image namely the cognitive, affective and the conative image that bridges the gap for a successful and effective destination image form ation which will eventually lead to a successful destination brand. FIGURE 1 THE 3-GAP TOURISM DESTINATION IMAGE FORMATION MODEL Figure 1: Adapted from Govers et al- 2007 Assurance of Quality According to Blain et al (2005) a recognized brand is an assurance for consumers who would generally derive satisfaction from that brand and trust that their expectations will be met. Viewed within a hospitality context, visitors will likely expect high-quality facilities and customer service at a renowned internationally recognized chain (brand) of hotels like the Oberoi Hotel Group as they are already acquainted with the service being provided by that particular firm. At the same time, visitors can also expect to pay a premium for this assurance of quality and reduction of perceived risk (Blain et al 2005). L. Berry (2000) states that a brand reduces customers perceived monetary, social, or safety risk in buying services, which are difficult to evaluate prior to purchase (p. 128). Henceforth, the image that a destination projects in the tourism market and its product offering as illustrated in the diagram above is primordial. DESTINATION AND BRAND PERSONALITY Furthermore, one of the other key factors for an effective destination brand is the personality of the destination. As places seek to become distinctive and unique in their own ways, destination personality is viewed as a possible means for understanding tourists perceptions of places and for designing a unique destination identity (Caprara et al 2001; Crask and Henry 1990; Morgan et al 2002, Triplett 1994). As we have seen in Table 1 above, Upshaw (1995) defined brand personality as human traits associated with the destination. Taking Dubai as an example, it is portrayed as a friendly, safe and virtually crime- free country and where hospitality has been a tradition for centuries2. 2:http://www.dubaitourism.ae/DubaiataGlance/WelcometoDubai/tabid/309/language/en US/Default.aspx BRAND PERSONALITY: In the tourism literature, the study of destination image has been of utmost importance during the past three decades, but destination personality has remained largely unexplored. However, since Aaker (1997) developed the Brand Personality Scale (BPS), which consists of five generic dimensions namely excitement, sincerity, competence, sophistication, and ruggedness, further studies on destination personality has been conducted and the brand personality dimensions have been applied to various destinations across different cultures to have a better overview on consumers opinion on that particular area and how it is being consumed by visitors (Aaker et al 2001; Supphellen and Grà ¸nhaug 2003). The brand personality of a destination must have the ability to provide a sense of uniqueness in the minds of the consumers which will in turn help to build and enhance brand equity (Keller 1993; Johnson et al 2000; Phau and Lau 2000). If a brand has a strong personality, consumers would be influ enced (Sirgy 1982; Malhotra 1988) and would tend to develop stronger emotional ties (Biel 1993), trust, and loyalty with the brand (Fournier 1998). DESTINATION PERSONALITY: Similarly to brand personality, a unique and emotionally attractive destination personality can influence the perceived image of a place and influence the choice of the tourist. For example, According to Crockett and Wood (2002), the rebranding of Western Australia has reflected another personality of the country. The destination was promoted as a premier nature-based tourism destination which in turn resulted in an increase in tourism. Although there has been little experimental investigations, destination personality has been adopted by many tourism academics at the conceptual level (Crockett and Wood 2002; Henderson 2000; Morgan et al 2002). For example, through an analysis done in a travel and tourism advertisement in the US travel media, Santos (2004) revealed that Portugal was represented with personality attributes such as contemporary, modern, sophisticated, and traditional. Morgan and Prichard (2002) observed that England was portrayed as being conservative, pleasant, refined, civilized, eccentric, and down to earth in the UK tourism media. Furthermore, Henderson (2000) revealed that the New Asia-Singapore brand composed of six personality characteristics namely cosmopolitan, youthful, vibrant, modern, reliability, and comfort. Moreover, destinations can be described using human personality traits, such as Europe is traditional and sophisticated; Wales is honest, welcoming, romantic, and down to earth; Spain is friendly and family oriented; London is open-minded, unorthodox, vibrant, and creative; and Paris is romantic (Morgan and Pritchard 2002). When choosing among competing products, consumers assess the degree of similarity between the personality traits communicated by the product (Plummer 1985) and by so doing; they reflect their own personality (Zinkhan et al 1996). Hence, a sportsman buying an energy drink like Red Bull will give the latter the impression that when consuming the drink, it would help him to be as strong as a bull. Therefore, there is both a physical and emotional consumption of the product. This notion is supported by Browns study (1992), which advocates that through tourism experience, there are symbolic as well as physical consumption of places. In contrast, whether the tourists have had a direct or indirect contact with the destination, perceptions of destination personality traits can be outlined (Plummer 1985). Destination send a variety of messages, most especially through advertising and tourists would receive and interpret those messages and form a personal opinion on the behavior of the destina tion. Personality traits can be associated with a destination in a direct way through citizens of the country, hotel employees, restaurants, and tourist attractions, or simply through the tourists imagery, defined as the set of human characteristics associated with the typical visitor of a destination (Aaker 1997). In an indirect manner, personality traits can be attributed to destinations through marketing programs such as cooperative advertising, value pricing, celebrities of the country, and media construction of destinations (Cai 2002). Accordingly, Ekinci and Hosany (2006) argued that, similar to consumer goods/brands, tourism destinations are rich in terms of symbolic values and personality traits, given that they consist of a bundle of tangible and intangible components (e.g., visitor attractions, hotels, and people) associated with particular values, histories, events, and feelings. Henceforth, it can be perceived as one of the key factors which contribute to an effective tourism destination brand. DESTINATION POSITIONING Another key aspect of an effective and successful destination brand is the positioning of the destination. In their classic book, Positioning: The Battle for Your Mind, Ries and Trout (1981) argued that the concept of positioning is not only applicable to a brand but also to a company, service, person, or even a place. A great number of researches have been conducted in the area of destination image and positioning (Gartner, 1989; Woodside et al., 1989; Woodside, 1990; Etchner and Ritchie, 1993; Chacko, 1997; Walmsley and Young, 1998; Botha et al., 1999). Most of the previous studies have followed the traditional approach to positioning that is based on image creation using a number of attributes that reflect the destinations most attractive products. Moreover, Etchner and Ritchie (1993) also believe that the image of a destination should be seen as having components that are attribute-based and holistic. They argued that an analysis of these attributes, integrated with personal variables such as the type of tourism needs sought, can help in identifying the relative strengths and weaknesses of the destination and can also contribute to identifying potential niche markets that could be used in developing the destinations positioning strategy. Buhalis (2000) also suggests, based on Butlers (1980) des tination life-cycle model as shown in Figure 2, that destinations at the later stage of their evolutionary development, that is the rejuvenation phase, should focus on alternative marketing strategies that support the image alteration, redesign or re-positioning of the tourism product. Figure 2: Adapted from Butler (1980) According to the figure above, the following represents: A: Exploration phase B: Involvement phase C: Development phase D: Consolidation phase E: Stagnation phase F: Decline/ Rejuvenation phase According to Butler (1980), each stage contributed to the expansion of tourism in the destination. However, the last phase namely decline/ rejuvenation phase recommend a repositioning and rebranding of the destination to boost the tourism level of the destination. Moreover, Trout and Rivkin (1996) believe that repositioning strategy becomes necessary when (1) Customer attitudes have changed; (2) Technology has overtaken existing products; and/or (3) Products have strayed from the customers long-standing perception of them. Furthermore, Crompton et al (1992) also suggested that, for effective positioning of a destination, the strong attributes that are perceived as important by visitors should be first identified. Also to be identified are other relevant attributes that are unique to the destination and capable of differentiating it effectively from its competitors in its ability to satisfy the customers needs. Consistent with this line of thought, Chacko (1997) in a study of the US tourism market combined the ten highest-ranked activities among Japanese tourists with their specific image attributes of the destination in order to get an indication of how to position the USA as a destination for Japanese visitors. Henceforth, the positioning of a destination is the process of establishing a distinctive place of that destination in the minds of potential visitors (Gartner, 1989). From the above, it can be concluded that to ensure success for the positioning strategy of a destination, it is imperative that the image of the destination and the specific product attributes that satisfy the customer should be identified. Authors such as Gunter and Furnham (1992), Sleight (1993) and Weinstein (1994) believe that markets are no longer as mass-oriented or colossal as they once were due to a change in visitors tastes and needs. Most tourists are in need for unique and unspoiled destinations. Therefore, as explained by Etchner Richie (1993), the measurement of the customers image of the tourism product and the satisfaction of the product attributes, combined with the identification of the tourist needs and desires in a tourist destination (Cho, 1998), can be perceived as factors leading to an effective destination positioning. BRAND EQUITY Apart from destination image, destination personality, destination positioning, another factor which can be considered as important for an effective brand is brand equity. Recently, much emphasis has been put in the tourism literature to the concept of brand equity (Ind 1997; Kapferer 1998; de Chernatony 1999; Aaker Joachimsthaler 2000). The Marketing Science Institute (1989) described brand equity in the perspective of customers as à ¢Ã¢â€š ¬Ã‚ ¦the value that is added by the name and rewarded in the market with better profit margins or market shares. It can be viewed by customers and channel members as both a financial asset and as a set of favorable associations and behaviors. Keller (2002) also defines brand equity from a customers perspective. He explained that an identifiable brand would urge customers to respond favorably to the product. On the other hand, from a managerial perspective, Aaker (1991) defined brand equity as a set of brand assets and liabilities linked to a brand, its name and symbol add to or subtract from the value provided by a product or service to a firm and/or that firms customers. He stated that the assets and liabilities linked to a brands name or symbol can be grouped into five dimensions namely brand loyalty, brand awareness, perceived quality, brand associations, and other proprietary brand assets. He suggested that brand equity can be generated by strengthening those dimensions. Besides, Faircloth (2001) stated that recent definitions of brand equity have evolved and include the added value of name and expand to a broad set of attributes that drives customer choice. He also argued that brand equity actually represents a products position in the minds of consumers in the marketplace. Nevertheless, researches on the brand equity concept and its dimensions have been mostly investigated within products and services context; the brand equity concept within a tourism destination context is currently in its infancy (Konecnick Gartner, 2007; Pike, 2007). CONCLUSION: Branding has evolved from product brand to destination brand. However, destination branding is far more complex than branding itself. There are four key factors in the literature review that have been developed. These are destination image, destination personality, destination positioning and finally brand equity. Yet, destination image is still considered as one of the most important aspect for an effective brand. Moreover, the 3-gap tourism destination image formation model is an integral tool for marketers have a better insight of the loopholes that should be tackled when promoting a place. Henceforth, whenever any DMO want to create an effective brand, the four key brands must be given due priority.

How the Western Film Genre Has Developed over the Past Century Essay

The Western film genre is typically set in a secluded village in the middle of the desert, normally in the American West. The setting includes wooden buildings, tumble weed, cacti, trains, horses and carriages. The storyline for western films is usually the same, namely, a hero travels to a remote village, usually on a horse, and brings peace to the warring villagers. In a traditional Western film the clothing for the hero is usually a white hat, (this is to show purity). The hero would also wear a brightly coloured shirt , a pair of jeans and cowboy boots with spurs on the back of them. The hero is also very clean and also normally tall and good looking. A traditional Western includes things like white settlers living in a town and a white hero fights white baddies and usually the hero wins. In a traditional western the Native Americans attack the towns where religious and peaceful people live. This makes the Native Americans look like bad people and the whites as good people. The first Western film ever made was called ‘The Great Train Robbery‘. It was made by ‘The Lumiere Brothers’ in 1903.This film was a high quality film, because they used some panning with the camera. This was unusual in its time because the cameras that they had, had to be put on a fixed point because they were too heavy to lift. This meant that they couldn’t move in for close-ups. Consequently it made it harder for the audience to understand the characters feelings and to understand the storyline. If the camera can move in on the villain when he is plotting something or pulling a gun out ready for a fight it is much easier for the audience to follow. ’The Great Train Robbery’ was a simple one-reeler action picture, about 10 minutes long, with... ...eserts, wooden buildings, small towns and cacti for the setting, western music and wind sounds for the backing music, and crane shots and panning for the camera shots. Shooting games are very popular with boys and so using the Western as a basis for these games should mean that many of them will be sold. Westerns have, and always will, be very popular. The storylines, the shoot-outs and the all action drama are popular with men. The handsome hero and the better roles for women in the films means that more women were attracted to Westerns. The advances in technology meant that lots of people came to see the films just to see the camera shots and the sound. The change of storylines which showed the Native Americans to be nice people also kept peoples interest in Westerns. This is why they are still used today to sell products such as jeans and computer games.

Essay on Narrator and Point of View in Yellow Wallpaper and Story of an

Narrator and Point of View in The Yellow Wallpaper and The Story of an Hour  Ã‚      Both Gilman's and Chopin's stories are, in effect, stories of women who feel "trapped" by the men in their lives. Gilman uses first person narration to reveal a woman's "creeping" loss of reality to her readers, while Chopin allows us to experience the joy Louise Mallard felt upon hearing of her husband's death through third person narration. Interestingly, neither story would have been able to reveal either woman's psyche to impact the reader as successfully as both did had their individual narrations been attempted through another form. In "The Yellow Wallpaper," Gilman's point of view is expressed through first person narration, which provides her readers with brief glimpses into the other characters' perception of her and her perceptions of them (which essentially enlightens readers), as well as the main character's active dissemination of what is occurring in her mind. First person narration can at times be considered biased or naive within the context of their perceptions and projections of other characters. Not so with the woman in "The Yellow Wallpaper." She seems to offer an almost unbiased perspective of husband John, which the reader notes from the beginning as she goes back and forth from justifying his attitude and behavior towards her--"Dear John! He loves me dearly, and hates to have me sick" (324)--to eventually becoming mistrustful of him: "The fact is I am getting a little afraid of John" (326). One ends up viewing John as completely oblivious yet superior in his lackadaisical attitude and treatment of his wife. Therefore one has little sympathy for John in the end (which I believe is also intended), when he finally realize... ...r V. Roberts and Henry E. Jacobs. Upper Saddle River, New Jersey: Prentice-Hall Inc. Simon Schuster/ A Viacom Company, 1998. 542-553. Gilman, Charlotte Perkins. "Why I Wrote 'The Yellow Wallpaper'" Ed. Catherine Lavender; The College of Staten Island of the City University of New York, Fall Semester, Oct. 1997. (25 Jan 1999)  Ã‚   http://www.library.csi.cuny.edu/dept/history/lavender/whyyw.html McChristie, Pat. "Women Need to Work" Copyright: 1998. Cyberwoman (30 Jan 1999) http://www.cyberparent.com/women/needwork.htm Wyatt, Neal "Biography of Kate Chopin" English 384: Women Writers. Ed. Ann M. Woodlief Copyright: 1998, Virginia Commonwealth University. (26 Jan. 1999) http://www.vcu.edu/engweb/eng384/katebio.htm "Why are Women Leaving Marriage in Droves?" Marriage. Copyright: 1998. Cyberwoman (30 Jan 1999) http://www.cyberparent.com/women/marriage1.htm

The structure of the play Blood Brothers

At the start of the play , w see the end of the play , a flash back, although at this point we do not know its the end , all we see is 2 men dead on the floor and a very mysterious and creepy music can be heard , leaving the audience wondering what is going on. Then we learn of what is going on as the narrator recites a passage that we here a few times in the play â€Å"As like each other as two new pins, of one womb born on the self same day, how one was kept and one given away? An did you never hear how the Johnston's died, never knowing that they shared one name till the day they died, when a mother cried, my own dear sons lie slain† this passage tells the audience what's happening and gives away the plot, but it doesn't ruin it for the audience as there is still information they do not know for example, how did they die? Why did they not know they were brothers? And lots more questions, causing them to be more indulged in the play. Complication The complication in the play is when Mrs. Johnstone is forced to give up one of her sons to Mrs. Lyons to avoid losing them both to social services or going into so much debt that she just couldn't look after them. If this part of the play didn't happen, there really would be no play as it would mean Eddie and Mickey wouldn't have to meet and they would never become blood brothers, Eddie wouldn't go to university because he wouldn't of been able to afford it and Eddie wouldn't of had the good job and been able to give Linda money later on in the play and give Mickey a job. Rising action Other small complications in the play that are added in to make it more interesting and add more action are important to the play also. The love triangle between Mickey, Eddie and Linda, without this part of the play Linda wouldn't have cheated on Mickey causing Mickey to get jealous and seek out Eddie to kill him at the end of the play. But another complication which was vital and the reason that Linda cheated was Sammie shooting the man and Mickey going to prison for it , if this didn't happen Mickey wouldn't of got depressed had to take his Tablets , he wouldn't of slowly pushed Linda away, and as I said , Linda wouldn't have cheated. Climax The climax of the play is obviously the end sequence which starts with Mrs Lyons who at this point in the play has become a paranoid wreck showing/telling Mickey that Edward and Linda are together, This is a catalyst for the ending everything in the play after this point speeds up (the music, the speech the movement) Mickey is outraged by what he now knows about his wife and Ex best friend so he runs home finds the gun that Sammie used to shoot the man earlier in the play and goes in search of Eddie , during this he the female characters realise what's about to happen and emotions hit there peaks â€Å"he's †¦. Mickey†¦. Mickey's got a gun† (Mrs. J) (p97) the tension and speed increases more and more as we get closer to the end. Shouting and screaming increases the tension, Mickey reminds the audience of what has happened throughout the play â€Å"FREINDS! I could kill you. We were Friends weren't we? Blood brothers, wasn't it? Remember?† then it finally hits the peak when Mrs Johnstone tells them there brothers and they both are shot, Mickey by the police officer then Edward by Mickey. Solution The solution, although sad is the two twins dying, if it wasn't for them not knowing they were twins the play would never have been, but nothing could be peaceful and right until the problem made at the start which was them, was taken away. The secrets and lies had to come clean for the play to be ended and that meant Mrs Johnstone had to learn from her mistakes, she had to be punished for her mistakes and the superstition which pays such a key part in this play had to come true. Finally we end the Play how it started with the mysterious Narrator repeating the passage said at the start â€Å"Did you ever here the story of the johnstone twins , As like each other as two new pins, of one womb born on the self same day, how one was kept and one given away? An did you never hear how the Johnston's died, never knowing that they shared one name till the day they died, when a mother cried, my own dear sons lie slain†. The narrator The narrator in the play plays a very important character in the play, like most narrators he tell the story, but this narrator is slightly more mysterious and complicated than most. He is a ghost like figure; He seems to always be there, but is never seen by the characters, he is truly like a ghost , in some parts of the play he touches the characters they turn round to see who it was but they seem to see nothing although the audience see him there. I have said that the narrator plays a ghost like figure other interpretations of him would be an evil spirit or the devil, I wouldn't Say he was ever like a guardian angel though because all his references are to bad things in the play, he is never really around when happy and comical parts of the play E.G when there children are playing guns but is ever present when tension and anger is involved in the scene , also his song â€Å"The devils got your number† suggests he may be the devil or an evil spirit in connection with the devil. The narrator also continuously refers back to superstition reminding the audience of a very key factor in the play. His lines are never blunt and straight to the point either, they usually are in riddles to make the audience think. Themes The themes in Blood brothers are constantly referred to and gone back to throughout the play, usually reminded to the audience by the narrator but also quite obvious in the play. The first is fate this is mainly shown through the flash back, we see what the ending is like and we are also told by the narrator so throughout the play we know its going to end up like the start. The second and proberly most important theme is superstition â€Å"new shoes on the table, take them off† this theme is a main factor of fear in the play , Mrs johnstone is forever scared to let Mickey and Eddie play and be friends as she is scared if they find out they are brothers they will both die , like Mrs. Lyons said. The final theme is love, love pays a key part and links with superstition Mrs Johnstone loves both her sons and doesn't want them to die , But due to the love triangle between Linda , Eddie and Mickey she has to tell them showing how destructive love really is. The love of different class's is also shown in the play, we see Mrs Lyons and upper class citizen being very over protective of Eddie because she loves him so much she doesn't want him getting hurt in comparison to Mrs johnstone who would rather show her love by letting Mickey enjoy himself and have fun. Dancing Dancing is referred to a lot in the play especially in a lot of the songs, were Mrs. Johnstone refers to a lover taking her dancing or not taking her dancing. Again dancing is compared in the two social classes in the play Mrs Lyons teaches Edward to dance in a very traditional way E.g. a Waltz, were as Mickey Dances to a disco music and Rocky music reflecting on the character as Edward dances a more mature and educated dance and Mickey dances a more playful Un educated dance which doesn't have much structure. Dreams and ambitions Every Character in the play has there own dreams and ambitions again these are Very different over the two social classes. To start though Mrs Lyons has the dream of having a child, so when Mrs. Johnstone comes to her with twins that she doesn't think she can look after Mrs Lyons jumps at the opportunity. In Mrs. Johnstone case she dreams of getting a new husband, moving house, Getting money, she also gets all the things she wants†¦ but these things seem to all cause problems later on in the play , for example Mrs Lyons gets her Child but ends turning into a paranoid wreck because she feels the burden of the secret of adopting Mrs J's baby illegally is always upon her. In Mrs Johnston's case moving house and getting a new man is really ruined as they move to were The Lyons family have escaped to and Mickey and Eddie grow up together, if this wouldn't of happened they proberly would of forgotten each other preventing both there deaths. Both Mickey and Eddies dreams and ambitions also cause destruction there dreams to be like the other seems to cause jealousy which eventually causes Mickey to shoot Eddie, Eddie's dreams of university separates the 3 friends leaving Mickey to fend for himself and make the wrong choices. So to sum up every ones dreams and ambitions seem to come true in the play but they all seem to backfire on the characters. Toy guns Toy guns is an issue covered in the play which causes many problems, when the characters are kids they play with toy guns as said in the song they can get up after a count to ten , they cant die when they play with toy guns they don't understand the dangers of guns , this lack of understanding is carried out into there adulthood and it results in Mickey being put in prison when Sammie pulls the trigger and shoots someone , but still Mickey does not learn his lesson, in the final scene when Mickey holds the gun to Eddie I don't think he means to shoot him , I think he is using it to scare Edward and due to his naivety when he shoots Eddie he kills him , he kills his own brother and best friend. He has never grown up, he is still a kid inside, but the weapon he holds has.

Marketing Strategy of Groupon: Case Study

Marketing Case Study about Groupon. com Groupon: Finding Strength in Numbers Case Study 14. 1 talks about the new internet coupon sensation: Groupon. Groupon was recently discovered in Chicago to gain exposure to new businesses through discounted membership deals and has been on the rise ever since. This particular case study attempts to elaborate on the success of Groupon and how it works. The e-coupon was designed to help business owners appeal to new prospective consumers by advertising group discounts on products and services. So far, the website advertises business in 45 major U.S Cities and has over 2 million subscribers. There are a range of businesses that are advertised on the website. You can find discounts on spa packages, concert tickets, dinner and dessert specials, and more. The way it works is, the business owner makes a deal with the website by offering a discount on a product or service and tells how much they are willing to accept for it and the amount they’r e willing to give away. Then, Groupon advertises the offer for a limited time and receives a finder’s fee once consumers purchase the deals.The business has full control over the minimum and maximum number of deals they’re willing to offer. If the deal doesn’t appeal to consumers then there is no financial loss to the business owner. The intention of the business owner is not to gain a lot of profit from the deals made; rather the intent is to drive traffic to the business once the deal is over. Moreover, the benefit of Groupon to the producer comes after the deal is over and the benefit of Groupon for the consumer comes while the deal is still going on.Questions for Critical Thinking 1. Coupons are a tried-and-true promotion method, and the Internet includes other couponing sites. How does Groupon differentiate itself? Groupon differs from other couponing sites in the sense of the approach taken to advertise the businesses featured on it’s site. The crea tors of this e-coupon site have taken into consideration that people are enjoying many products and services in a group setting. Events such as concerts, plays, and dinners usually aren’t partaken in alone It’s very beneficial to the onsumer to find and purchase discounts for these products for not only themselves, but for friends and family as well. Many other coupon sites only allow access to one coupon per person, but Groupon makes it easy and convenient for one person to obtain multiple coupons for multiple people. 2. Groupon’s business strategy harnesses what it calls â€Å"collective buying power. † What facets of the marketing environment have enabled a business like Groupon to emerge and become uccessful? The new age technology and ability to advertise via the web definitely plays a major role in the success of Groupon. Many businesses do their marketing on the internet and consumers are doing a lot of buying on the internet as well. This opens th e door for many websites like Groupon to act as the middleman for sellers and buyers. Also, with a large number of businesses advertising online, it makes it easier for Groupon to compare prices and negotiate unbeatable deals.

Business ethics Essay

It is a form of applied ethics or professional ethics that examines ethical principles and moral or ethical problems that arise in business environment. It applies to all aspect of business and is relevant to the conduct of individuals and entire organization. Ethics is mainly concerned with what is good versus bad, what is right versus wrong. Deontology is an ethical theory that holds that actions are right or wrong independent of their consequences. Utilitarianism is an ethical theory that holds that actions are right if they produce the greatest amount of good for the greatest number of people. Corporate social responsibility is the obligation towards the society assumed by business. The business maximizes its positive effects on society and minimizes and its negative effects. An illustration of of an ethical and social responsibility issue related to the textile manufacturing business. In today’s global business where large multinational corporations like the textile industry face charges of violating human rights in third world countries. Using child labor questions the human rights, ethics and social responsibility of the textile manufacturing industry. An analysis of how the textile manufacturing illustration applies to decision making and operations in an ethical and social responsible business. The economic responsibilities of business would produce products that society wants at a price that perpetuates the textile business. The textile manufacturing business decides on legal responsibilities where the obey local state federal and global laws. The textile manufacturing business makes decision based on their ethical responsibilities of meeting other societal expectation written or not written by law. Ethical obligations are a set of â€Å"ought to† standards that define a moral course of action and draw a line between right and wrong. Although ethical obligations in business share similarities with legal rules and regulations in determining how a business conduct itself while striving to make profit and achieve strategic company goals. Ethical obligations are really more about discretionary decisions value guided behavior. For example respecting the religious sentiments and dignity of people while advertising for a product. Legal obligations every business has a responsibility to operate within the laws of the land. Since these laws are meant for the good of the society, a law abiding enterprise is a socially responsible enterprise as well Scope and objectives The scope of ethics indicates its subject matter. Ethics as normative science deals with moral ideal or the good in order to enquire the nature of our conduct. It enquires into the nature of the springs of action, motives, intentions, and voluntary actions and so on. It determines rightness or wrongness of human action. As a science of morality ethics discusses the contents of moral consciousness and the various problems of moral consciousness. Ethics is concerned with the highest good or absolute good. It investigates the nature of its fundamental notions that is right, duty and good. It includes whatever has reference to free human acts, weather as principle or cause of action or as effect or circumstance of action (merit, punishment etc. ) Ethics discuss the nature of human freedom . ethics investigates what constitutes good or bad, just or unjust. It also enquires into what is virtue, law, conscience and duty? What obligations are common to all? What is good in all good acts? These questions lie within the scope of ethics. Objectives: Some of the most common ethical obligations in business relate to recruiting and hiring staff, maintaining safe and healthy work environment use business resources wisely and avoiding situations that have the potential to create a conflict of interest, such as accepting gifts from suppliers or making a hiring decisions not because the applicant has the best qualifications but because the applicant is a relative of the business owner. It also includes considering how and where suppliers get their products and weather to sell the products that are detrimental to the health of customers such as cigarettes and fatty foods.

Comparison of the flood and the survey

â€Å"Mankind often underestimates the power of nature† Compare ‘The Flood' and ‘A Survey in the light of this statement ‘A survey and ‘The Flood' are two poems which both use linguistic, rhythmic, structural and vocal tools to label the power of pure nature. They differ in many ways yet both, when delved into and studied, appear to agree that mankind does misjudge nature's power. The titles themselves of these two poems indicate an underlying meaning.For example, ‘The Flood' highlights that the focus of this poem is something we might consider as fairly ordinary, but John Clare thinks it is in fact fascinating enough to write a lengthy oem about. ‘A Survey rather than ‘The Survey indicates that what happens in this poem happens again and again; a theme which continues throughout this poem. The voice is 3rd person and impersonal and the tone of it is very lyrical, suggesting to us a ‘campfire song feel, which again displays that this is something that happens repeatedly and continually.In contrast to this, ‘The Flood', instead of a tone of lyrical mythology, has a personal voice and tone of immediacy. The constant imagery provided makes the reader feel as if they were there, instead of Just being told an ‘old ives tale', like the mood of ‘A Survey. Interestingly, both poems contain a mix of past and present tense. This could suggest continuity in both, and the idea that nature, although both are describing a specific event in the past, is always present, and therefore is very powerful as it cannot be overcome. Each poem uses structure and punctuation very cleverly, but in different ways.For example, in â€Å"The Flood†, each line uses iambic pentameter and everything has a rhyme – everything has a word somewhere that rhymes with it. The verses are 14 lines, similar to a sonnet, and the ast verse is even a perfect sonnet that rhymes correctly and finishes with a rhyming couple t. Like a river, it seems chaotic and long, but it technically obeys rhythmic rules. This could suggest to us that everything in nature has a purpose, and nature has its own balance, Just like the theme of ‘A Survey. This could be seen to agree with the statement as the sheer power of nature really comes through here.Contrariwise, Stafford uses rhyme differently. In every verse there is half and imperfect rhyme, but in the verse that talks about the field boot crew – the epresentation of mankind interference'- there is one perfect rhyme; â€Å"crew' and â€Å"two†. This proposes the notion that the â€Å"field boot crew' have tried to force a perfect rhyme upon nature, but it quickly disintegrates into the fact that nature's own natural rhythm, represented by the constant rhythm, works by itself and doesn't need man's interference as it is powerful enough itself.Each stanza in ‘A Survey fascinatingly ends with a full stop, not keeping in the theme of cont inuity the poem has so far displayed. This could be because Stafford wanted to keep within the lyrical form of he poem. Differently, ‘The Flood' incorporates hardly any punctuation save some dashes and a full stop at the end. This again indicates an idea that nature will never end or be stopped, and is more powerful than man. The language is very different in the two poems. One is extravagant and descriptive whereas the other is, although narrative too, less vivid.However, one thing very prominent in ‘A Survey is the contrasts and Juxtaposition used. In the first verse even, Juxtaposition is very obviously used; â€Å"crammed witn hysterical water† tollowed by â€Å"hushed by placid sands†. Another example is the description of the wildcats- or the agents of nature- balancing out the wildness of the land; on one hand the animals are described with â€Å"intricate lines of fur†, â€Å"finesse† and â€Å"tentative paw[s]†, then the sun an d mountains are said to â€Å"rake[s]†¦ buck and scream† and the ridges are described to have â€Å"hackles†.This image of balance follows the theme of the rest of the poem. Contrast is used in a different way in ‘The Flood', perhaps to indicate a dissimilar meaning. The start and end of ‘The Flood' is very chaotic; verbs like â€Å"dashing†¦ ]arred†¦ plunging†¦ oars† are used to imitate the feel of a rushing river. However, the middle verse has a completely different atmosphere due to the language used. â€Å"The feather dances flutters† and â€Å"danced it o'er the waves† bring a different picture of calm.This could represent those small areas of calm sometimes found in bedlam. On the other hand ‘The Flood' can be seen as similar to ‘A Survey because it also highlights the sense of nature's own balance. Personification is used incredibly effectively, especially in the last verse, â€Å"other monsters r ise† is particularly effective as it is strong magery, and describing the flood itself as â€Å"restless†, a human emotion. This puts across the idea that nature has a life of its own like everybody else. Personification is also used to the same effect in â€Å"A Survey'.