Practice Final Answers Essay Example

Practice Final Answers Essay When the interest rate falls in the money market, the quantity of money demanded and the quantity of money supplied A) decreases; increases B) increases; decreases C) increases; stays the same D) stays the same; decreases 2) In short-run macroeconomic equilibrium, A) real GAP and the price level are determined by short-run aggregate supply and aggregate demand. B) real GAP equals potential GAP and aggregate demand determines the price level. C) the price level is fixed and short-run aggregate supply determines real GAP. D) real GAP is less than potential GAP. 3) The idea that a government budget deficit decreases investment is called B) the crowding-out effect. A) the capital investment effect. C) the Richard-Barron effect. D) government diseasing. 4) As labor increases, there is a A) shift of the aggregate production function, but no movement along it. 8) movement along the aggregate production function and real GAP will increase less with each additional increase in labor. C) movement along the aggregate production function, but no shift in it. D) decrease less with each additional increase in labor. ) Net investment equals A) the total quantity of plant, equipment and buildings. B) gross investment/depreciation. C) gross investment minus depreciation. D) capital stock minus depreciation. 6) If real GAP decreases, the demand for money curve will shift A) rightward and the interest rate will fall. B) leftward and the interest rate will rise. C) leftward and the interest rate will fall. We will write a custom essay sample on Practice Final Answers specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Practice Final Answers specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Practice Final Answers specifically for you FOR ONLY $16.38 $13.9/page Hire Writer D) rightward and the interest rate will rise. 7) Factors that influence labor productivity include . A) the labor demand curve B) the inflation rate, the real wage rate, and the exchange rate C) physical UAPITA, the real wage rate, and technology D) physical capital, human capital, and technology 8) The quantity theory of money is the idea that in the long run A) the quantity of money is determined by banks. B) the quantity of money serves as a good indicator of how well money functions as a store of value. C) the quantity of money determines real GAP. D) an increase in the growth rate of the quantity of money leads to an equal increase in the inflation rate. 9) Prime Pharmaceuticals has developed a new asthma medicine, for it has a patent An inhaler can be produced at a constant marginal cost of $2/inhaler. The demand curve, marginal revenue curve, and marginal cost curve for this new asthma inhaler are in the figure above. With its patent giving it a monopoly for its new inhaler, if it is a single-price monopoly, Prime Pharmaceuticals will produce each inhaler. C) 8 million; $6 A) 8 million; $2 B) 16 million; $2 D) 10 million; $5 inhalers and set a price of for 10) A small country is a net foreign borrower if its real interest rate without foreign borrowing is A) lower than B) not comparable to C) higher than D) equal to the world real interest rate. 1 1) Which of the following is the most liquid asset? A) a share of stock C) money B) land D) a government bond 12) Starting at full employment, a business cycle can be described by the following sequence: equilibrium, equilibrium. A) below full-employment; full-employment; below full- employment B) above full-employment; below full-employment; full- employment C) full-employment; below full-employment; above full- employment D) below full-employment; full-employment; above full- employment 2 1 3) Suppose that the money multiplier is 4. If the monetary base decreases by $2 million, the quantity of money will A) decrease by $8 million. B) decrease by $500,000. C) increase by $8 million. D) increase by $500,000. 14) A bank creates money by A) buying bonds from the Reserve Bank. B) lending its excess reserves. C) purchasing currency from the Reserve Bank. D) printing more cheeses. 1 5) A decrease in the money wage rate increases the full employment quantity of labor increases B) only the Ass; the ASS and the LASS A) the ASS and the LASS; only the ASS C) only the LASS; the ASS and the LASS D) the ASS and the LASS; only the LASS and an increase in 16) Suppose the current account of a country is in balance and the official settlements account equals O. A new transaction occurs so that the current account is now in surplus, but the official settlements account does not change. From this we know that A) the balance of trade is now in surplus. B) the government is running a budget deficit. C) the government must make official reserve transactions. D) the capital and financial account is now in deficit. 17) People know that the inflation rate will increase from 3 percent to 5 percent. As a result A) the nominal interest rate rises by 2 percentage points. B) the real interest rate rises by 2 percentage points. C) the nominal interest rate is constant. D) the nominal interest rate falls by 2 percentage points. 8) A firm in will engage in to try to earn an economic profit. A) perfect competition; price wars B) perfect competition; advertising C) monopolistic competition; product differentiation D) monopolistic competition; price wars 19) Over time in a growing economy, the long-run aggregate supply curve will A) shift leftward. B) become horizontal at the long-run potential price level. C) become increasingly steep. D) shift rightward. 20) In 2011, Armenia had a real GAP of approximately 54. 21 billion and a population of 2. 98 million. In 201 2, real GAP was $4. 9 billion and population was 2. 7 million. Armenian real GAP per person in 201 2 was A) $1 ,545 B) $380 C) $1 32 D) $1,413 3 21) The key aim of monetary policy is to A) maintain price stability. B) change tax rates to boost investment. C) change government spending to spur in innovation. D) change tax rates to boost saving. 22) According to social interest theory, A) regulation helps markets achieve efficiency B) price regulations are unconstitutional C) unregulated firms try to avoid creating deadweight loss D) monopoly practices last forever 23) The velocity of circulation is A) constant. B) the changes in the purchasing power of money over a given time period. C) the rate of change of the GAP deflator. D) the average number oftentimes a dollar of money is used in a year to buy goods and services that make up GAP. 24) The quantity theory of money predicts that in the a 10 per cent increase in the quantity Of money leads to a 10 per cent increase in A) long run; velocity B) long run; real GAP C) long run; the price level D) short run; velocity 25) If the ARAB sells Australian government securities, A) the Australian Treasury gains some revenue. B) the cash rate rises. C) bank reserves increase. D) None of the above answers is correct. 26) Handy is a large South Korean company that produces finished steel products. Handy plans to buy raw steel from Australia. As a result, the A) demand Cleave for Australian dollars shifts leftward. B) demand curve for South Korean won shifts rightward. C) demand curve for Australian dollars shifts rightward. D) demand curve for South Korean won shifts leftward. 27) The market for maple syrup is perfectly competitive. Suppose that the market is in long-run equilibrium when the market demand for maple syrup increases. What happens in the short run? A) The firms decrease production. B) Some of the existing firms shut down. C) The firms increase production. D) Firms will enter the market. 4 28) If the exchange rate between the Australian dollar and Japanese yen is below the equilibrium exchange rate, there will be a dollars, and the exchange rate will A) shortage; rise to the equilibrium level B) surplus; rise to the equilibrium level C) surplus; fall to the equilibrium level of Australian D) shortage; change only when the supply curve shifts leftward 29) Workers who pursue an education directly increase their A) financial capital. B) saving. D) human capital. C) physical capital. 0) Diminishing marginal returns occurs when A) a variable unit is increased and its marginal product falls. B) all inputs are increased and output increases by a smaller proportion. C) all inputs are increased and output decreases. D) a variable input is increased and output decreases. 31 ) If a countrys central bank does not intervene in the foreign exchange market, the country has A) a crawling peg exchange rate policy. B) a fixed exchange rate policy. C) a flexible exchange rate policy. D) no exchange rate policy. 32) The Reserve Bank of Australia A) sells Australian dollars to China in an attempt to depreciate the Australian alular. B) has no influence on the exchange rate. C) allows a flexible exchange rate, though their actions can impact on the exchange rate. D) alternates between a flexible, fixed and crawling peg exchange rate policy depending on economic conditions. 33) If the real interest rate is below the equilibrium real interest rate, A) a shortage Of Of alienable funds will cause the real interest rate to rise. B) lenders will be unable to find borrowers Willing to borrow all of the available funds and the supply of alienable funds curve will shift leftward. C) borrowers will be unable to borrow all of the funds they want to borrow ND the demand for alienable funds curve will shift leftward. D) borrowers will be unable to borrow all of the funds they want to borrow and the demand for alienable funds curve will shift rightward. 34) Suppose a country is producing $20 million of real GAP. If the economy grows at 10 percent per year, approximately how many years will to take for real GAP to grow to $80 million? B) 14 A) 30 35) If the Reserve Bank wants to depreciate the Australian dollar against the British pound, it will B) sell Australian dollars A) decrease the money supply C) sell foreign exchange D) sell British pounds 5 6) In the global alienable funds market, A) funds flow into countries with the highest risk-adjusted interest rates and out of countries with the lowest risk-adjusted interest rates. B) when funds leave a country, a shortage of funds lowers the real interest rate. C) when funds enter a country, a surplus of funds raises the real interest rate. D) funds flow into countries with the lowest risk-adjusted interest rates and out of countries with the highest risk-adjusted interest rates. 37) Ticket scalpers at the FALL grand final last year charged prices high above the printed ticket price. This observation is evidence Of A) a surplus at printed ticket prices. B) the grand final not being televised. C) the grand final getting too much television exposure. D) a shortage at printed ticket prices. 38) As the real wage rate increases, the A) supply of labor curve shifts leftward. B) quantity of labor supplied increases. C) supply of labor curve shifts rightward. D) quantity of labor supplied increases and the supply of labor shifts rightward. 39) When the ARAB increases the cash rate, the Australian interest rate differential B) rises; appreciates A) rises; depreciates C) falls; depreciates D) falls; appreciates ND the Australian exchange rate 40) To pay for a current account deficit, a country can A) borrow money from abroad. B) increase official reserves to cover the shortfall. C) lend money abroad. D) transfer money from the capital account to the reserve assets account. 41) Fifth price level in the U. S. Is 120, the price level in South Africa is 140, and the nominal exchange rate is 7 South African rand per dollar, then the real exchange rate is A) 1. 4 South African goods per U. S. Good. B) 8. 4 South African goods per U. S. Good. D) 6 South African goods per U. S. Good. C) 9. 8 South African goods per U. S. Good. 2) If Chinas government runs a budget surplus and there is no Richard- Barron effect, there will be in the supply of alienable funds, private . B) an increase; decreases; increases saving 6 and investment A) an increase; increases; increases C) a decrease; decrease; increases D) a decrease; Increases; Increases 43) For a commercial bank, the term reserves refers to A) the profit that the bank retains at the end of the year. B) a bankers concern (reservation) in making loans to an individual without a job. C) the cash in its vaults and its deposits at the central bank. D) the net interest that it earns on loans. 4) people expect their incomes will decrease next year. As a result, the will shift .

Employment And Discriminatory IRAC Brief Example

Employment And Discriminatory IRAC Brief Example Employment And Discriminatory IRAC Brief – Coursework Example Employment and Discriminatory IRAC Brief Employment and Discriminatory IRAC Brief Issue Was it right for Merrill Lynch The Age Discrimination in Employment Act (ADEA); The American with Disabilities Act (ADA); Equal Pay Act, The Equal Opportunity Employment Commission and the State Statutes (USLegal, 2015).ReferencesEqual Employment Opportunity Commission-EEOC. (2015). Discrimination by Type. Retrieved from eeoc.gov/laws/types/ Ministry of Business, Innovation and Employment- MBIE. (2014). Employment Relationships From Beginning to End. Richmond: Crown copyright. Secunda, P.M. & Hirsch, J. (2010). Mastering Employment Discrimination Law. New York, NY: Carolina Academic Press.USLegal. (2015). Discrimination Law and Legal Definition. Retrieved from http://definitions.uslegal.com/d/discrimination/

Capital asset pricing model (CAPM) Essay Example | Topics and Well Written Essays - 1750 words

Capital asset pricing model (CAPM) - Essay Example In the following years, economists have critically reviewed the published theory of CAPM and its application in reality after comparing the actual returns with the expected returns. The CAPM model is still widely used by companies as an efficient model for computing cost of capital (Ko) on the basis of explanation that securities with higher betas offer higher return. CAPM has numerous applications; it is used in capital budgeting, for analysis of merger and acquisitions, valuation of convertible securities and warrant and to value the equity of a firm. William Sharpe made several assumptions for investors in creating market equilibrium in order to validate the CAPM model (Sharpe, 1964). The model develops the price of an asset which it must hold in order to satisfy the investors for holding the current market portfolio. According to CAPM, everybody bears the same risk in different quantity. As the systematic risks is removed and the investors hold diversified portfolios, they will have a need for return and according to the utility function, the investor will rank the portfolio. All the investors will tend to buy the market portfolio as everybody possesses the same portfolio comprising of risk bearing assets. Furthermore, by purchasing several other assets, it is possible for the investor to diversify a part of the risk. The riskiness of a security is not entirely based on the unpredictability of its return. If one investor puts all his money in a single asset, then variability would be a suitable measure.

Motivating Generation X Essay Example | Topics and Well Written Essays - 1250 words

Motivating Generation X - Essay Example However, how to motivate employees has recently become a hard task for the management of various companies (Allen & Helms, 2002). This is because most of the employees in organizations today are of the generation X. The generation X is made up of people born between 1960s and the 1980s. They have grown up under very different values from the ones of those in generation Y. For example, this generation has grown up seeing their parents go to work all day and all night only for then to be retrenched after thirty years of faithful service. For them now, job security does not matter anymore they only see each job opportunity to advance their careers so they will always be hopping from company to company in search of greener pastures (Dewhurst, Guthridge, & Mohr, 2010). This, therefore, means that in order to retain generation X. Managers will always have to offer very attractive incentives. By incentives here, I mean that all forms of financial returns and tangible benefits received by an employee as part of the employment relationship. It can be divided into two parts, monetary compensation and non-monetary compensation. ... Most of them are well conversant with the core jobs that help an organization achieve very high profits. They also usually have expertise in the core units in a company. The core units are those that bring most sales and are most crucial to the successful running of business in an organization. For example, a well motivated sales team will increase turnover for the company. Other departments responsible for smooth running of operations in a company include IT, Finance department among others (Dunham, 2003). Management could also motivate the generation X using other financial forms of motivation other than an attractive salary. This could be a bonus which is mainly an incentive given to reward good performance purchase of shares in a company at a fixed price, and when employees feel some sense of ownership in a company they will stay longer and work more as they understand the benefits involved should the company make high profits. Generation X, having grown up in an era where there parents were always busy, they did not somehow get sufficient parental love. They, therefore, do not want the same to happen to their families and, therefore, in most cases will always choose their families over work. Management should, therefore, ensure that on the remuneration package, it also offers sufficient non-monetary compensation. Bhatia (2010) defines non-monetary motivation as benefits employees receive other than the normal monetary compensation package to boost employee morale. Non-monetary compensation includes any benefit received by an employee from an employer that is non-financial but satisfying. They include but not limited to opportunity for growth, flexible hours, recognition and praise, friendships

The Concept of Privacy in the Workplace Essay Example | Topics and Well Written Essays - 750 words

The Concept of Privacy in the Workplace - Essay Example All the employees of the company must be given a corporate email account. The account will have a password known only to the user of the account. This control mechanism ensures that the only person that can enter the account is the employee. The concept of privacy in the workplace is a widely debated topic. A lot of employees feel that despite being paid a salary during work hours they are entitled to certain basic levels of privacy including the right to personal emails with confidential information. The company’s policy should be to allow personal emails to occur, but its content cannot be confidential due to the possibility of a traitor leaking confidential information to outsiders using the email system of the company. The email content will be audited every 30 days for quality assurance purposes. An important element of the email system of the company is the usage of email to provide customer service. All major companies provide its customers an email address for support. It takes a lot of labor to read through these emails. The company must hire an additional 50 employees to increase the speed of its email customer service support function. The new standard should be to increase the customer service response of the company to every 24 hours. To achieve this goal the customer service department must be redesigned to run a 24-hour operation composed of three daily 8-hour shifts. The email system and customer service function could be streamlined through the use of advances in information technology. The company could spend a few thousand bucks to incorporate an artificial intelligence that filters customer support emails based on necessity and customer inquiry. The system could be used to provide faster support to customers that have major issues that require immediate attention. All the emails that are sent and received by employees will be stored in a database for five years. The customer's emails the company receives will be also be saved for at l east five years. The system will automatically save the emails in a database upon being sent or received. Safeguarding the employees and customer information is very important for the company. The Sarbanes Oxley Act of 2002 increased the compliance costs for public companies in the United States. The stored capabilities of the system will help the company comply with the Security and Exchange Commission and other governmental agencies regulations. The internal email policy of the company includes the following stipulations. The employees of the company must answer all emails within 24 hours of receiving the email. The employees can only access the information system of the company from within the physical facilities of the company. The employees must not take any digital documents of any information. The employees can use the corporate email for personal emails, but they must realize that an audit may read the contents of the email for quality assurance purposes. The email has becom e a primary communication tool that everyone that is online uses for personal or business purposes. Due to the delicate nature of information transfer in corporate America companies have become stricter about security measures regarding electronic tools such as emails.

Ethnicity In Hollywood And American Culture Film Studies Essay

Ethnicity In Hollywood And American Culture Film Studies Essay Hollywood movies have preached the assimilation of the ethnic other into American culture. This is a dangerous prospect as media representations are used to frame our understandings of ethnic groups and sub-cultures. In this study, a social semiotic approach is used to frame the violence, food, musical score, and set furnishings present in The Sopranos. By contrasting these elements with those found in The Godfather, assimilation of the ethnic Italian is revealed. Using an interpretation that rests on the theoretical framework of symbolic interactionism, this study adds to our understanding of ethnic representation in media. Through a deeper understanding, we can resist negative media representations of ethnic groups. In 1997, The Godfather Saga, a revised version of The Godfather and The Godfather II, was televised to a national audience. This was a broadcast landmark as it was preceded by a disclaimer to forewarn the audience that the characters were not representative of any ethic group (Cortes, 1987). The statement became a model for television broadcasts that depicted any ethnic group as criminal and violent. The disclaimer was indicative of a burgeoning awareness that entertainment films possess the power to create, reinforce, and modify public perception of ethnic groups (Cortes, 1987). While a number of factors likely influence public perception of ethnic culture, mass media representation has been documented as a significant factor (Jamieson, 1992). Indeed, some researchers suggest that much of the information people acquire about ethnic culture comes from mass media (Bodenhausen, Schwarz, Bless, Wà ¤nke 1995). A century of media representation of Italian culture and its mythical link t o organized crime, has created paradoxical visions of admiration and disdain; fascination and fear; endearing attractiveness and aversion. Central to the popular vision of the Mafia, the depiction of Italian family culture is a dichotomy between family values and violent family business. The existence, success, and continuation of the Italian family depend on a system of traditions and rules rooted in extreme patriarchy and enforced through acts of violence. The immutable strength of this image effects both public perceptions of Italian culture and the Italian self-image (Quinn, 2004). The debut of The Sopranos in 1999 represents a significant event in media representation of Italian culture. The series portrays American born Mafiosi as ordinary suburban neighbors, complete with barbecues, golf games, kids in College, and stock options. How does the The Sopranos contribute to the media image of the Italian family? In this study, I take a constructivist approach to examine the first season of The Sopranos in an effort to determine how the series changes the traditional image built by gangster movies like The Godfather. The Sopranos updates the image of the Italian mob family by completely assimilating it within American cultural norms (Blackwood, 2006). In this way, The Sopranos supports the symbolic interactionist assertion that ethnic groups are not natural biological divisions of humanity, but rather temporary alignments of people created by communication channels (Freidman, 1991). The influence of The Sopranos is appreciated by considering the thirteen million viewers it attracted by its third season (Cartier, 2006), and in the attention it garnered from both television critics and politicians. In 2001, the producers of the Sopranos were unsuccessfully sued under the individual dignity clause of the Illinois Constitution (Italian-American group sues, 2001). In the previous year, Essex County officials banned HBO from filming scenes on county-owned property (N.J. county shoots down Sopranos filming request, 2000). In announcing the ban, officials expressed their displeasure at the shows portrayal of Italian-Americans. Backed by sixteen colleagues, New Jersey congresswoman Marge Roukema proposed that the House of Representatives chastise producers of television shows like The Sopranos because of their depiction of Italian-Americans as criminals (Congresswoman asks House, 2001). These events underline the importance of understanding the link between popular drama and cultural representation. As the demands of modern life become more complicated through a mixing of cultures, our understanding of the larger world becomes more important to us. Therefore, we use the messages we decode from popular culture to frame our understanding of ethnic groups, and the nature of diverse subcultures (Beck, 2000). This means that media representation, and more specifically ethnic representation within popular culture, plays a key role in our understandings of immigrants and their subcultures (Cortes, 1987). Further, because entertainment and information are no longer distinct streams within the public consumption of cultural products, the fate of diverse subgroups within our society depends on the roles assigned to them in [à ¢Ã¢â€š ¬Ã‚ ¦] popular dramas (Beck, 2000, p. 25). Through careful evaluation of the set furnishings, music, food, and violence presented in the popular drama The Sopranos, an assimilation of Italian culture into American culture is rev ealed. This assimilation is so strong that only the most obvious ethnic symbols remain resulting in a link between the Italian family and crime that is much stronger than any previously portrayed. Literature Review The earliest film representation of Italians and crime is documented by Blackwood (2006). The Black Hand (1906), a seven minute one-reeler, was allegedly based on an actual kidnapping and ransom demand that occurred in the Italian quarter of New York City. A number of later films including The Black Hand (1912) and Binks, The Black Hand (1913) followed. In 1908, the New York Police Department established the Italian Bureau, headed by Detective Lieutenant Joseph Petrosino. An Italian immigrant himself, Petrosino was subsequently murdered by a Mafia Don while conducting research in Palerimo, Italy (Giuliani, 1999). This event spawned a number of Mafia movies including The Detectives of the Italian Bureau (1909), The Adventures of Lieutenant Petrosino (1912), The Padrone Ward (1914), The Last Mafia (1915), and Don Caesar de Bazan (1915). Although this very early representation of Italians is often overlooked, Blackwood (2006) points out the importance of this period. The films demonstra te the incredible age of the Italian Mafia stereotype, and they represent the birth of the link between Italians and crime. Benshoff Griffin (2004) point out that this period fashioned a second stereotype of Italian people. The movies often portrayed the good Italian falling victim to the bad Italian. The good Italian representation was that of an assimilated small businessman. He was a simple-minded, working class Italian often named Luigi or Guido who spoke broken English, wore a bushy moustache, and had a large family. He was gracious, always smiling, and worked as a street vendor, organ grinder, or ran a small restaurant. The stereotype exists to this day in the Super Mario Brothers games (1993) and on countless pizza boxes. Cortes (1987) identifies three distinct periods in the history of Italian representation in film. In the first period, 1917-1928, the depiction of Italians was heavily influenced by a negotiation for whiteness (Benshoff Griffin, 2004). America experienced a great surge in immigration during the final years of the nineteenth century and into the early twentieth century. Large numbers of Eastern and Southern European people flooded into the urban centers of America. From 1900 to 1910 over eight million immigrants entered the United States (U.S. Census Data, 2003). This sudden mixing of white ethnic culture with the established white, Anglo-Saxon, Protestant culture increased levels of xenophobia and forced people of non-Anglo-Saxon, European descent to negotiate their relation to whiteness. This negotiation, and a general concern over the growing presence of foreign culture in America, lead to strict immigration laws and influenced the way Italians were represented in film. Italians w ere depicted in films with darker skin tones, thick curly hair, and little education. As immigration fears increased, the white ethnic Italian was portrayed as unsavory, radical, and over-sexed in such films as Dangerous Hours (1919) and Manhandled (1924). In the 1930s, Hollywood became fascinated with crime. The Great Depression coupled with Prohibition focused that fascination on the problem of gangsters, leading to the rediscovery of the Italian American mobster. By 1932, Italian gangsters [had] become the personification of Americas social failures, including the crisis of the increasingly elusive American Dream (Cortes, 1987, p. 110). In this second period, 1930-1970, Italian mobsters were vicious, violent, self-serving, one-dimensional characters. The period is characterized by the advent of sound, and the ear-splitting shots of Italian-mobster machine guns became the symbol of Italian ethnic violence. So great was the impact on the Italian psyche that the release of films such as Little Ceasar (1930), The Public Enemy (1931), Scarface (1932), The Gay Divorcee (1934), and Top Hat (1935), prompted the Italian government to ban importation of all American films containing Italian characters (Vasey, 1992). In an effort to remove thi s barrier, the Motion Picture Producers and Distributors of America (MPPDA), a trade association formed to negotiate American film trade agreements with foreign governments, was successful in influencing a more positive film image of Italians. Obvious references to Italian ethnicity were removed from many gangster movies although the inferences remained (Vasey, 1992). Films such as Golden Boy (1939) and They Knew What They Wanted (1940) actually depicted Italian characters as law-abiding, hardworking ethnics (Cortes, 1987). During the war, Italian Americans increasingly promoted their loyalty to their adopted country. As a consequence, Italians were often depicted in wartime propaganda films as courageous and dedicated soldiers fighting alongside American soldiers (Benshoff Griffin, 2004). This depiction is evident in the Giuseppe character from Sahara (1943), Lieutenant Angelo Canelli in The Purple Heart (1944), and Captain Andrà ©s Bonifà ¡cio in Back to Bataan (1945). Post-war film making in Italy had an effect on Hollywood images of Italian Americans. Italian film makers worked to increase cinematic realism leading to a movement called Italian Neorealism (Benshoff Griffin, 2004). The films resulting from this movement were popular and often represented Italians as poor and working class. Consequently American depictions began to represent Italians as down-to-earth, working class people in such films as Marty (1955) and The Rose Tattoo (1955). The final years of the second period defined by Cortes contains another interesting phenomenon. Both Italian and American film makers resurrected the hot Italian lover stereotype that had been well crafted by the Rodolph Valentino movies of the 1920s. Italian actresses Sophia Loren, Gina Lollobrigida, and Anna Magnini became famous for their uninhibited sexuality. In the repressive, socially conservative 1950s, these ethnic other actresses provided sexual escapism not possible for respectable white women. A s the 1970s approached, various ethnic movements popularized the search for and the celebration of ethnic heritage, identity, and pride (Cortes, 1987, p. 116). This new enthusiasm for ethnicity, coupled with an influx of talented Italian movie producers and actors, led to an explosion of Italian character representations in film. In addition, the disappearance of the Hayes Code in 1968, Hollywoods self-censorship system, encouraged a war where filmmakers vied to top each other in graphic depictions of sex and violence (Cortes, 1987). All of these factors influenced the watershed moment in the depiction of Italians in film, the release of Francis Ford Coppolas The Godfather. The third period, 1970 to present, is epitomized by The Godfather. This 1972 film, by Francis Ford Coppola, depicts the Italian gangster as a complex, multi-dimensional character. For the first time the activities of Italian gangsters are firmly entrenched within Italian family values. The Godfather set a trend for complex mob characters in many movies that followed including The Don is Dead (1973), Scarface (1983), The Untouchables (1987), Goodfellas (1990), Casino (1995), and Analyze This (1999). Blackwood (2006) categorizes the periods of Italian representation in film according to artistic device. In the silent era through to the 1960s, Italians are portrayed minstrelsy. Italian characters are used to exploit and rebuke the Italian sub-culture. In the 1970s, portrayals of Italian characters are changed, and serve to historicize the Italian life experience in the U.S.A. (Blackwood, 2006, p. 8). According to Blackwood (2006), the third period of representation began in the late 1990s with the renunciation of the Italian gangster figure. The television show The Sopranos (1999-2007) and the movie Analyze This (1999) present the assimilation of the Italian gangster figure into North American society, depicting the acceptance of American values. Method The Sopranos debuted on HBO in 1999 (Martin, 2007). The show follows the life of notorious gangster Tony Soprano and his family as they deal with modern life in New Jersey. Tony, his wife Carmela, and their two children, Meadow and AJ, live in North Caldwell, New Jersey where Tony presides over a Mafia team. With eighty-six episodes spanning six seasons, the show is iconic in the world of Italian gangster stories. Television critics praised the show as the apotheosis of television drama, and the recalibrated scale for comparing TV shows [à ¢Ã¢â€š ¬Ã‚ ¦] everything else seems flawed (Martin, 2007, p. 16). The show also enjoyed instant success with audiences, claiming four million viewers during its debut season and quickly increasing to thirteen million viewers by the third season (Carter, 2006). Winning a plethora of awards including five Golden Globes, two Peabodys, two Writers Guild Awards, and 18 Emmys, the incredible popularity of the show propelled it into many manifestations o f pop cultural success including a MAD magazine parody (issue 389, 2000), appearances on The Simpsons, and the cover of Rolling Stone (vol. 865, March 29, 2001). Grand Theft Auto III, the best selling video game of 2002 with sales of three million units, mimicked The Sopranos by placing players inside a Mafia organization. The game allows players to move up through ranks of the Mafia by delivering suspicious packages, ferrying hookers to and from their dates, tailing suspected snitches, planting car bombs [à ¢Ã¢â€š ¬Ã‚ ¦], and having sex with their own goomahs (Croal, p. 50). The Sopranos became so well recognized that HBO developed an entire side industry of Sopranos accessories including a mens clothing line, mainstream coffee table and humour books, and even architectural plans for building Tony and Carmellas house (Quinn, 2004). The Sopranos was created in 1995 by David Chase. Chase is a television veteran who served as executive producer of such shows as Northern Exposure (1990-95), Ill Fly Away (1991-93), and as writer/producer on The Rockford Files (1974-80). Chase claims the character of Jim Rockford, created by Stephen Cannell, as the major influence on his creation of Tony Soprano, the patriarch of the Soprano clan (Chase quoted in Martin, 2007, p. 10). However, there are those in the Italian American community, including Lawrence Di Stasi, historian and past president of the Western Italian American Historical Society, who believe a darker influence lies behind the show and the character of Tony Soprano. Di Stasi believes that Chase, whose surname has been anglicized from the Italian name De Cesare, internalized his ethnic hatred by externalizing his self-loathing (Di Stasi quoted in Quinn, p. 167). Chase stands accused of betraying his own culture by strengthening the association, more than ever, bet ween Italian-American families and criminality. Di Stasi claims the average television viewer sees the link between the two as genetic. Using existing literature combined with my own semiotic analysis of the television series The Sopranos, I take a constructionist approach to determine how The Sopranos changes the image of the Italian mafia family since the release of The Godfather. In doing so, I expose the Italian ethnic signs within the text and discuss the role these signs play in supporting Blackwoods (2006) assertion that The Sopranos represent the assimilation of the Italian gangster into American culture. My data sample consists of the first seasons episodes of The Sopranos series. Limiting the catalog of data to thirteen episodes produces a feasible and manageable data set, and it allows analysis of a text created purely from the authors intentions, before its extreme popularity could influence new or exaggerated messages. Using a social semiotic approach advocated by Fairclough and Van Leeuwen (see Van Leeuwen, 2005, p. 139), I analyze the first thirteen episodes of The Sopranos in an effort to reveal the u nderlying messages of ethnic Italian identity. This approach is selected because it focuses on the function of texts in social interactions. It recognizes discourse as an element to structure content (i.e. what is expressed), genre to structure interaction (i.e. what happens), and style to structure the manner in which a text communicates (Van Leeuwen, 2005). Under Van Leeuwens approach, the text will be examined through the frames of violence, food, musical score, and set furnishings. Framing is a way of describing the power of communication within a text (Entman, 1993). It involves the selection of an aspect of perceived reality, and the elevation of the salience of that information within the text (i.e. making it more noticeable). The analysis provided rests on the theoretical framework of symbolic interactionism. The rejection of the notions that meaning emanates intrinsically from objects that provide meaning and that meaning is derived through a coalescence of psychological factors, allows us to see meaning as product of social interaction (Blumer, 1986). Thus, the meaning of things is formed from communication channels through a recipients interpretive process. This theoretical framework makes possible the assimilation of one culture into another. Hollywood movies are bastions of symbolic interactionism. They impose Americaness as a self-ascripting category whose value orientation dominates any primordial ethnic condition (Freidman, 1991, p. 22). Data Analysis In The Sopranos, Chase removes the impenetrable barrier between Italian family values and Italian family business that was so carefully constructed by Coppola in The Godfather. Coppola manages to create an intensely powerful and thought provoking audience experience of The Godfather through narrative and visuals that present the opposition of family values and violence. In the opening scene, the viewer is presented with a dark image of a heart-broken man confessing a heinous act of sexual violence perpetrated against his daughter. As the camera pans out, and the screen brightens only slightly, we see the man is in the study of Vito Corleone, a mafia Don and patriarch to one of New Yorks most infamous crime families. The man is begging Vito to avenge his daughters honour. Suddenly, the camera reveals the outside of the house, where there is a great celebration. Vitos daughter is marrying. Men, women, children, and even rival mobsters attend the elaborate festivities. There is much lau ghter, singing, and dancing. In contrast, the dark study, allows only a few privileged men to enter and make requests of Vito, who cannot refuse their requests on the day of his daughters wedding. The movement of the camera back and forth between the two locations creates a striking, visual divide between the celebration of family, and the dark world of the family business. The study is the location of power, a private sanctuary where reports are given and violent reprisals are arranged. The scene very effectively illustrates the ironic nature of the relationship between the family values and the family business. The room is physically separate from the family rituals thus maintaining a strong separation between the two worlds. The dichotomous nature of Corleone family values allows the characters to tread a delicate line between valorization and criticism (Simon, 1983). In The Sopranos, Chase completely removes this separation by immersing the Italian characters in American cultura l ritual and symbols. The family business is deeply entangled in everyday family rituals and activities. The world of family values and dark family business become one. The total assimilation of the Italian mafia family into American culture is achieved by the removal of all but the most obvious signs of ethnic stereotyping. The Long Island estate of Vito Coleone, with its stone and stucco exterior, Italian style courtyard, and extensive vegetable and fruit gardens, is replaced with a New Jersey, sprawling, modern American, brick ranch. Vitos Italian gardens are replaced with Tony Sopranos landscaping that appears to come straight from the pages of a Home Depot magazine. The interior of the Soprano house is a striking contrast to that of the Corleones. The Corleone mansion, with its dark leather furniture, dark oak paneling and trim, dim lighting, and minimalist furnishings is replaced by the bright modern American dà ©cor of the Sopranos home. An authentic New Jersey look was crucial for Chase whose production designer spent countless hours poking through houses up and down the Garden State parkway (Martin, 2007, p. 29). What Chase achieved are lu xurious interiors of light coloured oak flooring, tan leather furniture, modern glass top tables, and light oak shelves carefully decorated with showy books, pricey figurines, vases, and candle sticks. The walls are finished in tame colours of tan, ivory, soft greens, and gold. In the dining room and bedroom, the furniture is finished in light pastels that imitate stone which was common in upscale American homes of the 1990s. The kitchen, with its recessed pot lighting and bleached oak cabinets, is typical of popular modern American design. This is the home of a typical middle-class American family, from the bright, warm, inviting family room to the messy teenager bedrooms covered in dirty laundry and grunge band posters. The lack of a musical score for The Sopranos also assists in the assimilation of the characters into American culture. The Godfather provides the viewer with a rich ethnic and folkloric musical score written by Nino Rota with additional music by Carmen Coppola, Francis Fords father. From luna mess o mare sung by family members during the opening wedding scene to the main title, called The Godfather Waltz, the viewer is immersed in the melodic strands of Italian music and reminded of the rich ethnic background that gave rise to such music. In contrast, there is no musical score for The Sopranos; however, each Sopranos episode opens with Woke Up This Morning (1997) by British fusion band Alabama 3 and closes with a different previously recorded pop tune such as Elvis Costellos Complicated Shadows (episode 3), Jefferson Airplanes White Rabbit (episode 7), and Bruce Springsteens State Trooper (episode 13). This music lends a contemporary feel to the show that is decidedly American. Chase believes firmly that the lack of a musical score increases the authenticity of his work. He notes that like Quentin Tarantinos movies, the use of pre-recorded, popular music promotes an authentic American feel to the work (David Chase Interview, 2000). Despite the assimilated nature of the characters, a link to Italian ethnicity is maintained. This link is achieved primarily through the constant reference to Italian cuisine within each episode. A major sub-plot in episode one involves young AJs birthday party where Ziti and the proper way to cook Italian sausages is a significant part of the narrative. In episode two, Paulie Walnuts becomes enraged at the profits earned by large American corporations through their cooption of Italian cuisine. Father Phil, the priest from the local Roman Catholic Church, is often seen visiting the Soprano home. The character of Father Phil is intended to create sexual tension with the character of Carmella Soprano (David Chase Interview, 2000). This tension is overshadowed by Father Phils desire for home-made Italian food and his constant dialog regarding the superiority of Italian cuisine. He visits the Soprano home, and the homes of other Italian parishioners, constantly looking to be fed (episode s 1, 5, 6, 13). Artie Bucco, a close friend of Tonys, is an accomplished chef specializing in Italian cuisine. This character appears in numerous scenes where he serves sumptuous Italian cuisine and his skills as an Italian chef are praised (episode 1, 2, 3, 9, 13). Chase devotes a significant amount of dialog in each episode to the discussion of Italian food. In addition, Italian food is visually depicted through camera close-ups in restaurant scenes and in the many scenes involving Soprano family dinners. In these close-ups, the camera frames the food much like what one would see on a cooking program. The viewer is presented with large images of Italian pastas being dished from platters while the character dialog continues in the background. A second important symbol that serves to link the assimilated Soprano family characters to their Italian heritage is observed in the characters of Paulie Walnuts Gualtieri, Silvio Dante, and Salvatore Big Pussy Bonpensiero. These characters are part of Tonys crew, and they epitomize the stereotypical vision of the urban, somewhat slow, greasy, Italian tough guys. They dress in dark clothing; wear patterned, silk shirts, unbuttoned to show thick gold chains and crosses around their neck; grease their hair back; and speak with the same Bronx-Italian accent heard in Goodfellas (1990). Violence plays a central role in The Sopranos. This centrality contrasts sharply with the The Godfather where violence operates as a backdrop against which we can examine characters and observe family customs and behaviour. The Godfather represents a major shift in the narrative perspective of gangster films (Simon, 1983). Besides being the first film to portray the Italian Mafia, although it never uses the word Mafia in its narrative, the film uses carefully placed narrative gaps to control the affect of violence on the viewing audience. For example, the audience is not prepared for the now famous scene when studio head Jack Woltz lifts the sheets of his bed to find the severed head of his prize racehorse. The previous scene ends with Woltzs refusal to hire Johnny Fontaine, Don Corleones godson, in a discussion with Tom Hagen. When Woltz finds the horse head in his bed, the audience is forced to assume that Hagen ordered the head be severed and placed there. Through this narrative g ap, the audience is completely unprepared for the violence, and as a result, they feel the violence from the victims perspective rather than through the perpetrators. Coppola uses this narrative gap technique again and again for the assassination attempt on Don Corleone, Luca Brazzis strangulation, Sonnys execution, the murders of Paulie Gatto and Michaels Sicilian bride, and the climatic final sequence when Michaels order to assassinate five rival mobsters is carried out. This technique allows Coppola to keep the violence in the background; the violence is the inevitable outcome of failed negotiations or necessary due to ethical codes. The viewer is able to remain focused on the characters with their complex behaviours and the relationships that are demanded by their Italian ethnicity. In The Sopranos, Chase removes the violence from the background and puts it on display. Through narrative and visual signals, the viewer becomes well prepared for violent scenes and experiences those scenes from the aspect of the perpetrator. We see evidence of this in the first act of violence in episode one, The Sopranos (1999). As Tony begins his first session with therapist Dr. Malfi, he recounts a story of a chance meeting with a man who owes him an outstanding debt. Dr. Malfi interrupts Tony to mention that she knows he is a crime boss. She reminds him that if she were to hear of a murder or intentional injury, she would be required to report the incident to authorities. Tony relies, nothin happened, we had coffee. The sarcastic narrative combined with the smirk on Tonys face perfectly sets up the sudden cut to the next scene where Tony hits the man with his nephews car and then proceeds to violently punch and kick the man. When Tony contracts with a Hasidic Jew to extort a div orce from the Jews son-in-law (episode 3), Tony discusses threatening the son-in-law with castration. Several scenes later, the viewer witnesses the assault on the son-in-law, and two scenes later, Tony gleefully describes the assault to Jackie Aprile, a high ranking mob boss. When Tony takes his daughter, Meadow, to her university interviews in New England (episode 5), he unexpectedly bumps into an ex-associate who testified in court against an old mob boss. In several subsequent scenes, Tony and his daughter discuss Tonys involvement in the Mafia. Tony continually downplays his role in criminal activity. Interspersed with these scenes are scenes of Tony planning and carrying out the murder of the ex-associate. These examples demonstrate how The Sopranos follows the television practice of tell them what will happen before it happens; tell them what is happening when it happens; tell them what happened after it happens (David Chase Interview, 2000). This practice elevates the violen ce to a central position where it becomes hopelessly interlaced with family struggles such as dealing with elderly parents (episode 2), illness (episode 3), choosing a College (episode 5), children acting out in school (episode 7), the safety of children from sexual predators (episode 9), and depression (episode 12). Conclusion For most Italians who have emigrated from Italy, remnants of Italian culture are still present within their lives. American writers and scholars use the term italianità ¡ to describe these remnants of culture that persist across geographical borders and time (Tamburri, Giordano, and Gardaphà ©, 1991). The use of italianità ¡ in The Sopranos was crucial to the shows success. After a century of media representation that links Italian culture to crime, italianità ¡ authenticates the story for the viewer and makes it all seem real. Similar to the sexual escapism provided by the Italian actresses of the 1950s (Benshoff Griffin, 2004), the use of Italian culture creates the ethnic other necessary to validate the extreme violence, sex, and criminal activity. The viewer remains safe with the notion that the illicit activities and uninhibited sexuality in The Sopranos are perpetrated by transplanted ethnic others, not by respectable, white Americans. Chase admits that The Sopranos helped realize his desire to produce feature films (David Chase Interview, 2000). Although each episode is only one hour in length, airing the series on HBO allowed broadcast without commercial interruption. This permitted the writers to abandon the common television drama structure of four-act scripts permitting slower plot development. Indeed, Chase claims that each episode in the first season is a separate complete movie, that continuation of story lines from one episode to the next was low priory during the writing process. As crucial as the ethnic other is to the authentication of the story, The Sopranos became exemplary of the ethnic assimilation port

The French Revolution Essay -- essays research papers

The French Revolution The years before the French Revolution (which started in 1789 AD.) were ones of vast, unexpected change and confusion. One of the changes was the decline of the power of the nobles, which had a severe impact on the loyalty of some of the nobles to King Louis XVI. Another change was the increasing power of the newly established middle class, which would result in the monarchy becoming obsolete. The angry and easily manipulated peasants, who were used by the bourgeoisie for their own benefit were another significant change, and finally the decline of the traditional monarchy, that for so long had ruled, were all factors to the main point that the French Revolution was caused by a political base, with social disorder and economic instability contributing to the upheaval. All of the sub-factors relate with one-another, but are separate in their own ways. For centuries, the French noble was well set in society. He found prosperity and security in the old regime, and all he had to do was pay homage to the king, and provide the king with his services. This all came to a gradual stop, however beginning with the loss of the noble's power over their own land at the hands of Louis XIV.1 This was the foundation of the revolte nobiliaire in the fact that it formed a basis of mistrust, and anger for the monarch.2 In that time the feudal system was still being practiced, so social status was based on the amount of land you could attain. With no land, the nobles saw themselves to be as common as the common folk. Even in their arrogance they saw that they were losing power. The next blow to the pride of the nobles came from Louis XV, who passed a bill to let wealthy commoners purchase prominent spots in political and social positions. This event shows how corrupt and money hungry the government had become, by letting anyone get high up in the political chain just by feeding the gluttonous king. The next king, Louis XVI saw that the majority of France (75%) was peasants and serfs. Consequently, to try to ensure their happiness (and prevent the Revolution), he had the Estates-General abolish the feudal system, in which they held no ranking.4 This made the nobility extremely unhappy. With no feudal system, they no longer were much higher up politicly than the commoners. The next noble atrocity came with Louis XVI making the nobles pay taxes. Ever since... ...hat the monarch was untouchable. Seeing as how Louis was to get his head chopped off, that resolution may not have been a good idea. To make things even more equal and just, the commoners had one of the three votes his Estates-General. This meant fair representation, but it also meant that the nobles were upset with their decline of power and the commoners wanted more of their new-found power. All of these ideas seem to be good ones, but ones that would, and did harm his position. One evidently bad move was to heavily tax everyone. The peasants were already heavily taxed, so they were then brought to famine, the nobles were never taxed before and consequently disgruntled and the middle class just did not like it. If Louis XVI were alive today he would probably be a good politician-too bad the people were not ready for him in 1789. Historians have argued for centuries over what started the French Revolution: some say economics, some say politics some say the change of social structure. The only logical answer, then is that it was a little (or a lot) of all three, resulting in the decline of nobility, the rise of the middle class, the anger of the peasants and the fall of monarchy.