The Yellow Wallpaper Reading Response

This is a fictional story, in classic form, has a plot, a setting, a cast of characters, and a point of view in which the story is told. The conflict of this story is the struggle of Jane against her husband and then later her struggle against the wallpaper itself. However, it is the way in which the story is told and the unexpected conclusion at the end of it that make it unique and part of the 19th century. The setting of this story takes place during the summer in a rented home that John has acquired so that the narrator may rest and get well again.The story takes place about the time in which it was written, in the late 19th century. The house is a colonial mansion, which our narrator quickly tells us she thinks is haunted. It is in a rural setting surrounded by gardens and woods with â€Å"a lovely shaded winding road† leading up to the mansion. The main setting, which the narrator describes, is the room in which she stays. She goes into explicit detail as she carefully d escribes the yellow wallpaper which consumes more and more of her attention. The wallpaper becomes a moving prison to our main character, while other characters, like John, barely seem to notice its presence.There are not many characters in this story, but each one plays a vital role in giving the reader insight into the mind of the writer and allowing the reader to come to a deeper understanding of the meaning of the story. Jennie, a flat character and foil of the main character, is the main character’s sister-in-law and is the caretaker of the home. She is the â€Å"perfect and enthusiastic housekeeper and hopes for no better profession† who serves as a substitute wife for John’s traditional family view. She is the imprisoned woman who is perfectly fine with her prison, even blaming the narrator’s sickness on her untraditional thinking and writing.John, who is also a flat character, is the main character’s husband and is the archetype of the 19th century white male. He is a successful â€Å"practical physician† who treats his wife more like a patient than he does an equal partner. John is a representative image of the dominant sunlight, which in the story keeps the woman behind strict bars and prevents her from being free or creative. Though the narrator never explicitly tells us her name, the very end of the story says, â€Å"’I’ve got out at last,’ said I, ‘in spite of you and Jane. And I’ve pulled off most of the paper, so you can’t put me back! † This is a clear indication to me that the narrator’s name is Jane, as revealed by the crazy woman (Jane) who now thinks she was the one in the wallpaper. The narrator of the story, Jane, is the main character and is a round character that is fully developed. She is representative of the woman imprisoned, unsatisfied with being merely the submissive housekeeper. Jane is like the less dominant moon, which in the story allows the bars of the wallpaper to move and free the woman in the wallpaper from her daytime prison. We are given an insight into Jane’s mind and opinions through her writings in her journal.This story is told in first-person narration. However, it is not in traditional story form, but it is constructed as if we are reading the hidden journal of the Jane who is telling, us alone, all her intimate thoughts. This also allows for the time-lapse in which the story skips over weeks at a time allowing the reader to gain an understanding of what is going on without having to read mundane and unimportant details. The chronological order of the journal also lends to it appearing as if it could be an actual journal the audience is reading.Although The Yellow Wallpaper has all the components of the average fictional story such as plot, a setting, characters, and is even told in a fairly common point of view, the brilliant writing of the story combined with the unique way in which it is presented, make for an exciting story that keeps the reader’s attention. The story is also a deep insight into the author’s world and time revealing her own personal point of view. It is this creative writing, coupled with deep meaning and veiled in captivating writing, which assures this literary work will continue to remain a hallmark of fiction.

Pros and Cons of Television Essay

Television is one invention that serves as a type of role model for Americans everywhere. This mechanism is in almost every room in our home and people canÂ’t help but turn on the switch to see what is showing. Some only rely on a television as their only source of entertainment and some view it as a way to get the family together. But one thing for certain is that television has some characteristic that draws humans to the screen and most people reflect what they watch. The television is an unavoidable technology that shapes peopleÂ’s lives, on that can both benefit and harm its viewers. Although television is unavoidable, it does have its benefits. Almost every American has one TV in one room of their home. The news channel is one of the most widely watched program in the world. People watch news as a source of what is happening during the day. Before work, a woman would turn on the news, to check how the weather is so she can pick out the right outfit. Or some may check the news just to take a glance at traffic to see which roads to avoid in order to make it to work on time. The news also benefits children. It helps them understand what is going on in the world. “News, current events and historical programming can help make young people more aware of other cultures and people.” ( Media Education Resources, 18 Oct 2006. http://www.media-awareness.ca) Some news casts help by showing the latest threats in places or even in food reports, which are good things to be aware of. Some people also find the joy in knowing about the latest product on the market or a br and new diet test. However, the news might not show decent programming for all audiences all the time. The potential harm in television is the violence that is shown on almost every channel, but particularly in the news. The news is the place where most of the violence is shown and worse, the violence is real. The news reaches all audiences which means children are exposed to this violence. But the violence show is harmful to all its viewers. “Some local news shows go out of their way in search of violence.” (Online News Hour, 18 Oct 2006. http://www.pbs.org/newshour/media_violence.html) When kids witness violence on the news, it gives them ideas and it shapes their view on the world. The same goes for young adults. Most of the violence on the news are by young  adults who are in gangs or a student at school. Worse is that the violence is shown in detail and shows every act from explosions to gun shots, to fist fights. These kinds of scenes are not ones that should be exposed to young children and adults. “As more violence is reported in the news and as young children spend more time involved with media, they are more likely to hear disturbing news.” (National Association for the Education of Young Children, 18 Oct 2006. http://www.naeyc.org/ece/2003/01.asp) The news is a helpful program to have, but not when disturbing images are shown. Most Americans who own a TV watch it for an excessive amount of hours, mainly children, so they are bound to see some amount of violence while watching. Some may stumble upon it on accident so they have those frightening images in their mind. Parents are concerned that their kids watch the violence because they are entertained by it. Some kids might have to watch news casts for homework assignments and find helpful information about the country they live in, but they also might see some of the dangers that are here as well. The fact is that the news has the habit of showing clips of “disturbance” during their supposed innocent broadcasts. Overall the news does have its advantages and its disadvantages just like television. The television is an unavoidable technology that shapes peopleÂ’s lives, one that can both benefit and harm its viewers.

Process Design

Riordan is a leading future 1000 manufacturing company that is an industrial leader in the field of plastic injection molding (Riordan, 2004). Riordan Manufacturing China plant acts as a decentralized unit of Riordan Manufacturing (Riordan, 2004). I have created a proposal package that will address the new process design that focuses on all phases of manufacturing the electric fans from determining the number of parts and components to the materials needed in production. It will include a new process design for manufacturing Riordan electric fans. The proposal will incorporate an analysis of the current production process. This analysis of the process design will provide information to remove bottlenecks. The production forecast will encompass the implementation plan of lean production, which will include a Gantt chart. Finally, a cover letter that details the coordination of aggregate operations planning and TQM processes. Material Requirement Planning (MRP) The Riordan Manufacturing China plant has applied the material requirement planning, which encompasses controls systems from the order entry through scheduling and inventory control. The MRP system is used to schedule materials, parts, and components for raw material that should be ordered or produced. The MRP provides the China plant with information about what is needed to complete a specific number of units during a specific period. The present process of the Riordan Manufacturing electric fans is located primarily at the China plant. Riordan Manufacturing purchases the polymer plastics from local distributors. The China plant uses the material requirement planning to determine the quality and timing of the assembly units. The raw materials are first received at the receiving department. These materials are drawn upon for production in the molding process to produce fan blades and housing. These finished goods are stored in a finished good stockroom. Individual buyers and contracted third parties pull inventory from the finished good stockroom. Trimming from the molding department are used to make other products. Inventory, which has been sold, and ready to be shipped are transferred to the package department. Finally, the shipping department packages the electric fans for distribution. Riordan Manufacturing needs to consider the supply and demand during the electric fan production process. Currently, Riordan is only experiences a 93% customer satisfaction in delivery of the electric fans in a timely manner. New Process Design The current bases for Riordan Manufacturing China plant operation is the quality and quantity of electric fans produced. The inventory based on forecasted production is stored in the finished good stockroom. The forecasted inventory has not been an accurate measure of the stock that Riordan should have on hand to meet the customers demand more than 93% of the time. The new process recommends that Riordan seek out additional manufacturers of electric motors in addition to its current supplier to increase the likelihood of possessing adequate inventory in stock. This new process will increase the efficiency of their scheduling and delivery. The stock on hand will be slightly increased but a reduction in polymer plastics would help offset the cost of increased inventory. The China plant can reduce the polymer plastic because the buyer can obtain it from a local buyer. Supply Chain According to Chase (2005), â€Å"Supply chain is applied to the total system approach to managing the entire flow of information, materials, and services from raw suppliers through warehouses to end users† (Chase et al. , 2005, p. 406). Riordan China plant should reconfigure their supply chain process to be more competitive and marketable. By reconfiguring how they are linked to their suppliers could provide Riordan with the competitive advantages, which have been shown to be the characteristic of successful companies. Like many other companies, Riordan can achieve significant competitive advantage by the way they configure and manage their supply chain operation (Chase et al, 2005). Riordan should consider outsourcing as a one means of improving the supply chain. Outsourcing is an approach to push the responsibility and decision making to other companies, which are a part of several components of the supply chain. Company’s find that outsourcing can provide some relief to a company whom is experiencing a shortage of resources. Outsourcing could allow the company to focus on the core process of the business while providing the flexibility needed during varying demands. Supply chains management concentrate on inventory processes to complete the orders that are requested (Chase, 2005). The movement toward a just-in-time inventory system (JIT) could provide Riordan with continuous improvement in efficiencies to its fan production process. Riordan will take the stance of eliminating all cost that does not add value to the product. The China plant will be able to have their parts arrive at each workstation at the optimal time to complete the process in a more efficient manner. Riordan will establish areas in their production that are linked, which will provide a beneficial balance of flow of material throughout the production process. Production Forecast The production forecast for the China plant accounts for both the electric motors and plastic polymers, which are essential components of the electric fans. The inventory for the electric fan is projected by taking the average sales over the last three years, which is used to project the fourth year. Riordan Manufacturing assumes history will repeat itself within manageable units (Riordan, 2006). Riordan Manufacturing has not forecasted their scheduling, production, and delivery effectively. Riordan should consider the implementation of lean production to establish an optimal price while reducing cost and waste. Implementing a lean production process is ideal for the China plant because the concept states that nothing produced until needed. Developing closer relationships with the suppliers could result in a reduction in the delivery time. The implementation of lean production is considered a good strategy to respond to the market needs. Implementation Plan Riordan will need to begin by developing a production plan that specifies what the customers’ demands are. The forecast of future demands will need to be established. The implementation of the just in time lean production system will be the bases for the forecast. Production planning includes decisions that will affect production and inventory. Riordan current labor force could be affected with implementation of the new process design. Riordan plan implementation will begin with the formation of the project teams. The team will be establishing the tasks and duties. The teams will choose which tactic, tools, and software that could be utilized such just-in-time inventory and MRP software packages. The final task will be troubleshooting and quality control. Riordan will need to identify any problem or bottlenecks in the process that need to be addressed or redesigned to establish the more optimal outcomes. The new process will allow Riordan to achieve its goal of at least 99% customer satisfaction from the current 93% customer satisfaction.

Computer Security Information Risk Assessment & Security Management Essay

Computer Security Information Risk Assessment & Security Management - Essay Example Before computers became ubiquitous, confidential information was stored in documents, photographs, audio or video tapes, etc. The confidentiality was ensured by keeping these items in locked safes, bank vaults, dual control safes, etc. This is prevalent to some extent even today. With Computers becoming ubiquitous, documents are now largely electronic. To preserve their integrity and confidentiality, recourse is made to password protection, data encryption, firewalls, intrusion detection software, etc. (Parker. B, Donn. Microsoft Encarta, n. d.) This is the age of the World Wide Web. Nowadays, almost every person having a vehicle loan, a housing loan, a credit or debit card, and automated teller machine card, a social security number, a passport, a driving license, a telephone connection, etc, has to provide detailed personal information to the agency or authority, which provides that particular facility or service. Most if not all such information is in electronic form and stored in some centralized Computer's Database. The crux of the problem is this electronic form of personal data. If a hacker succeeds in his hacking attempt then all such confidential data can be viewed, changed or destroyed by the hacker. There exist a vast number of such co... software such as automatic computer virus generators, internet eavesdropping sniffers, password guessers, vulnerability testers and computer service saturators to further their criminal ends. Adoption of such methods makes identity theft, fraudulent withdrawals from a bank account, fraudulent electronic funds transfer, etc, possible. A vast amount of confidential data is regularly exchanged between governmental agencies and financial institutions like banks and other corporations. This transfer of information usually takes place between computers located in different and far off places. In the 1970's Horst Fiestel of IBM, developed an encryption system known as Lucifer. In 1977, the U.S National Bureau of Standards developed an encryption standard known as the Data Encryption Standard. In 1997, the NIST developed the Advanced Encryption Standard. The use of these methods makes the encrypted message almost impossible to decipher. Unfortunately, this is used by terrorists and international criminals to plan and execute their nefarious activities. (Sutton. G, William, Rubin .D, Aviel, Microsoft Encarta, n. d.) The world is becoming increasingly networked. In this scenario, data encryption algorithms of increasing complexity are ensuring the secure transmission of information across Computer Networks. Password protected logins, firewalls, anti - spy ware like intrusion detection systems, anti - virus, application safeguards like generation of checksums, use of maker checker concept in financial transactions, authentication message source, use of roles and privileges, limit on transaction amount, redundancy of backups, parallel databases and the physical security of hardware. In addition to this, a mock disaster recovery drill should be conducted on a regular

Technology Evaluation Different Time, Same Place Essay

Technology Evaluation Different Time, Same Place - Essay Example asily transfer information between individuals in a company and could possibly reduce the efforts of working together and make completing tasks easier through the use of real time communication between many members of an organization at once. Though it could possible save time working on tasks this is not a known certainty. It is possible to search for any key word however I do not believe it would save time searching for information. Twitter helps you reach relevant peers and its’ service is supportive in helping you reach pertinent managers through the use of its real time interactions. It is a possibility that it could assist you in valuing your coworkers though it is not likely to help you achieve your performance goal unless it is something that you are supposed to communicate to members of your company. Unless it is specified in your job description it is not likely that Twitter will help you in your ultimate job responsibility. Twitters instant multi-way communication can increase a team’s productivity by making it easier for them to collaborate on a project and encouraging interaction and relationships among team members. It is not likely to enable a team to work faster unless they are a distance apart and communication among many members of an organization is necessary to complete a job. Twitter works well on both personal computer and mobile device, once it is an allowed application it also functions well within an intranet. By connecting you to others in your organization Twitter can be used as a method of real time communication. Twitter does not allow you to store files on its servers and does not integrate with other services. Twitter can assist an organization in multiple ways. Instant communication between many members or employees at one time and in real time is an invaluable tool in getting any project completed. The fact that it works on multiple platforms, any computer or mobile device with internet capabilities is all that is required,

Learning contract on myself Personal Statement Example | Topics and Well Written Essays - 1250 words

Learning contract on myself - Personal Statement Example After graduation, I engaged in nursing activity for a number of years. Initially, there seemed to be go progress in this career and hopefully, it looked like the way to achieving the personal desires. However, this did not last beyond ten years. I started experiencing nervousness during work and felt that I was being overworked. After some years, I realized that nursing was not my best career; therefore, I had to look for an alternative. Later, I moved to retail part time and the new career looked satisfying. In fact, the new job involved a lot of customer interaction, problem solving, direct sales and many other challenges, which led me to the position of the Store Manager. Notably, the position was full time, rewarding and challenging, and made me gain experience in International reporting. After staying at the store for some years, I decided to look for a greener pasture, thereby, moved to Woolworths. In this new work and environment, I discovered Logistics and supply chain, more lucrative than the previous job. The desire for the job was cut short due to the long working hours that I was subjected to. In reality, this terminated my employment with the institution and marked the beginning of another transition to a new company. Notably, the movement from one company to another was a search for the fulfilling job and pursuit for personal ambitions, not as a result of undue influences. Answer to Question 2 The Place I am Now In the new company, the employer gave me an opportunity to learn and apply my craft in retail and working through the ranks. Through the hard and challenging roles in my previous duties, it was a sense of determination to succeed that drove me to this height. The main aim was to develop own management and leadership style. Remarkably, the new opportunity has again presented another challenging opportunity helping me address the weaknesses and strengths according to the new management chain. As a result of the rigorous work that I have done in the past years, I am capable of implementing blue prints to roll out new procedures, for example, meeting my targets, problem solving and improving on some of my weaknesses, which have made me the best manager. Literally, I have been able to meet the targets of my current duties. In addition, I have been able to do subjects like industry engagements, where I have learnt various methods to implement my duties and different ways to communicate with the people. Answer to Question 3 The Place I want to get to Truly, each employee does not intend to stagnate in one position till retirement. Indeed, the change of position makes a person meet challenging ditties, leading to improvement on the worker’s skills and problem solving ability. In particular, the past careers have enabled me improve my skills in management in logistics, retailing and management. Therefore, in order to achieve the long term goals of being a junior executive, and rise to the position of a full management executive through extensive learning (Nicholson, 2000). Answer to Question 4 The ways I would Use to Get There Notably, getting to where I would like to reach might not be an easy task, since there are a number of things to do. Particularly, I would need to complete my studies, be pro-active at work and consider all the negative and positive feedback that I get on my performance. In addition, trying new technique and getting support and

Business Plan Essay Example | Topics and Well Written Essays - 1000 words - 4

Business Plan - Essay Example The products will be the same from the farm, but I will be selling them as my own brand name. Proposition In today’s world, organic food has been touted as the best option as either genetically modified food or food grown under green house conditions are not nutritious comparatively. Food from organic farming is gaining prominence from consumers despite the price compared with food from these conventional sources. There are many reasons that support any business with a special focus on environmental sustainability, therefore, the current success in my franchise business. My plan is to build a brand that delivers the same promise to a wider clientele at with a vision to cover the whole country in five years and foreign markets starting from European Union. The market is growing tremendously with consumers who are able to afford, ever increasing. Clients visiting my shops have been more than willing to pay a premium for the vegetables, fruits, and animal products. The reasons wh y they are buying are many including health and safety benefits as they are highly nutritious when delivered when fresh. To the environment, organic farming conserves it by preserving the natural state of soil, no erosion and restoring where they are depleted. Water bodies are conserved as there are no harmful affluent substances from the farms besides not cutting down trees along rivers and trees under agroforestry to create a sustainable environment. The most important reason for growth in sales in organic food is the economies of scale in forming cooperative farming as more farms join the cooperative able to produce en mass. This result in reduced production costs eventually passed on to consumers through reduced prices. The franchise business I have been operating has been able to gain more customers as they place more orders. I have been able to buy a pick up that I have been using to deliver to customer residences regularly from the fee earned from Riverford Farm. There is a g reat opportunity to serve more customers with the right capacity and repackaging vegetables for delivery to a wider market network. The current stalls have been overstretched as they serve only a small clientele limited by the number of stocking of pre-ordered supplies and delivery. There is a great opportunity to expand beyond the current limitations by placing my own orders which I am able to service. In order not to be limited by the supplies from the farm I am planning to contact more farmers who are able to supply from other regions as I cover a wider geographical location as I expand in future. I will design and print my own delivery box and provide a wider variety of choices. Parts of my target clients are hotels which a have unique variety mix in vegetables, fruits and animal products. The box content can be changed to suit specific needs for each target client by having only fruits boxes, vegetables and animal products. Hotels and institutions may not fall in the kind of cl ient characteristic served by the current boxes but rather require each unique product in large quantities. I will be able to supply directly to Yorkshire Farmers Market to business people operating stalls. Marketing mix To succeed in my plan, I need a proper marketing mix that is able to deliver the promise of value to my business and to the target customers. I should be able to attract and retain

Article Review Research Paper Example | Topics and Well Written Essays - 750 words

Article Review - Research Paper Example The members of the board are not answerable to the president; moreover, they have regulatory authority over each and every public company in the US. It is pertinent to note that with the passage of Sarbanes-Oxley Act, Security Exchange Commission pegs the cost of â€Å"internal controls† for an average company in US at $91,000 per year. Commission also acknowledges the fact that the cost has increased substantially. In 2008, SEC surveyed thousands of corporations to assess the cost implications in the post SOX period and it was found that an average company needs to spend $2.3 million to comply with the provisions of Section 404. The disturbing part is that small companies have to bear the brunt of it in a much larger proportion relative to their assets. In this survey, only 19% companies confirm that the benefits of section 404 are significant to outweigh its costs. The author argues that investors are, to a large extent, skeptical about the benefits of this law. Legal Issues The section 302 of the Sarbanes-Oxley act prescribes that senior management of the company needs to authorize the accuracy of the financial reports and section 404 is all about establishing ‘internal controls’ and reporting methods specifying the adequacy of these controls. This legality has enhanced the cost of compliance substantially of all listed companies in the US. Managerial Perspective The whole purpose of enacting the law is to restore investors’ confidence in the companies. However, SEC survey establishes that a large proportion of the respondents do not agree that Section 404 has been able to enhance confidence of the investors in their companies. Section 404 encompasses even minor issues that place a huge burden of cost on the companies while complying with the law. It is ironical that majority of the foreign companies are contemplating de-listing from US exchanges and many small foreign firms have abandoned the idea to enter into American Capital Ma rkets. This means that Sarbanes-Oxley Act works as a deterrent to the small and foreign firms. Though credit raters and securities analysts, in a separate survey done by SEC, give favorable view about section 404 but at the same time admit that the benefits from Section 404 cannot be quantified. The most troublesome part is that ever since the enforcement of law, US firms have reduced their investments on research and development and capital expenditures vis-a-vis firms of other developed countries such as Canada and UK. The reason being directors and senior managers are scared of criminal penalties involved while undertaking risky investments that are difficult and costly to monitor. This certainly does not augur well for the economy of the nation. Reference Freeman J. (2009). The Supreme Case against Sarbanes-Oxley. The Wallstreet Journal. Retrieved August 23, 2012 from

Chilhoodhood obesity Essay Example | Topics and Well Written Essays - 750 words

Chilhoodhood obesity - Essay Example When it comes to â€Å"Raising Healthy Children† (Purcell 46) parents must educate themselves about childhood obesity. Information on proper nutrition is given to parents, in some cases, at their childs first doctor visit. Parents are often shown the food pyramid as a guideline for healthy eating, and regular exercise is also recommended. Parents should limit buying prepackaged food because of their high sodium and sugar content, but instead should give a variety of fruits, vegetables, and as part of their child’s daily diet to supplement an active lifestyle. Children should be encouraged to try several healthy foods at dinner. Limiting and/or eliminating fast food from a child’s diet will help decrease the amount of unhealthy fat and sodium that are going into a child’s body. Portion control is also important in maintaining a healthy diet. Reducing beverages with high concentrations of sugar (Clabaugh, Neuberger 34.3) is also necessary in preventing child hood diabetes. Eating unhealthy foods and not maintaining an active lifestyle can lead to childhood obesity that can manifest itself as a broad range of medical disorders in the future. Children learn mostly through observational learning. Parents must eat healthy and exercise and the children will follow. Parents can start by having available fresh fruit that can be eaten year-round and eat health snacks. Interactive activity with their children can also lead to a positive self-image as well as a healthy lifestyle. Parents can refer to studies like (The Lifestyle Behavior Checklist:Morawska and Joughin.36.4) to see if their adequately reducing their childs risk of childhood obesity. Since childhood obesity has increased at an alarming rate, physicians are asking, â€Å"Do parents recognize this health risk?† (Etelson, Donald, Patrick, Brand and Anushree Shirali 1362). Children are likely to develop bad eating habits because they are exposed to them as children.

How would you describe your views on sex and sexuality Essay

How would you describe your views on sex and sexuality - Essay Example The essay "How would you describe your views on sex and sexuality" focuses on the view on sexuality and sex. In American culture, sex is not necessarily to be showed to a loved one, but can be merely a way to satisfy one's physical desires. However, I do not believe that sex can merely be used to fulfill a physical desire, like scratching an itch. The practice of sex outside the realms of marriage is considered to be a sin. Sex should be an emotional experience between loving, married couples and not between two compatible physical partners to show lust. Even if one grows up and experiences a want to be sexually content, the individual should wait for the right time to get married to fulfill his needs. Here I would like to state that when it comes to such activities the most important role is played by the society. If one is raised up in a conservative environment where such activities are considered a taboo before marriage then there are good chances that an individual will wait unt il marriage. Some societies, or basically the environment, in which people are raised do not allow any individual to stay with the opposite gender alone after they’ve reached puberty in order to keep distance and to maintain purity. This is a part of my culture and hence my belief. Hence, there is no way to explore the opposite gender and safe distance was maintained. These values are majorly uprooting from the religious and culture benchmarks one belongs to. Some sects believe that sexuality is only feasible after marriage.... At times being involved in sexual activities is considered to be a source of pride and manhood for the family and tribe. Moreover, Islam promotes sexuality after marriage and I side up with this view as a sexual relationship before marriage can lead to pregnancy and hence the birth of an illegitimate child. These days a fairly different concept has emerged with the increase in gays, lesbians and homosexuals. Today where freedom is given to each and every individual hence their sexual preference is also accepted. I personally would put forward that this act is going against nature and would never help to build up a normal life with normal children. One thing that needs to be highlighted here is that one cannot force another person to involve in sexuality without their consent. Strict laws are formulated throughout the world that deals with people who force, violate the dignity of another or involve in sexual activities with minors. In American culture Sex initially was considered to b e a sin and nobody on the front foot had the courage to be involved in such an activity but nowadays values have virtually died and one feels proud to call himself a 'non virgin'. Furthermore there is immense social pressure that has resulted in the widespread of sex related activities as those who do not follow the trend of exploitation are considered to be inhuman or incapable. (Teens and sex 2013) On the other hand the Middle Eastern culture still promotes chastity as they believe that a normal life cannot be lead without purity. Initially sex within marriage is to the process of reproduction and the purpose to initiate a family and enjoy the life, but sex outside the circle of marriage has become a trend and

TUI Travel International Money and Finance Essay

TUI Travel International Money and Finance - Essay Example TUI Travel PLC is a leisure travel company that is leading in the world. The company operates in around 180 countries and has around 31 million customers of its services that reflect the company’s performances in 31 major market areas across the world (TUI Travel PLC, 2012). The company offers the best available holiday tours and services for its customers that include sun and beach, activities and adventures, luxuries, excursions and transfers, accommodations, oceans and rivers, and responsible travels (What we do, 2012).TUI Travel PLC being one of the leading companies in leisure travel services, its operations is spread across 180 countries that include 31 of the major market areas. The major source markets of the company include UK, Sweden, Germany, France, Belgium, the Netherlands, Austria, Poland, Switzerland and Canada. â€Å"TUI Travel’s core markets account for  £388bn of global travel spend† with the three largest markets being Germany, France and the UK (Market Overview, 2012). The performance of the company has been in line with the company’s strategies and the company has reflected development in its business operations with the turnover of the company increased by 5 percent that accounts to around 3.5 billion Euros as recorded in the first quarter of the FY2012. The previous year results for the company had recorded 3.3 billion Euros. â€Å"This growth is principally attributable to a higher proportion of differentiated product sales† (Hanover, 2012).† (Hanover, 2012). The major competitors for TUI include Kuoni Travel Holding Ltd,. Thomas Cook Group plc, and Travelport Limited. The top industries for the company are travel agencies and services, transportation services sector, and business services sector (TUI Travel PLC Competition, 2012). Financial Trends of TUI Travel PLC in Last Five Years Time: The financial trends of the company reflect improvement in the performances of the company with the gross margin being recorded at 8.86 percent improving from revenue of  £13.51 billion in the year 2007 to  £14.69 billion in 2011. The net income recorded an improvement from a loss of  £123.00 in 2007 to  £89.00 million in 2011. The net profit margin of the company is 0.43 percent and the operating margin is at 0.97 percent. Increases have also been reflected over the years in the dividends per share and earnings per share of the company. While the dividends per share increased by 2.73 percent on an average over the last five years, the earnings per share reflected an increase of 171.65 percent year on year. This is a remarkable achievement for the company since not many companies in the industry are known to pay dividends (ft.com/marketsdata TUI Travel PLC, 2012). As far as the cash flow of the company is concerned, records reflect a fall in the cash reserves of TUI in 2011 by  £402.00 million. However, on the other hand, TUI gained from its operations  £613.00 million that reflects a cash flow margin of 4.17 percent. It is also of the record that the company has utilized

Virtual Reality Essay Example for Free

Virtual Reality Essay Virtual reality has promise for nearly every industry ranging from architecture and design to movies and entertainment, but the real industry to gain from this technology is science in general. The money that can be saved examining the probability of experiments in an artificial world before they are actually carried out could be great, and the money saved on energy could be even greater. Virtual reality is something that personally excites me because uses and benefits of it are never ending. The best example of how virtual reality can help science is that of the molecular docking experiments being done in Chapel Hill, North Carolina. Scientists at the University of North Carolina have developed a system that simulated the bonding of molecules. However, instead of using complicated formulas to determine bonding energy or stick drawings, the chemist can use a high-tech head-mounted display. With this they attach their bodies to an artificial arm from the ceiling. This system is so easy to operate that children could learn to form bonds using a trial and error method. In another field, architectural designers have also found that virtual reality can be useful in visualizing what their buildings will look like when they are put together. Often, using a 2D diagram to represent a 3D home is confusing, and the people that fund large projects would like to be able to see what they are paying for before it is constructed. An example, which is fascinating, would be that of designing an elementary school. Designers could walk in the school from a childs perspective to gain insight on how high a water fountain is, or how narrow the halls are. Product designers could also use virtual reality in similar ways to test their products. NASA and other aerospace facilities are concentrating research on such things as human factors engineering, virtual prototyping of buildings and military devices, aerodynamic analysis, flight simulation, 3D data visualization, satellite position fixing, and planetary exploration simulations. Such things as virtual wind tunnels have been in development for a couple years and could save money and energy for aerospace companies. However, in the medical field researchers have been using virtual reality techniques to synthesize diagnostic images of a patients body to do predictive modeling of radiation treatment using images created by ultrasound, magnetic resonance imaging, and X- ray. A radiation therapist in a virtual world could view and expose a tumor at any angle and then model specific doses and configurations of radiation beams to aim at the tumor more effectively. Since radiation destroys human tissue easily, there is no allowance for error. Also, doctors could use virtual cadavers to practice rare operations which are tough to perform. This is an excellent use because one could perform the operation over and over without the worry of hurting people. However, this sort of practice may have its limitations because of the fact that it is only a virtual world. In addition, the computer user interfaces are not well enough developed and it is estimated that it will take five to ten years to develop this te chnology. Nonetheless, a company in Japan called Matsushita Electric World LTD is using virtual reality to sell their products. They employ a virtual reality research head-mounted display linked to a high-powered computer to help prospective customers design their own kitchens. Being able to see what your kitchen will look like before you actually refurnish could help you save from costly mistakes in the future. My uncle, Jan Holliday, has a virtual reality company data library . At his electronic design company, the company stores all of its data in 3D, virtual reality form on a computer. This makes the data more easily accessible by the employees of the company and they can find data in a library type setting by using virtual reality. It also makes the company information more organized and puts it in one designated area instead of spread throughout a library. The entertainment industry also stands to gain a lot from virtual reality as well. Universal Studios, among others, is developing a virtual reality amusement park which will incorporate virtual reality games and other new technology. Another virtual theme park, Atlantis Cyberspace, is opening  soon. It will incorporate entertainment with education. The virtual theme park will also use state of the art virtual reality. The park will have two player games in which players challenge each other. It will also let customers swim like dolphins, and let buyers play with virtual waterbeds and hydraulic units. As it stands, almost every industry has something to gain from virtual reality and in the years to come, it appears that the possibilities are endless. Virtual reality is both easy and fun to use, and its something that almost anybody at any age can operate.

Tescos Performance Based On Financial Ratios Commerce Essay

Tescos Performance Based On Financial Ratios Commerce Essay This research proposal studies on the factors which Tesco in their current profitability and meet it short-term financial obligation. Tesco also look strong for the employees motivation and the company competitive exists. Tesco was founded in year 1919 by Jack Cohen and the first Tesco name appeared in year 1929 (Tesco, 2010). Nowadays, the Britian leading retailer is Tesco and also United Kingdom based international supermarket chain (TESCO, 2010 and Tesco House, n.d.). They operating over 4,800 stores globally and employing over 472,094 people (Checksure, n.d.). At the beginning, they specializing in food, now move into areas like clothes, consumer electronics, consumer financial services, selling and renting DVDs, compact discs and music downloads, internet service and consumer telecoms (Tesco House, n.d.). They have 588 supermarkets and 257 are superstores. Besides that, they operates in 13 countries such as Republic of Ireland, Hungary Czech Republic, Slovakia, Turkey and Poland in Europe, China, Japan, Malaysia, South Korea, Thailand, India, and the U.S. (Tesco, 2010). The key towards Tesco success was related to their financial position which consists of generate a return on its resource, able to meet its short-term financial obligations and the efficiency ratios. Usually, the financial ratios analysis is including profitability, liquidity and investment ratios. Its normally used to analysis company performance which analyzes the success, failure and progress of company business. (Woods, 1999). In addition, it can also calculate for a company to be compared with other companies and own companies own past figures (Jiao and Bhalotra, 2007). Profitability ratios determine that the companys able to generate a return on its resource (missouribusiness.net, n.d.). Besides that, profitability shows proportion is advantageous business, measuring the overall performance was investigated, the profits of the company, can be used to test how your company operation, compares the current performance and the record of the past (Jiao and Bhalotra, 2007). It including gross profit, net profit margin, return on assets, and return on equity. The gross profit margin is indicates how well the company be able to generate a return at the gross profit level (Missouribusiness.net., n.d.). The gross profit margin considers the firms cost of goods sold, but does not include other costs (Netmba.com, n.d.). The formula for calculate the gross profit margin which is gross profit margin equal sales minus cost of goods sold divide by sales and multiply 100 percent. The formula calculates for net profit margin is net profit divide total sales also can call net sales and multiply 100 percent. However, this ratio ability provides a significant investment, indicate its sales business ability covers the smallest fixed cost and remains an acceptable profit (Missouribusiness.net, n.d). Formula calculation for return on assets is net incomes before taxes divide by total assets and multiply by 100 percent. This ratio display the effectively of the firms assets able being used to generate profits (Netmba.com, n.d.). In addition, low return on assets (ROA) indicates inefficient management, adverse when a high ROA which mean efficient in management (Barry, n.d.). Otherwise, this ratio in public company normally report return on assets to their shareholders, cause to tell them how well when using its assets to produce income. The return on equity (ROE) also knows as return on investment (ROI). The calculation compete for ROE which is return on equity equal net profit before taxes divide by shareholder equity multiply by 100 percent. These ratios usually indicate how well the company is utilizing its equity in investment and normally will higher than return on assets. According to proficient, if those companies hope their business growth in future, therefore, their ratio needs at least 10 to 14 percent in ROI (Barry, n.d.). This is a good figure to compare beside competitors or an industry average. For example, if the ratio is lower which mean that they meager management performance. In other words, a high return on investment indicates that management is doing well. Liquidity ratios is show how quick the company able to convert assets to cash, and pay off interest (Carter, 2010). Furthermore, the low levels of liquidity ratio can demonstrate poor management for grown up company (Netmba.com, n.d.). Besides that, its providing with useful limit for business managers to help them regulate their borrowing and spending (Barry, n.d.). The main liquidity ratios are the current ratio and quick ratio. Current ratio is also called the working capital ratio (Missouribusiness.net, n.d.). It is the number of times a companys current assets exceed its current liabilities, which is an indication of the solvency of that business (Auerbach, n.d.). The formula to compute the current ratio which is total Current Assets divide total Current Liabilities. A general rule of thumb for current ratio should be at least 2:1 (Missouribusiness.net, n.d.). A lower current ratio determines that the company may not be ability to pay its invoices on time, while a higher ratio means that company has money in cash or safe investment that could be put to better use in business (Barry, n.d.). The quick ratio is also called the acid test ratio (Missouribusiness.net, n.d.). It indicates the extent to which company could pay current liabilities without relying on the sale of inventory (Missouribusiness.net, n.d.). A general rule of thumb states that the ratio should be 1 to 1 or 1:1 (Missouribusiness.net, n.d.). If it is higher, the company may be keeping too much cash on hand or have a poor collection program for accounts receivable (Barry, n.d.). If it is lower, it may indicate that the company relies too heavily on inventory to meet its obligations. The formula for compete quick ratio is current assets minus inventory and divide current liabilities. 4.0 Significance of study: Basically, this study is seen vital as in it helps Tesco to do their financial performance more effectively. Regarding on that, it more related to the financial ratio analysis whether in term of profitability, liquidity and investment ratios that Tesco would take in for their effective management. Furthermore, this study also could acts as references for other retails that going to develop in the future as well to enhance competitive advantages. 5.0 Literature Review: Part A 5.1 Profitability ratios Profitability ratios are an indication of companys overall efficiency and performances. According to the calculation of annual report, the Tesco gross profit margin from year 2009 (7.76%) to 2010 (8.10%) increases 0.34 percent. During year 2010, Tesco net profit margin increasing 0.14 percent from 3.97 percent to 4.11 percent (Tesco, 2010). It indicates Tesco every year able to grown their revenues (Wearden, 2010). This is because they believe that having a good profitability the companies now can operate well in worldwide markets. Besides that, the profitability also provided information for investor to let the investors to know how well they company is going to evolution (Beginnermoneyinvesting.com, n.d.). Not only Tesco using this ratios and Carrefour S.A also use this ratio method. Because the Carrefour believe that improve in the profitability, it will efficient to the businesses running. Therefore, Tesco and Carrefour believed that using past data as a benchmark to make a concl usion as to why the profitability is increasing and decreasing, so that the company can go well (Mysmp.com, n.d.). For example, during the fiscal year in 2008, the Tesco had a better sales growth rate, so that they company moving up from number four to number three in the ranking in the world. When hold on more of retaining, its profits would cope with future external market challenges (Fresh Easy Buzz, 2010). 5.2 Investment Ratios Return on equity also known as return on investment (ROI). This ratio widely use by company because it ability to indications how efficiently the money invested in a company is providing a return to those investors (finpipe.com). In addition, the investor will through by ROE to get information what they need to make a sound decision (Winters, 2002). The investors normally will look for positive ROE, before making any kind of investment and also use to compare different investment options by an investment advisor (Dogra, n.d.). During 2010, Tesco ROE is 12.04 if compare to 2009 (11.98%) it increase around 0.06 percent. Besides that, Carrefour also emphasis on ROE, because investor is their money income if their ROE is not well that will influence their business and will affect them to expand in international business in worldwide. Therefore, the equity also look more to the operational and profitability ratios which to determine future profits that will accrue to the shareholder and t he shareholders compare the profitability of different projects by looking into their return on investment ratios (Dogra, n.d. and finpipe.com, n.d.). According to Shannon report (2010), Tesco CEO Terry Leahy announcement that the 145 store Fresh Easy should become profitable in fiscal 2013. Because of this announcement it causes the return on equity growth. In addition, a sharp improvement in Asia markets like Thailand and Korea able to helped drive sales growth. Return on Assets is evaluate to use get a feel for how well a company using their assets to generate income (money-zine.com, n.d.). During year 2010, Tesco ROA increase around 0.5 percent from 6.4 percent to 6.9 percent, because of the amortization charge on intangible assets arising acquisition. It also causes the group trading profits increase. In addition, they release cash from property through a sequence of joint ventures and other sale and leaseback transaction. Therefore, these transactions so far is completed which with pension funds, property companies and other investors would have delivered aggregate proceeds of  £2.2bn (Tesco, 2010). 5.3 Liquidity ratios Liquidity ratios are determined of a company ability to meet its debts (Winters, 2002). Liquidity ratios have current ratio and quick ratio. Current ratio is help company to see their able to pay their current debts without going against future earnings. In year 2009, Tesco current ratio 2009 is 0.77: 1 and year 2010 is 0.74:1. However, we can realize that current ratio from 2010 is decrease. This is because they always have new markets to invest in. The Tesco CEO Terry Leahy increase in borrowing ratios when spearheaded  £6.6 billion of spending on expansion, including the  £958 million takeover of South Koreas Homever supermarket chain. Although, Tescos facing debt is high but they feel it still very healthy balance sheet (Bloomberg, 2009). Quick ratio is show of the companys ability to make the payments on current obligation. Quick ratio for Tesco in year 2009 is 0.61:1 and year 2010 is 0.56:1. It shows that year 2010 ratio is decrease. This is because during that period they facing financial crisis. Although their ratio is decrease but they still can pay the debts because of they repaid their debt more early and use that was earning little interest to buy back higher interest-bearing corporate bonds (Tesco, 2010). Part B 5.4 Competition Besides that, competition in the worlds market is more important because it enables help the company assess intelligently the business environment in which the firm operates. This is because if without competition, the company unable to improve as in no competitive advantage. The competition enables the management to identify the companys weak points which to helps the firm to concentrate on the areas it needs to improve. The Main competitors of the Tesco are Carrefour S.A., J Sainsbury plc, Wm Morrison Supermarkets PLC and so on (Datamonitor, 2004). These are the main competitors in business strategies and the value markets. In other words, it also can help the company to know what kinds of actions are required to development with the competitive position in the industry (Articlesbase.com, n.d). 5.5 Motivation Employees are considered the important asset of a company. Based on that, the key of business success is general relying on employees. Employees are considered the important asset of a company. Based on that, the key of business success is general relying on employees. Tesco mission is work as a team, trust and respect each other, listen, support and say thank you, and share knowledge and experience to customers. Above all they want their employees everyone at Tesco can enjoy their work. Besides that, the Tesco believe that if you treat people well they will give great service so they customer able to enjoy their shopping trip. Tesco know their employees can work better when they are given the space to make decisions and take responsibility. They also encourage their employees to learn from their mistakes and challenge conventional thinking (Tesco, 2010). 6.0 Methodology: Theoretical framework for this study is: Gross Profit Margin (IV) DB Total Assets Turnover (IV) Net Profit Margin (IV) Return on Assets (IV) Stock Turnover Period (IV) Tesco Performance (DV) Quick Ratio (IV) Return on Equity (IV) Current Ratio (IV) In this case, the Tesco performance is dependent and financial ratios are independent. Generally, secondary data collection is going to be done in order to help achieve the objectives in this study. It can through by annual report to do a comparatives which how well the Tesco performance in current year and previous year. In addition, they can highlight the variances in past budget, so that they can improve in following year through by these problems. (Words count: 2061) Reference lists Auerbach. A., n.d. How To Analyze Your Business Using Financial Ratios. [Online] Available at: ,http://www.esmalloffice.com/SBR_template.cfm?DocNumber=PL12_1500.htm> [Accessed 26 October 2010] Barry. C.C., n.d. Financial Ratios. [Online] Available at: [Accessed 27 October 2010] Beginnermoneyinvesting.com, n.d. Profitability Ratios. [Online] Available at: [Accessed 14 November 2010] Bloomberg, 2009. Tescos debt-fueled growth sparks investor backlash. [Online] Available at: [Accessed 29 October 2010] Carter. M., 2010. The Purpose of Financial Ratios. [Online] Available at: [Accessed 27 October 2010] Checksure, n.d. Tesco Plc and History of Tesco Plc. [Online] Available at: [Accessed 26 October 2010] Datamonitor, 2004. Tesco PLC. [pdf] Available at: [Accessed 15 November 2010] Dogra. A., n.d. Return on Assets Ratio. [Online] Available at: [Accessed 14 November 2010] Finpipe.com, n.d. Financial ratio analysis. [Online] Available at: [Accessed 4 November 2010] Fresh Easy Buzz, 2010. Tesco Drops From Third to Fourth Place in Important Global Retailing Ranking Despite Having Higher Sales Growth Than Rival. [Online] Available at: [Accessed 29 October 2010] Jiao. K. and Bhalotra. K., 2007. Financial Analysis J Sainsbury Plc. [pdf] Available at: [Accessed 27 October 2010] Kulkarni. A., n.d. Return on Equity Ratio. [Online] Available at: [Accessed 14 November 2010] Missouribusiness.net, n.d. Financial Ratios. [Online] Available at: [Accessed 27 October 2010] Money-zine.com, n.d. Investment Ratios. [Online] Available at: [Accessed 14 November 2010] Mysmp.com, n.d. Profitability Ratios. [Online] Available at: [Accessed 14 November 2010] Netmba.com, n.d. Financial Ratios. [Online] Available at: [Accessed 27 October 2010] Shannon. S., 2010. Tesco First-Half Profit Gains as International Sales Rebound. [Online] Available at: [Accessed 29 October 2010] Tesco, 2010. About TESCO. [Online] Available at: [Accessed 25 October 2010] Tesco, 2010. Annual report 2009 2010. [Online] Available at: [Accessed 28 November 2010] Tesco, 2010. Annual report 2009 2010. [Online] Available at: [Accessed 28 November 2010] Tesco, 2010. Creating good jobs and careers. [Online] Available at: [Accessed 15 November 2010] Tesco, 2010. Group performance. [Online] Available at: [Accessed 29 October 2010] Tesco House, n.d. Tesco Plc Business Information, Profile, and History. [Online] Available at: [Accessed 17 October 2010] Wearden. G., 2009. Tesco reports weak sales growth. The company is still planning to hire around 10,000 people during 2009 more than Sainsburys and Morrisons together. [Online] Available at: [Accessed 30 October 2010] Wearden. G., 2009. Tesco unveils record profits of  £3bn. [Online] Available at: [Accessed 28 October 2010] Wearden. G., 2010. Tesco rings up record profits. [Online] Available at: [Accessed 28 October 2010] Winters. A., 2002. Investment tips: what are key investment ratios? [Online] Available at: [Accessed 14 November 2010] Executive Summary:http://www.scribd.com/doc/39455198/TESCO-Financial-Analysis

History of Artist Expression in Comic Books

History of Artist Expression in Comic Books Comic books, like many art forms, have been co-opted by a hungry consumer capitalist economy which makes a Faustian bargain with its artistic meals: give me your subversive art forms and ideas, this economy says, and I will communicate them to a mass audience beyond your wildest dreams; however, in exchange, your art forms and ideas will often simultaneously be stripped of their dignity and uniqueness by becoming products of no less ubiquity and no more value than toothpaste – mere tools to sell, sell, sell, and make more, more, more money for gigantic multinational corporations. This phenomenology is the ultimate in postmodern recontextualization, the stripping of an objects original meaning and significance, and its endowment with a new purpose either heretofore considered or deemed ethically, morally, or artistically acceptable. We shall explore the unique nature and popularity of comic books, and the themes presented in their narratives and characters, as a quasi-underground phenomenon whose ever-increasing popularity from the 1940s to the 1980s left them perfectly positioned to be gobbled and turned into movies and merchandise by giant corporations eager to both exploit the devotees of comic books and expand their numbers. What has been the big deal, historically, about comic books? Though they are primarily a postmodern phenomenon localized in the latter half of the 20th century through to the present, their roots go as far back as the 17th century, when the English mass-produced woodcuts depicting ghastly public executions. Comics first reached mass popularity in the United States in the 1930s in the form of newspaper comics; then, the comic book as a separate, thriving, and sophisticated art form began to evolve from there. â€Å"The comic book has been one of our most familiar, yet least appreciated, popular art forms. As vehemently criticized as it is passionately defended†¦ [it is] a graphically sophisticated and culturally revealing medium.† (Sabin, 1996, p.1). After roughly a decade of occupying a comfortable place in the American pop culture mainstream, comics, and then comic books, began to take to reflect a less sanguine view of American society. Violent crime comics began to appear, and the more squeaky-clean comics of the 1930s and during World War II absorbed some of these same themes. In the so-called Silver Age of Comic Books, the 1950s through the 1970s, most characters and narratives began to take on a darker and more complex tone, mostly in response to plummeting sales after World War II that reflected an unsettled cultural undercurrent brewing in America. In this initial countercultural heyday of the 1950s and 1960s, comic books were sometimes dismissed, much like rock-and-roll music, as the juvenile, unsophisticated, and pulpy fantasies of hormone-addled adolescents. Sometimes, however, comic books were labeled as cultural filth that was an ongoing threat, destructive to teenage minds. In 1954, right-wing American psychiatrist Dr. Frederic Wertham published a book called Seduction of the Innocent, which was an all-out assault on the ostensible delinquency-inducing content of comic books, and which singled out Batman for special criticism, claiming â€Å"a subtle atmosphere of homoeroticism.† (Wertham, 1954, p. 189). Werthams criticism of comic book content led to the establishment of a censor organization known as the Comic Code Authority that same year, whose heavy-handed influence forced comic book writers and artists to go somewhat underground with their subversive themes. However, Batman (and Robin, whatever his relationship with Batman may or may not have been) has far outlived both Dr. Wertham and the chilling effect of his book, and in fact, the longevity and deceptively complex content of comic books have proven them to be much more powerful than anyone ever dreamed. They have for decades embodied striking artistic expressions of artists and authors, who collectively spoke for countless millions of young people who did not quite fit in to the mainstream of society. These millions were given voice by comic books such as The X-Men, The Incredible Hulk, The Amazing Spider-Man, from the Marvel Comics Company, and Batman and Superman from the DC Comics Company. Each of the aforementioned titles tells an extended set of stories about a character or characters who are misfits of some kind, whether it be physical, psychological, or emotional, and who take on a variety of preternatural and/or superhuman characteristics which allow them to not only address their own personal struggles with their differences from others in society, but to aid society itself in coming to better accept those who are different; or, alternately, the characters are either born with or afflicted by a condition which makes them a misfit and therefore different from others in society, and must adapt to life as such. These comic book stories generally involve a variety of morality plays, ranging from simple good vs. evil, to the exploration of antiheros, that enable the characters to attempt to effect positive change in the world, and provide both catharsis and inspiration for the readers. The X-Men, for example, were created by legendary comic book author Stan Lee and artist Jack Kirby in 1963. They were /are a group of teenagers born with genetic mutations that have endowed them with a variety of superhuman characteristics, not all of which are necessarily constructive. In the Lee/Kirby universe, the X-Men are widely ostracized and discriminated against not only because they are different, but because non-mutant humans fear the X-Men are the next logical, superior step in human evolution and therefore could render normal humans obsolete. The teenagers stories often involved them attempting to come to terms with their powers and how to fit into the so-called normal human society. The X-Men were comprised of such characters as Iceman, a young man who could freeze objects at will; Wolverine, a foul-tempered young man whose skeleton is laced with a nearly indestructible metal alloy, including metal knives which he could extend and retract from his hands at will, albeit with considerable pain; Storm, a young black female who could control the weather, including the ability to summon storms at will; Nightcrawler, a young male born with blue fur who could become virtually invisible at night and teleport short distances; Cyclops, who could shoot beams of pure solar energy from his eyes, but not always control this power; Rogue, a young female possessing the hyper-empathic ability the feelings, memories, and abilities of other beings she touches —unfortunately, however, prolonged contact with others can weaken or kill them; Magneto, an older male survivor of the Nazi death camps who can manipulate magnetic forces, but whose psyche was so twisted by his experience at the hands of the Nazis that he has become an arch-nemesis of the X-Men; and Professor Xavier, an older male paraplegic with amazing telepathic abilities and a world-class intellect, who has dedicated his life to mentoring other mutants and defending them from themselves, unsympathetic humans, and the perennial machinations of Magneto. The X-Men and their stories were unabashedly allegorical and subversive in nature, content, and theme. Professor Xavier was modeled after civil rights activist Martin Luther King, Jr. and Sir Francis Xavier, Catholic missionary and founder of the Jesuit order. The sense of loneliness and isolation experienced by Rogue was a reflection of the near-universal teenage experience. The bigotry and intolerance of homosexuals is another allegorical component featured with the X-Men narratives, particularly in the film adaptations directed by openly gay Bryan Singer. In X-Men 2, the character of Bobby Drake characters comes out of the closet as a mutant to his parents, prompting them to ask if he has tried not being a mutant, parodying the oft-heard question of parents directed their gay children. Anti-Semitism, personal alienation, anti-Communist paranoia, and racism are also allegorical themes that X-Men comic narratives have explored in detail. And like The X-Men, Batman, Spiderman (also a Stan Lee creation), The Incredible Hulk and Superman all were dependent upon and explored the themes of what it meant for a person to be forced to hide or to be ashamed of a component of his or her true self, or to lead a dual existence – one private and personal, one public. Superman (created by Jerry Siegel and Joe Shuster), known by millions as a mild-mannered reporter, socially maladroit nerd, and bearer of an unrequited love for Lois Lane, who happens to be a near-omnipotent superhero when called upon in extraordinary circumstances, is the perfect embodiment of both teenage reality and teenage wish fulfillment. The Incredible Hulk (another Stan Lee creation) gets angry like all of us, but has real power – scary power, often – to do something about it thanks to hi s green steroidal transformation. Batman (created by Bob Kane and fleshed out by Bill Finger and Jerry Robinson) lives a quiet, dark life of solitude contrasted with public works of enviable nobility and good. These feelings of powerlessness and awkwardness, combined with empowerment fantasies, were and continue to be direct reflections of the collective concerns of millions of young people, and perhaps many adults, as well – how to fit into a society that demanded conformity without losing the uniqueness that embodies ones individuality. Ironically, the collective popularity of all of these comic book titles has historically been so striking in terms of sales that it would not be an unfair question to wonder if it fact the teenage misfits who bought them were in fact the majority, not the minority in society. Comic book sales peaked in 1993 at a staggering $850 million (U.S. dollars) and are still very healthy, though currently, the popularity of comic book characters is as likely to be manifest in movie ticket and DVD sales of film adaptations of comic books as it is in comic book purchases. More on this later. The character archetypes and narrative themes of most of these original and ongoing comic book series were produced in the crucible of the fairly conformist sociocultural pressures of the modernist era in the United States. The teenagers of each successive decade, beginning with the 1950s and continuing to the present, have been characterized by isolation, disaffection, rebellion, disillusionment, all combined with the pressure to adapt without question to the relatively monolithic mores of the generation which preceded them, a generation for whom belonging to a larger social group, for whom the values of unquestioning self-sacrifice and acceptance of authority figures and establishment power structures were the norm. Men were called to duty, whether in World War II or in the burgeoning post-war corporate universe; many made the ultimate sacrifice – their lives, or worse, their souls. Women, too, had their duty – to support their men in discreet, subservient lives of quiet domestic efficiency. But as American young people began to question the assumptions behind the Cold War, and question the rational and wisdom behind the interminably bloody Vietnam War, their uncertainty on these issues led to a greater wholesale questioning of the mechanisms and assumptions of societys very foundations. (Even Batman, whose creation in 1940 arguably predates postmodernism, eventually took on countercultural subject matter and themes, to say nothing of the suggestion of a taboo homoeroticism in the relationship between Batman and Robin.) This rebellion was met with heavy disapproval and disappointment by parents, representing the previous generation. The ongoing schism between these two generations has caused huge cultural, social, and political conflicts that continue to be played out even in 2005. These conflicts have been vividly reflected in the artistic expressions of the times – literature, music, and films. From the standpoint of the older generations, comic books were perhaps never adequately understood, respected, or even recognized for the potent and unusual artistic and cultural forces that they have always represented certainly as potent as more conventional and commonplace means of artistic expression, high art and classical music, just to name two ossified examples. (And, incidentally, these generational clashes were not limited to the United States in terms of understanding the rise of the superhero comic books. The country of Japan, tiny as it is, has become its own powerhouse in terms of churning out groundbreaking styles of comics, such as Katsuhiro Otomo of Akira fame, reflecting generational struggles unique to the Japanese youth culture.) The artistic expressions that arose out of the clash between generations also represented an evolution in classifications and mechanisms of art itself – the evolution from modern art forms to postmodern art forms. Modern art, reflective of the cultures from which it sprung, was generally conformist, and adhered to classic rules of form, function, and design, and either explicitly or implicitly supported the symbols of establishment paradigms by exploiting binary oppositions of us vs. them (i.e., Americans vs. Communists). Postmodern art rejected the methodology of modern art on every level, deconstructing it to such an extent as to even question the basic psychological definitions of symbolism in human art forms. The discarding and combination of genres and forms, the pastiche of styles, the toying with unorthodox symbolism, and an active interest in subversion and smashing of establishment systems – rebellion itself are all manifestations of art evolving to postmodern form. And instead of existing to analyze, but ultimately reinforce the paradigms of patriarchal establishments, postmodern art analyzed and often sought to undermine these establishments and their conventions, if not destroy them altogether. As noted by postmodernism scholar Andreas Huyssen, â€Å"†¦contemporary postmodernism operates in a field of tension between tradition and innovation, conservation and renewal, mass culture and high art, in which the second terms are no longer automatically privileged over the first.† (Huyssen, 1986, p. 267). As such, any art form that has enjoyed longevity has internalized and incorporated this revolutionary and evolutionary process, or been discarded or fossilized. Comic books are no exception to this rule, and their staying power has manifested itself in the last 20 or so years by their translation to and eventual dominance of the genre of film. In fact, comic books in their Silver Age forms were arguably inherently post-modern in nature, as they combined complex and detailed visual artistry with complex and serialized narratives, an intermixing pastiche of separate genres which had never before been combined in such a unique form. Books had, of course, often featured illustrations in the past, but they were only to provide occasional support and dimensionalization of the narrative, as opposed to being as important a component of the medium as the narrative itself. The fantastical and stylized nature of many of the illustrations featured in comic books were often postmodern artistic explorations in their own right, seeking to push the boundaries of conventional illustrations. Their explorations of anti-heroes helped deconstruct the notion of simple constructs of good and evil. American consumer capitalism, which is inherently (though not necessarily benignly) postmodern in its relentless desire to commodify anything and everything, particularly that which can be packaged as new, hip, and edgy – and thus desirable – has hungrily devoured comic books and the films which come from them. In doing so, the artistic and societal merit of comic books, in particular their subversive characteristics, have become themselves subverted by the deity of consumer capitalist commodification. The ultimate dream, for example, of fans of the X-Men comic books, that their beloved misfit characters would reach movie theatres and therefore a larger audience for their collective angst, has come true but that dream has also become a nightmare for some fans, as these same subversive misfit X-Men have also become action figures, clothing lines, cartoons on the side of fast food lunch bags and boxes all mass marketed to mass audiences in order to maximize profits for corporations that are more interested in shareholder earnings than they are the artistic merit of airing the collective voices of disaffected teen angst. If the phenomenology of disaffected teen angst can be appropriated to make a profit from teenagers, then corporations will be chasing the teens and their money incessantly. However, corporate interest in teenagers as a demographic generally has little to do with sociocultural altruism. In fact, cultural observers should take heed – â€Å"ventilation of genuinely alternative social visions collide directly with the underpinnings of power in the economy at large. (Schiller, 1986, p. 152) The trade-off is as follows: as long as such ventilation of alternative social visions makes a profit, it will be tolerated. But in the consumer capitalist corporate universe of today, art for arts sake, particularly if the art does not reinforce the machinery of consumer capitalism, will never generate much more than limited enthusiasm, and is more likely to meet with insidious hostility. The primary perpetrators in this arena are the behemoth corporate conglomerates that own the media, and the acquisitive way in which they manage their film and television divisions. In the 1960s and 1970s, film studios and television networks existed as independent business entities whose sole focus was the creation of films and television shows – nothing more, nothing less. While these companies were undisputedly interested in profits, the process was far more artist-centered and quality-driven than they are today. The presumption was that quality films would result in box-office successes, though the expectations of profit were relatively modest compared to todays standards. Then, in 1977, a watershed moment in film history arrived in the form of the blockbuster Star Wars, a comic-bookish story in its own right despite being an original creation of writer/director George Lucas. The film was not only the most financially successful phenomenon in movie history, but it alerted movie studios to a whole new economic model, centered around the notion of ancillary profits. Most notably in the case of Star Wars, the ancillary profits came in the form of merchandising. Inexplicably, before the films release, executives at 20th Century Fox, the films distributor, were convinced the film would be a flop, and in contract negotiations with Lucas, acceded to his unusual request to receive 100% of profits derived from sales of merchandise inspired and/or derived from the film, for example action figures and lunchboxes. The Fox executives surely rued the day they signed over these rights to Mr. Lucas, as Star Wars merchandise generated $1 billion in profits for the shrewd filmmaker. Another lesson learned by Fox, and other studios hungry to recreate the fiscal orgy of Star Wars, was that films targeted directly at children could be extremely lucrative at the box office, beyond profit margins to which they had become accustomed. Movies were no longer mostly the artistic or escapist purview of an audience comprised largely of adults. Their children came to be seen as a previously under-exploited source of bonanza profits. Lastly, movie studios began to rethink their conventional economic model, which was to produce modestly-budgeted films and reliably make modest profits. What Star Wars ignited was a phenomenon known as the blockbuster mentality, a hunger for epic profits from so-called event films, on which the studios became willing to gamble heretofore-unprecedented sums of money in hopes of hitting the proverbial jackpot. George Lucas, who began his career as a subversive filmmaker of eccentric tastes with critically acclaimed films such as THX-1138 and American Graffiti, unwittingly created a perfect storm that turned the film industry on its head. Star Wars was no fluke, as it turned out, and it was not long before the greedy capitalistic corporate culture of the 1980s began entertaining, no pun intended, the notion that film studio and television networks could be glamorous cash cows. In short order, huge companies whose core business usually had nothing to do with the entertainment industry were battling it out to see who could get into show business the fastest. Coca-Cola acquired movie studio Columbia/Tri-Star, which was later sold to Japanese electronics giant Sony; General Electric acquired the NBC television network; Capital Cities acquired the ABC Television network, and News Corporation acquired 20th Century Fox and the Fox Broadcasting Company; Gulf + Western acquired Paramount Pictures, etc. The unfortunate side effect of these mergers was the infusion of bottom-line, short-term profit-hungry thinking, as well as corporate models of branding and marketing products. These large corporations viewed films and television shows, and the intellectual properties that underlied them, as products, pure and simple, no different from mouthwash, shoes, soda drinks, or cosmetics. They expected their new acquisitions to transition from being art-focused and letting profits flow from quality, to simply making whatever sold the most tickets and had the most lucrative ancillary market potential. There was no single identifiable point, such a historical date or a press conference, when the critical link between art and commerce was separated, or the historical deference of profit to art was inverted (themselves postmodern phenomena, incidentally), but the entrà ©e of comic books into the world of film and television, which has become a powerful, dominating presence of comic books in film and television, followed and was directly related to this paradigm shift in the economics of the entertainment industry. The adaptation of comic books into film and television properties has been an exercise in creative cannibalism in some sense. Increasingly, film and television studios have taken on the risk-averse mentality of their corporate masters, and one of the effects of this has been to seek out intellectual property that might guarantee the fiscal success of a film or television show adaptation of said property. To the extent that a wildly successful book was often adapted for films geared towards adults, wildly successful comic book series were seen as a surefire way to guarantee a teen audience and the disposable income purchasing power of them and their parents. Movie executives sought to acquire the rights to comic book characters and stories which they could exploit – actual film industry terminology – and build into franchises – also actual film industry terminology, particularly creepy given the obvious parallels to McDonalds or Gap store franchise business models. For the most part, these franchises have been wildly successful from a financial point of view, though perhaps not from an artistic standpoint. There have been six Batman films made by Warner Brothers movie studio (owned by corporate behemoth AOL Time Warner, who not coincidentally own DC Comics, the original home of the Batman characters and comic books): 1989s Batman, 1992s Batman Returns, 1995s Batman Forever, 1997s Batman and Robin, 2004s Catwoman, and 2005s Batman Begins. Each film sported star casting of the highest caliber; however, perhaps with the exception of the first film, were special effects showcases first and artistically ambitious second, if at all. Nor were they particularly true to the time-honored complexities and lingering darkness of the comic books. Iconic film critic Roger Ebert (a devoted fan of the Batman comic books), in his review of Batman and Robin, took a forlorn swipe at each of the films to date: †¦ my delight began to fade at about the 30-minute mark when it became clear that this new movie, like its predecessors, was not *really* going to explore the bizarre world of its heroes, but would settle down safely into a special effects extravaganza. Batman Robin, like the first three films in the series, is wonderful to look at, and has nothing authentic at its core†¦ Watching it, I realized why it makes absolutely no difference who plays Batman: Theres nobody at home†¦ Give the foreground to the characters, not the special effects. And ask the hard questions about Bruce Wayne. (Ebert, 1997) Eberts last line refers to the perennial rumors that perennial bachelor Bruce Wayne might actually be a homosexual, or failing that, possess some unusual sexual fetishes that might not comprise the sort of fare that young children should be seeing at the movie theatre or on DVD. But this topic, as well as any serious exploration of Bruce Waynes psyche, was not been considered particularly lucrative by the marketing machines at Warner Brothers until the franchise was on the verge of death after the box office mediocrity of Batman and Robin and the outright box office disaster of Catwoman, which cost $85 million (U.S.) to produce and only made $40 million (U.S.) at the box office. 2005s Batman Begins was an unapologetically dark and complex film. Roger Eberts review may well have spoken for many Batman fans who ached for more substance and less pure style: The character resonates more deeply with me than the other comic superheroes, perhaps because when I discovered him as a child, he seemed darker and more grown-up than the cheerful Superman. He has secrets. As Alfred muses: Strange injuries and a nonexistent social life. These things beg the question, what does Bruce Wayne do with his time? (Ebert, 2005) Apparently, the moviegoing audiences agreed with Mr. Ebert, rewarding Warner Brothers with $205 million (U.S.) in box office receipts in the United States alone, and a similar – and still increasing – tally worldwide. The lesson here is that while an artistically unambitious and shallow film like Batman and Robin, which is more childish cartoon and marketing machine than serious filmmaking, can certainly turn a modest profit, it is entirely possible to be artistically ambitious and make plenty of money at the same time. One wonders why the latter is more often the exception rather than the rule, to the detriment of the integrity of comic books and their rich characters. In theory, the adaptation of comic books to the film and television arenas could have been a boon to not only the comic book industry, but a force for cultural good in the sense of spreading the subversive word to a larger audience. While there is no question that American and Western teenagers are far more aware of Batman and The X-Men than they were 30 years ago, the expansion of the audience has come at a price. First of all, the structures of film and television do not generally lend themselves well to the sort of narrative complexity that is a hallmark of comic books ongoing multi-character storylines. While the two X-Men films to date were generally well-received by fans of the comic books, many fans vociferously complained that many characters were either simply not included in the storylines, or they were altered to suit Hollywood norms in order to maximize audience appeal. While a third X-Men film is in the works, the simple truth is that 20th Century Fox, the movie studio that produced the films, simply cannot make any more than one X-Men film every two to three years and the complicated narrative history of over a dozen characters unspoiled over the course of 40 years of storytelling simply cannot be done adequate justice by a two-hour movies – as good as they may be – which get released only periodically. Secondly, for many young people, seeing an X-Men or Batman film may be their very first exposure to these universes, and depending on their reaction to the quality of the films and their natural consumer predilections, it is not certain that these teenagers are going to seek out the more dimensionalized, rich, and complex narrative universes to be found within the comic book series. In fact, given the immense popularity of video games among teenagers, who as a general rule spend as much, if not more time transfixed by their Playstations and Xboxes than they do reading, it is more likely that teenagers who see X-Men films will buy the video game adaptations of the X-Men comic books instead of investing in the comic books themselves. The statistics bear this out: in 2004, sales of comic books in the U.S. totaled $300 million – a considerable sum of money, but a far cry from the $850 million sum reached ten years earlier. Comic book money had, for better or for worse, flowed away from the comic books themselves and into the reinventions of the comic books – the movies, the video games. It is unfair, perhaps, to dismiss video games as worthless, but also difficult to avoid the conclusion that the X-Men video game, which is simply a violent combat simulation featuring the various mutant characters, carries more artistic and social worth than the comic books to which the video game owes its digital existence. Lastly, the value of ancillary X-Men merchandise, such as T-shirts, lunchboxes, and plastic soda cups from Burger King adorned with X-Men characters, is fleeting and thus fairly dubious in comparison to the lasting collectors item value of the comic books themselves, to say nothing of the inherent worth of the content of the books, and the visual and narrative artistry contained within them. Ultimately, and sadly, the postmodern machinery of consumer capitalism has appropriated comic book visuals and narratives and separated them from their inherent artistic value in order to make them both more appealing to a mainstream audience, usually children and younger teens, and more exploitable in terms of ancillary markets such as merchandising. The positive side of this equation is that the subversive art and storytelling found in comic books was brought to a larger audience, but may well have been eviscerated of its soul in the process. Films like Batman Begins, with its dark exploration of the recesses of Bruce Waynes psychology, and X-Men 2, with its unapologetic homosexual allegories, do their source material adequate justice and make their corporate masters a lot of money in the process. What can be hoped for the future is that movie studios see fit to release more films such as these and less of the vapid, lowest-common denominator special effects orgies that tend to predominate the box office landscape. Hellraiser and Constantine were met with outright hostility by fans of their comic book source material and performed poorly at the box office. It is no longer enough to simply adapt a comic book to guarantee success. Many audience members have grown more shrewd and sophisticated, and demand quality in storytelling. In the words of Nightcrawler in the film X-Men 2, â€Å"Most people will never know anything beyond what they see with their own two eyes.† If this is true in a world where what is put before the eyes of teenagers is predominated by movies and video games, it is imperative that the content not merely reflect the status quo desired by consumer capitalism, but the thought-provoking stories and characters, daring and subversive thoughts, first brought to us decades ago in the best comic books. BIBLIOGRAPHY Sabin, Roger. Comics, Comix Graphic Novels A History of Comic Art. Phaidon Press, 1996. Robinson, Jerry. The Comics: An Illustrated History of Comic Strip Art. Putnam Publishers, 1974. Wertham, Fredric. Seduction of the Innocent. Amerion Publishers, 1954 (Reprint 1996). Tuzi, Marino. â€Å"Individualism and Marginality: From Comic Book to Film: Marvel Comics Superheroes† College Quarterly, Spring 2005 Volume 8 Number 2. Taken from: htt History of Artist Expression in Comic Books History of Artist Expression in Comic Books Comic books, like many art forms, have been co-opted by a hungry consumer capitalist economy which makes a Faustian bargain with its artistic meals: give me your subversive art forms and ideas, this economy says, and I will communicate them to a mass audience beyond your wildest dreams; however, in exchange, your art forms and ideas will often simultaneously be stripped of their dignity and uniqueness by becoming products of no less ubiquity and no more value than toothpaste – mere tools to sell, sell, sell, and make more, more, more money for gigantic multinational corporations. This phenomenology is the ultimate in postmodern recontextualization, the stripping of an objects original meaning and significance, and its endowment with a new purpose either heretofore considered or deemed ethically, morally, or artistically acceptable. We shall explore the unique nature and popularity of comic books, and the themes presented in their narratives and characters, as a quasi-underground phenomenon whose ever-increasing popularity from the 1940s to the 1980s left them perfectly positioned to be gobbled and turned into movies and merchandise by giant corporations eager to both exploit the devotees of comic books and expand their numbers. What has been the big deal, historically, about comic books? Though they are primarily a postmodern phenomenon localized in the latter half of the 20th century through to the present, their roots go as far back as the 17th century, when the English mass-produced woodcuts depicting ghastly public executions. Comics first reached mass popularity in the United States in the 1930s in the form of newspaper comics; then, the comic book as a separate, thriving, and sophisticated art form began to evolve from there. â€Å"The comic book has been one of our most familiar, yet least appreciated, popular art forms. As vehemently criticized as it is passionately defended†¦ [it is] a graphically sophisticated and culturally revealing medium.† (Sabin, 1996, p.1). After roughly a decade of occupying a comfortable place in the American pop culture mainstream, comics, and then comic books, began to take to reflect a less sanguine view of American society. Violent crime comics began to appear, and the more squeaky-clean comics of the 1930s and during World War II absorbed some of these same themes. In the so-called Silver Age of Comic Books, the 1950s through the 1970s, most characters and narratives began to take on a darker and more complex tone, mostly in response to plummeting sales after World War II that reflected an unsettled cultural undercurrent brewing in America. In this initial countercultural heyday of the 1950s and 1960s, comic books were sometimes dismissed, much like rock-and-roll music, as the juvenile, unsophisticated, and pulpy fantasies of hormone-addled adolescents. Sometimes, however, comic books were labeled as cultural filth that was an ongoing threat, destructive to teenage minds. In 1954, right-wing American psychiatrist Dr. Frederic Wertham published a book called Seduction of the Innocent, which was an all-out assault on the ostensible delinquency-inducing content of comic books, and which singled out Batman for special criticism, claiming â€Å"a subtle atmosphere of homoeroticism.† (Wertham, 1954, p. 189). Werthams criticism of comic book content led to the establishment of a censor organization known as the Comic Code Authority that same year, whose heavy-handed influence forced comic book writers and artists to go somewhat underground with their subversive themes. However, Batman (and Robin, whatever his relationship with Batman may or may not have been) has far outlived both Dr. Wertham and the chilling effect of his book, and in fact, the longevity and deceptively complex content of comic books have proven them to be much more powerful than anyone ever dreamed. They have for decades embodied striking artistic expressions of artists and authors, who collectively spoke for countless millions of young people who did not quite fit in to the mainstream of society. These millions were given voice by comic books such as The X-Men, The Incredible Hulk, The Amazing Spider-Man, from the Marvel Comics Company, and Batman and Superman from the DC Comics Company. Each of the aforementioned titles tells an extended set of stories about a character or characters who are misfits of some kind, whether it be physical, psychological, or emotional, and who take on a variety of preternatural and/or superhuman characteristics which allow them to not only address their own personal struggles with their differences from others in society, but to aid society itself in coming to better accept those who are different; or, alternately, the characters are either born with or afflicted by a condition which makes them a misfit and therefore different from others in society, and must adapt to life as such. These comic book stories generally involve a variety of morality plays, ranging from simple good vs. evil, to the exploration of antiheros, that enable the characters to attempt to effect positive change in the world, and provide both catharsis and inspiration for the readers. The X-Men, for example, were created by legendary comic book author Stan Lee and artist Jack Kirby in 1963. They were /are a group of teenagers born with genetic mutations that have endowed them with a variety of superhuman characteristics, not all of which are necessarily constructive. In the Lee/Kirby universe, the X-Men are widely ostracized and discriminated against not only because they are different, but because non-mutant humans fear the X-Men are the next logical, superior step in human evolution and therefore could render normal humans obsolete. The teenagers stories often involved them attempting to come to terms with their powers and how to fit into the so-called normal human society. The X-Men were comprised of such characters as Iceman, a young man who could freeze objects at will; Wolverine, a foul-tempered young man whose skeleton is laced with a nearly indestructible metal alloy, including metal knives which he could extend and retract from his hands at will, albeit with considerable pain; Storm, a young black female who could control the weather, including the ability to summon storms at will; Nightcrawler, a young male born with blue fur who could become virtually invisible at night and teleport short distances; Cyclops, who could shoot beams of pure solar energy from his eyes, but not always control this power; Rogue, a young female possessing the hyper-empathic ability the feelings, memories, and abilities of other beings she touches —unfortunately, however, prolonged contact with others can weaken or kill them; Magneto, an older male survivor of the Nazi death camps who can manipulate magnetic forces, but whose psyche was so twisted by his experience at the hands of the Nazis that he has become an arch-nemesis of the X-Men; and Professor Xavier, an older male paraplegic with amazing telepathic abilities and a world-class intellect, who has dedicated his life to mentoring other mutants and defending them from themselves, unsympathetic humans, and the perennial machinations of Magneto. The X-Men and their stories were unabashedly allegorical and subversive in nature, content, and theme. Professor Xavier was modeled after civil rights activist Martin Luther King, Jr. and Sir Francis Xavier, Catholic missionary and founder of the Jesuit order. The sense of loneliness and isolation experienced by Rogue was a reflection of the near-universal teenage experience. The bigotry and intolerance of homosexuals is another allegorical component featured with the X-Men narratives, particularly in the film adaptations directed by openly gay Bryan Singer. In X-Men 2, the character of Bobby Drake characters comes out of the closet as a mutant to his parents, prompting them to ask if he has tried not being a mutant, parodying the oft-heard question of parents directed their gay children. Anti-Semitism, personal alienation, anti-Communist paranoia, and racism are also allegorical themes that X-Men comic narratives have explored in detail. And like The X-Men, Batman, Spiderman (also a Stan Lee creation), The Incredible Hulk and Superman all were dependent upon and explored the themes of what it meant for a person to be forced to hide or to be ashamed of a component of his or her true self, or to lead a dual existence – one private and personal, one public. Superman (created by Jerry Siegel and Joe Shuster), known by millions as a mild-mannered reporter, socially maladroit nerd, and bearer of an unrequited love for Lois Lane, who happens to be a near-omnipotent superhero when called upon in extraordinary circumstances, is the perfect embodiment of both teenage reality and teenage wish fulfillment. The Incredible Hulk (another Stan Lee creation) gets angry like all of us, but has real power – scary power, often – to do something about it thanks to hi s green steroidal transformation. Batman (created by Bob Kane and fleshed out by Bill Finger and Jerry Robinson) lives a quiet, dark life of solitude contrasted with public works of enviable nobility and good. These feelings of powerlessness and awkwardness, combined with empowerment fantasies, were and continue to be direct reflections of the collective concerns of millions of young people, and perhaps many adults, as well – how to fit into a society that demanded conformity without losing the uniqueness that embodies ones individuality. Ironically, the collective popularity of all of these comic book titles has historically been so striking in terms of sales that it would not be an unfair question to wonder if it fact the teenage misfits who bought them were in fact the majority, not the minority in society. Comic book sales peaked in 1993 at a staggering $850 million (U.S. dollars) and are still very healthy, though currently, the popularity of comic book characters is as likely to be manifest in movie ticket and DVD sales of film adaptations of comic books as it is in comic book purchases. More on this later. The character archetypes and narrative themes of most of these original and ongoing comic book series were produced in the crucible of the fairly conformist sociocultural pressures of the modernist era in the United States. The teenagers of each successive decade, beginning with the 1950s and continuing to the present, have been characterized by isolation, disaffection, rebellion, disillusionment, all combined with the pressure to adapt without question to the relatively monolithic mores of the generation which preceded them, a generation for whom belonging to a larger social group, for whom the values of unquestioning self-sacrifice and acceptance of authority figures and establishment power structures were the norm. Men were called to duty, whether in World War II or in the burgeoning post-war corporate universe; many made the ultimate sacrifice – their lives, or worse, their souls. Women, too, had their duty – to support their men in discreet, subservient lives of quiet domestic efficiency. But as American young people began to question the assumptions behind the Cold War, and question the rational and wisdom behind the interminably bloody Vietnam War, their uncertainty on these issues led to a greater wholesale questioning of the mechanisms and assumptions of societys very foundations. (Even Batman, whose creation in 1940 arguably predates postmodernism, eventually took on countercultural subject matter and themes, to say nothing of the suggestion of a taboo homoeroticism in the relationship between Batman and Robin.) This rebellion was met with heavy disapproval and disappointment by parents, representing the previous generation. The ongoing schism between these two generations has caused huge cultural, social, and political conflicts that continue to be played out even in 2005. These conflicts have been vividly reflected in the artistic expressions of the times – literature, music, and films. From the standpoint of the older generations, comic books were perhaps never adequately understood, respected, or even recognized for the potent and unusual artistic and cultural forces that they have always represented certainly as potent as more conventional and commonplace means of artistic expression, high art and classical music, just to name two ossified examples. (And, incidentally, these generational clashes were not limited to the United States in terms of understanding the rise of the superhero comic books. The country of Japan, tiny as it is, has become its own powerhouse in terms of churning out groundbreaking styles of comics, such as Katsuhiro Otomo of Akira fame, reflecting generational struggles unique to the Japanese youth culture.) The artistic expressions that arose out of the clash between generations also represented an evolution in classifications and mechanisms of art itself – the evolution from modern art forms to postmodern art forms. Modern art, reflective of the cultures from which it sprung, was generally conformist, and adhered to classic rules of form, function, and design, and either explicitly or implicitly supported the symbols of establishment paradigms by exploiting binary oppositions of us vs. them (i.e., Americans vs. Communists). Postmodern art rejected the methodology of modern art on every level, deconstructing it to such an extent as to even question the basic psychological definitions of symbolism in human art forms. The discarding and combination of genres and forms, the pastiche of styles, the toying with unorthodox symbolism, and an active interest in subversion and smashing of establishment systems – rebellion itself are all manifestations of art evolving to postmodern form. And instead of existing to analyze, but ultimately reinforce the paradigms of patriarchal establishments, postmodern art analyzed and often sought to undermine these establishments and their conventions, if not destroy them altogether. As noted by postmodernism scholar Andreas Huyssen, â€Å"†¦contemporary postmodernism operates in a field of tension between tradition and innovation, conservation and renewal, mass culture and high art, in which the second terms are no longer automatically privileged over the first.† (Huyssen, 1986, p. 267). As such, any art form that has enjoyed longevity has internalized and incorporated this revolutionary and evolutionary process, or been discarded or fossilized. Comic books are no exception to this rule, and their staying power has manifested itself in the last 20 or so years by their translation to and eventual dominance of the genre of film. In fact, comic books in their Silver Age forms were arguably inherently post-modern in nature, as they combined complex and detailed visual artistry with complex and serialized narratives, an intermixing pastiche of separate genres which had never before been combined in such a unique form. Books had, of course, often featured illustrations in the past, but they were only to provide occasional support and dimensionalization of the narrative, as opposed to being as important a component of the medium as the narrative itself. The fantastical and stylized nature of many of the illustrations featured in comic books were often postmodern artistic explorations in their own right, seeking to push the boundaries of conventional illustrations. Their explorations of anti-heroes helped deconstruct the notion of simple constructs of good and evil. American consumer capitalism, which is inherently (though not necessarily benignly) postmodern in its relentless desire to commodify anything and everything, particularly that which can be packaged as new, hip, and edgy – and thus desirable – has hungrily devoured comic books and the films which come from them. In doing so, the artistic and societal merit of comic books, in particular their subversive characteristics, have become themselves subverted by the deity of consumer capitalist commodification. The ultimate dream, for example, of fans of the X-Men comic books, that their beloved misfit characters would reach movie theatres and therefore a larger audience for their collective angst, has come true but that dream has also become a nightmare for some fans, as these same subversive misfit X-Men have also become action figures, clothing lines, cartoons on the side of fast food lunch bags and boxes all mass marketed to mass audiences in order to maximize profits for corporations that are more interested in shareholder earnings than they are the artistic merit of airing the collective voices of disaffected teen angst. If the phenomenology of disaffected teen angst can be appropriated to make a profit from teenagers, then corporations will be chasing the teens and their money incessantly. However, corporate interest in teenagers as a demographic generally has little to do with sociocultural altruism. In fact, cultural observers should take heed – â€Å"ventilation of genuinely alternative social visions collide directly with the underpinnings of power in the economy at large. (Schiller, 1986, p. 152) The trade-off is as follows: as long as such ventilation of alternative social visions makes a profit, it will be tolerated. But in the consumer capitalist corporate universe of today, art for arts sake, particularly if the art does not reinforce the machinery of consumer capitalism, will never generate much more than limited enthusiasm, and is more likely to meet with insidious hostility. The primary perpetrators in this arena are the behemoth corporate conglomerates that own the media, and the acquisitive way in which they manage their film and television divisions. In the 1960s and 1970s, film studios and television networks existed as independent business entities whose sole focus was the creation of films and television shows – nothing more, nothing less. While these companies were undisputedly interested in profits, the process was far more artist-centered and quality-driven than they are today. The presumption was that quality films would result in box-office successes, though the expectations of profit were relatively modest compared to todays standards. Then, in 1977, a watershed moment in film history arrived in the form of the blockbuster Star Wars, a comic-bookish story in its own right despite being an original creation of writer/director George Lucas. The film was not only the most financially successful phenomenon in movie history, but it alerted movie studios to a whole new economic model, centered around the notion of ancillary profits. Most notably in the case of Star Wars, the ancillary profits came in the form of merchandising. Inexplicably, before the films release, executives at 20th Century Fox, the films distributor, were convinced the film would be a flop, and in contract negotiations with Lucas, acceded to his unusual request to receive 100% of profits derived from sales of merchandise inspired and/or derived from the film, for example action figures and lunchboxes. The Fox executives surely rued the day they signed over these rights to Mr. Lucas, as Star Wars merchandise generated $1 billion in profits for the shrewd filmmaker. Another lesson learned by Fox, and other studios hungry to recreate the fiscal orgy of Star Wars, was that films targeted directly at children could be extremely lucrative at the box office, beyond profit margins to which they had become accustomed. Movies were no longer mostly the artistic or escapist purview of an audience comprised largely of adults. Their children came to be seen as a previously under-exploited source of bonanza profits. Lastly, movie studios began to rethink their conventional economic model, which was to produce modestly-budgeted films and reliably make modest profits. What Star Wars ignited was a phenomenon known as the blockbuster mentality, a hunger for epic profits from so-called event films, on which the studios became willing to gamble heretofore-unprecedented sums of money in hopes of hitting the proverbial jackpot. George Lucas, who began his career as a subversive filmmaker of eccentric tastes with critically acclaimed films such as THX-1138 and American Graffiti, unwittingly created a perfect storm that turned the film industry on its head. Star Wars was no fluke, as it turned out, and it was not long before the greedy capitalistic corporate culture of the 1980s began entertaining, no pun intended, the notion that film studio and television networks could be glamorous cash cows. In short order, huge companies whose core business usually had nothing to do with the entertainment industry were battling it out to see who could get into show business the fastest. Coca-Cola acquired movie studio Columbia/Tri-Star, which was later sold to Japanese electronics giant Sony; General Electric acquired the NBC television network; Capital Cities acquired the ABC Television network, and News Corporation acquired 20th Century Fox and the Fox Broadcasting Company; Gulf + Western acquired Paramount Pictures, etc. The unfortunate side effect of these mergers was the infusion of bottom-line, short-term profit-hungry thinking, as well as corporate models of branding and marketing products. These large corporations viewed films and television shows, and the intellectual properties that underlied them, as products, pure and simple, no different from mouthwash, shoes, soda drinks, or cosmetics. They expected their new acquisitions to transition from being art-focused and letting profits flow from quality, to simply making whatever sold the most tickets and had the most lucrative ancillary market potential. There was no single identifiable point, such a historical date or a press conference, when the critical link between art and commerce was separated, or the historical deference of profit to art was inverted (themselves postmodern phenomena, incidentally), but the entrà ©e of comic books into the world of film and television, which has become a powerful, dominating presence of comic books in film and television, followed and was directly related to this paradigm shift in the economics of the entertainment industry. The adaptation of comic books into film and television properties has been an exercise in creative cannibalism in some sense. Increasingly, film and television studios have taken on the risk-averse mentality of their corporate masters, and one of the effects of this has been to seek out intellectual property that might guarantee the fiscal success of a film or television show adaptation of said property. To the extent that a wildly successful book was often adapted for films geared towards adults, wildly successful comic book series were seen as a surefire way to guarantee a teen audience and the disposable income purchasing power of them and their parents. Movie executives sought to acquire the rights to comic book characters and stories which they could exploit – actual film industry terminology – and build into franchises – also actual film industry terminology, particularly creepy given the obvious parallels to McDonalds or Gap store franchise business models. For the most part, these franchises have been wildly successful from a financial point of view, though perhaps not from an artistic standpoint. There have been six Batman films made by Warner Brothers movie studio (owned by corporate behemoth AOL Time Warner, who not coincidentally own DC Comics, the original home of the Batman characters and comic books): 1989s Batman, 1992s Batman Returns, 1995s Batman Forever, 1997s Batman and Robin, 2004s Catwoman, and 2005s Batman Begins. Each film sported star casting of the highest caliber; however, perhaps with the exception of the first film, were special effects showcases first and artistically ambitious second, if at all. Nor were they particularly true to the time-honored complexities and lingering darkness of the comic books. Iconic film critic Roger Ebert (a devoted fan of the Batman comic books), in his review of Batman and Robin, took a forlorn swipe at each of the films to date: †¦ my delight began to fade at about the 30-minute mark when it became clear that this new movie, like its predecessors, was not *really* going to explore the bizarre world of its heroes, but would settle down safely into a special effects extravaganza. Batman Robin, like the first three films in the series, is wonderful to look at, and has nothing authentic at its core†¦ Watching it, I realized why it makes absolutely no difference who plays Batman: Theres nobody at home†¦ Give the foreground to the characters, not the special effects. And ask the hard questions about Bruce Wayne. (Ebert, 1997) Eberts last line refers to the perennial rumors that perennial bachelor Bruce Wayne might actually be a homosexual, or failing that, possess some unusual sexual fetishes that might not comprise the sort of fare that young children should be seeing at the movie theatre or on DVD. But this topic, as well as any serious exploration of Bruce Waynes psyche, was not been considered particularly lucrative by the marketing machines at Warner Brothers until the franchise was on the verge of death after the box office mediocrity of Batman and Robin and the outright box office disaster of Catwoman, which cost $85 million (U.S.) to produce and only made $40 million (U.S.) at the box office. 2005s Batman Begins was an unapologetically dark and complex film. Roger Eberts review may well have spoken for many Batman fans who ached for more substance and less pure style: The character resonates more deeply with me than the other comic superheroes, perhaps because when I discovered him as a child, he seemed darker and more grown-up than the cheerful Superman. He has secrets. As Alfred muses: Strange injuries and a nonexistent social life. These things beg the question, what does Bruce Wayne do with his time? (Ebert, 2005) Apparently, the moviegoing audiences agreed with Mr. Ebert, rewarding Warner Brothers with $205 million (U.S.) in box office receipts in the United States alone, and a similar – and still increasing – tally worldwide. The lesson here is that while an artistically unambitious and shallow film like Batman and Robin, which is more childish cartoon and marketing machine than serious filmmaking, can certainly turn a modest profit, it is entirely possible to be artistically ambitious and make plenty of money at the same time. One wonders why the latter is more often the exception rather than the rule, to the detriment of the integrity of comic books and their rich characters. In theory, the adaptation of comic books to the film and television arenas could have been a boon to not only the comic book industry, but a force for cultural good in the sense of spreading the subversive word to a larger audience. While there is no question that American and Western teenagers are far more aware of Batman and The X-Men than they were 30 years ago, the expansion of the audience has come at a price. First of all, the structures of film and television do not generally lend themselves well to the sort of narrative complexity that is a hallmark of comic books ongoing multi-character storylines. While the two X-Men films to date were generally well-received by fans of the comic books, many fans vociferously complained that many characters were either simply not included in the storylines, or they were altered to suit Hollywood norms in order to maximize audience appeal. While a third X-Men film is in the works, the simple truth is that 20th Century Fox, the movie studio that produced the films, simply cannot make any more than one X-Men film every two to three years and the complicated narrative history of over a dozen characters unspoiled over the course of 40 years of storytelling simply cannot be done adequate justice by a two-hour movies – as good as they may be – which get released only periodically. Secondly, for many young people, seeing an X-Men or Batman film may be their very first exposure to these universes, and depending on their reaction to the quality of the films and their natural consumer predilections, it is not certain that these teenagers are going to seek out the more dimensionalized, rich, and complex narrative universes to be found within the comic book series. In fact, given the immense popularity of video games among teenagers, who as a general rule spend as much, if not more time transfixed by their Playstations and Xboxes than they do reading, it is more likely that teenagers who see X-Men films will buy the video game adaptations of the X-Men comic books instead of investing in the comic books themselves. The statistics bear this out: in 2004, sales of comic books in the U.S. totaled $300 million – a considerable sum of money, but a far cry from the $850 million sum reached ten years earlier. Comic book money had, for better or for worse, flowed away from the comic books themselves and into the reinventions of the comic books – the movies, the video games. It is unfair, perhaps, to dismiss video games as worthless, but also difficult to avoid the conclusion that the X-Men video game, which is simply a violent combat simulation featuring the various mutant characters, carries more artistic and social worth than the comic books to which the video game owes its digital existence. Lastly, the value of ancillary X-Men merchandise, such as T-shirts, lunchboxes, and plastic soda cups from Burger King adorned with X-Men characters, is fleeting and thus fairly dubious in comparison to the lasting collectors item value of the comic books themselves, to say nothing of the inherent worth of the content of the books, and the visual and narrative artistry contained within them. Ultimately, and sadly, the postmodern machinery of consumer capitalism has appropriated comic book visuals and narratives and separated them from their inherent artistic value in order to make them both more appealing to a mainstream audience, usually children and younger teens, and more exploitable in terms of ancillary markets such as merchandising. The positive side of this equation is that the subversive art and storytelling found in comic books was brought to a larger audience, but may well have been eviscerated of its soul in the process. Films like Batman Begins, with its dark exploration of the recesses of Bruce Waynes psychology, and X-Men 2, with its unapologetic homosexual allegories, do their source material adequate justice and make their corporate masters a lot of money in the process. What can be hoped for the future is that movie studios see fit to release more films such as these and less of the vapid, lowest-common denominator special effects orgies that tend to predominate the box office landscape. Hellraiser and Constantine were met with outright hostility by fans of their comic book source material and performed poorly at the box office. It is no longer enough to simply adapt a comic book to guarantee success. Many audience members have grown more shrewd and sophisticated, and demand quality in storytelling. In the words of Nightcrawler in the film X-Men 2, â€Å"Most people will never know anything beyond what they see with their own two eyes.† If this is true in a world where what is put before the eyes of teenagers is predominated by movies and video games, it is imperative that the content not merely reflect the status quo desired by consumer capitalism, but the thought-provoking stories and characters, daring and subversive thoughts, first brought to us decades ago in the best comic books. BIBLIOGRAPHY Sabin, Roger. Comics, Comix Graphic Novels A History of Comic Art. Phaidon Press, 1996. Robinson, Jerry. The Comics: An Illustrated History of Comic Strip Art. Putnam Publishers, 1974. Wertham, Fredric. Seduction of the Innocent. Amerion Publishers, 1954 (Reprint 1996). Tuzi, Marino. â€Å"Individualism and Marginality: From Comic Book to Film: Marvel Comics Superheroes† College Quarterly, Spring 2005 Volume 8 Number 2. Taken from: htt