Saturday, September 21, 2019
Strategic Human Resources Management of Sony
Strategic Human Resources Management of Sony Introduction In a growing economy and technology on their progress, many companies have benefited from the opportunities offered by science. Given the continued growth of technology companies have the means to continue the success of competitive products and services available. One particular company that has been fully adopted by Sony this feature. This company was very successful, but because his way of thinking strategically and incredible talent to use every ounce of new technologies can be used. But using e-commerce or e-commerce Sony has skyrocketed. Sony is a manufacturer of audio, video, communications and information technology products for consumer and professional markets. Background of Sony Japans Sony Corporation (Sony) Final parent company isSony. The company is mainly focused on electronics, such as audiovisual and information technology and components; game, such as PlayStation, entertainment such as motion pictures and music, and financial services such as insurance and banking. It has five segments: electronics, games, photos, and other financial services. Sony makes this one of the largest and most diverse entertainment worldwide. In the Electronics segment develops, designs, manufactures and sells various types of electronic equipment, tools and devices for consumer and professional markets. During the rally, Sony Computer Entertainment Inc. develops manufactures, markets and distributes PlayStation Portable (PSP), PlayStation 2 and PlayStation 3 computer entertainment system. Vision, Mission and Values Business mission is a summary of key policies for the company to achieve its objectives, and explains the key that every effort should be employed. Tend a few words or short phrases, but also long term is more than one page. Objectives For this vision to be realized, Sony aims to strengthen the core electronic business application of information technology in the design, manufacture, distribution and sale. It is believed that the value of Sony Music, photos, games and financial services industry as they become available through the network. So, Sony has now launched a sub-network enabled products in four categories: digital TVs and set-top boxes, home VAIO PC, PlayStation 2 and mobile devices. Sony make. Believe Sony make. Believe (dot It), a new message to another group of origin indicated by Sony in electronics, games, movies, music, web services and mobile phones. Make. Believe Sony is to introduce a spirit of creativity innovation, marking the first time, the company has unified brand message that is both entertainment and electronics. TASK1 What is human resource management? Each organization has three basic components that target people and structure. A Human Resources Management (HRM) to study the activities of people working in an organization. HRM is the management of people working in an organization. It is particularly relevant to the person who can say that people can manage. Leadership of organizations to their needs and helps the organization resolution. HRM seeks to how people can be managed within the organization. He is responsible for hiring people to train to organize the command, the benefits of their work problems and recommend appropriate. Strategic HRM: Where all HR activities (including workplace learning) to help organizations achieve strategic objectives and vision, either directly or indirectly. This means that for all D activities to be strategic. So it is important to understand exactly how everything is done (what you offer), which contribute to your organizations mission, vision and strategy. Otherwise, how can you value your work and how to organize the value of your work? Please note that this can contribute indirectly. For example, to improve the quality of working life have a significant impact on profitability by reducing errors and accidents, reduce absenteeism and turnover and increase productivity and improve customer service. basic functions of human resource management Basic functions of HR functions are the same as saying the government by managers plan, organize, manage and control staff. HR staff and to participate in policies and practices related to persons working for the organization. Human Resources Department meeting the following functions to manage all sizes: Teams (includes planning, recruitment and selection) Human Resources Development (It covers the education and training required by the employee) Benefits (incentives for employees based on performance or policy) health and safety (including issues related to health and safety policy of the individual) The relationship between employee and labor Maintenance Records The importance of strategic human resource management (SHRM) Human Resource Management is to manage the size and normative theory would require coherent set of personnel policies in accordance with organizational strategy to determine the quality of work, commitment and employee performance and organizational effectiveness and competitive advantage. Sony HRM policy is to manage their employees and to be successful. Because it considers the variation in different regions. Sony, for example, encourages their employees to participate in decision-making, so that the company public meeting in each unit provides opportunities for employees to give their opinion. And different places in Europe, where appropriate, Sony. Total Number of Employees Sony total number of employee (Sony website) is working, where labor costs involved in these negotiations, in accordance with the law and working conditions. Sony provides education and skills training for workers in different countries and business sectors. But there are different training systems in different regions. Kio Morita, founder of Sony Corporation, said there is no magic in the success of Japanese companies most popular and Sony in particular. The secret of success is just the way they treat their employees. Head of Mission of Japan to the manager to develop a healthy relationship with its employees as family resemblance in the company to create the impression that employees and managers share the same fate. Most successful companies in Japan has succeeded in the sense of common destiny for all employees to create, what the Americans and labor management and shareholders to appeal. When Morita was president of Sony, said new employees and all employees who are lucky enough to find jobs and to decide persona lly if he has spent his lifetime working with Sony. TASK2 Define Human resource planning The concept of human resource planning within the organization is as old as human culture itself.There the idea of à ¢Ã¢â€š ¬Ã¢â‚¬ ¹Ãƒ ¢Ã¢â€š ¬Ã¢â‚¬ ¹a better workforce planning and new business effectively in the field of human activity. Applications are reviewed by various people, scientists acceptance and design management. Definition of human resource planning are listed below- According to F. William Glueck,  Human resource planning is the process by which management attempts to provide adequate human resources to achieve organization objectives. Business factors HRM is central coordination and management fundamentals organizations. There internal and external factors affecting various business hiring and training. Control factors are external factors that have little or organizations, but to better understand these factors, it can better adapt and develop appropriate strategies for managing human resources. The external environment refers to conditions outside the organization, including potential legal, social and political interests of customers, competitors, unionization, labor market conditions, industry characteristics and national cultures (Susan et al, 1995). Some internal factors are affecting HRM technology functions, structure, size, organizational strategy and culture. Technological environment is perhaps one of the most astonishing powers that the HRM practices of the company (Zammuto OConnor, 1992) shape. Technology puts an important role in reducing costs, improving efficiency and customer access to relevant informa tion available to help businesses increase productivity (Kotler et al 2004). Requirement of sound HR planning JL and RW Gold Decgar a book Management of personnel and recommended to the requirements of effective labor planning and success as:       à ¢Ã… ¾Ã‚ ¢ planning should contribute to a lot of time.       à ¢Ã… ¾Ã‚ ¢, the alternative plan or amendment, if any, should be included       à ¢Ã… ¾Ã‚ ¢ Planning should be based on need.       à ¢Ã… ¾Ã‚ ¢ Planning should elements of flexibility and elasticity.       à ¢Ã… ¾Ã‚ ¢ planning to be economics.       à ¢Ã… ¾Ã‚ ¢ Planning should be efficient and effective. The purpose of the Human resource plan for this species members and staff is to get the right thing at the right time. Human resource planning is a question of method. Human resource planning is developed by certain activities in a row. What steps are described as follows-     à ¢Ã… ¾Ã‚ ¢ identify the target     à ¢Ã… ¾Ã‚ ¢ Gather information     à ¢Ã… ¾Ã‚ ¢ provide human resources to implement     à ¢Ã… ¾Ã‚ ¢ human resource supply prediction     à ¢Ã… ¾Ã‚ ¢ plan and the necessary programs STGES OF PLANNING a) The purpose of the organization: The purpose of the organization must be established before the introduction of human resource planning. After determining the purpose of the organization, the Human Resources Director might develop human resources to the organization to achieve this objective.  b) The collection of information: The second phase of human resource planning to gather information. Cant predict or plan to be better than the data they are based.Human resource planning requires two types of information. They are          à ¢Ã‚ -Data from the external environment          à ¢Ã‚ -Data within the organization                 à ¢Ã…“â€Å"Data from the external environment, external environment information, including information about current conditions and expected changes in                       à ¢Ã… ¾Ã‚ ¢ Economics                      à ¢Ã… ¾Ã‚ ¢ Technology                      à ¢Ã… ¾Ã‚ ¢ Competition                      à ¢Ã… ¾Ã‚ ¢Labor                 à ¢Ã…“â€Å"Data organization of data within the organization that contains information about Current conditions and expected changes include in-                      à ¢Ã… ¾Ã‚ ¢ plans short and long term organizational strategies                      à ¢Ã… ¾Ã‚ ¢Prevailing human resources                   à ¢Ã… ¾Ã‚ ¢Turnover and mobility    c) HR Demand: In this step, because it determines the resources needed to achieve the goal. Once planners have the information internally and externally, they can predict the demand for workers.    d) Estimating: The human resources supply: In this stage, planners predict labor supply. Planners forecast internal supply of workers and their skills and availability of different types of people probably promo ability outside the labor market.    e) Plan and the necessary programs: the final stage of human resource planning is to plan specific programs to ensure that our available depending on future demand.Programs include-                        à ¢Ã… ¾Ã‚ ¢ increase or decrease the size of the labor                        à ¢Ã… ¾Ã‚ ¢ changing skill mix                        à ¢Ã… ¾Ã‚ ¢ management succession plan                        à ¢Ã… ¾Ã‚ ¢ Career Development Plan                        à ¢Ã… ¾Ã‚ ¢ disincentives for early retirement incentives The desire to achieve objectives through human resources planning is meaningless unless its assessment of the results of the activities of human resource management planning: f) Feedback on the planning process: If demand and supply projections were as accurate as desired, Feedback is given to improve the forecasting process. Although these programs are inadequate or inappropriate, you can change them. HRM model Human resource strategy is generally high. Human resources strategy will not solve the problem of ownership of HR processes. The strategy defines the strategic role of human resource initiatives in the organization and within a few years. Human resources is the best tool for ownership of HR processes to be determined. It also helps identify gaps in the organizational and human resources skills and competencies of HR. The model makes the management of human resources to operate smoothly. What is the purpose of the HRM model? The result is most of the HRM model clear principles for the design and execution of tasks and responsibilities of human resources and human resources allocated to various projects in human resources unit. Template definition is not easy, but saves a lot of conflict in the future. The HR builds stronger and more competitive in the HR organization. TASK3 The purpose of human resource management policies in Sony Since its inception in 1946, Sony should remain at the forefront of technological development, based on what has been done consistently with the new lifestyle. Sony has new innovative companies to also promote, through an innovative approach to the challenge of national and regional boundaries. Sony values à ¢Ã¢â€š ¬Ã¢â‚¬ ¹Ãƒ ¢Ã¢â€š ¬Ã¢â‚¬ ¹of communication between management and workers are essential if the management transfer policy for employees and employers to encourage their opinions. Sony puts a high priority on communication between management and individual employees. Since fiscal 2005,Sony CEO Howard Stringer, the time to visit the Sony world to communicate directly with employees at public meetings and other opportunities for dialogue to create. contact senior also Sony Group employees by posting on the intranet or e-mail Sony and facilitate information exchange and creating a sense of unity with the Sony Group. Sony aims to create a workplace that respects human rights and equal employment opportunities for people with the best of their abilities. Because of the diversity of human rights initiatives and businesses, Sony is an important function that every employee at work, and he knew of any problems you can get Sony Corporation Disabled Employees Ratio *4  Staff Development Development and staff development for Sony dynamic engine of growth for Sony. Sony recognizes that population growth is supported by large asset management. A Sony aims to enhance motivation and personal development of its employees worldwide through learning by doing, as well as access to a variety of programs tailored to local needs, including education of engineers, management training and training to build capacity and skills of employees. Developing leader If a company does business in countries and regions around the world, Sony recognizes the importance of cultivating leadership qualities, and aims of international respect for different cultures and working environments. Sony has implemented a series of initiatives to bring the full potential of employees to meet and the next generation of business leaders worldwide to promote. Training programs for employees Sony is organizing various training programs for employees at all levels of graduates from senior managers for each region and industry. In Japan, Sony Group offers over 300 courses, including technical education and training bodies, different approaches, including group training using e-learning and correspondence courses, in accordance with the objectives. These courses are supported by approximately 230 front-line employees who have the expertise needed to develop curriculum and textbooks Sony technology in all areas Employee training program by Sony in Japan(www.sony.net) Impact of regulatory requirements on human resources policies in Sony Basic Policy on Human Rights and Equal Opportunities Sony Group Code of Conduct, adopted in May 2003, has sections on human rights and global policy provides rules governing human rights and related activities within the Sony group. For example, the section provides for the Sony Group Code of Conduct, equal opportunities in employment policy on the recruitment, hiring, training, promoting and otherwise treat applicants and employees without regard to non-race features, including religion, color , national origin, age, gender and disability. These provisions are based on existing international standards, including the United Nations adopted the Universal Declaration of Human Rights. Health and safety Sony targets healthy labor market and employment practices and establish a healthy environment, safe working and productive stands. Political and database management system In 1998, Sony has adopted a general policy on health and safety (OH S), which acts as a standard group, reflecting Sonys commitment to the health and safety of its employees. Simply policy regarding the laws of the countries and regions of OH S, but also with complementary activities undertaken as part of their health and safety management structure. Employee Health Sony Corporation aims to help create jobs in good health. related activities are focused on providing different health check-up, support and dissemination of information via the intranet an overview of health issues raised.  Work-Life Balance Looking at work is a much more diverse lifestyles and employees to fully express their skills to keep up, Sony has created support systems and flexible work styles, including the importance of the optimal work-life balance stress . Work and life balance in Sony Source- www.sony.net Flexible work styles Sony does not follow the laws and customs of the countries and regions in which it operates, but also provide working arrangements to help employees to achieve work-life balance effectively. Child care and nursing Sony is offering special holiday savings plan for child care workers to be caring for children and paid leave, which can be used in conjunction with parental leave and offers up to 20 days for employees who leave after birth . A significant number of workers who leave. Sony also offers a System theme and use of paid annual leave on an hour for child care or nursing.  Human Resources Information Technology Three years ago, Sony Electronics has a sharp eye on the HR information system, and not liked what he saw. Only 18 percent of the 14,000 employees in six locations systematically used HR applications, allowing the human resources department document generation. Not that the workers do not blame Sony Electronics indifference upgrade to PeopleSoft 5.2 universal platform within five years, turning out new versions and patches new home tend to be a doctor. In terms of hardware and software, long lived HRIS system utility, said Edward J. Cotter, Sony Electronics vice president of human resources. TASK4 Impact of organizational structure on human resource management The organizational framework clarifies the responsibility of the shares to managers and employees. Organizational structures can help companies retain employees, while the suibiachtà ºlacht the chain of command, among other benefits. Staff retention is how the company is focused on maintaining a low staff turnover and more experienced workers to ensure that employees remain with the company. Organizational structures can establish minimum expectations of personal conduct. Organizational structures often contain companys mission or vision. This information allows companies to include information on benefits for employees who reach certain goals or the company. It promotes good behavior and employee retention. Companies cannot fully sum workers to take compensation as a reward. Organizational structures can ensure employment growth and development of employees to retain employees for longer periods where they want to learn more about the company and improve their professional skills. Role of organizational culture in SHRM Corporate culture is an important role in selecting the best candidate. Candidate sourcing and recruiting and interviewing candidates, to find ways to determine whether someone is suitable for culture. Organizational culture is often difficult to describe, but if you look at the candidates during the recruitment and selection processes, it is easy enough to see whether they match the work to be filled.  Recruitment The first step in the recruitment process of the job to ensure that it is necessary to accurately reflect the functions of the job to review. Building on its work, including a brief description of the business of supplying information on the organizational culture. Interviews of person-to-face is the best way to decide whether the work history and career goals to send candidates to your organizations needs. For example, that the applicant work history primarily on the activities carried out independently of the office is the challenge of working for an organization where most projects are achieved through teamwork. During the interview, describe as precisely as possible, the work environment. Choosing the right person When the shortlist of candidates for those two or three, but here is where one can ensure a true match for the company. In this phase of the selection a wise decision to candidates based tour company possible. various personal presentation and interaction and exchanges with employees observe non-verbal. Monitoring and control This is the final step in the planning of the organization human resources. When the program is approved and implementation has begun, it must be checked. Human Resources department must follow up to see what happens in terms of available resources. The idea is to make sure we use all available talent available to us to fail if we continue to fight to the top. Recommendation Creating a culture of teamwork For teamwork happen, these powerful actions happen. leaders clearly hope that the teamwork and collaboration are expected. Nobody is working space or the process itself. People who own work processes and location open to ideas and feedback from others on the team. Team teaching model held in their interaction with each other and the rest of the organization. They maintain teamwork even when things go wrong. Members talk about the organization and the value of teamwork culture identification.  ®When writing formal and shared values, teamwork is one of the five or six keys. Teamwork and rewards have been identified. Lone Ranger, even if it is an excellent producer, is rated lower than the person who obtains the results with others in teamwork. Performance management system focuses on teamwork and value. Often 360 degree feedback system is integration. Conclusion Sony plans and strategies reflect different depending on their unique vision and mission. Strategies, plans and even their threats failures that contributes to the company. Sony Corporation to take into account not only new technologies, new products and automation, but the environment is healthy. Human resource management is even possible cultural and national differences. Policies should distinguish IHRM organization and integration of all units. Sony is an example to explain. Human Resources supports the general conclusion that human resource management for the benefit of employees and human resources activities in accordance with the strategic goals of Sony. Sony managers held on the need for staff and delegates tasks to assess these good impressions on the leaders and they believe the company delegated authority, which in turn increases job security for frames. Programs for different levels of employees is to create a team spirit among employees and a culture in w hich everyone is entitled to make progress in the promotion.
Increasing Indian Film Presence in the International Market
Increasing Indian Film Presence in the International Market 1. Chapter One: INTRODUCTION In these modern times of instant digital communication, film has turn out to be one of the most vital way through various nations and cultures reveal their values and identities. Moving image technologies has turn out to be all-encompassing in our lives. They are huge business. Apart from that, a capability to recognize and apply them has become as important for the people of this present era as literacy was in the times of19th and 20th century (India PR Wire, April 4, 2007). The tempo, scale and consequences of this transformation are significant enough. The Indian Film industry has made a huge development ever since the Motion pictures first arrived in India in the year of 1896 when the Lumiere brothers revealed six silent short films in Bombay. The first feature film of India named- King Harishchandra (which was a silent movie) was released in the year of1913. In India the first ‘talkie’ movie that released was Alam Ara in the year 1931 (India PR Wire, April 4, 2007) . 1.1 Film Production Houses In India A film production house is normally connected with the in-house production. It could categorize, make or telecast various segments of programs around news, films, multimedia, television shows, sports or ad films. India can be regarded as a home to a several well-known production houses from all the aforesaid stated areas. www.bestindiansites.com specifies top leading Indian websites on production houses of India, sports production house, ad film production house, film production house, sports production house, information on production house, list of production houses, television production house, multimedia production house, and a several other significant information’s (Subramaniam, A, 2003). We can in reality utter about various types of production houses such as Independent and corporate and just detail it by stating that Individual production houses are managed by just 1 or 2 producers and the infusion of capital investment for the production purpose is mainly generated by personal investment or by the means of loans taken from private investor. For corporate houses we could only cite that it is just like as any other corporate deal with the only differentiation that it produces films which is considered under the head of creative segment (essentially organised corporate structure of producing in creative industries – which is a new concept for Indian film industry) (Subramaniam, A, 2003) So when ‘Industry’ status was granted in 2000, Corporate started getting attracted towards the films industry realising the huge potential that was there to be exploited. When the corporate started entering to film industry with huge investment power they started incorporating studio culture of Hollywood by following vertical integration. Leaving behind the prevailing system of horizontal integration to the independent producers. The studio model production house started giving more importance to the content. It stressed on script development, introducing younger generation actors and directors, budget and time management, co productions and international distribution. None of the new corporate production house had the background of film production when they entered the segment. However most of them were involved in activities related to the media (The Business Line, 2007). Barney says that the first to exploit the resources would gain competitive advantage over its rivals. This is exactly how the corporate production houses gained advantage over independent producers. The Industry had a lot of potential to grow with its wide acceptance globally. but the independent production houses had neglected this aspect, so when the corporate entered the industry they took complete advantage by using the unexploited resources of reach of the films and its growth possibilities steps (Barney, 1991). To exploit the resources of growth prospective, the studio model was developed under these parameters- To Produce and co produce the movies with strong content and story line. To complete the movie with in the budget and also in time. To sign contractual agreements with actors and directors. To focus on medium and large scale budget movies. To develop a huge distribution network nationally and internationally These parameters are not different from any other studio mode l in the world. Corporate production houses main aim was to apply these practices and standards in other markets, to the Indian market. The reason for doing this was to make maximum utilisation of the resources available. Already registered in the London Stock Exchange, several Indian film companies like as Eros, Ad labs, India Film Company, and utv – have generated immense capital from the various institutional investors who were keen to invest in Indian film companies. Moreover several Western film companies are looking forward for acquiring an ample equity share in these companies (Desai 2007). In this regard on 24 January 2005, Percept Picture Company associated with Michael Douglas’ production company Further Films and Sahara One to co-produce the $50-million Racing the Monsoon. Also on 1 September Sahara declared one more alliance, and this time with a Hollywood producer Donald Rosenfeld for Tree of Life starring Colin Farrell. These are two among a total of six Hollywood coproductions. (Kohli- Khandekar 2006.). On 20 October, 2005, Sony Pictures sign on Sanjay Leela Bhansali to co-produce Saawariya. The film was released globally in the year of 2007 with around 1,000 prints, a fig ure which was not heard of in the previous times for an Indian film. [The figure is on average 250.] Moreover this was the first time that a renowned Hollywood studio (that one of top six) had produced an Indian film. (Kohli-Khandekar 2006.) Indian admired cinema, remarkably Bollywood – the Mumbai (Bombay) film industry has witnessed several transformations given that it’s first beginnings. A few key modifications that took place at the turn of the century when Indian Popular Cinema gained the position of an industry.(1) After that the Indian film has developed in new directions. One such change was a more intense interplay between the global and the local which took place during the 1990s. Today, every single function and activity related to the Indian film business is becoming well defined and systematized, be it the retail infrastructure, financial aspect, marketing or distribution. Even films themselves are gradually falling into place. In just under five years, t he industry has shed five decades of baggage and has become an organised business. This is a new Indian film industry (Kohli-Khandekar 2006). Film producers are interested in creating serious corporate structures, and Indian as well as foreign business is pouring money into the cinema. A wall of money is descending on Bollywood and there is a huge bubble building up (Desai 2007). Evaluating by the amount of movies produced by the Indian film industry, which is about more than one thousand movies per year, it is been regarded as the largest movie industry of the globe. The studio has reached international and also the profit earnings of the several Indian movies were greater in overseas locations than in India. Indian films have been witnessed in the leading ten lists of movies in the continents of UK and USA ((The Business Line, 2007)). 1.2 An overview of Indian film industry 1.2.1 Historical Section How Bollywood has evolved India has been regarded as the biggest movie industry of the world, if we talk about the number of movies produced in a year. It produces around more than 1000 films per year, which is greater than any of the film producing country. The Indian film industry is commonly regarded as BOLLYWOOD. The first Indian cinema was arrived in the year of 1913 with RAJA HARISHCHANDRA firstly coming into the picture and paving its way to the new period of silent cinema in India (Das Gupta, S., 2006). Since that time it has witnessed a vast series of evolution both in conditions of making and marketing of the Indian films. We will largely talk about the evolution that took place from the year of 1980s to present time. India produces more films than any other country in the world, the government of India didn’t recognize filmmaking as an official industry until as recently as 2001. Before then, it was impossible for producers to get loans from banks or even insurance for their productions. As a result, producers often paid for their films out of their own pockets – a practice most American producers would consider absurdly risky – or obtained financing from less savory sources (Das Gupta, S., 2006): The unruly aspects of film production weren’t just limited to its financing. In some cases, it would take years to shoot a film. Overbooked film stars would show up egregiously late on set (or not at all) without penalty, scripts were often rewritten on set depending on which actors showed up, contracts were verbal and often violated, and produced films had no guarantees of finding distribution. All of these factors combined to make Bollywood film production an extremely risky endeavour (Das Gupta, S., 2006). 1980-1990 In India maximum number of films were produced by Independent (SingleSolo) producers or Family production houses, Big production companies like Rajashri productions, B.R Productions and R.K Productions were family owned production houses and in some cases it can be traced back to several generations.(Taebue and Lorenzen-2007) â€Å"In this period the Indian film industry seemed to make the least progress and in some case journey in the path of deprogress†(Ashish Tiwari). Most of the films were produced on a Formula which had protagonist the male lead character of the film who is called as the Hero and his female counter part as the Heroine who romanced with the Hero singing and dancing around the trees, this strategy gave birth to the masala films (Hindi for â€Å"spice mix†) â€Å"It was a compound made up of several elemental combinations that had drama comedy and romance along with song and dance sequences in symbol driven rather than plot driven†( Lorenzen Taeube-2006). â€Å"The controversial author Salman Rushdie found a very precise and creative term that sums up the subject of Indian films perfectly, describing it as: ‘Epico-Mythico-Tragico-Comico-Super-Sexy-High- Masala-Art’ (Salman Rushdi, 1995 in â€Å"The Moor’s Last Sigh†quoted in Mishra,)†(Adleline Pissang-2000). Repetition of these kinds of stereotype films kept the audience away from theatres. Introduction of colour television and national coverage by Doordarshan in early 1980’s caused a drop in demand for Indian films. The middle class audience preferred to watch new Television soaps and old films on video cassettes (VHS) in their home rather than going to cinema halls. So the cinema halls became a run down and regarded suitable only for lower class men who could not afford a television preferred watching hard core violent films in theatres with lots of action and skimpily clad women dancing in the rain (Misara-2002). Competitio n from television made film production houses think innovatively, to hold their grip on the medium, so they started upgrading their films with lavish sets and so called â€Å"multi starrer†films which in turn increased the importance of star actors. So naturally the star actors wanted to cash in on their ‘star value’ and started charging exorbitant sums to act in a single film which in turn escalated the production cost of the film (Gopalan-2002). This was at the same time when the Indian music industry was on a high and could turn around the profit margins of even those films that failed at the box- office. The movie soundtrack became a key publicity stunt for the movies and the number of tracks and their popularity increased steadily. The pre- movie launch of music could determine the fate of a movie because if the music did well in the market then it created a huge wave amongst the public before the film got released. The sales of the audio cassettes used to bring in good share of revenue. The producers always hoped and worked towards making the music of their film a hit by casting good/popular music directors and famous playback singers for their films. Again, the producer had to invest a lot more on a popular music director but it was chance worth taking (Ganti-2004). 1990-2000 The introduction of cable T.V. was the greatest revolution of this era. It changed the outlook of film industry, though initially the survival of film industry was challenged with the entry of cable T.V. as it was an instant hit with the audience because it provided plenty of regional language channels like ZEE TV, SUN network and as well as few English channels STAR, HBO which aired films on their channels. But gradually the production houses understood the potential of the cable T.V. as it found a way for new source of income through selling its film rights at relatively higher prices for its telecast in television which is called as satellite rights (Pendakur-2003). Subsequently the film industry started depending on television as a medium of publicity by broadcasting songs and advertising campaigns of their films to pull the audiences to the theatres (David Hancock-1999). Music channels like MTV and V channel could not sustain by just transmitting private non film and internation al music albums so they had to take cover of film songs to increase their popularity in India (Bose-2006). It is believed that the criminal sources like underworld had a very strong hold on the Indian film industry; they controlled the whole production process of the films that they financed by dictating the terms in Bollywood like casting a superstar and selecting brilliant directors to work for their films. It is also believed that celebrities of the industry had close links with the mafia. Though usage of Black money (unaccounted money) in films was not an unfamiliar thing for ages but funding from underworld started in this period. It is estimated that 40% of film productions were financed by the underworld (Kripalani and Grover 2002; David Hancock-1998). The early 1990’s can be called as the period of stagnation; the commercial cinema had ridiculous dialogues, baseless stories with no originality in them (Ashish Tiwari 2007). Few films in mid 1990’s were huge hits which broke most of the previous records. These films were big budget, romantic films (Dwyer and Patel) which upheld the family values in them. The two astronomical hits were HUM APKE HAI KAUN? (Who am I to You?) This released in 1994 and went onto run for two years in more than 50 theatres and DILWALE DULHANIA LE JAYENGE!! (The Brave Heart Will Take the Bride) got released in 1995 and was still running in its 13th year for 679th week as on 17th October 2008 at Marata Mandhir Cinema in Mumbai (www). Both these films were on similar lines, they were big budget romantic films with no actions sequence in them. In the former’s case the whole film was shot in beautiful gigantic sets going outdoors only for song sequence, which had 12 music tracks in it. In l atter’s case maximum portion of the shoot took place in foreign locales. The audio of both these films were massive hits because they used the full potential of television by telecasting their songs and ad campaigns before the theatrical release. Both the production houses (Rajashri Productions and Yashraj Productions) of these films took great interest in refurbishing the theatres before the release of their films because they precisely knew their target audience were the upper middle class and family audiences who were content with television and they had to bring them back to the theatres. Once they succeeded â€Å"it marked the dominance of new middle class and uphold them to the pleasure of socially mixed audience both in India and overseas†. (Dwyer and Patel-2002) Rajashri and Yashraj Productions were the good old big production houses which started the trend for these kinds of films with big budget, but most of the small scale productions could not cope with this and had to stop producing films. Gradually number of films produced per year dropped. Source: David Hancock; Global Film production (Working Document) Venice Conference The biggest and greatest breakthrough in the Indian Cinema came in 1998. This is the year the Indian government recognised the potential of Indian cinema and granted the official status of ‘Industry’. Until then the public as well as private banks and other big financial institutions desisted from getting involved with the film production companies so the producers always had to depend on private money lenders for the capital for their films (Dwyer Patel, 2002). Now the production houses are getting their capital from public investments through semi public Industrial Development Bank of India (IDBI) and other public banks (Lorenzen Taeube, 2006) 2000- Till date.. Indian Film Industry started in its way of revival of sorts, in 2001 all the prints of the film Chori Chori Chupke Chupke which had a huge star cast was seized by the Central Bureau of Investigation suspecting it to be funded by the underworld and the producer of the film Bharath Shah was arrested for having close connections with the underworld. After this incident most of the producers feared to be identified with the under world. So the underworld gradually lost its hold in the Bollywood. Shooting at overseas location for a film is not new to Bollywood they have been doing this since 1960’s but currently there is an increasing trend of Indian film crew shooting at foreign locales. This is because of the huge global market for the Indian films. Many films are released simultaneously in U.S.A. and U.K. and there are instances where the returns from overseas collections is higher than the home collections. The script writers and Directors cannot neglect the overseas market any more while scripting and shooting for their film (Dudrah, R K, 2006). After the liberalisation of the industry in 1998 Direct Foreign Investments, Global Investors, Private Corporate started entering the film industry. Hollywood Majors like Universal, 21st Century Fox started investing in the Indian film industry through joint ventures with the Indian production houses. The corporate production houses are gaining importance in the film industry. Corporate houses like ADLABS, EROS, UTV, K.SERA SERA and many others have already made a mark in B.S.E. (Bombay Stock Exchange) and even in L.S.E. (London Stock Exchange). In the current scenario 20% of the total India films are produced by corporate giants (Anand times- 2006). They have developed professional ways of organising business, mergers, outsourcing, distributing, use of new technology and marketing content. The corporate houses have brought in the much needed professional flavour in to films which were missing in the production process earlier. The main advantage of the corporate house is it can prod uce more number of films simultaneously; it produces 5-6 films per year where as compared to the individual production houses cannot afford to produce more than 2-3 films in a year even after the deregulation. The greatest advantage of a corporate production house is it has a huge capital to invest on its films. Usually the risk is higher on a single movie basis, but the risk spreads out as they produce lot of films simultaneously. They employ professionals in their firm as compared to the single producers of 80’s who used change their crew after every film. Few corporate houses even have their own multiplex cinema which helps in theatrical release as well as in developing a marketing strategy for their films. The corporate giants are investing hugely on the industry as a result of this the film Industry is already the 3rd largest industry in India (Dudrah-2006). The production houses are aiming at a homogenous or serial form of production as opposed to heterogeneous form of production they had earlier. The main purpose of switching to this form of production is to control all means of production and operate all aspects of film making from finance to production and distribution (Prasad-1998). The best example being Yashraj Productions. They have their own studios for recording, dubbing and editing and also have production equipments required for the shoot. With in the production house they also have different sections like Yashraj Distribution for overseas and home market, Yashraj Music for all their audio sales and Yashraj Video for home video like DVD’s and VCD’s. It was one of the first production houses to hire management students from Indian Institute of Management, Ahmadabad (IIMA) to market their films and also to set up their whole business process. They also stated their own website to market and project their media image (Dywer Patel- 2002). Professionalization has brought new and better modes of planning. There are changed practices of production where there are professionals working constantly for the better utilization of funds, bringing production costs down and maximizing the profits Film production in India is becoming an organised business. The overall film industry is taking on professional colours. 1.3 Size and growth opportunities The total size of Indian film industry was estimated at around Rs.56.5bn (inr40 = usd1 Iit is anticipated to touch a huge figure of about Rs.153bn by the year of 2010 with taking into account 18 percent compound annual growth rate (cagr) as per the estimates of ficci-Pricewaterhouse- Coopers in the year 2006. On the whole, the Indian film industry was anticipated to be value of about usd1.8bn in the year 2006. On the basis of a thorough top-down analysis considering the share of private consumption as a proportion of gdp, the marketshare for media and entertainment (me) expenditures, and film budgets within the me space it was accounted that the Indian film industry will be valued in between usd4.4 and 5.1bn (between inr176bn and inr204bn) by 2011 (cii-A.T. Kearney 2007). The movie industry has been getting more and more corporatized. Many film production, distribution and exhibition houses are listed on the stock markets and they have raised capital through public issue. Several the atres around the nation have been developed into multiplexes and plans to build up additional digital cinema halls are by now in lime light. This will certainly not only enhance the quality of prints and thereby providing viewing a extra pleasant experience for the audiences but will also decrease the piracy of prints (ficci-PricewaterhouseCoopers 2006). These days piracy is a major issue for the Indian film industry. Not initiating nay major anti-piracy laws on the part of the government and an absence of educated officers that implements anti-piracy laws remains the vital issue. These are the main issue which is why the piracy business has not been able to control to a greater extent. This issue along with the lengthy legal and arbitration process is regarded as prevention to the fight against piracy. Apart from this the present Copyrights Act is also obsolete in conditions to technology enhancement and in addition, it does not deal with the requirements of the electronic media wh ere the degree of piracy is amongst the maximum in present time. The Optical Disc Law draft established to deal with the requirement for regulating piracy at the manufacturing phase is still pending for the approval of the Indian ministry (ficci-PricewaterhouseCoopers 2006). As against to few developed markets where the home market symbolizes greater than 40% of total movie revenues, the home market share in India is comparatively small (8%), though, this share is anticipated to rise to about 14% by the year of 2010. The important pushers that will facilitate this are the rising amount of reasonably priced DVD players and lesser prices of original DVDs so as to battle the issues of piracy (cii-A.T. Kearney 2007). The Indian entertainment and media industry enjoys a lot of aid in the present times – be it regulations that permit foreign investment, the momentum from the economy, digital lifestyle and spending styles of the consumers, and also several opportunities the development in technology have to provide. The industry only has to do is to realize its growth potential and opportunities. The government is required to play a greater dynamic task in solving out the policy-related obstruction for the purpose of growth. The industry is required to get rid of all obstructions, like as piracy in an intensive way along with the measures to produce high-quality global class end products. The entertainment and media industry has all ingredients which it generally takes to turn into the star of Indian economy (ficci-PricewaterhouseCoopers 2006). There are two important movements that will basically transform the scene of the Indian film industry in the coming couple of years, namely digitizati on and a change in consumer preferences. Digitization will lead to consolidation and appearance of huge scale exhibition networks and, and apart from this, in the balance of power among producers-distributors and exhibitors. Changing customer preferences will lead to rising international acceptance of Indian films and in the upcoming of new media (cii-A.T. Kearney 2007). Growth opportunities in terms of Corporate production houses Indian film industry comprises of numerous regional clusters, and Bollywood is merely one of them. Bollywood is the cluster located in Mumbai, producing the biggest share of films (40%) mainly in Hindi (PWC FICCI, 2007). Bollywood is the oldest film cluster in India, dating back to early 20th century. Other film clusters in India like as one in Hyderabad, called â€Å"Tollywood†produces second biggest amount of films mainly in Telugu. While other clusters produce films chiefly in their local language. Growth opportunities in terms of Indian Film Industry 1.31 Current situation Currently the success ratios of films are very low at the box office. Only 10 to 20% of films break even or earn profits (Ganapathi, 2002; Pendakur, 2003; Ganti, 2004; Lorenzen Taeube, 2006) but most of the producers make money, recouping their investments through new auxiliary sources of revenue () like satellite rights music rights, home video rights(DVD), video games, toys, computer wallpapers, ring tones, movie clips for mobile and selling ancillary rights. The new trend is product placement in films which brings in a lot of revenue and even helps in publicity of the film. In the period of 1998-2005 i.e after gaining the status of industry, the revenues in the films have grown by 360% this is including all revenues from advertising, selling of ancillary rights and music rights (Kholi- Khandekar, 2006; Lorenzen Taeube, 2006). The digital relay of films in cinema theatres is saving a lot of money as you don’t have to develop the physical print, which took a major share in a film budget. The industry is losing more than 40% of its revenue through Piracy (David Hancock-1998). Copyright infringement of films is so wide spread in India it can be called as a ‘small scale industry’. Bootleg copies of DVD’s are available in the market on the same day the film officially releases in theatres or some times even before that. Pirated DVD’s and CD’s of Bollywood movies are available in most of the South Asian and South East Asian countries. The small cable television channels broadcast newly released films in their channels without paying any kind of compensation. Another problem is consumer copying which is very difficult to stop. To add on to this is Online Internet movies where consumers can download movies from websites like www.bhejafry.net, www.indiaonlinemovies.com and many more without actually paying anything. The technical skills of the Indian Film Industry has always been extraordinary but most of the time they had to settle for old and very poor quality of equipments. But now due to huge market and Corporatisation they can afford to buy more sophisticated equipments. Digital facilities for Sound Recording, Dubbing, Editing is as good as anywhere in the world (Dwyer Patel, 2002). Bollywood has always been very enthusiastic about embracing new technologies in their films, and it is also been much quicker in doing this than the Hollywood (Currah, 2007). The Film Industry is using all the latest technologies like Arry 435 for the shoot, Avid and Mac products for post production work. Sync sound, D.I.(Digital Intermediate), Animations and special effects with Graphics are used extensively. The Indian Film Industry can now even employ foreign technicians to work for them to improve the quality of the final product. In the blockbuster film KRRISH- (2006) the action sequence was choreographed by Tony Ching from Hong Kong and all the special effects for the film was done by Hollywood technicians (Minocha and Stonehouse- 2006). Globalisation has four facets, that is, movement of goods, capital, technology and people across borders. In terms of movement of goods (i. e., movies) Indian movie industry has a long history of presence in the global market. Awara was sent to the Soviet Union and other Communist bloc countries crazy in the year of1950s. Mehboob’s Aan had a French release after its premiere in London. Long before that Himansu Rai made visually stunning films in cooperation with the Germans in the early 1930s, like The Light of Asia and A Throw of Dice, and many more which were shown in Europe as Indian films with Indian stories. By then the Bombay film industry had been around for 35 years. The film industry is definitely as old as the cinema itself and surely older than Hollywood, which has its early development in the late 1900s (Desai 2007). The exports of the Indian movie have grown for approximately 60% in recent times. The USA and Canada are two main export locations witnessing for 30 percent than by the UK with 25% and Mauritius and Dubai with 10% each. Some other main markets comprise South Africa, Russia, Fiji, New Zealand and Australia where there is abundant Indian diasporas present. Making a film for the diaspora market is a certainly a moneymaking project as against to making a film for the Indian domestic market (Desai 2007). With the global audience, there is outstanding recognition of Indian movie themes along with sew of the cross-over films made by global movie production players. The profit earnings of these movies can be match up to to few of the Hollywood box office hits. A number of Bollywood movies have gained greater than 50% of their total gross profit margin from global box office collection. However it is a welcome movement that requires to be carried on. One of the significant success factors for these cinemas is to recognize ideas from within the Indian subjects which are liked by the audience. An additional important success factor is to associate with a top global distributor; films produced by the person of Indian origin have had up to 2–3 times greater global earnings as compared to the national bestsellers (cii- A.T. Kearney 2007). Table 2 reveals a series of cross over films and the revenue earning generated by these films. India has stated its determined plans to double its share in the international film industry by the end of this year. This shows the great determination of the country to build itself as a cultural as well as economic powerhouse. There are many reasons why we must believe that. To begin with, the government, which aims on considering Bollywood to set up India as a ‘soft power’, considers the Indian film industry is competent enough to capture five percent of the international market this season. The share at the present time is two percent (Johnson 2007). Kishore Lulla, the chief executive of Eros International, a uk-listed company that releases about thirty new Bollywood films in India and in the rest of the world each year, â€Å"says the government’s target can be achieved. India is experiencing almost hundred percent growth in grosses Increasing Indian Film Presence in the International Market Increasing Indian Film Presence in the International Market 1. Chapter One: INTRODUCTION In these modern times of instant digital communication, film has turn out to be one of the most vital way through various nations and cultures reveal their values and identities. Moving image technologies has turn out to be all-encompassing in our lives. They are huge business. Apart from that, a capability to recognize and apply them has become as important for the people of this present era as literacy was in the times of19th and 20th century (India PR Wire, April 4, 2007). The tempo, scale and consequences of this transformation are significant enough. The Indian Film industry has made a huge development ever since the Motion pictures first arrived in India in the year of 1896 when the Lumiere brothers revealed six silent short films in Bombay. The first feature film of India named- King Harishchandra (which was a silent movie) was released in the year of1913. In India the first ‘talkie’ movie that released was Alam Ara in the year 1931 (India PR Wire, April 4, 2007) . 1.1 Film Production Houses In India A film production house is normally connected with the in-house production. It could categorize, make or telecast various segments of programs around news, films, multimedia, television shows, sports or ad films. India can be regarded as a home to a several well-known production houses from all the aforesaid stated areas. www.bestindiansites.com specifies top leading Indian websites on production houses of India, sports production house, ad film production house, film production house, sports production house, information on production house, list of production houses, television production house, multimedia production house, and a several other significant information’s (Subramaniam, A, 2003). We can in reality utter about various types of production houses such as Independent and corporate and just detail it by stating that Individual production houses are managed by just 1 or 2 producers and the infusion of capital investment for the production purpose is mainly generated by personal investment or by the means of loans taken from private investor. For corporate houses we could only cite that it is just like as any other corporate deal with the only differentiation that it produces films which is considered under the head of creative segment (essentially organised corporate structure of producing in creative industries – which is a new concept for Indian film industry) (Subramaniam, A, 2003) So when ‘Industry’ status was granted in 2000, Corporate started getting attracted towards the films industry realising the huge potential that was there to be exploited. When the corporate started entering to film industry with huge investment power they started incorporating studio culture of Hollywood by following vertical integration. Leaving behind the prevailing system of horizontal integration to the independent producers. The studio model production house started giving more importance to the content. It stressed on script development, introducing younger generation actors and directors, budget and time management, co productions and international distribution. None of the new corporate production house had the background of film production when they entered the segment. However most of them were involved in activities related to the media (The Business Line, 2007). Barney says that the first to exploit the resources would gain competitive advantage over its rivals. This is exactly how the corporate production houses gained advantage over independent producers. The Industry had a lot of potential to grow with its wide acceptance globally. but the independent production houses had neglected this aspect, so when the corporate entered the industry they took complete advantage by using the unexploited resources of reach of the films and its growth possibilities steps (Barney, 1991). To exploit the resources of growth prospective, the studio model was developed under these parameters- To Produce and co produce the movies with strong content and story line. To complete the movie with in the budget and also in time. To sign contractual agreements with actors and directors. To focus on medium and large scale budget movies. To develop a huge distribution network nationally and internationally These parameters are not different from any other studio mode l in the world. Corporate production houses main aim was to apply these practices and standards in other markets, to the Indian market. The reason for doing this was to make maximum utilisation of the resources available. Already registered in the London Stock Exchange, several Indian film companies like as Eros, Ad labs, India Film Company, and utv – have generated immense capital from the various institutional investors who were keen to invest in Indian film companies. Moreover several Western film companies are looking forward for acquiring an ample equity share in these companies (Desai 2007). In this regard on 24 January 2005, Percept Picture Company associated with Michael Douglas’ production company Further Films and Sahara One to co-produce the $50-million Racing the Monsoon. Also on 1 September Sahara declared one more alliance, and this time with a Hollywood producer Donald Rosenfeld for Tree of Life starring Colin Farrell. These are two among a total of six Hollywood coproductions. (Kohli- Khandekar 2006.). On 20 October, 2005, Sony Pictures sign on Sanjay Leela Bhansali to co-produce Saawariya. The film was released globally in the year of 2007 with around 1,000 prints, a fig ure which was not heard of in the previous times for an Indian film. [The figure is on average 250.] Moreover this was the first time that a renowned Hollywood studio (that one of top six) had produced an Indian film. (Kohli-Khandekar 2006.) Indian admired cinema, remarkably Bollywood – the Mumbai (Bombay) film industry has witnessed several transformations given that it’s first beginnings. A few key modifications that took place at the turn of the century when Indian Popular Cinema gained the position of an industry.(1) After that the Indian film has developed in new directions. One such change was a more intense interplay between the global and the local which took place during the 1990s. Today, every single function and activity related to the Indian film business is becoming well defined and systematized, be it the retail infrastructure, financial aspect, marketing or distribution. Even films themselves are gradually falling into place. In just under five years, t he industry has shed five decades of baggage and has become an organised business. This is a new Indian film industry (Kohli-Khandekar 2006). Film producers are interested in creating serious corporate structures, and Indian as well as foreign business is pouring money into the cinema. A wall of money is descending on Bollywood and there is a huge bubble building up (Desai 2007). Evaluating by the amount of movies produced by the Indian film industry, which is about more than one thousand movies per year, it is been regarded as the largest movie industry of the globe. The studio has reached international and also the profit earnings of the several Indian movies were greater in overseas locations than in India. Indian films have been witnessed in the leading ten lists of movies in the continents of UK and USA ((The Business Line, 2007)). 1.2 An overview of Indian film industry 1.2.1 Historical Section How Bollywood has evolved India has been regarded as the biggest movie industry of the world, if we talk about the number of movies produced in a year. It produces around more than 1000 films per year, which is greater than any of the film producing country. The Indian film industry is commonly regarded as BOLLYWOOD. The first Indian cinema was arrived in the year of 1913 with RAJA HARISHCHANDRA firstly coming into the picture and paving its way to the new period of silent cinema in India (Das Gupta, S., 2006). Since that time it has witnessed a vast series of evolution both in conditions of making and marketing of the Indian films. We will largely talk about the evolution that took place from the year of 1980s to present time. India produces more films than any other country in the world, the government of India didn’t recognize filmmaking as an official industry until as recently as 2001. Before then, it was impossible for producers to get loans from banks or even insurance for their productions. As a result, producers often paid for their films out of their own pockets – a practice most American producers would consider absurdly risky – or obtained financing from less savory sources (Das Gupta, S., 2006): The unruly aspects of film production weren’t just limited to its financing. In some cases, it would take years to shoot a film. Overbooked film stars would show up egregiously late on set (or not at all) without penalty, scripts were often rewritten on set depending on which actors showed up, contracts were verbal and often violated, and produced films had no guarantees of finding distribution. All of these factors combined to make Bollywood film production an extremely risky endeavour (Das Gupta, S., 2006). 1980-1990 In India maximum number of films were produced by Independent (SingleSolo) producers or Family production houses, Big production companies like Rajashri productions, B.R Productions and R.K Productions were family owned production houses and in some cases it can be traced back to several generations.(Taebue and Lorenzen-2007) â€Å"In this period the Indian film industry seemed to make the least progress and in some case journey in the path of deprogress†(Ashish Tiwari). Most of the films were produced on a Formula which had protagonist the male lead character of the film who is called as the Hero and his female counter part as the Heroine who romanced with the Hero singing and dancing around the trees, this strategy gave birth to the masala films (Hindi for â€Å"spice mix†) â€Å"It was a compound made up of several elemental combinations that had drama comedy and romance along with song and dance sequences in symbol driven rather than plot driven†( Lorenzen Taeube-2006). â€Å"The controversial author Salman Rushdie found a very precise and creative term that sums up the subject of Indian films perfectly, describing it as: ‘Epico-Mythico-Tragico-Comico-Super-Sexy-High- Masala-Art’ (Salman Rushdi, 1995 in â€Å"The Moor’s Last Sigh†quoted in Mishra,)†(Adleline Pissang-2000). Repetition of these kinds of stereotype films kept the audience away from theatres. Introduction of colour television and national coverage by Doordarshan in early 1980’s caused a drop in demand for Indian films. The middle class audience preferred to watch new Television soaps and old films on video cassettes (VHS) in their home rather than going to cinema halls. So the cinema halls became a run down and regarded suitable only for lower class men who could not afford a television preferred watching hard core violent films in theatres with lots of action and skimpily clad women dancing in the rain (Misara-2002). Competitio n from television made film production houses think innovatively, to hold their grip on the medium, so they started upgrading their films with lavish sets and so called â€Å"multi starrer†films which in turn increased the importance of star actors. So naturally the star actors wanted to cash in on their ‘star value’ and started charging exorbitant sums to act in a single film which in turn escalated the production cost of the film (Gopalan-2002). This was at the same time when the Indian music industry was on a high and could turn around the profit margins of even those films that failed at the box- office. The movie soundtrack became a key publicity stunt for the movies and the number of tracks and their popularity increased steadily. The pre- movie launch of music could determine the fate of a movie because if the music did well in the market then it created a huge wave amongst the public before the film got released. The sales of the audio cassettes used to bring in good share of revenue. The producers always hoped and worked towards making the music of their film a hit by casting good/popular music directors and famous playback singers for their films. Again, the producer had to invest a lot more on a popular music director but it was chance worth taking (Ganti-2004). 1990-2000 The introduction of cable T.V. was the greatest revolution of this era. It changed the outlook of film industry, though initially the survival of film industry was challenged with the entry of cable T.V. as it was an instant hit with the audience because it provided plenty of regional language channels like ZEE TV, SUN network and as well as few English channels STAR, HBO which aired films on their channels. But gradually the production houses understood the potential of the cable T.V. as it found a way for new source of income through selling its film rights at relatively higher prices for its telecast in television which is called as satellite rights (Pendakur-2003). Subsequently the film industry started depending on television as a medium of publicity by broadcasting songs and advertising campaigns of their films to pull the audiences to the theatres (David Hancock-1999). Music channels like MTV and V channel could not sustain by just transmitting private non film and internation al music albums so they had to take cover of film songs to increase their popularity in India (Bose-2006). It is believed that the criminal sources like underworld had a very strong hold on the Indian film industry; they controlled the whole production process of the films that they financed by dictating the terms in Bollywood like casting a superstar and selecting brilliant directors to work for their films. It is also believed that celebrities of the industry had close links with the mafia. Though usage of Black money (unaccounted money) in films was not an unfamiliar thing for ages but funding from underworld started in this period. It is estimated that 40% of film productions were financed by the underworld (Kripalani and Grover 2002; David Hancock-1998). The early 1990’s can be called as the period of stagnation; the commercial cinema had ridiculous dialogues, baseless stories with no originality in them (Ashish Tiwari 2007). Few films in mid 1990’s were huge hits which broke most of the previous records. These films were big budget, romantic films (Dwyer and Patel) which upheld the family values in them. The two astronomical hits were HUM APKE HAI KAUN? (Who am I to You?) This released in 1994 and went onto run for two years in more than 50 theatres and DILWALE DULHANIA LE JAYENGE!! (The Brave Heart Will Take the Bride) got released in 1995 and was still running in its 13th year for 679th week as on 17th October 2008 at Marata Mandhir Cinema in Mumbai (www). Both these films were on similar lines, they were big budget romantic films with no actions sequence in them. In the former’s case the whole film was shot in beautiful gigantic sets going outdoors only for song sequence, which had 12 music tracks in it. In l atter’s case maximum portion of the shoot took place in foreign locales. The audio of both these films were massive hits because they used the full potential of television by telecasting their songs and ad campaigns before the theatrical release. Both the production houses (Rajashri Productions and Yashraj Productions) of these films took great interest in refurbishing the theatres before the release of their films because they precisely knew their target audience were the upper middle class and family audiences who were content with television and they had to bring them back to the theatres. Once they succeeded â€Å"it marked the dominance of new middle class and uphold them to the pleasure of socially mixed audience both in India and overseas†. (Dwyer and Patel-2002) Rajashri and Yashraj Productions were the good old big production houses which started the trend for these kinds of films with big budget, but most of the small scale productions could not cope with this and had to stop producing films. Gradually number of films produced per year dropped. Source: David Hancock; Global Film production (Working Document) Venice Conference The biggest and greatest breakthrough in the Indian Cinema came in 1998. This is the year the Indian government recognised the potential of Indian cinema and granted the official status of ‘Industry’. Until then the public as well as private banks and other big financial institutions desisted from getting involved with the film production companies so the producers always had to depend on private money lenders for the capital for their films (Dwyer Patel, 2002). Now the production houses are getting their capital from public investments through semi public Industrial Development Bank of India (IDBI) and other public banks (Lorenzen Taeube, 2006) 2000- Till date.. Indian Film Industry started in its way of revival of sorts, in 2001 all the prints of the film Chori Chori Chupke Chupke which had a huge star cast was seized by the Central Bureau of Investigation suspecting it to be funded by the underworld and the producer of the film Bharath Shah was arrested for having close connections with the underworld. After this incident most of the producers feared to be identified with the under world. So the underworld gradually lost its hold in the Bollywood. Shooting at overseas location for a film is not new to Bollywood they have been doing this since 1960’s but currently there is an increasing trend of Indian film crew shooting at foreign locales. This is because of the huge global market for the Indian films. Many films are released simultaneously in U.S.A. and U.K. and there are instances where the returns from overseas collections is higher than the home collections. The script writers and Directors cannot neglect the overseas market any more while scripting and shooting for their film (Dudrah, R K, 2006). After the liberalisation of the industry in 1998 Direct Foreign Investments, Global Investors, Private Corporate started entering the film industry. Hollywood Majors like Universal, 21st Century Fox started investing in the Indian film industry through joint ventures with the Indian production houses. The corporate production houses are gaining importance in the film industry. Corporate houses like ADLABS, EROS, UTV, K.SERA SERA and many others have already made a mark in B.S.E. (Bombay Stock Exchange) and even in L.S.E. (London Stock Exchange). In the current scenario 20% of the total India films are produced by corporate giants (Anand times- 2006). They have developed professional ways of organising business, mergers, outsourcing, distributing, use of new technology and marketing content. The corporate houses have brought in the much needed professional flavour in to films which were missing in the production process earlier. The main advantage of the corporate house is it can prod uce more number of films simultaneously; it produces 5-6 films per year where as compared to the individual production houses cannot afford to produce more than 2-3 films in a year even after the deregulation. The greatest advantage of a corporate production house is it has a huge capital to invest on its films. Usually the risk is higher on a single movie basis, but the risk spreads out as they produce lot of films simultaneously. They employ professionals in their firm as compared to the single producers of 80’s who used change their crew after every film. Few corporate houses even have their own multiplex cinema which helps in theatrical release as well as in developing a marketing strategy for their films. The corporate giants are investing hugely on the industry as a result of this the film Industry is already the 3rd largest industry in India (Dudrah-2006). The production houses are aiming at a homogenous or serial form of production as opposed to heterogeneous form of production they had earlier. The main purpose of switching to this form of production is to control all means of production and operate all aspects of film making from finance to production and distribution (Prasad-1998). The best example being Yashraj Productions. They have their own studios for recording, dubbing and editing and also have production equipments required for the shoot. With in the production house they also have different sections like Yashraj Distribution for overseas and home market, Yashraj Music for all their audio sales and Yashraj Video for home video like DVD’s and VCD’s. It was one of the first production houses to hire management students from Indian Institute of Management, Ahmadabad (IIMA) to market their films and also to set up their whole business process. They also stated their own website to market and project their media image (Dywer Patel- 2002). Professionalization has brought new and better modes of planning. There are changed practices of production where there are professionals working constantly for the better utilization of funds, bringing production costs down and maximizing the profits Film production in India is becoming an organised business. The overall film industry is taking on professional colours. 1.3 Size and growth opportunities The total size of Indian film industry was estimated at around Rs.56.5bn (inr40 = usd1 Iit is anticipated to touch a huge figure of about Rs.153bn by the year of 2010 with taking into account 18 percent compound annual growth rate (cagr) as per the estimates of ficci-Pricewaterhouse- Coopers in the year 2006. On the whole, the Indian film industry was anticipated to be value of about usd1.8bn in the year 2006. On the basis of a thorough top-down analysis considering the share of private consumption as a proportion of gdp, the marketshare for media and entertainment (me) expenditures, and film budgets within the me space it was accounted that the Indian film industry will be valued in between usd4.4 and 5.1bn (between inr176bn and inr204bn) by 2011 (cii-A.T. Kearney 2007). The movie industry has been getting more and more corporatized. Many film production, distribution and exhibition houses are listed on the stock markets and they have raised capital through public issue. Several the atres around the nation have been developed into multiplexes and plans to build up additional digital cinema halls are by now in lime light. This will certainly not only enhance the quality of prints and thereby providing viewing a extra pleasant experience for the audiences but will also decrease the piracy of prints (ficci-PricewaterhouseCoopers 2006). These days piracy is a major issue for the Indian film industry. Not initiating nay major anti-piracy laws on the part of the government and an absence of educated officers that implements anti-piracy laws remains the vital issue. These are the main issue which is why the piracy business has not been able to control to a greater extent. This issue along with the lengthy legal and arbitration process is regarded as prevention to the fight against piracy. Apart from this the present Copyrights Act is also obsolete in conditions to technology enhancement and in addition, it does not deal with the requirements of the electronic media wh ere the degree of piracy is amongst the maximum in present time. The Optical Disc Law draft established to deal with the requirement for regulating piracy at the manufacturing phase is still pending for the approval of the Indian ministry (ficci-PricewaterhouseCoopers 2006). As against to few developed markets where the home market symbolizes greater than 40% of total movie revenues, the home market share in India is comparatively small (8%), though, this share is anticipated to rise to about 14% by the year of 2010. The important pushers that will facilitate this are the rising amount of reasonably priced DVD players and lesser prices of original DVDs so as to battle the issues of piracy (cii-A.T. Kearney 2007). The Indian entertainment and media industry enjoys a lot of aid in the present times – be it regulations that permit foreign investment, the momentum from the economy, digital lifestyle and spending styles of the consumers, and also several opportunities the development in technology have to provide. The industry only has to do is to realize its growth potential and opportunities. The government is required to play a greater dynamic task in solving out the policy-related obstruction for the purpose of growth. The industry is required to get rid of all obstructions, like as piracy in an intensive way along with the measures to produce high-quality global class end products. The entertainment and media industry has all ingredients which it generally takes to turn into the star of Indian economy (ficci-PricewaterhouseCoopers 2006). There are two important movements that will basically transform the scene of the Indian film industry in the coming couple of years, namely digitizati on and a change in consumer preferences. Digitization will lead to consolidation and appearance of huge scale exhibition networks and, and apart from this, in the balance of power among producers-distributors and exhibitors. Changing customer preferences will lead to rising international acceptance of Indian films and in the upcoming of new media (cii-A.T. Kearney 2007). Growth opportunities in terms of Corporate production houses Indian film industry comprises of numerous regional clusters, and Bollywood is merely one of them. Bollywood is the cluster located in Mumbai, producing the biggest share of films (40%) mainly in Hindi (PWC FICCI, 2007). Bollywood is the oldest film cluster in India, dating back to early 20th century. Other film clusters in India like as one in Hyderabad, called â€Å"Tollywood†produces second biggest amount of films mainly in Telugu. While other clusters produce films chiefly in their local language. Growth opportunities in terms of Indian Film Industry 1.31 Current situation Currently the success ratios of films are very low at the box office. Only 10 to 20% of films break even or earn profits (Ganapathi, 2002; Pendakur, 2003; Ganti, 2004; Lorenzen Taeube, 2006) but most of the producers make money, recouping their investments through new auxiliary sources of revenue () like satellite rights music rights, home video rights(DVD), video games, toys, computer wallpapers, ring tones, movie clips for mobile and selling ancillary rights. The new trend is product placement in films which brings in a lot of revenue and even helps in publicity of the film. In the period of 1998-2005 i.e after gaining the status of industry, the revenues in the films have grown by 360% this is including all revenues from advertising, selling of ancillary rights and music rights (Kholi- Khandekar, 2006; Lorenzen Taeube, 2006). The digital relay of films in cinema theatres is saving a lot of money as you don’t have to develop the physical print, which took a major share in a film budget. The industry is losing more than 40% of its revenue through Piracy (David Hancock-1998). Copyright infringement of films is so wide spread in India it can be called as a ‘small scale industry’. Bootleg copies of DVD’s are available in the market on the same day the film officially releases in theatres or some times even before that. Pirated DVD’s and CD’s of Bollywood movies are available in most of the South Asian and South East Asian countries. The small cable television channels broadcast newly released films in their channels without paying any kind of compensation. Another problem is consumer copying which is very difficult to stop. To add on to this is Online Internet movies where consumers can download movies from websites like www.bhejafry.net, www.indiaonlinemovies.com and many more without actually paying anything. The technical skills of the Indian Film Industry has always been extraordinary but most of the time they had to settle for old and very poor quality of equipments. But now due to huge market and Corporatisation they can afford to buy more sophisticated equipments. Digital facilities for Sound Recording, Dubbing, Editing is as good as anywhere in the world (Dwyer Patel, 2002). Bollywood has always been very enthusiastic about embracing new technologies in their films, and it is also been much quicker in doing this than the Hollywood (Currah, 2007). The Film Industry is using all the latest technologies like Arry 435 for the shoot, Avid and Mac products for post production work. Sync sound, D.I.(Digital Intermediate), Animations and special effects with Graphics are used extensively. The Indian Film Industry can now even employ foreign technicians to work for them to improve the quality of the final product. In the blockbuster film KRRISH- (2006) the action sequence was choreographed by Tony Ching from Hong Kong and all the special effects for the film was done by Hollywood technicians (Minocha and Stonehouse- 2006). Globalisation has four facets, that is, movement of goods, capital, technology and people across borders. In terms of movement of goods (i. e., movies) Indian movie industry has a long history of presence in the global market. Awara was sent to the Soviet Union and other Communist bloc countries crazy in the year of1950s. Mehboob’s Aan had a French release after its premiere in London. Long before that Himansu Rai made visually stunning films in cooperation with the Germans in the early 1930s, like The Light of Asia and A Throw of Dice, and many more which were shown in Europe as Indian films with Indian stories. By then the Bombay film industry had been around for 35 years. The film industry is definitely as old as the cinema itself and surely older than Hollywood, which has its early development in the late 1900s (Desai 2007). The exports of the Indian movie have grown for approximately 60% in recent times. The USA and Canada are two main export locations witnessing for 30 percent than by the UK with 25% and Mauritius and Dubai with 10% each. Some other main markets comprise South Africa, Russia, Fiji, New Zealand and Australia where there is abundant Indian diasporas present. Making a film for the diaspora market is a certainly a moneymaking project as against to making a film for the Indian domestic market (Desai 2007). With the global audience, there is outstanding recognition of Indian movie themes along with sew of the cross-over films made by global movie production players. The profit earnings of these movies can be match up to to few of the Hollywood box office hits. A number of Bollywood movies have gained greater than 50% of their total gross profit margin from global box office collection. However it is a welcome movement that requires to be carried on. One of the significant success factors for these cinemas is to recognize ideas from within the Indian subjects which are liked by the audience. An additional important success factor is to associate with a top global distributor; films produced by the person of Indian origin have had up to 2–3 times greater global earnings as compared to the national bestsellers (cii- A.T. Kearney 2007). Table 2 reveals a series of cross over films and the revenue earning generated by these films. India has stated its determined plans to double its share in the international film industry by the end of this year. This shows the great determination of the country to build itself as a cultural as well as economic powerhouse. There are many reasons why we must believe that. To begin with, the government, which aims on considering Bollywood to set up India as a ‘soft power’, considers the Indian film industry is competent enough to capture five percent of the international market this season. The share at the present time is two percent (Johnson 2007). Kishore Lulla, the chief executive of Eros International, a uk-listed company that releases about thirty new Bollywood films in India and in the rest of the world each year, â€Å"says the government’s target can be achieved. India is experiencing almost hundred percent growth in grosses
Hedda Gabler Manipulation
Hedda Gabler Manipulation August Strindbergs Miss Julie and Henrik Ibsens Hedda Gabler, bring out the same themes but with completely different motives. The dominating theme of manipulation is brought out by the characterization and the speech and dialogue of the important characters. Along with the underlying motive of power, in the former its observed for class revenge while in the latter for perverse pleasure out of sheer boredom. The speech, dialogue and stage directions perceived through the course of these plays reiterate this theme of manipulation. Ambition, power, and the thirst to avenge his fate, leads Jean to tamper with Miss Julie. But a mere valet, he dreams of luxuries beyond his reach. With dreams of climb up, climb up to the top, and look around over the bright landscape where the sun is shining [1] , he fulfils his ambition by making Julie his first branch [2] . He ensnares Julie in the trap of flattery, lust, guilt, dominance, hatred and obedience by his actions, therefore taking advantage of her confused state of mind especially at a time where she dreamed of climbing down the pillar. Miss Julie, influenced by her childhood, her personality, and her broken engagement makes her an easy prey to Jeans scheming. Her vulnerability becomes greater by the absence of her father, the fact that she in that time of the month, the aphrodisiacs present in the form of dancing, flowers and supported by the festive atmosphere of Midsummers night. Jean takes advantage of her by his carefully planned flattery, exaggerated politeness and hesitation, manners and charm which makes her lower her defences to an inferior person. Her submission to his tactics is suggested by [MISS JULIE exists rapidly stage right. JEAN quickly after her] [3] Hedda Gabler on the other hand opens on a note of decline, not only as portrayed by the autumn foliage [4] but also by her matrimony with Jorgen Tesman. She faces disaster by becoming Hedda Tesman, as her spare time leads her into a state of constant boredom that transforms everyone present around her into her puppets for her sadistic pleasure derived from demeaning them. This can be observed when she says something happened with Miss Tesman this morning. She put her hat down there on the chair And I pretended I thought it was the servants. [5] Heddas sense of manipulation is also expressed by her desire for power. Like Jean, she desires control of the people around her by faking friendship and lending a sympathetic ear to them. Her motives are observed with Thea Elvsted where Mrs. Elvsted confesses in her my husband had no idea I was coming. when she is lured into it by Heddas persuasion and charm. This is further reiterated by Lovborgs confession in Act 2 when he says I used to make [confessions] telling you things about myself that no one else knew. [6] These confessions bring her closer to her desire and make her even more wretched. She also portrays the ability to hide her emotions rather well, thus strengthening her facade. Jean continues to lure Julie with a heart rendering tale of his childhood, when he used to secretly admire her and had also decided to die when he couldnt have her but his cruel fate saved him. He goes to the extent of kissing her feet on her demand though his bold advances are halted by her despite her leading him on. In this sado-masochistic relationship of lust, a constant swing of power is seen and the differentiation between the master and servant becomes very vague and is only observed by the reference to money. Jean here changes colours like chameleon and becomes harsh and dominating from when he tells her Fall down to me, and Ill lift you up again. [7] Ejlert Lovborg always has had to make a choice between courage and cowardice, drinking and not drinking, scholarly fame and disrespect. He even compares Hedda and Thea by their effect on him Hedda persuaded him away while Thea motivated and inspired him. This distinction can be supported by their outward appearances too. Hedda looked well bred with an even complexion and steel gray eyes with thin light brown hair, while contrasting to her stood Thea with a slight slender figure, large light blue eyes and fair hair, exceptionally thick. Despite Heddas manipulative nature, her fear of scandals prevents her from doing what she wished. She however fulfils her ambition of controlling someone by manipulating Lovborg, leading him back to alcohol and making him break Theas trust. Jeans character portrays it all: from humbleness and obedience to domination and wrath and back to his position as the valet, when it dawns upon him that she is penniless. Despite his wrath, when he says Have you ever seen a girl of my class offer herself like that? Ive only seen the like among animals and prostitutes [8] , Julie holds her ground and spills out her intimate secrets. She puts light on her childhood, on her mother and her ideas of the role reversals on the basis of gender and the tragedy faced by the family by the case of arson, thus indirectly characterising herself. Jean continues to dominate her and exhibits his wrath by the cold blooded annexation of her siskin and becomes a valet again at the arrival of the count. Gone is his domination and arrogance, leaving behind a suppressed and punctured servant obeying his masters command. Hedda, married to Tesman and interested in Lovborg, she dominates them both for personal pleasure. Like a faithful companion, Tesman feels I think its so jolly waiting on you, Hedda. [9] In contrast to this, Lovborg defies Hedda on her offer of punch. This appeals to Hedda more than being waited upon. Lovborgs drunk and outcast nature makes Hedda feel connected to a world denied to her because of her class and gender. She thus takes a perverse pleasure in luring him back to the path he walked on before becoming reformed. She subtly starts taking charge of his life by doubting his intention of living a clean life. She does so from the point of view of Judge Brack when she says, The contemptuous smile of his when you were afraid to go in there with them [10] . She then unravels Theas doubt in his character to remain free of the dirty path, breaking his confidence as a reformed man and thus taking him back to his old life. Hedda uses her control over Lovborgs life and lures towards his death. She sees Lovborg as her romantic hero who shall face a death with an element of beauty in this. [11] She lays out the path for him by manipulating him. She initially brings out Theas distrust, leading him to the bottle again and then gaining a grip on him by getting hold of his manuscript. She then leads him into callously treating Thea by persuading the topic of the lost manuscript despite his wishes. Swayed by this, his lie to Thea about the manuscript and confession in Hedda puts her at an upper hand. Having burnt his manuscript, she subtly leads him to her dream of a beautiful death by handing him a pistol, she was sure would be used. Tesman on the other hand adores Hedda so much that he rejoices at the loss of the manuscript mistaking her intentions for it. Hes presented as a puppet in her hands, present there to hold up her name in society without any passion or desire. In contrast to this, the constant role reversal which takes places between the two main characters in Miss Julie bring out their personalities by the way they communicate. This brings out the differing shades of their characters. Miss Julies aspiration of descend is complemented by Jeans ascend. The distinction between the master and the servant is seen by a very fine line here which is constantly put under pressure. This distinction can only be made on the basis of their class. Their actions reveal their class differences. For instance Julie prefers beer while Jean the finest wine, and Julie leads Jean out. This ambiguity of the power remains till the end, as on one hand Jean does obey the counts orders but on the other hand Julie obeys him and leaves with a blade. In Hedda Gabler, Theas courage to stand up to what she believed in, her deep passion and love for Lovborg and her control over him, is seen as a source of constant irritation to Hedda and is brought out her jealousy and is reinforced by her statement: That girl with the tiresome hair, that she was always showing off. [12] Theas feminity along with the fact that she had taken away the one thing that Hedda loved the most Lovborg, causes Hedda to manipulate them both. Underlying motives of power, through perverse pleasure and out of ambition leads to the decline of the characters portrayed in both these books as has been observed by their speech and dialogue and stage directions.
Friday, September 20, 2019
Contributions Of Lim Guan Eng In Penang
Contributions Of Lim Guan Eng In Penang As a democracy country, there are many politicians in Malaysia. Based on the Oxford English Dictionary, politician means that a person who is professionally involved in politics, especially as a holder of an elected office. Besides, due to the Macmillan Dictionary, it is defined that politician is someone who has a job in politics and especially a member of parliament. Other than that, politician is a leader engaged in civil administration and always active in party politics. For those who are interested to become a politician or a political leader, he or she is involved in influencing public policy and decision making. This may be included people who hold decision making positions in government, and people who seek to those positions. However, politics is not limited to governance through public office. Political offices may also be held in corporations, and other entities that are governed by self-defined political processes. This can be known as freedom fighters. In order to become a politician in Malaysia, the individuals must be very active in political area. They are politically active especially in party politics. They must be a person who is holding or seeking political office whether elected or appointed, whether professionally or otherwise. Besides, the positions range is from local offices to executive, legislative and judicial offices of state and national governments. Some law enforcement officers, such as sheriffs are considered to be politicians also. There are many roles that need to be carried up as a politician. It is a common error to assume that the politicians role is to create jobs, encourage economic activity, enhance the welfare and well-being of his subjects, preserve the territorial integrity of his country, and fulfill a host of other functions. However, in truth, the politician has a single and exclusive role which is to get re-elected. His primary responsibility is to his party and its members. His relationship is with his real constituency, the partys rank and file. So, we can simplify that a politician is just like the CEO (Chief Executive Officer) and he needs to answer to the corporations major shareholders. Lastly, a politician must manage to persuade people that everything will just go on getting better. As a general rule, politicians cannot lie. They can just say the real thing to the society. All politicians know that they will never get elected if they did not tell out the truth and try to lie to the society. No opposition politician will make strong statements pointing out structural difficulties or impending disaster because one day they hope to be in power and so they will do nothing that might frighten the electorate. So, a politician must be a very sincere person and he or she must stand towards the justice. Biography One of the respected and honorable politician in Malaysia is Lim Guan Eng. Lim Guan Eng is a Chinese man who was born on 8 December 1960. The place of birth of Lim Guan Eng is in Johor Bahru. Lim Guan Eng is a Chinese name and Lim is the family name. The father of Lim Guan Eng is Lim Kit Siang who was also involved in politic before this. Lim Kit Siang, father of Lim Guan Eng is a prominent leader of the Democratic Action Party. This is a democratic socialist opposition party in Malaysia. Lim Kit Siang had become the leader of the opposition party in the Dewan Rakyat from 1973 to 1999 and 2004 to 2008. Besides, Lim Guan Eng is married to Betty Chew Gek Cheng. Betty Chew Gek Cheng is one of the Malaysian Chinese politicians. She is coming from the Democratic Action Party which is also known as (DAP). In the year of 2005, Betty Chew Gek Cheng became the chief of the DAP Malacca womens wing. Other than that, she is also represents the constituency of Kota Laksamana in the State Assembly of Malacca. [1] Lim Guan Eng and Betty Chew Gek Cheng have a total of four children. They have three sons and a daughter only. In addition, Lim Guan Eng himself is a Member of Parliament for Bagan, State Assembly man for Air Puteh. He is the 4th Chief Minister of the State of Penang. He is also the Secretary-General of the Malaysian Democratic Action Party (DAP). DAP completed a clean sweep of all 19 Penang state seats it contested in the 12th Malaysian General Election. Moreover, there is also the early education of Lim Guan Eng. First and foremost, Lim Guan Eng attended to the La Salle Primary English School which is situated in Petaling Jaya. After that, he also continued for his study at Montfort Primary English School which is situated at Batu Pahat. Next, as for his secondary education, he went to the High School which is also situated in Batu Pahat. Later, he went to the Malacca High School to further his study. As for his universitys life, he was study at Monash University which is one of the famous universities in Australia. The course that he was taking during that time was the Bachelor of Economics. Finally, Lim Guan Eng managed to graduate from Monash University, Australia. He was successfully became a qualified professional accountant in the year of 1983. Other than that, he was also the president of (MUISS) which is known as Monash University International Student Society. Political Career Furthermore, there was also the early career of Lim Guan Eng. Before participating himself into the political area, Lim Guan Eng was a Bank Senior executive. He was first elected as a Member of Parliament for Kota Melaka in the year of 1986 by defeating the former Malaysian football captain, Soh Chin Aun with a majority of 17,606 votes. In October of the year 1987, Lim Guan Eng was detained in Operation Lalang under the inhumane Internal Security Act also known as ISA for almost 18 months. He was released after 18 months on April 1989. After joining in the Democratic Action Party, his political life becomes more active. As a proof to show that he began to active in the political area, he was appointed as the DAP Socialist Youth Chairman in the year of 1989. Then, he was elected to that post in the year of 1992. Besides, he was then re-elected in the subsequent year of 1990 and 1995 for general elections as MP for Kota Melaka for the second and third term, albeit with reduced majority votes. He thus became the first person to be elected for three consecutive terms in Kota Melaka. Other than that, he was also the first Malacca High School alumnus to achieve this. In the year 1995 also, he was elected as the DAP Deputy Secretary-General. Unfortunately, Lim Guan Eng was charged under the Sedition Act during this year also. After 12 months, Lim Guan Eng was released which is on 25 August 1999 due to his good behavior. Due to his incarceration, he was barred from standing for election for a period of five years. Therefore, he was ineligible to contest in the 2004 General Election. So in the year of 2004, he became the Secretary-General of the party in May. In 8 March 2008, Lim Guan Eng again contested in the Bagan parliamentary seat and Air Putih state seat in the General Election. Finally, he won the Bagan seat, defeated Song Choy Leng (BN) with a majority of 22,070 votes, and the Air Putih seat beating Tan Yoke Cheng (BN) with a 4,061 vote margin. Besides, during 11 March 2008, he also sworn in as the Chief Minister of Penang and initiated a system of governance which is based on the principles of Competency, Accountability and Transparency and with a soul as one that adopts an ethical and moral leadership that professes and gives faith, hope and love. Problems and obstacles faced by Lim Guan Eng Based on the whole political career stated above, Lim Guan Eng had faced some problems and obstructs in the year of 1994. He was arrested by the Malaysian police in 1994. This is because of his criticism on the governments handling of allegations of statutory rape in one of his constituents by former Chief Minister of the state of Melaka, Tan Sri Abdul Rahim Thamby Chik. Consequently, while the Attorney General decided not to press charges on Rahim Thamby Chik, Lim Guan Eng was charged under Section 4(1) (b) of the Sedition Act 1948 and also under Section 8A (1). The victim who was actually a Malay girl was initially detained by Malaysian police without parental consent for 10 days. With the verdict on the trial of Malaysian parliamentarian Lim Guan Eng due to be delivered shortly, Amnesty International reiterates its concern that Lim Guan Eng could face up to six years in jail and be disqualified from Parliament. Amnesty International considers that the charges against Lim Guan Eng were politically motivated, designed to intimidate dissenting voices and to limit debate on an issue of genuine public concern. Amnesty International believes that if convicted, he would be a prisoner of conscience imprisoned solely for the peaceful expression of his political views. Lim Guan Eng was charged in 1995 under the Sedition Act and the Printing Presses and Publications Act. His trial opened in January 1996 and concluded on 28 February 1997 at the Malacca High Court. The judge who was Datuk Mohd Noor Abdullah was expected to deliver his judgment on 28 April 1997. Due to the happening of this incident, Lim Guan Eng was barred from standing for election for a period of five years. Base on the rule, members of parliament who are jailed for a year, or who are fined more than RM2000 (approximately US$780), will automatically forfeit their parliamentary seats. In addition, Amnesty International concern that Lim Guan Eng could be imprisoned. Besides, the organization is also concerned that if he is convicted, his constituents will be denied their elected representative simply because he spoke out on their behalf. Malaysian police arrested and charged Lim Guan Eng after he had publicly criticized the governments handling of allegations of statutory rape against the former Chief Minister of Malacca, Tan Sri Abdul Rahim Tamby Chik in the year 1994. In January 1995, Lim Guan Eng also stated that double standards were being applied in the statutory rape case. Attorney General Mohtar Abdullah had decided not to prosecute Rahim Tamby Chik, while the underaged alleged victim, a fifteen-year old Muslim school girl was placed under protective custody. On 28 February 1995, Lim Guan Eng was accused under Section 4(1) (b) of the Sedition Act of prompting disaffection with the administration of justice in Malaysia. If he found guilty, he need to face up to three years in jail and a RM5000 (approximately US$1,960) fine or both. In addition, on 17 March 1995, Lim Guan Eng was charged under Section 8A (1) of the Printing Presses and Publications Act for maliciously printing a pamphlet containing allegedly false information specifically because he had used the term imprisoned victim in reference to the alleged rape victim. This charge carries a jail term of three years, a fine not exceeding RM20000 (approximately US$7,894) or both. Following the Federal Courts ruling, Judge Datuk Mohd Noor Abdullah ruled that the prosecution had in fact proved both charges against Lim Guan Eng beyond reasonable doubt and that the defense had a case to answer. Regarding Lim Guan Engs allegedly seditious verbal statements, the judge ruled that the report of a single junior police officer which was unsupported by an audio recording, constituted sufficient evidence to proceed. Besides, regarding the charges of printing false information, the judge ruled that the prosecution had proved beyond reasonable doubt evidence and suggesting that the phrase imprisoned victim was false. This was apparently ignoring assertions that the statutory rape victim had been detained by police for ten days without parental consent. Finally, after a series of appeals, Lim Guan Eng was sentenced to 18 months of imprisonment. However, he was released after 12 months on August 25 in the year of 1999. During the judicial procedure, Lim Guan Eng said that If I fail and have to go to jail, I have no regrets. I have no regrets of going down fighting for the principles of truth and justice and pursuit of human rights, especially womens rights. There can be no womens rights if women rape victims are considered equally responsible, and even detained, whilst the accused remain free. [2] Lim Guan Eng is such a good politician that stands on behalf of justice. Contributions of Lim Guan Eng in Penang As a politician, Lim Guan Eng does play his roles and manage to carry on all his responsibility towards the society. He had contributed so many things that are benefit to our society. In Malaysian general election at the year of 2008, the coalition of DAP-PKR-PAS later known as the Pakatan Rakyat had won 29 out of 40 state seats contested, in which DAP is the largest winning party with 19 seats, PKR 9 seats, and PAS 1. Thus, it defeated the former ruling coalition of Barisan Nasional for the authority to rule Penang for the next five years. However, Lim Guan Eng is not a resident in Penang. So, as the Secretary-General of DAP, he was nominated to be the next Chief Minister (CM) of Penang and replacing the long serving former Chief Minister Tan Sri Dr. Koh Tsu Koon. Senior DAP leaders of Penang such as Lim Hock Seng, Phee Boon Poh, and Chow Kon Yeow were bypassed and were instead appointed as excos. As the new Penang Chief Minister, Lim Guan Eng announced an amnesty on all summonses issued by the Penang Municipal Council and Seberang Perai Municipal Council which involving vendors licenses and parking offences issued before March 2008. On March 14, a rowdy group comprising mostly Umno members and supporters took to the streets illegally after Friday prayers to protest his statements on the NEP. No arrests were made but two men were taken in for questioning. Various BN-backed groups and NGOs continued to make different sorts of protest and lodge police reports as a form of continued harassment. [3] Besides, in year 2008 on March 19, Lim Guan Eng announced that the state exco had approved an open tender system for projects exceeding RM50,000. For projects between RM20,000 and RM50,000, a balloting system will be introduced. Furthermore, a two-week objection period would be given for both the open tender and balloting systems. This is a stark contrast to BN governments usual way of directly awarding lucrative contracts to companies without any form of open tendering, mostly to shell companies created by connected personnel or BN politicians. For example, there is a major project which is the Penang International Convention Centre (PICC) was nearly launched without open tender. As of 2010, Penang remains the only state in Malaysia that practices a blanket open tendering system. [4] During his tenure as Chief Minister in Penang, it has ranked top among the list of investments in Malaysia which attracting RM12.2 billion worth of total capital investments in 2010. This is also a 465% increase compared to the total investment of RM2.17 billion as of 2009. Consequently in 2011, Penang became top in manufacturing investment in Malaysia for the second consecutive year, with RM9.1 billion in total. In a new measurement indicator of total investment however, which comprises manufacturing, services and private sectors, Penang ranked second in Malaysia after Sarawak in total investments, with the total amount of RM14.038 billion, this was due to not having much primary sector investments. [5] Consequently, the public debt in Penang has decreased by 95% from RM630 million in 2008 to RM30 million at the end of 2011. [6] On April 28, 2011, Lim signed a memorandum of understanding (MOU) with China. This is witnessed by Chinese premier, Wen Jiabao and Malaysian Prime Minister, Najib Tun Razak on the proposal of the construction of three road and tunnel projects in Penang island. This had including a 6.5 km undersea tunnel, a third link between the island and Butterworth on the mainland. The purpose for Lim Guan Eng to do so is because this will manage to ease the traffic congestion in the area and to improve the links between the island and the mainland. [7] Moreover, Lim Guan Eng has launched the concept of Competency, Accountability and Transparency (CAT) in his governance. This slogan is to make sure that the state government can achieve an efficient, responsible and clean government. Other than that, the emphasis of the slogan aims to allow people in Penang in order to share the state governments prosperity when the slogan is achieved. Besides, CAT also comprises positive work ethics and inculcates a team spirit based on performance. This slogan is eventually achieved when the state government enjoys record budget surpluses in successfully attracting up to RM 12.2 billion of total capital investments and practicing an open tender system. [8] The reform of the government with its new policies has ended the cronyism and corruption that led to major deficits under the previous regime according to the report in international weekly newsmagazine-The Economist. [9] As a result, the Auditor-General praise the Penang state government as the best financially managed state in Malaysia each year from 2008 until 2010. According to the AG report, the consolidated fund has increased by 2.7%, from RM1101.89mil in 2009 to RM1,131.17mil in 2010. Likewise, the consolidated revenue fund has surged by 6.2% from RM538.95mil in 2009 to RM572.49mil in 2010. [10] Other than that, there is one program in the Penang state government which is named by Cleaner, Greener Penang. This program is launched by Lim Guan Eng in the year of 2010. The purpose of this program is to transform Penang into the environmentally friendliest and most livable city in Malaysia through education, enforcement and appreciation. This is to restore the current living environment into a cleaner and more sustainable city, which in turn improving the quality of life. [11] There are basically four objectives of Cleaner, Greener Penang. The first objective is to improve the quality of life and create a greener public realm. This is to create a sustainable and inclusive community in order to achieve a better living environment. The second objective is to raise awareness and education. This is to encourage the spirit of volunteerism and to forge a committed leadership, strong partnership active community involvement, desire for quality and innovation. The third objective is to carry out policy mapping and institutional Improvements. Lastly, the last objective is to to get the basics right. This is to have effective policies and department process maps to tackle the cleanliness issues and to raise awareness to provide a better living environment for the communities. There are also many reasons for the program of Cleaner, Greener Penang. The first reason is to envision a better living environment. Next, this program is to reposition Penang as a sustainable city. The other reason is to revitalize the urban space and streetscape. Finally, it is an initiative that brings change to the way of Penang residents lifestyle and to be the Habitat of Choice, My Penang My Pride. Due to the program of Cleaner, Greener Penang, Lim Guan Eng enforced the ban on free plastic bags throughout the state on January 1 in the year of 2010. In order to ensure of the renewal of business licenses, retail stores, food outlets and hawker stalls state-wide are required to adhere to the rulings which is the ban of free plastic bags. The proceedings from the sale of plastic bags went to the Partners against Poverty Special Fund to assist the states hardcore poor. This initiative was the first of its kind in Malaysia. [12] In the other hand, on December 11 of the year 2011, Lim Guan Eng initiated the Car Free Day which would be held every Sunday at particular stretches of roads in the interior city of George Town, Penang. All motorized vehicles are prohibited from entering these areas on that day, which are part of his efforts transform Penang into a sustainable city and fight climate change. [13] In addition, the state government is also considering a proposal to set up bicycle lanes around Penang Island, which is mainly along coastal areas and Seberang Perai, which is scheduled to complete by 2020. Lim Guan Eng wanted to promote Penang as the first state that practice cycling as a healthy form of activity and reduce dependency on motorized vehicles. [14] Another contribution that had been done by Lim Guan Eng to the Penang residents is the welfare aids and program. These record budget surpluses are directed towards social benefits such as financial aid to the hardcore poor, cash handouts to the elderly as anti-corruption dividend, upgrading of public housing, free Wi-Fi internet services at selected hot spots and free bus services within the city and between Penang island and Seberang Perai for workers. [15] Social welfare aid of RM100 is awarded annually to senior citizens, single mothers, disabled individuals, new-born babies and school-going pupils in Primary 1 to 4 as well as Form 1 to 4. [16] Besides, Lim Guan Eng had launched a program due to the bus service in Penang on March 1 in the year of 2011. The main purpose of this bus service is to increase the usage of public transport. In the other hand, this bus service can reduce traffic congestion during peak hours on the Penang Bridge and therefore ease the financial burden of the factory workers. One of the example is the Bridge Express Shuttle Transit which is also known as (BEST) is a free-of-charge park and ride shuttle bus services which ferries commuters across the Penang Bridge from Seberang Jaya to Bayan Lepas Free Industrial Zone. Other than that, there is also a SMART Centre in Penang which is an initiative set up by the Penang state government. In June 2009, during the Penang Outlook Forum, Lim Guan Eng also launched a think tank invest in Penang. The intention of this SMART Centre is to provide market intelligence, business advisory, information and resources and training services to small and medium enterprises (SMEs) in Penang. In assisting these SMEs, it focuses on promotion of local sourcing, investments and networking by providing various programs such as business matching, seminars and talks. [17] Under Pakatan Rakyats Agenda Economic Social (AES) or also called as Social Economic Agenda, The Penang state government is aiming to be the first state in Malaysia to eradicate poverty by ensuring every household in Penang has an income of at least RM770 per month. In Peninsular Malaysia, the poverty line is RM763 per month for every family. However, those families with less than RM770 monthly income will have the difference topped up by the state government every month. In other words, a family with RM600 monthly income will receive RM170 monthly under this program. [18] Controversy in His Political Life On September 20, 2011, Australia Broadcasting Corporation had conducted an interview with Lim Guan Eng. However, the Malaysian news agency, Bernama reported that he had criticized over disparaging remarks about security of the state of Johor. [19] During his speech, he said that You dont have to worry about your safety when you come to Penang. In Johor, if you are a Singaporean, you are likely to get kidnapped. Lim Guan Eng insisted he never mentioned Johor during his interview. Wong Kim Fei, who is a press secretary of Lim Guan Eng had wrote a letter to Bernama editor-in-chief Datuk Yoo Soo Heong, saying that the article that had published was false, untrue and a pack of lies. Instead, he said Lim Guan Eng had merely discussed the Malaysia Solution deal with Australia, the governments pledge to repeal the Internal Security Act (ISA) and Penang issues. Besides, he demanded that Bernama retract their story and issue a formal apology or face a lawsuit. [20] He also hopes th at they will continue to uphold professional journalistic standards of integrity and truthfulness by doing so again. Opinion is free but facts are sacred. After that, Lim Guan Eng has apologized to the Sultan of Johor and his subjects over the alleged disparaging remarks he made about Johor in Singapore. It is because the recording of his remark was revealed by the government controlled television channel, TV3, showing clear evidence of his proclaiming that Singaporeans who are in Johor are likely to be kidnapped. On December 14, 2011, Lim Guan Eng has won the defamation suit against Malay daily Utusan Malaysia, which has been ordered by a High Court to pay RM200,000 in damages for publishing a defamatory article about Lim Guan Eng and a cost of RM25,000 to him. Justice Varghese George Varughese, in allowing the defamation suit by Lim Guan Eng against the Malay daily, said he had examined the seven paragraphs containing the defamatory words and found that they were malicious, had intention to mislead readers and was written in bad faith. The article is entitled Kebiadapan Guan Eng (Guan Engs Arrogance) which had defamed his political career and subsequently picturing him and Democratic Action Party (DAP) as anti-Malay and anti-Muslim. The papers publication company, Utusan Melayu (M) Bhd, in its statement of defence, stated that the article was published in response to Lim Guan Engs verbal attack against the paper during his speech at the Pakatan Rakyat convention in Kepala Batas on 19 Decembe r 2010. [21] On June 22, 2011, Lim Guan Eng has won the second defamation suit against Utusan Malaysia, which was ordered by the Penang High Court to pay Lim Guan Eng RM200,000 in damages and RM20,000 in costs. Lim Guan Eng had claimed a March 12, 2008 article headlined Tiada Lagi DEB (No More NEP) in the Malay-language newspaper which said he would abolish the New Economic Policy was inaccurate. [22] Earlier in 2012, Penang state UMNO claimed that the developer of Penang World City in Bayan Mutiara made no provision for mosques, pointing out that the plot has yet to be subdivided. According to Chief Shaik Hussein Mydin, under the Town and Country Planning Act (TCPA) 1976, all land must be sub-divided according to an approved project plan before land title can be transferred to the developer. However, he said that the Penang government had failed to observe the rule in the Bayan Mutiara land deal. Lim Guan Eng responded that the developer Ivory Properties Group Bhd (IPGB) will only do the subdivision when it submits development plans for the 41.5-ha real estate to Penang Municipal Council (MPPP). In his statement, he said that the new plans and subdivision of title has not yet even been submitted, how can Umno claim that the mosque or school land has been sold or disappeared. Umno must remember that there are standard requirements for schools and places of worship including surau or mosque that are compulsory by local government or must be included in any development project. He also stressed that the people-centric state government would hold on to its fundamental principles and not let land marked for schools and places of worship to disappear. The DAP secretary-general will take legal action against Umno and Utusan Malaysia for claiming that he had sold off the mosque land, and warned Barisan Nasional (BN) from further stoking religious tension. Lim Guan Eng was willing to retire from politics if critics of the deal could prove that the land sale was not done through an open and competitive tender. [23] On 6 December, 2012, Lim Guan Eng wants to prove in court that he is not corrupt and doesnt take RM 40 million donations. Penang UMNO Youth Chief Shaik Hussein Mydin and Gerakan have claimed that the Chief Minister has personally received money from Kuala Lumpur International Dental Centre (KLIDC) in respect of its proposed private hospital in Penang. His special legal officer Andrew Yong said in a statement that they have made a baseless claim against the Chief Minister. Alternatively, they should prove their case in court when Lim Guan Eng sues them for their defamatory statements, which are intended to damage his public image and political career. Shaik, UMNO Youth nor Gerakan have so far shown any proof to back their baseless allegations that KLIDC offered money to the Chief Minister to help secure the tender award for the 1.1 acre piece of land in Taman Manggis to build a private hospital. In fact, it was Health Minister Liow Tiong Lai himself who announced that KLIDC has finally obtained a license to operate the private hospital in Penang. In other words, are UMNO Youth and Gerakan also implying that Liow Tiong Lai must also have received money from KLIDC? So, there is a conflict occur on their statement. Nevertheless, KLIDC was given no advantage or favors when it won the bid for the Taman Manggis land, which was offered to the public by open competitive tender. KLIDC made the highest bid of RM 232 per square foot, and the highest bid was chosen. [24] Changing Penang in a Changing World: Transforming Penang Penang Chief Minister Lim Guan Eng was given a speech on foreign news agencies Club in Singapore on August 12, 2011. The first main point about todays changing wo
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