Nike s Offensive Competitive Advantage - 1206 Words

Nike’s Offensive Competitive Advantage There are numerous definitions of competitive strategy; whether, it was defined by a scholar, a textbook, or a dictionary source, it is not the same. A source may refer to this subject as a competitive strategy or a competitive advantage. Therefore, this subject is difficult to understand and then apply to a company. The Five Generic Competitive Strategies that Michael E. Porter developed are not really five strategies, more like five with subsets under them. Nike does not fit neatly into a specific strategy. The first factor within the competitive strategy as described in the Essentials of Strategic Management textbook is a broad target market or a narrow target market. The second factor considers†¦show more content†¦Adidas was founded by Adi Dassler on August 18, 1949 in Herzogenaurach, Germany. Adidas has been in business longer than Nike, they have had their logo since the inception; thus, the three stripes on the side of th eir shoes. In Spring of 2015, they came out with their new strategic business plan called, â€Å"Creating the New†. The focus was on Cities, Speed, and Open Source. According to Herbert Hainer, the CEO at that time stated, â€Å"The company is working every day to inspire and enable people to harness the power of sport in their lives (Adidas Group, n.d.). Adidas current competitive strategy is not the same as Nike’s competitive strategy. In October 2016, Kasper Rorsted became Adidas’ current CEO. He believes health and fitness will continue to become a lifestyle not a fad. Furthermore, he wants to expound the three clear strategic choices: Speed, Cities, and Open Source.† They are more focused on the broad target market, a low-cost provider strategy. In March 2017, he updated the focus for Adidas to include â€Å"Corporate Culture, Digital, One Adidas, North America and Portfolio.† (Adidas Group, n.d.). It seems Adidas works to be transparent with the global community, they are striving towards meeting all customers’ needs, in all walks of life, while giving back to communities. They follow a corporate mission that reflects human resources, social and environmental affairs, and community affairs; thus, good corporate social responsibilityShow MoreRelatedWhat Is Strategic Management?7190 Words   |  29 Pagesthat strategy and by extension, strategic management, is constituted of short-term strategies involving managing and planning for the present and long-term decisions and actions, made, taken and implemented by managers to achieve superior competitive advantage, compared to their competitors. This coursework will highlight the key elements of organisational strategy by means of the POSIES model. The elements relevant for this analysis are POSI (purpose – objectives – strategy - implementation). ParthasarthyRead MoreNike Report13324 Words   |  54 PagesExecutive Summary Introduction This report will discuss in detail, the athletic footwear industry, and all aspects of its operations. It will focus on Nike, the industry’s leader, and a selected few of its competitors; Adidas-Salomon and Reebok, Sketchers, and K-Swiss. A brief overview of Nike and its competitor’s company profiles, brand portfolios, and current developments will provide an understanding that leads to an analysis of the external environment. This analysis further discussesRead MoreNike Strategic Audit2863 Words   |  12 PagesContent Nike Strategic Audit Page 2 Appendix A IFAS,EFAS,SFAS Page 10 Appendix B Nike Porter s Five Page 11 Appendix C Nike Financial Data Page 14 References Page 19 I- Current Situation A. Current Performance • Robust financial position, $ 15 billion net Profit (See appendix B). • Market share around 47%. • 28,000 employee B. Strategic posture 1. Mission • To bring inspiration and innovation to every athlete in the world. 2. Objectives • Provide an environmentRead MoreMarketing plan for shoes company -New Balance7828 Words   |  32 PagesBalance Trackster, one of the first running shoes made, grew very popular not only because of its technical innovation, but because it was available in a wide range of widths. In 1972, New Balance was purchased by current Chairman and CEO, James (Jim) S. Davis. Four years later, the New Balance 320 running shoe was rated number one on the market, which launched the company into worldwide prominence. Since then, New Balance has diversified into making a complete range of athletic shoes for a varietyRead MoreFoot Locker Traces Its Origins1948 Words   |  8 PagesMcbrier (â€Å"Biography of Frank Winfield Woolworth† 2005). The couple married in 1851 and one year later, Frank Winfield Woolworth was born. His childhood was filled with memories of hard work and scarcity. Mr. Woolworth would work long hours on his father s farm and would barely have enough money to scrape buy. This became evident when he took a trip to Watertown, NY to buy a 50 cent scarf for his mother and was ridiculed by shopkeepers for trying to buy with change. The trip also allowed the young manRead MoreLi Ning Marketing Plan2787 Words   |  12 Pagestargeted for consumers play i n sports such as running, basketball, badminton, football, tennis, and fitness. Li-Ning counts Nike and Adidas as its main competitors which endorses a number of athletes and teams, both domestic and abroad. In 2005, Li-Ning created a joint-venture with French sports apparel company, AIGLE, which was given the exclusive right to be the distributor of AIGLE s products in China for 50 years. His Company directly owns some of the retail stores while others are franchised. On JanuaryRead MoreFootwear Industry Research4095 Words   |  17 Pagesshoes†¢ Rubber and plastic footwear†¢ Childrens shoes†¢ Slippers†¢ Protective footwear | 1.1 INDIAN FOOTWEAR INDUSTRY SCENARIO * India’s footwear industry is valued at around $ 5 bn and nearly 1.8 bn pairs. The domestic market is highly competitive with few national players and multinational players present in the organized segment and a large unorganized segment characterized by chappals / sandals served by small scale players. * The growth rate of the Indian domestic footwear industryRead MoreDecathlon Strategy3428 Words   |  14 PagesTable of content Introduction............................................................................................................................................. 2 1. Competitive environment ............................................................................................................... 3 1.1. 1.2. 1.3. 1.4. 2. Pestel ....................................................................................................................................... 3 Porter five forcesRead MoreComplete Project on Nike16139 Words   |  65 PagesA SUMMER TRAINING REPORT ON MARKETING STRATEGY OF NIKE AT â€Å"NIKESHOES INDUSTRIES LIMITED† SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENT OF BACHELOR OF BUSINESS ADMINISTRATION (BBA) TRAINING SUPERVISOR SUBMITTED BY SESSION 2005-2008 ACKNOWLEDGEMENT The present work is an effort to throw some light on Marketing Strategy of Nike at â€Å"Nike Industries Limited†. The work would not have been possible to come to the present shape without the able guidance, supervision and helpRead MoreFormulation of Marketing Strategies to Improve Market Share4652 Words   |  19 Pagesachieves   advantage for the organization through its configuration of     resources within a challenging environment , to meet the needs of     markets and to fulfill   stakeholder expectations. Strategy is about: †¢Where is the business trying to get to in the long-term (direction) †¢Which markets should a business compete in and what kinds of activities are involved in such markets? (markets; scope) †¢How can the business perform better than the competition in those markets?(Advantage)? †¢What resources

Censorship of Media - 1064 Words

Surprises of Censorship In today’s world of technology and high finance children learn and do different activities. Video games, television shows, and the internet all have effect on our society. These items take away from moral values, and it also undermines the instruction parents give to their children. We need a healthier world with fewer restrictions, and if negative commodities are prohibiting children from recreational play parents should be the regulators in what content their children intake. Concepts of censorship have derived from the Roman practice in which two, government appointed, officials would conduct a census, supervise the manners, and the morals of the roman citizens (source 1). Censorship has†¦show more content†¦The violence is no less than propaganda for parents to encourage the censoring of violent games. Although the gaming industry has grown into a multi million dollar franchise, it preys on the youth of society to purchase and participate in violence. Computer and video games have become very popular among children and teens. The age group varies between seven years of age to sixteen years of age. With that knowledge parents need to partake in purchases made. Doctors detect threats in frequent gamers with affects such as eye strains, aches of the wrist, neck and back. Specialists have also confirmed that to much time playing games can cause bad posture and other disequilibrium in their daily routine. Video games also lead into things such as child obesity which can lead into diabetes in adulthood. Spending many hours in front of the computer and rather than socializing cause social problems which could result them in becoming shy and introvert. Apart from that the games developed currently happen to be a lot more controversial, proving that gamers actually have a tendency to lose control and become more aggressive. A controversial research project has proven that excessive playing of games can actually stunt the growth of a human brain. Brain mapping experts measure the level of brain activity in teenagers playing a Nintendo games and compared it with those who played other arithmetic games stimulated brain activity in both the left andShow MoreRelatedCensorship And The Media Of Censorship1407 Words   |  6 Pagesthe same can be said about censorship. Censorship and privacy do not solely revolve around leaks and personal intrusions from foreign entities. The advent of social media and cell phones have created new avenues for people to communicate and share information; The internet provides people a new and global way to spread information that can be considered worthy of censorship. Many people I know argue that censorship should not be commonplace in the media, in social media, or even in the entire InternetRead MoreMedia Censorship1427 Words   |  6 PagesApril 30, 2011 Media Censorship in the United States Censorship has existed for longer than we could ever imagine. One of the first acts of state sponsored censorship occurred in 399 B.C. when Socrates, was executed for the â€Å"supposed common good of the people† (Guarding Public Morality, 2010, p.1). Socrates was a teacher and a philosopher in ancient Greece. His teaching methods were controversial for the time, and he was charged with corrupting the youth and drawing them away from the GreekRead MoreCensorship in the Media1115 Words   |  5 PagesIs Censorship necessary? â€Å"Once a government is committed to the principle of silencing the voice of opposition, it has only one way to go, and that is down the path of increasingly repressive measures, until it becomes a source of terror to all its citizens and creates a country where everyone lives in fear. -- Harry S Truman Thesis: Although some people believe that censorship is adequate to select what things does the society will be good and can live around it while others believe that thereRead MoreThe Censorship Of The Media1542 Words   |  7 PagesBut while the larger media corporations may be hesitant to allow these other conceptions of the human to be represented in the mainstream, there is no such hesitation in fan communities. The fans are not and do not have to be concerned with â€Å"securing the well-being of our present ethnoclass† (Wynter). Rather, they are considered with their own well-being and their own representation and thus they are able to tell the stories that they want to be told and there is nothing preventing them from doingRead MoreThe Censorship Of The Media1665 Words   |  7 Pages Privacy in the Media In addition, the media is in an especially complex situation regarding the current concept of privacy regarding the proper use of technology and due to the numerous ethical issues, that arise from sensationalist media practices. First, the invasion of privacy can be justified by uncovering vital information that serves public interest to be considered ethical journalistic practice (Plaisance, 2014, p. 187). However, while there is less ethical merit in providing the publicRead MoreThe Censorship Of The Media939 Words   |  4 Pagesongoings of the world inform American policy and economics. Yet Americans remain ambivalent because other countries are not debated in the news. The news media implicitly apply filters to their coverage of news stories to inform the public thereby creating a narrative skewed by political or financial gain to influence their viewers. Because the media is privatized, it is difficult to recognize this propaganda system. Careful dissection of the time and sp ace dedicated to each story covered by the anchorsRead MoreCensorship and Indecency in Media928 Words   |  4 PagesCensorship and Indecency in Media Although indecent speech is protected by the First Amendment speech in broadcast media has been restricted because of its accessibility to children. In Federal Communications Commission’s (FCC) current policy, indecent speech is defined as the â€Å"language that describes, in terms patently offensive as measured by contemporary community standards for the broadcast medium, sexual or excretory activities and organs, at times of the day when there is a reasonable thatRead MoreCensorship in the Media Essay1084 Words   |  5 Pagesthe term censorship have been changed and manipulated very much over the years. Television and movie ratings have become more lenient against violence and indiscretion because these things are now seen as entertainment. Is this appropriate for our youth? Should children be exposed to these images so early on? How does censorship in the media affect adolescents? Children are the future of our society and need to have some understanding of real w orld occurrences. Ultimately, censorship can onlyRead More Censorship in Media Essay2359 Words   |  10 Pagesviewing audience. Censorship is defined as Policy of restricting the public expression of ideas, opinions, conceptions, and impulses, which are believed to have the capacity to undermine the governing authority or the social and moral order which authority considers itself bound to protect? (Abraham 357). Political, religious, obscenity, and censorship affecting academic freedom are all equal in their destructiveness towards free speech. ?There are two different forms that censorship takes; prior, whichRead MoreCensoring The Censorship Of Media3205 Words   |  13 PagesCesar Ortega Mrs. Martinez English, Period 8th 11/28/2014 Censoring In the 21st century the censoring of media should be scarce but in the contrary it’s being reinforce by countries. For instance, the act of censoring gay media hurts all those individuals who are members of the LGBT community and those who wish to learn more about the LGBT community and its history. It prevents people who wish to find more resources and information that might be able to change their life for the better. Censoring

The Different Styles of Narration Free Essays

string(32) " change is extremely important\." Narrators in Film and Novel In this chapter, Stam introduces the different styles of narrators in Novel. According to him, they vary from the first-person report-narrator to the multiple letter writers of epistolary novels, to outside-observer narrators of reflexive novels like Don Quixote and Tom Jones, to the once intimate and impersonal narrator of Madame Bovary, to the â€Å"stream-of-consciousness† narrators, on to the intensely objective/subjective obsessional narrators of Robbe-Grillet. What interests Stam is the fact that these different styles of narration cannot be really explained by the conventional terms that exist. We will write a custom essay sample on The Different Styles of Narration or any similar topic only for you Order Now That happens because language and grammar are the foundation of the traditional analysis of film and literature and in this context have leaded to a terminology based on them, a terminology such as first-person narrator or third-person narrator. This kind of grammar based terminology and approach, can create confusion and obscure facts like writers shifting person and changing the relation between narrator and fiction. For Stam though, the most important issue is not the grammatical â€Å"person† as he says, but the control an author has over the intimacy and the distance and how he calibrates the access to a character’s knowledge and consciousness. Literary narration can be complicated through film because of the verbal narration (voice over/speech of characters) and the capacity a film has to present the different appearances of the world. Andre Goudreault says that filmic narration is more powerful than â€Å"monstration† (showing) and â€Å"narration† (telling) and that for him, editing and other cinematic procedures consist of the evaluation and the comments of the filmic narrator. This way films tell stories (narrate) and at the same time stage them (show). Stam explains that  «the film as â€Å"narrator† is not a person (the director) or a character in the fiction but, rather, the abstract instance of a superordinate agency that regulates the spectator’s knowledge ». In other words â€Å"le grand imagier† and the â€Å"meganarrator†, all names attributed to the narrator, can be considered as the conductor of an orchestra who uses the instruments of cinematic expression as musical instruments. The author (Stam) continues his chapter by explaining how a double play of forms can be made possible through sound cinema. Voice-over narration and monstration (showing) mutually reinforce each other like in Sunset Boulevard where the scene is supposed to be a visual manifestation of what Joe Gillis is saying. We will also come across that during my extract analysis. In more modernist films like India Song (1975) and Last year at Marienbad (1961) the two forms contradict each other, in a sense that what is told is not what is being shown. Since sound made its appearance in film, cinema has been as Chion says â€Å"vococentric†, it has an orientation toward the human voice, which, in the cinema, according to Stam can provide information and focus for spectatorial identification. A debate has started about whether a film can actually narrate. Film theorists believe that filmic â€Å"narration† is only a fiction of the human mind. They don’t argue of course about films being able to develop certain processes of â€Å"narration† but they state that these processes can only be considered as cheap copies of a â€Å"narrator†. This logic though can also be valid for novelistic narrators. Theorist like Christian Metz, consider film to be a deployment of â€Å"impersonal† narration in which case the narrator is both the one that provides the fictional world and the one that comments on this same world. Stam chooses to stand on another important matter of narratology, the relationship between the events told and the temporal standpoint of the telling. For example, whether the telling if the story is taking place after the events of the story, which is called a retrospective narration, or prior, in which case, as he explains, we have an oracular or prophetic narration. In some cases, the telling and the events are simultaneous or even interpolated, meaning that they take place during the intervals between the moments of the main action. For Stam, the question is how all these different settings of time manage to be translated within adaptations. There is the case of â€Å"embedded narration†, where a story contains another story inside it, in a narrative mise-en-abyme. This is the case of the extract I have chosen to analyze. These substories go by the term of hypodiegesis. This occurs when a story contains a sub-story. For Genette, the term â€Å"diegesis† refers to three things, the time and space, the participants, and the events in a narrative. Around this term he creates terms such as â€Å"autodiegetic† (when the narrator generates and tells his own story), â€Å"homodiegetic† (when the narrator is part of the story but is not the protagonist) and â€Å"heterodiegetic† (when the narrator is not part of the story at all). â€Å"Autodiegetic† comes from the greek word â€Å" †, â€Å"homodiegetic† from â€Å" and â€Å"heterodiegetic† from â€Å" †. â€Å" † means â€Å"narrative† and â€Å" † has the meaning of â€Å"itself†. â€Å" †means it has a resemblance with something and â€Å" † that it is something different. So when the narrator is autodiegetic it means he is narrating himself, when he is homodiegetic, he narrating about something similar with him and when he is heterodiegetic he is narrating about something different that him. Stam adds that the narrator can be single or collective, a group narrator and that off screen narrators can be single, multiple or even contradictory like in the case of Citizen Kane. He also makes a distinction between living and dead narrators. A dead narrator would be when at the time the narrator is talking it has been known to us that he is already dead in the story. So the narration would probably take place after the events. Stam continues his analysis by referring to reliability. Narrators can be completely suspect (like Leonard in Memento, the movie I have chosen to analyze) ,more or less reliable, or serve as dramatized spokespersons for the implied author. The modern period has a taste for changing narrators and unreliable ones. This is the case of the bildungsroman, a literary genre that focuses on the psychological and moral growth of the protagonist from youth to adulthood and in which character change is extremely important. You read "The Different Styles of Narration" in category "Papers" Sometimes, also, the reliability of a narrator as the governess in James’s Turn of the Screw can cause difficulty for literary interpretation. Cases of â€Å"lying narration† are also offered in the cinema. What is challenging for Stam, is to find a way to reproduce in a way all the ambiguity and readerly decipherment of the text, on a cinematic register. Self-obsessed neurotic narrators like Humbert Humbert in Lolita, tend to be relativized by adaptation in a severe manner. While the narrator in the novel is â€Å"autodiegetic†, in the film he switches to â€Å"homodiegetic†. The problem is that the discursive power an unreliable narrator possesses is drastically reduced by film because of the multitrack nature of the film. In a novel, there is only one track available and that is the verbal track, which is of course controlled by the narrator. In a film though, even if the narrator can partially control the verbal track by the use of voice-over or character dialogue, that same control remains subject to a great amount of constraints such as the presence of other characters, voices, objects etc. While it’s not impossible to portrait an unreliable first-person narration in the cinema, all the problems mentioned above lead us to understand that it would be extremely difficult and could only be succeeded by relentless subjectification in almost all the cinematic registers. Point of View This chapter of â€Å"The Theory and Practice of Adaptation† tries to answer questions concerning focalization and point of view which is a term that has been regarded as problematic. â€Å"Point of view† can either refer to an ideological orientation, an emotional stance or even to the angle from which a story is told. Unlike literature, this term in cinema is always literal because of the camera set-ups that are required. Nevertheless, it can be figurative too at the same time, through the use of cinematic means. For Stam, an authorial point of view can be sensed in films. He explains that the film’s multitrack and multiform nature are to be seriously considered if we want to understand the cinematic point of view since each and every filmic track and procedure can convey one. Next, Stam takes interest in the relationship between the knowledge of the character and that of the narrator, something that has been referred to as â€Å"focalization†. According to Todorov, three were the possibilities: narrators could either know more, less or as much as the characters. Of course, one might argue that quantity is not always the case, since the two can also know differently. Gennete chooses to make a distinction between narration (who speaks or tells) and focalization (who sees) and then separates this last term into three sub-terms. â€Å"Zero focalization† refers to narrators who know much more than the rest of the characters. â€Å"Internal focalization† occurs when events are filtered through a character and is subdivided into â€Å"fixed† for when it is limited to a single character or â€Å"variable† for when it’s passed from character to character. Finally, â€Å"external focalization† takes place when the reader cannot access to point of view and motivations and can only be a simple observer of external behavior. Andre Goudrault and Francois Jost argued that the term of focalization can create problems when it comes to the visual medium of cinema since the sound film has the ability to show what a character sees and say what he thinks at the same time. They proposed a separation of these two functions by the use of two terms. The first term is â€Å"ocularization† and refers to the relation of what the camera shows and what the character is supposed to be seeing. Focalization† was used by the two narratologists to characterize the cognitive point of view adopted by the story. Stam also examines how â€Å"point of view† intersects with â€Å"style†. Adaptations have been considered less modernist than their sources but that is not the case with adaptations like the one of Virginia Woolf’ s Orlando by Sally Potter in 1992 or Bunuel’s That Obscure Object of Desire, where, in the contrary, the novel’s modernism is amplified. The author chooses to conclude this chapter not by answering questions, but rather by asking them. He is interested in the handling of temporality and wonders if instances of Genette’s â€Å"pause† take place in the novel and the adaptation, as montage sequences or as static close shots without action. He mentions Cristian Metz’s eight syntagmatic types in the cinema (one-shot sequence or autonomous shot, parallel syntagma, bracket syntagma, descriptive syntagma, alterning syntagma, scence, episodic sequence, ordinary sequence) and asks how these types are useful and wonders about the existence of any correlations with temporality in film and their nature. He questions the role of description in novel and film and wants to know if there is a possibility of pure (unnarrativized) description in any of these two mediums and finally sets the question of stylistic equivalences across them. MEMENTO [pic] Memento is a film directed by Christopher Nolan and released in the year 2000. He wrote the story with his brother Jonathan Nolan, based on a short story published by Jonathan called Memento Mori. The whole film can be divided in 22 colored and 22 black and white sequences plus the opening sequence which runs backward and is shown in slow motion. In order to understand the analysis of the sequence chosen (1. 22. 58 – 1. 48. 43) a brief introduction to the movie’s plot is necessary: Leonard Shelby (Guy Pearce) is a former insurance investigator whose wife was killed during an assault in their home. During that assault he sustained a head trauma and now suffers from a memory dysfunction which makes him unable to create any new memories after the incident. He remembers of everything prior the incident though like who he is, what his job was and everything about his life with his wife. But each time he wakes up he can’t remember where he is, why he is there or what he did and who he met the day before. He cannot trust anyone and his whole life is one big constant puzzle solving. There is only one thing that motivates him and that is to hunt down and kill his wife murderer. To collect the facts needed to avenge his wife he has developed a strategy that consists of taking polaroid pictures of everyone he meets, of the place he lives in and so on while also getting tattooed on his body every important information he comes across. pic]Leonard’s tattooed body In his investigation he is helped by two persons, Teddy (Joe Pantoliano) and Natalie (Carrie-Anne Moss). The viewers of Memento find out pretty fast that a mentally ill character like the one of Leonard Shelby is an extremely unreliable narrator. Nollan gives us hints about the unreliability of human memory . [pic][pic] We can also see Leonard being manipulated by others and making mistakes while coll ecting information on his wife’s murderer. [pic][pic] We can see here that he mistakes the I of the license plate for a 1 What is very interesting in the revenge story In addition to Leonard’s revenge story is the embedded story of Sammy Jankis and his wife which we will encounter in the sequence I have chosen to analyze. [pic] EXTRACT ANALYSIS Introduction The selected movie extract (1. 22. 58 – 1. 48. 43) is a sequence shot in Scope like the entire film is and in black and white as half of the movie’s sequences are. Those sequences were shot that way in order to be separated from the colored ones. Black and white sequences are shown in a chronologically forward order whilst the colored ones are shown backwards and don’t have a linear narrative structure. In this specific extract, Leonard Shelby narrates part of Sammy Jankis’s story, probably the most important one because it describes how he killed his wife by giving her an overdose of insulin. As it is explained to the viewers earlier in the film, Sammy suffers of the same condition as Leonard. Leonard investigated his case when he was still healthy and working for the insurance company and refused Sammy’s insurance claim by proving it was a psychological condition rather than a physical one. Relation between Stam’s text and the Memento sequence Stam refers in his chapter Narrators in Film and Novel to the case of â€Å"embedded narration† and how embedded narratives generate hypodiegesis. Hypodiegesis occurs when a substory is embedded within stories. In the case of this extract, the story is the one of Leonard’s hunting down his wife’s killer while dealing with his condition , and the substory , the one of Sammy Jankis’s condition and how his wife tries to deal with it. In the sequence Leonard is speaking on the phone with someone yet unknown to the viewers who is supposed to be a police officer. During their conversation, â€Å"Lenny† talks about his condition while comparing it to Sammy’s and decides to speak about what happened to him and his wife. This is when hypodiegesis occurs. [pic] Once this embedded narrative begins we are the scene is no longer situated in the same place and the characters have changed. As Leonard narrates the camera serves as a visual manifestation of what he is describing. We see him in a room with Sammy’s wife crying just after we hear him speaking about how she came to see him in his office. Then he talks about how, persuaded he could â€Å"snap out of† this mental condition, she put him through his final exam. [pic][pic] Then we are transported back to the Jankis’s home where Leonard does not describe the fact that she tricks her husband into giving her three consecutive insulin shots (as it is shown) but only talks about how she found a way to test him hoping she would call his bluff. As Stam says â€Å"a voice over narration gradually gives way to direct monstration, yet we somehow take what is monstrated to emanate from the initial narrative†. What makes this substory so interesting is the fact that the story of Sammy Jankis may in fact be the story of Leonard Shelby. Perhaps this whole parallel story wants to show the viewer that Leonard’s own wife was killed not by a murderer but by Leonard himself. There are several hints that point out the lack of the character’s reliability and lead us to conclude that his substory is a fabrication of his own subconscious. Reliability is actually a very interesting issue for Stam and in this case our narrator belongs to â€Å"those who are almost completely suspect† as they are called in Stam’s text. There are three important moments in the sequence that help us understand Leonard’s unreliability. The first one is when he takes in his hands a picture of himself (which later we learn it was took the moment he killed his wife’s murderer) and turns it the other way so that he doesn’t see it anymore. At the same time he says â€Å"It’s completely fucked because nobody believes you, it’s amazing what a little brain damage will do for your credibility. I guess it’s some kind of poetic justice for not believing Sammy†. [pic][pic] The fact that he hides the picture shows the viewers that he does not want to see it. He does not want to see himself while he tells Sammy‘s story, because he wants to forget that it is actually his story. He is lying to himself and wants to believe his lies. His words have also great meaning. He says that nobody believes him and that he has no credibility. He is again talking about himself because it is he that does not believe himself and he knows that he is not credible. His subconscious is projected to the viewers, we can see how deep inside he knows he is lying and he is fighting to believe these lies. As he says he didn’t believe Sammy, or, maybe he didn’t believe himself? The second hint is given to the spectators when he looks at one of his tattoos which is â€Å"remember Sammy Jankis† and at the same time says on the phone â€Å"Like Sammy. What if I‘d done something like Sammy? †. [pic] In this case, a doubt is raised, both in our minds and in Leonard’s mind. What if he had done something like Sammy? What if he had killed his wife without knowing it? The ending will show that he actually did kill his wife exactly how Sammy is supposed to have. The tattoo reminds him of Sammy, he needs that tattoo, he needs to be reminded of Sammy, otherwise there would be no meaning for him to continue on leaving. He needs to mask the facts in such a way so that he’ll have a purpose to go on. Remembering Sammy Jankis means to forget about what he did. The last moment that points out to Leonard’s lack of reliability is the most visual one. While Leonard describes how Sammy was put in a home after the death of his wife, we can see Sammy sitting in a chair at the exact home. The camera starts to zoom in on him, when, at a certain point, a doctor passes in front of him and we have a cut. When the action starts again, the doctor gets out of the way and we can get a glimpse (for exactly 2 frames) of Leonard sitting in that same chair instead of Sammy, just before the scene ends. It is obvious that Nolan wants the viewers to see that Sammy and Leonard are the same person and that Leonard is actually describing his own story. [pic][pic] Conclusion Memento is a film with unique narrative structure. The story behind it is rather simple but the narrative structure is extremely elaborate and constant attention from its spectators is needed. The lack of short memory of the protagonist and and the chaos following him and his attempts to put together the puzzle of his wife’s murder are linked to whole storytelling in a very intelligent way. The fact that the main plot’s narrative structure is backwards and that its conclusion is revealed in the opening sequence, along with the mix of color and black and white sequences, can sometimes confuse the spectators as much as the main character. The spectators are this way driven to identify themselves in Leonard, sharing with him the confusion and the feelings of each revelation, as well as those of the disappointing truth. How to cite The Different Styles of Narration, Papers

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Question: Discuss about theCustomer Satisfaction and Need. Answer: The procedures that need to be followed by SR food and beverage include maintaining regular contact with the customers. This can be done by developing customer management service (Blut et al. 2015). In order to match the need of the customers, questions regarding preference of the type of food and drinks can be asked. Apart from this, the preferred ambience of dining and the mode of dining can also be included in the survey. SR food and beverage can help customers to evaluate the products and services by providing them with samples of their food before taking orders from them. They can prioritise the preferences of the customers by maintaining contact with them on a regular basis SR food and beverage need to provide information about the type of food they serve along with the quality of ingredients used for making the food. Agreement with customers can be reached by constantly exchanging feedback and responses with one another (Fraering and Minor 2013). This can help in maintaining the loyalty of the customers. The agreement needs to be done by maintaining the demands of the customers from the feedback. SR food and beverage need to comply with the Food Standards Australia New Zealand Amendment Act 2010. The use of illegal products for the preparation of food and unfair means of employment need to be avoided by the company to gain success and satisfy customers. The difficulty in delivering services to the customers can be rectified by introducing mobile applications for ordering the products. References Blut, M., Frennea, C.M., Mittal, V. and Mothersbaugh, D.L., 2015. How procedural, financial and relational switching costs affect customer satisfaction, repurchase intentions, and repurchase behavior: A meta-analysis.International Journal of Research in Marketing,32(2), pp.226-229. Fraering, M. and Minor, M., 2013. Beyond loyalty: customer satisfaction, loyalty, and fortitude.Journal of Services Marketing,27(4), pp.334-344.