Coca Cola s Organizational Performance And Interaction...

Through this term, our team has researched and analyzed the Coca Cola as to its organizational performance and interaction based on group behavior. We will now conclude our research. Our results were based on the Action Model of organizational and group conditions and determined if the given model is effective in preventing roadblocks to achieve success. We will also offer recommendations of our overall analysis in order to determine if improvement is needed and how to implement change when presented to us. In order to enact this model and to make it effective there are certain factors that need to be considered. Groups need to exert enough joint effort in order to accomplish tasks at acceptable levels of performance. Every member of the group has to offer the adequate skills and knowledge regarding the subject at hand. Also, consideration to cultural and organizational setting have to be taken into consideration (Harrison, 2005). Action Model Group Behavior The Coca Cola Co. is very involved with group level behavior. They not only involve immediate persons within the physical organization, but stakeholders worldwide. The company engages with their numerous partner bunches in an assortment of formal and casual settings over the whole Coca-Cola framework. Their engagements range from gatherings with nearby, provincial, and national gatherings to continuous exchanges with their bottlers, suppliers, and purchasers across the globe. By proactively cooperating with outsideShow MoreRelatedThe Impact Of Managerial Styles On Organizational Effectiveness9615 Words   |  39 PagesTask 1 1. An evaluation on leadership theories 2. An evaluation of the impact of managerial styles on organizational effectiveness 3. An analysis of how motivational theory can inform employee motivation 4. 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There Will Never Be Peace in the Middle East Essay

The topic of peace has been on the mind of historians, political leaders, and the general public for as long as our history has been recorded. Will there ever be peace in the Middle East? Will the age old battles, both foreign and domestic ever end? This question, pondered on throughout decades of Western civilization, has both a simple answer and a complex reasoning. To even begin to uncover the answer, one must understand the conflict and its deeply rooted origins to even draw a hypothesis of the outcome. We must first venture into the guarded minds of radical Muslims, our coalition forces, and the minds of the non-violent Muslims who seek liberation from the grip of evil. We must delve into the history of the Islamic world, the tales of†¦show more content†¦Later, when a city north of Mecca needed a strong leader, their outlooks changed, and the native people of Mecca looked to Muhammad, promising to convert and defend Muhammad with their lives. Muhammad refused, and ulti mately escaped from Mecca in the year 622, a journey now written within the Qu ran as Hijira. Outside of the territory of Mecca, the Muslim religion began to expand and eventually reached out to all of Arabia, with Muhammads face regarded as one of a true prophet. (Post Axial 2010). Non-believers were forced to live under dhimmitude, forced to pay a poll tax known as the jizya (Dhimmitude, 2006). Muhammad died in the year 632, but his empire would not perish without him. The Arabian Empire and Islamic influence stretched from the entire Middle East to North Africa, and eventually all the way to Spain. After the death of the prophet, disagreement plagued the land as to who should succeed him. The Sunni people believed that the successor should be chosen, regardless of his descent, yet the Shias felt the successor should be of direct descent from Muhammad himself. This dilemma marked the beginnings of the conflict still raging on today (Downing, 1946). Radical Muslims today take the events of Muhammads life as literal examples of acceptable rule, and continue to practice such acts total control through violence to this very day. In the most extreme of cases, they are known toShow MoreRelatedThe Arab-Israeli Conflict Essay1092 Words   |  5 Pages The Arab-Israeli conflict has been ongoing for many years and so far a peaceful solution to the violence has not been reached. The peace process aims to find a just, fair and lasting peace solution to the conflict in the Middle East. The USA in particular has been very active in looking for a peace solution. This is because Israel is their ally. There are several million Jews in the USA and many send money to support Israel. Also the Arabs used oil as a very successfulRead MoreRadical Islam vs. Islam Essay1313 Words   |  6 Pagesworld. Will the Middle East (the perceived homeland of all that is civil and governmental unrest) ever experience peace within their own country? 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As the Middle EastRead MoreEssay on The Arab-Israeli Conflict and Outside Influence on It1270 Words   |  6 PagesThe Arab-Israeli Conflict and Outside Influence on It The history of the Arab-Israeli conflict has always been an international one. It has never been simply a local problem. Foreign powers have been involved since 1914, and, since 1973, the whole world has been affected by the rise in oil prices, which are a consequence of the Yom Kippur War. The first sign of trouble between the two religious groups came just after the First World War when tension between the twoRead MoreBrokers of Deceit by Rashid Khalidi1062 Words   |  4 Pages 3 major patterns in US policy in the middle east have emerged: 1) the US can do as it likes because the Arab gulf states depend on the US in order to not be overthrown 2) ignoring other Arab gulf states wishes and opinions 3) ignoring the fate of the Palestinian people. Intent of the book is to show that USA has acted as a dishonest broker between Israel and the US, and has â€Å"instead acted as israel’s lawyer† (p.xxxvi) Palestinian human rights, peace processes, and their right to self-determination

Mozart Cosi fan tutte Essay Example For Students

Mozart: Cosi fan tutte Essay As just about everyone knows by now, Peter Sellars directed radical productions of Mozarts three operas to librettos by da Ponte at the Pepsico Summerfare Festival in Purchase, N.Y. during the latter half of the 80s. Everyone knows about these productions because, by setting The Marriage of Figaro in Trump Tower, Don Giovanni on a mean street in Harlem and Cosi fan tutti in a Long Island diner, Sellars attracted a tremendous amount of attention. In the summer of 1989, after presenting the three operas cyclically for the final Summerfare season, Sellars filmed them for video in Vienna. They were broadcast on PBS-TV last year, and have, at last, come out on home video. These productions been so contentiously scrutinized and debated that their appearance on the London label in VHS videotape and laserdisc formats has been almost anticlimactic. Certainly, they stir up many of the same old complaints about the sacrilege of updating, but updating opera has been going on for so long and to such an extent especially in Europe that it is almost standard operatic practice these days. But what really makes Sellars so controversial an operatic practitioner is that he is no typical updater, and the true radicalism of his approach becomes all the more evident in his video work. Sellars claims to despise the whole notion of concept productions, and denies doing them. He believes, instead, that since Mozart came closer than any other artist to capturing and articulating the human condition, it is worthwhile to hold ourselves and our times up to the measure of Mozart to see how we stack up. Creating a New York trilogy of the Mozart/da Ponte operas was simply a device to help us recognize ourselves in these characters. It is not especially important that Don Giovanni become a drug dealer. But it is important that the Don not be funny or foreign; he is a desperate character rushing headlong into the abyss, unable to discover a way out a situation neither amusing nor unfamiliar. In the videos, Sellars has now gone one step further. Most opera video is either a document of a performance in the opera house or an opera film. What I like is that these videos look like TV, Sellars said in a recent conversation. Thats why a lot of people were stunned when PBS first broadcast the productions they were flipping channels, and they flipped to this thing that looked just like the cop show on every other channel. Then suddenly they noticed that there was music, and people were singing. Weve taken the situation and the comedy and allowed them to be as deep as Mozart happens to be. So its really nice to subvert television in that way, at the same time using the vocabulary that television has perfected, these daydream diners, these nonexistent street corners, the pathetic love life of the rich and forlorn. All standard television material. In some ways these operas find their ultimate form on TV. So subversive, in fact, are these videos that they deconstruct Sellarss own productions. Relying upon claustrophobic closeups in Don Giovanni, for instance, Sellars never allows a long shot to show the whole of George Tsypins astonishing set. The director doesnt even fear undercutting much of the stage action by showing only reaction shots. But since the Don and his sidekick, Leporello, happen to be sung by remarkable identical twin baritones, Eugene and Herbert Parry, the effect of the intimate camera is extraordinary. It is as if Don Giovanni is so self-absorbed in his own compulsion to call up death that he sees only himself reflected in the world. .u4bee22b79f7390f4d4e388f20cb31b5b , .u4bee22b79f7390f4d4e388f20cb31b5b .postImageUrl , .u4bee22b79f7390f4d4e388f20cb31b5b .centered-text-area { min-height: 80px; position: relative; } .u4bee22b79f7390f4d4e388f20cb31b5b , .u4bee22b79f7390f4d4e388f20cb31b5b:hover , .u4bee22b79f7390f4d4e388f20cb31b5b:visited , .u4bee22b79f7390f4d4e388f20cb31b5b:active { border:0!important; } .u4bee22b79f7390f4d4e388f20cb31b5b .clearfix:after { content: ""; display: table; clear: both; } .u4bee22b79f7390f4d4e388f20cb31b5b { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u4bee22b79f7390f4d4e388f20cb31b5b:active , .u4bee22b79f7390f4d4e388f20cb31b5b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u4bee22b79f7390f4d4e388f20cb31b5b .centered-text-area { width: 100%; position: relative ; } .u4bee22b79f7390f4d4e388f20cb31b5b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u4bee22b79f7390f4d4e388f20cb31b5b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u4bee22b79f7390f4d4e388f20cb31b5b .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u4bee22b79f7390f4d4e388f20cb31b5b:hover .ctaButton { background-color: #34495E!important; } .u4bee22b79f7390f4d4e388f20cb31b5b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u4bee22b79f7390f4d4e388f20cb31b5b .u4bee22b79f7390f4d4e388f20cb31b5b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u4bee22b79f7390f4d4e388f20cb31b5b:after { content: ""; display: block; clear: both; } READ: Zakes Mda: redressing the past EssayWhen Herbert and Eugene start looking at each other, you know you never saw that in the theatre, Sellars says. You guessed it was there, but you never saw it. And here in a closeup you can really see it. The result is that the o sometimes seems to take place inside Don Giovannis head, which turns out to be an even more frightening place than a Harlem street. In Cosi possibly the most profound opera ever written about the relationships between men and women, as well as the most perfect of all of Sellarss opera stagings the psychological intimacy proves profoundly wrenching. The use of closeups on singers able to convey great emotion through both music and action creates opera as catharsis to a degree impossible on the stage. Even more than Don Giovanni, Cosi relies on singers to express as much through their acting as their singing, and whereas most singers look just awful in closeup mouth gaping open, brow furled in tense concentration, eyes nervously darting to the conductor for assurance singers like Susan Larson (an arresting Fiordiligi whose face seems to bring out the deepest meaning of the music) and Sanford Sylvan (a searing Don Alfonso whom you can actually see feeling what the music tells him to feel) are, like the Perry twins, all the more effective the closer you get to them. Still such an approach has its drawbacks; in Cosi, it requires that the sheer elegance of the staged production be sacrificed in the bargain. Sellarss brilliantly layered mise-en-scene had pitted a kind of refined 18th-century sensibility against the chaotic emotions of the characters, even to the point of laying out the diners dimensions to fit the proportional architectural schemes of the earlier age. And the productions elaborate roundelay of movement and gesture is lost as well. In The Marriage of Figaro, however, the video works on every level. The garish colors of the Trump Tower set translate perfectly to the video screens brightly lit two dimensions, and Sellars allows himself to have fun; the camera pulls in and out and all over the place. Figaro, especially as staged by Sellars, is the least ambiguous of the operas Cosi ends in profound disquiet; Don Giovanni concludes with the unresolved quest for salvation; but Sellarss Figaro leaves you with hope, with a sense that these people might actually work it out in the end. The videos are not without their excesses. While Sellarss fanciful synopses of the operas, which are included, are illuminating and entertaining, his slang subtitles seem too in-your-face on repeated viewing. The video work itself is sometimes a bit crude for these sophisticated productions, although Sellars likes the fact that the roughness lends the performances a live quality. The laserdisc sound has a kind of harshness that is not flattering to the singers voice, and the orchestra-a not-very-responsive Vienna Symphony, tepidly conducted by Craig Smith is too recessed. But these are quibbles, never enough to rob the performances of their irrepressible intensity or immediacy. In fact, as an indication of the sheer impact this kind of video opera can have, Sellars says that his recently filmed production Handels Giulio Cesare (which will be released on London this fall) will not, this time, be shown on PBS. Sellars updated the opera to the present-day Middle East, and the images proved just too upsetting, too highly charged for television, even though the production dates from 1985. Television cannot deal with Americans being taken hostages in the Middle East, Sellars says. And so people were panicked. It showed at the Cannes video market during the Gulf War, and people were freaking out, because it was too close. .u0041a014881236230153e87b40665227 , .u0041a014881236230153e87b40665227 .postImageUrl , .u0041a014881236230153e87b40665227 .centered-text-area { min-height: 80px; position: relative; } .u0041a014881236230153e87b40665227 , .u0041a014881236230153e87b40665227:hover , .u0041a014881236230153e87b40665227:visited , .u0041a014881236230153e87b40665227:active { border:0!important; } .u0041a014881236230153e87b40665227 .clearfix:after { content: ""; display: table; clear: both; } .u0041a014881236230153e87b40665227 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u0041a014881236230153e87b40665227:active , .u0041a014881236230153e87b40665227:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u0041a014881236230153e87b40665227 .centered-text-area { width: 100%; position: relative ; } .u0041a014881236230153e87b40665227 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u0041a014881236230153e87b40665227 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u0041a014881236230153e87b40665227 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u0041a014881236230153e87b40665227:hover .ctaButton { background-color: #34495E!important; } .u0041a014881236230153e87b40665227 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u0041a014881236230153e87b40665227 .u0041a014881236230153e87b40665227-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u0041a014881236230153e87b40665227:after { content: ""; display: block; clear: both; } READ: Poison apples EssayBut then it is just that closeness that separates Sellarss video opera from all others. Or as the director enthusiastically puts it: I think were used to videos cooling things out opera videos, in particular, are basically a cool situation. And these are so hot.

Casino Royale Opening Sequence Analysis Essay Sample free essay sample

Casino Royale begins with a pre-credit sequence that gives the audience a obscure penetration into the narrative of the movie. that is about to unknot. While most Bond films start with the hallmark gun barrel sequence. Casino Royale was the first Bond film to get down with a pre-credit sequence that tied into the gun barrel sequence. Casino Royale besides does non integrate female figures in the gap credits and alternatively uses the James Bond character as the cardinal figure. The pre-credit sequence has been edited into black and white. which is a intervention form. and uses rather a contrast of the two colorss. particularly in the violent bathroom scene. The usage of visible radiation and shadow is besides a major intervention form used. where the light appears to be more settled on Bond’s face ( the ally ) and the shadow is more prone to MI6 subdivision head. Dryden’s face. We will write a custom essay sample on Casino Royale Opening Sequence Analysis Essay Sample or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page to bespeak the relationship between the good and the bad. A Walther PPK gun was used in the movie Casino Royale. this symbolizes Bond as a superior character. and besides gives him his dual 0 position. This gun besides suits his character. an MI7 agent. as another gun. such as a western gun. would non function its intent in the movie. At the really beginning of the pre-credit sequence. an analytical shooting of the lift Numberss increasing appears. the Numberss increase up to figure 6. screening that the following degree would be 7. This connects to James Bond being 007 and that Dryden is about to meet him in his office room. on the 7th floor. The edifice that first appears has the text â€Å"PRAGUE† appear on the screen. this is a Eastern European topographic point and could besides associate the Bond’s foremost kill ( Fisher ) as he besides appears to be Eastern European. The first shooting the audience receives of Dryden is a low camera angle shooting. this gives him a high position and besides indicates that he is rather a powerful adult male. Shot-reverse-shot is used in the duologue between Bond and Dryden. in-between this are speedy cuts to a flashback of a violent bathroom scene where Bond is doing his first putting to death. this makes it more edgy/jumpy for the audience. The flashback is evidently in the past and this is a contrast to the present footage that is besides being shown. the usage of colors is besides contrasting as the flashback uses more inauspicious colors to the present. Switch overing between two narratives relates to Bond’s foremost and 2nd putting to death. his first in the flashback and his approaching 2nd. to have his dual 0 position. it shows that he is a extremely skilled MI7 agent and give the audience an penetration into the remainder of the movie. Other analytical shootings are used foremost when Dryden opens the drawer in which contains his gun and back a really speedy analytical shooting of a framed image of Dryden’s household. merely before he dies. these are used to give more elaborate narrative information. An set uping shooting is used at the really beginning of the debut. it shows the exterior of the edifice and so the following shooting shows the interior of the edifice. Reaction shootings are besides used in the pre-credit sequence. the first reaction shooting is a close up of Bond’s face after his first kill demoing a spot of sorrow. but his reaction shooting of his 2nd putting to death is besides a stopping p oint up but shows that Bond is more happy with himself this clip and more please of what he has accomplished. as he has now succeeded in killing two people. The gait of the flashback scene is really speedy and shows that the violent death is done suddenly. seeking to acquire it over with where-as Bond’s second putting to death is more drawn out and has more significance to it. for illustration. Bond has a conversation with his victim foremost. The music in the flashback besides is really loud. which is non-diegetic. and besides adds to the edgy and jumpy tenseness that is put across. A lone auto drawing into a parking batch and the sound of footfalls on a cold difficult floor are diegetic sounds that are used in the debut to depict the surrounding environment. it indicates that there is no 1 about apart from Dryden and gives the feeling that the edifice is empty. However this merely adds to the tenseness even more as James Bond fans know that the movies are normally â€Å"action-packed† and that something exciting is bound to go on shortly. There is a representation of two different societal categories in the pre-credit sequence. it portrays Dryden as a more upper category adult male. with the manner he looks and the manner he speaks. where as Bond ( Daniel Craig ) looks more thuggish and like he is out to kill. The audience is merely introduced to males in the pre-credit sequence but it portrays them with more power and position within the movie. nevertheless Bond movies are known to include the celebrated â€Å"Bond girls† . and nevertheless naive they may look. they do excessively besides have a batch of power and can play a chief portion in the violent scenes. The narrative in the debut is in the stage of orientation. as it foremost introduces us to a few of the characters and besides indicates the initial state of affairs. it allows the audience to believe further into the narrative about what is traveling to go on. The debut can besides move as something for the audience to associate back to in the terminal to understand the significance of peculiar fortunes. At the terminal of the pre-credit sequence it is still on the flashback footage and the adult male who we think Bond has killed gets up with a gun to hit at Bond but so the audience is placed inside the shaft of a gun as Bond turns rapidly around and fires straight at the camera. go forthing a drip of blood buttocks. The celebrated James Bond subject melody so begins. Hearing this signature entirely is adequate to suggest that one is about to see a James Bond film. which follows an established set of criterions. The audience is prepared to see the new Bond miss. the new appliances a nd vehicles. the new stunts. and the new secret plan that ever consequences with James Bond salvaging the universe from immorality.