Influence of Bollywood on Fashion and Film

Influence of Bollywood on Fashion and Film Film, Fashion, and Beyond: The Influence of Bollywood. The relationship between the world of fashion and the world of cinema is complex and intertwined. Film allows us the opportunity to escape for a few hours into lives that are not our own—lives that may be, in fact, quite different from our own. In a similar vein, fashion gives us the opportunity to re-invent ourselves by constructing our external appearance to accommodate the shift in self-image. These shifts in image often reflect the icons we admire in the movies. Perhaps we cannot become them, but we can become like them. One way in which we do this by following their lead: by adopting the distinctive fashion styles associated with them. Sometimes, this can be something simple, such as buying a new pair of designer jeans. At other times, this can mean embracing a culture that may be foreign to us. This is how Hindi styles have begun to take hold in mainstream fashion. The latest word in film—and in fashion—is Bollywood. Bollywood is used informally to refer to the film industry in India. It was coined as a shortened form of Bombay plus Hollywood. Bombays name has since changed to Mumbai, but the name Bollywood is here to stay—as is the industry: The film industry in Bombay. . . is the biggest in the world. It makes almost double the number of movies and sells a billion more tickets each year than Hollywood (Boyk 2004). The influences of Bollywood are ubiquitous; they can be seen in everything from haute couture fashion to music, often blurring the line between high and low art. In addition, the popularity of Bollywood movies has led to a high demand for the kinds of clothing worn on the big screen. Traditional Hindi dress has become a sought-after commodity all over the world.   The fact that Indian-style clothing has become so in-demand is quite a contrast to years past. Until Indian films became popular, western clothes were the preferred attire, and they dominated the fashion world. Western-style clothing was most often what was worn in movies, and mainstream culture responded to that. Hindi garments, on the other hand, were considered unattractive and out-of-date. This began to change when Mumbai-based movies began to receive acclaim. The stars of these movies wore Indian garments, and this made Hindi-style clothing seem glamorous. Bollywood fashions are no longer regarded as gaudy or unstylish, because there’s top talent working behind the scenes (Melwani 2005). This is a clear example that demonstrates the power of celebrities. Many celebrities are idolized by their fans. Because of this exalted status, the clothing they wear takes on positive associations. Thus, fans who admire them will naturally want to emulate them. They do this by using the same products the stars endorse. At times celebrities will publicly endorse a product, by appearing in a magazine advertisement or a commercial. At other times, however, they do not need to make an effort to sell the product or style of clothing. The mere fact that they are wearing or using it is considered by many to be endorsement enough. Each time one of these stars appears in a film, the clothing they wear becomes a desired commodity. This includes accessories, footwear, and jewelry. In addition, the way they wear the garment can become a trend in itself. For example, if they do something different or daring, chances are that this, too, will be copied by their fans. In fact, it has been asserted that each film is a brand in itself, and as each film releases we have a fresh new brand of fashion and lifestyle products pushing fashion among the masses (Bansal 2005). It seems clear that the film industry is closely intertwined with the world of fashion. After all, selling fashion products is a perception game. While the product needs to be inherently good and wearable, the aspiration value comes from its association with a leading personality who the masses idolise and look up to (Bansal 2005). It is through the subliminal—and not so subliminal messages of film that we grew accustomed to designer names like Tommy Hilfiger or Fubu. The increasing popularity of Hindi films has had a similar effect on our likes and dislikes, as the fashions associated with them have become highly marketable. The most popular role models of Bollywood include such superstars as Bipasha Basu, Madhu Sapre, Katrina Kaif, Dino Morea, and John Abraham The movies themselves are popular for a variety of reasons. First of all, they are usually entertaining, with compelling scenery and appealing musical backgrounds. In addition, they are the types of movies that allow viewers to escape from their own lives and be wrapped up with what is on the screen. Generally they have a plot line that is some variation on the rags-to-riches theme. There is usually some sort of romance, and of course, the boy always gets the girl in Bollywood. These movies also have an appeal that reaches all ages as well as all ethnicities—perhaps because most people like a happy ending. However, Bollywood films may appeal to young Indians on a deeper level. The actors who star in them are true role models, because the films mirror issues that are specific to them: Increasingly these films are about the schizophrenic worlds that contemporary young Indians live in, the worlds of airplanes, blended cultures and the east-west embrace (Melwani 2005). Thus, young people recognize and respond to this. They, too, want to be strong and independent. They express their admiration by modeling themselves after their icons; in addition, they tacitly express their aspirations by emulating the very people who embody them. The explosion of Bollywood fashion has also increased cultural knowledge, as new terms for specific garments filter into other languages. The sari (also spelled saree) is an unstitched piece of cloth that is draped around a womans body; this, of course, the most well known. Other words have cropped up as well, such as salwar-kameez and dupatta. The salwar-kameez refers to a womens suit that usually consists of a kameez (tunic), a salwar (pair of loose pants), and a dupatta (matching scarf worn in various ways). These garments, traditionally worn by women of India, Pakistan, and Bangladesh, are now becoming globally known. In fact, the fashion world within India itself has undergone a transformation. According to fashion designer Ritu Kumar, in India, the fashion scenario was in confusion as it was a turbulent period of conflicting ideologies, when the consciousness of an Indian national identity was beginning to find political expression and the struggle for Indian independence was getting momentum.   Fashion trends prior to Bollywood were dictated by higher echelons of society. This, in turn, was strongly influenced by the British. In addition, the body image of the femme fatale of Hindi women has undergone a similar transformation. Formerly voluptuous and wide-hipped, a new standard has become the rule. The desirable image is now sleek and slim: the high visibility of the indigenous fashion industry also changed the look of the screen siren and shaped a new body image (Rao 2003). The influence of film has played a huge role in changing that. Film clearly has a symbiotic relationship with fashion. What is shown on the silver screen often makes its way into our own lives on some level. There are a number of dynamics at work here. As Entwistle has asserted, dress is tied up to social life in more than one way: it is produced out of economic, political, technological conditions as well as conditions shaped by social., cultural, aesthetic ideas (2000:111). The link between cinema and mainstream fashion is easily apparent. What is seen on the silver screen by movie viewers one day, will often end up being a popular commodity the next. Movies provide an outlet for viewers—a chance to step out of their own lives and into the lives of other—usually glamorous—people. Fashion does this in a similar way, allowing its adherents the freedom to re-invent themselves. Often, the selves they try to emulate are those of the icons they admire in film; therefore it seems natural that they emulate the style of dress of those they consider role models. As Joanne Entwistle has so aptly stated it, fashion opens up possibilities for framing the self, however temporarily (2000:139).   The establishment of the Indian cinema also proved to be the strongest influence on the fashion in the decade.Due to the western influence, the use of angarkhas, choghas and jamas diminished considerably by this time,although the ceremonial pagri,safa and topi were widespread as ever. References Bansal, Richa. 2005. Styling a fashion-propelled retail trail. http://www.imagesfashion.com/Cover_story_styling_jan05.html Accessed November 25, 2005. Boyk, David. 2004. Bollywood for the Skeptical. http://www.ocf.berkeley.edu/~dboyk/bollywood/#blurb Accessed November 24, 2005. Entwistle, Joanne. 2000. The Fashioned Body: Fashion, Dress, and Modern Social Theory. Cambridge: Polity Press. Rao, Maithili. 2003 A Decade of Dizzying Changes. Humanscape Magazine, Vol. 10, Issue 11. Melwani, Lavina. 2005. Bollywood is getting some well-earned respect, finally. http://littleindia.com/august2003/Bollywood%20Graduates.htm Accessed November 25, 2005.

Chemistry Honors Titration Lab Essay

A Titration is a process of the concentration of one solution being determined by its reaction with either a standard solution or a known quantity of solid dissolved in solution. It may also be used to calculate the molar mass of an unknown acid or base. Purpose: I. Prepare a standard solution of sodium hydroxide II. Standardize a sodium hydroxide solution by using potassium hydrogen phthalate (KHP) III. When given whether the acid is monoprotic, diprotic, or triprotic , determine the molar mass of the unknown organic acid. IV. Calculate the Molarity of the Soft drink. Materials: * 50 mL Buret * Beaker * Erlenmeyer Flask * Sodium Hydroxide * Water * Balance * Unknown Acids (A, B, C) * Calculator * Soft Drink (Ginger Ale) Procedure: A – Preparation of NaOH (standard solution) 1. With portions of water, rinse a 2L bottle. 2. To make 2L of a 0.1M solution, determine the amount of grams of sodium hydroxide that are needed and then weigh out the correct number of grams when showing the calculation. 3. To a container that is  ½ to 1/3 full of water, add the pellets of sodium hydroxide. Shake to mix or speed up the dissolving of the pellets and fill to the top with water. Label your container with your name and date. B – Standardization of NaOH (Determine the actual concentration of the standard solution) 1. Drain the 50 mL buret and remember to fill the buret with water at the end of each lab. 2. To rinse the inside of the buret, pour a small amount of NaOH into it. Drain the buret through the stop cock. Rinse the buret more than once. (Remember to do this before you start th lab experiment to clean the buret.) 3. Fill the buret with the NaOH solution and to remove any air, allow a small quantity to pass through the stopcock. 4. Rinse a 250 mL Erlenmeyer flask and then make sure the bottom of the flask is dry. To get the mass of only the solute, rezero the flask on the scale. 5. Add about 0.20 to 0.30 grams of KHP (acid) to the flask. Measure precisely to the 100ths place and record the mass. Add approximately 60-70 mL of water to dissolve KHP and add 2-3 drops of phenolphthalein indicator. Shake or swirl the flask to speed up the dissolving of the KHP. 6. Record the level of NaOH in the buret (to the 100ths Place). All volumes should be to the 100ths place (0.00). Carefully add the NaOH to the flask containing the acid solution. Throughout the experiment, rinse the inside of the flask with water from a water bottle and stop adding NaOH and then swirl the flask to mix the solution. 7. Stop adding NaOH when a light pink color persists (when neutralization occurs). Record the final reading of NaOH that’s in the buret and find the final volume. 8. Calculate the molarity of the NaOH solution and then complete all 12 titrations before beginning to solve the calculations. Expand your calculations to 4 decimal places and accept only the values that are within 0.005 of each other. 9. Of the accepted molarity readings, take the average. This is known as the molarity of your standardized base solution, which will be used to calculate the molar masses of the unknown acids and molarity of a soft drink. C – Calculating the Molar Masses of Unknown Acids 1. Repeat the same steps 1-4 from Section B to prepare for the titration of the unknown acid solution. 2. Repeat the same steps 5-7 substituting the unknown acid for KHP. The unknown acids are in labeled jars A, B, and C. It will be indicated whether the acids are monoprotic, diprotic, or triprotic. 10 titrations should be completed for each unknown acid. 3. From the equation on the first page, calculate the molar mass of the acid using your average molarity. Find the molar mass based on the number of protons in each acid. 4. Accept the values that are within 1.0 of each other. Calculate the average of all the acceptable values and then repeat for the remaining acids. 5. When back in the classroom, you will receive the correct molar mass of the acids so you can calculate the percent error. D- Calculation of Molarity of a soft drink solution 1. Repeat steps 1-4 from Section B to prepare for the titration of the soft drink solution. 2. Take the soft drink solution from a buret on the back lab table recording the initial and final volume from the soft drink buret. Add approximately 40 mL of the soft drink to your flask. Make sure you record the exact volume to the 100ths place. Do not add water to your flask. 3. Each group should have 3 titrations completed. Accept the values that are within 0.01M of each other. Calculate the average of all the acceptable values. Conclusion: In this lab experiment, overall, I learned how to titrate. The concentration of one solution was determined by its reaction with a standard solution. The molar mass of unknown acids were also calculated. While learning to titrate, I learned several other skills in the process. I learned how to prepare a standard solution of sodium hydroxide, how to standardize a sodium hydroxide solution by using potassium hydrogen phthalate (KHP), how to find the molar masses of unknown organic acids when given whether the acid is monoprotic, diprotic, or triprotic, and how to calculate the molarity of a soft drink. At the same time, other skills were practiced. Skills such as calculating molarity, molar mass and percent error were exercised. The molarity was calculated for part B, the standardization of sodium hydroxide. After all of the molarities were calculated, five of them were accepted and the average came out to be 0.0935, which was the number that would be used throughout the lab to help calculate the molar masses of the unknown acids and the molarity of a soft drink. The molar mass was calculated for the unknown acids A, B, and C. Molar mass is grams of solute divided by the average molarity multiplied by the total amount of liters. In acid A, five molar masses were accepted and the average came out to be 180.0440. In acid B, only three molar masses were accepted and the average came out to be 154.5841. In acid C, there were four of the the molar masses accepted and the average came out to be 180.6426. The percent errors of the unknown acids were relatively small with the exception of acid C. For acid A the percent error was 2.22%, for acid B it was 2.99%, and for acid C it was 13.54%. The percent error for acid A and B is small because of how much NaOH was used. The amount was always less than below 40.00 grams except for once, and most of the time the amount of NaOh was in the 20’s or below. During the trials for acid C, the amount of NaOH used was no less than 33.90 grams for each trial. In Part D of the experiment, the molarity of a soft drink solution was calculated. Ginger Ale was mixed with NaOH solutions. This titration resulted in a pink, dark peach and a dark, dark peach color. Of three molarities recorded, all three were accepted. The averages of the accepted molarities of Ginger Ale were 0.0311.

Case Holt Renfrew Essay

Inactive suppliers: HR had approximately 3000 different suppliers, only about 1000 suppliers were used. Suppliers’ management was inefficient. The inactive resulted in waste of resources including human resources, files management, Information system overload, etc. Inactive SKUs: HR had approximately 500,000 SKUs, only about 50 per cent were active at any given time. Huge inventory carrying costs happened when almost 50% inactive SKUs stayed in the DC or warehouse. Dull and Repeating Work for Employees: staff spent a lot of time on the phone expediting shipments to stores, and confirming and adjusting previous orders with suppliers. Employees’ career development would be retarded by the dull job. It would made the high turnover rate and it would be costly to hire and train the new employees. Suppliers’ Mismanagement: Suppliers just delivered the products to the DC without prior notification. We were not able to anticipate what to expect daily. It would cost time and human resources to confirm and adjust the  orders with the suppliers. Lack of Communication with Merchandiser: staff did not get any information from merchandiser. They were constantly pushed by stores to follow up on orders delivery and transportation service providers. The unsmooth communication and unequal information increased the staff burden and made them involved in a vicious cycle. Unclear Purchasing Process: The receiving staff did not know what merchandises would arrive with quantity and quality. The unclear process made the staff confused what they were going to do, which lower their morale. They would be likely to shirk their responsibilities when ad-hoc happened. Disordered DC: Inventories were in everywhere in the DC – underneath the conveyers and scattered across aisles. It was hard to find rooms for unload trucks and process merchandise. Also it was difficult to find the right merchandise. The disorganized DC would decrease the productivity directly. It seemed overloaded and needed the overtime or temporary staff, which affected the morale of the employees. The misplacing inventories could have potential hazard to the employees. Stock outs at stores: Store managers constantly complained the stock outs was caused by the DC. Customers cannot get what they need on time and will most likely to lost sales and possibly lost customers. The fashionable products would be outdated and probably return to the secondary warehouse to increase the inventory cost. Problem Statement: How can HR redesign the DC layout and improve process flow to solve the congestion in two warehouses so as to reduce the warehouses costs and to make great profit? Analysis: SWOT Strengths – HR belongs to Wittington Group headed by Canadian business leader Galen Weston who is listed as the second wealthiest in Canada with an estimated net worth of $US 8.9 billion. The parent company can support HR to complete the improvement. Weaknesses – The problems of the business process, DC layout, warehouses congestion, human resources, stockouts caused high expenditures. Opportunities – The fashion demand would be increase as the increased tourisms would eager to purchase the luxury products in Canada. Threats – The competitors like Saks Fifth Avenue could threaten to HR within the following years. Qualitative For HR, how to work out some solutions to redesign the DC layout and improve process flow to solve the congestion in two warehouses had been put forward on agenda. We would consider the following factors. 1. Merchandising Process? (belongs to logistics?) Merchandising is a specialized management function within the fashion industry. It is the business that moves the world fashion from designers’ showroom to retail sales floor and into the hands of consumers. It is the internal planning that takes place within HR in order ensure adequate amount of merchandise are on hand to be sold at prices that the consumers are willing to pay to ensure a profitable operation. These processes involve in the followings: 1) Analysis: is required because HR needed to understand the needs and wants of our target audience. 2) Planning: It is necessary to plan since the merchandise to be sold in future must be bought in advance. It contains sales forecasts, merchandise budgets, and model stock plans. 3) Buying: Merchandise to be sold in HR, needs to be procured from others. It still needs the process like industrial procurement including supplier evaluation and selection, negotiation, and ordering. 4) Distribution: It is vital to determine where merchandise is needed and ensure that the merchandise reaches the required location at the right time and the right condition. It consists of transport, receiving, markings, and handling. 5) Control: As the function of retailing involves spending money for acquiring of products, it necessary to control the amount of money spent of buying. It comprises stock turnover, financial management, and operational control. 2. DC or warehouse Warehouses emphasize the storage of products and their primary purpose is to maximize the use of storage space. In contrast, distribution centers emphasize the rapid movement of products through a facility and thus attempt to maximize throughput (the amount of product entering and leaving a facility in a given time period). Since the incoming goods were to be immediately processed and shipped to the stores, DC was designed reasonable. HR’s secondary warehouse was designed to remain the merchandise until  shipped to Last Call. Merchandise was returned again to the secondary warehouse until satisfactory arrangements for disposition were made. Whether closing the secondary warehouse depended on the cost, space utilization in DC and so forth. 3. DC process flow Cross-docking can be defined as a process where a product is received in a facility, occasionally married with product going to the same destination, then shipped at the earliest opportunity, without going into long-term storage. The 80,000 square-foot DC was designed as a flow-through warehouse. If we combine DC and warehouse, the cross-docking could be designed to resemble a motor carrier terminal—rectangular, long, and as narrow as possible or could be on one wall or placed at 90 degrees to one another. 4. DC layout design Before we reconfigurae DC layout, merchandise should be studied in terms of its special properties. We also should pay more attention to the trade-offs. Many trade-offs are inevitable when designing the structure as well as the arrangement of the relevant storage and handling equipment. Some trades-offs could be considered according to HR’s situation. 1) Build out versus build up It is cheaper to build up than build out. Building out develops horizontally and requires more space. However, as one builds higher, building costs decrease, while warehousing equipment costs tend to increase. 2) Fixed and variable slot locations A fixed slot location refers to a situation where each SKU has one or more permanent slots assigned to it. We probably could store inactive SKUs or the merchandise from the secondary warehouse if we decided to combine DC and warehouse. Fixed slot systems may result in low space utilization and generally need to be larger than a variable slot facility. Whereas a variable slot location involves empty slots being assigned to products based on space availability. We could apply it to the merchandise in DC. 3) Conventional, narrow, or very narrow aisles Compared to conventional aisles, narrow aisles can store 20% to 25% more  products, while very narrow aisles can store 40% to 50% more products. Yet the handling equipment like forklift would be special designed. 4) Order-picking versus stock-replenishing functions. When order pickers and stock replenishers are allowed to work in the same area, fewer managerial personnel may be needed but it may also lead to congestion due to the number of workers in a relatively limited space. One suggestion is for the two sets of workers to use different aisles for their activities, but this requires a superior information system. 5. Human resources allocation We had 2 shifts in DC, and 2 supervisors and 10 hourly employees. The human resources strategies would be changed if closing the secondary warehouse. Dealing with the 12 employees should comply with the Contract Law and other regulations. 6. Stockouts and congestion The improved merchandising process and the resigned DC would solve the issues correspondingly.

Reality and Illusion in Arthur Miller’s Death of a...

Reality and Illusion in Arthur Miller’s Death of a Salesman In Arthur Miller’s play, Death of a Salesman, a major theme and source of conflict is the Loman family’s inability to distinguish between reality and illusion. This is particularly evident in the father, Willy Loman. Willy has created a fantasy world of himself and his family. In this world, he and his sons are men of greatness that â€Å"have what it takes† to make it in the business environment. In reality, none of them can achieve this greatness until they confront and deal with this illusion. Willy is convinced that being well liked is the key to success, exclaiming â€Å"Be liked and you will never want...† (Klotz, A 1998). It is unclear whether Willy’s†¦show more content†¦All the while telling him that stealing will get him no where. This behavior continues as Willy encourages Biff to cheat off the neighbor, Bernard, for his Regents exam, and again when he asks both Biff and Hap to steal lumber from the construction site for the front porch. This eventually leads to both Willy’s infidelity and Biff’s habitual stealing, which is responsible for his continued failure in business. Willy was so intent upon teaching his sons how to be successful, but his inability to deal with reality and his twisted sense of morals were actually responsible for their failure. Some literary experts were critical of Arthur Miller’s character, Willy Loman in â€Å"Death of a Salesman†, insisting that â€Å"Willy was a ‘little man’ and therefore not worthy of the pathos reserved for such tragic heroes as Oedipus and Medea†. In contrast, it could be argued that most of us cant even imagine life as characters such as Oedipus and this allowed the majority of society to identify more closely with the woe’s of a person such as Willy Loman. Willy is an elderly failing salesman whose salary has been taken away and now works on commission. Finally, after thirty-four years, the company has no further use for him and discharges him. As he has grown older, he has trouble distinguishing between illusion and reality. He is continually lost in the past andShow MoreRelated Illusion and Reality in Arthur Millers Death of a Salesman Essay785 Words   |  4 PagesIllusion and Reality in Arthur Millers Death of a Salesman       In Arthur Miller’s Death of a Salesman, Willy is depicted as living in his own world. The play centers around the end of Willy’s life, when the real world comes crashing through, ruining the false reality he had created for himself and his family. 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