Bicycle Thieves (1948) and Umberto D (1952) Analysis

Bicycle Thieves (1948) and Umberto D (1952) Analysis Two films from the neorealism movement are Bicycle Thieves (1948) and Umberto D (1952) both directed by Vittorio De Sica. Both films in their own way show the real-life hardships that were faced during this time of poverty and more particularly show it from the point of view of normal everyday people. The most pronounced thing about neorealism that sets it apart from other cinematic movements is its birth from necessity. During a time when everything was scarce films were produced using whatever was at hand, filming out on the streets and using non-professional actors, a reason why these films are so genuine in their authenticity. They dont show the past or the future they show the struggles of the present.[1] Vittorio De Sica said his goal was to look for the dramatic in ordinary situations, the wonderful in the smallest, the tiniest news item, in the material everybody considers insignificant. It was with this goal in mind that he created Bicycle Thieves. This film is a key example of the neorealism movement and can be argued to be the most notable. It shows the journey of a man and son as they search for his stolen bicycle. A bicycle which is key in the father getting the job he needs to support his family during a time in which jobs were scarce. This bicycle represents their livelihood and stealing the bicycle also steals this familys hope of surviving.[2] Bicycle Thieves can be described as shockingly authentic in two main ways; the way in which the film has been shot and the message that the narrative expresses. Figure 1 Bicycle Thieves (1948) At the start of the film we see the husband and wife pawn their bedding to be able to get their bicycle back, here De Sica gives us a glimpse of not just our on-screen family, but others when he shows the shot of the high shelves completely full of bed sheets as shown in Figure 1, each representing a family which has done the same. It shows the amount of people that were in poverty after the war and that there is a harsh reality outside this world that De Sica shows us. A reason why his films were so impacting is that he released films based on the post-war era during the post-war era. A time when the audience themselves may have had to pawn something to support their family. Filming at this time meant everything was scarce, films in the post-war era were created using the bare necessities. We can see this through Bicycle Thieves as its it almost completely filmed out on location and any inside shots are cramped, De Sica was also known for his use of non-professional actors, another way of making use of what was available and at the same time making his characters more believable.[3] When looking at the Mise-en-Scà ¨ne of the film De Sica uses very little expressive camera techniques, tending just to show straight on, wide and mid shots; apart from this scene with the bed sheets which is taken from a low angle and pans up as if to express the largeness of the scale of the shelves. He just shows the scene for what is happening and communicates mostly through the narrative alone. There are few interesting camera movements to catch the audiences attention and no more than simple cuts between scenes. The scenes in Bicycle Thieves tend to be long takes as if De Sica is trying to keep cuts to a minimum, this could explain his fondness for wide shots as it allows more actions to happen in the frame, these long shots also allow for a lot of background movement to be in the frame in these real-life locations expressing De Sicas wish to show the outside world. He also relies on natural lighting while filming out on location. These techniques, or lack of, work together to show the films authenticity.   De Sica takes us on a journey of ups and downs in the search for the bicycle and the relationship between father and son, the addition of the son is very important in expressing this shock authenticity. A child adds sentiment with their innocence and makes an audience more emotionally invested in the film. We see throughout the film however, a strange relationship between them. Antonio ignores Bruno throughout the film, being so set on his search for his bicycle and young Bruno is there to witness his father at his lowest point. De Sica avoids the idea that Antonio should realise that his son is whats important, not the bicycle. This ignorance could be De Sica showing that this is not a luxury that the poor can afford.[4] Knowing his fate is directly proportional with his fathers and that of the bike shows a harsh reality of the time, that not even children were not safe from the hardships of the post-war era. De Sica gives us reprieve from the bleakness of the narrative by introduci ng short moments of happiness, such as our main character Taking his son out for lunch. It almost seems they can forget their troubles for a moment, however the table next to them with the multiple servings of food break them from the illusion. This parallels the unjust support the bike thief receives from his neighbours, whereas the innocent man from which it has been stolen is the one who truly needs it for survival, it shows the unfair world of the post-war era.[5] The end scene is the most defining for our main character. He looks around him at a sea of bicycles and he lowers himself to do what has been done to him throughout the entirety of the film. it gives us an idea that no one at this time is below the acts of others, this era has driven this man to do what he initially found immoral. During our ending scene, we see the owner of the bike let him go when he sees the young boy, showing his understanding of the hardships of others and that the end of the day everyone is in so me way in the same boat. Father and son inevitably walk home defeated, De Sicas brutal honesty lasts through to the end, he doesnt shy away from the harsh reality, he makes this film shockingly authentic by showing that happy endings arent inevitable in real life. De Sica continued to work in the neorealism movement and moved onto the film Umberto D. This film has recognisable similarities to Bicycle Thieves in the way both were filmed and the fact that they both show the struggles of the time. We see the main character Mr Umberto being thrown out of his home by his indifferent land lady. A man who comes into solitude apart from his dog. There is an idea through Umberto D of the wish of the main character to live his life by his own terms, with dignity, and being unable to. He is left with no home, no family and no health. Although the narrative of Umberto D is different it still portrays the same era as Bicycle Thieves and can also be described for its authenticity. When It comes to using the bare necessities, this is where we see the greatest similarities. Umberto D also uses real locations for filming as well as non-professional actors, they make use of everything around them with a budget that was most likely close to nothing, again portra ying an authenticity for the time.[6] Looking at Umberto Ds Mise-en-Scà ¨ne we see a little more expression through camera work but not a lot. An example would be the scene where Mr Umberto looks out of his window and we see the sudden zoom in on the street below with this hard hit of non-diegetic music to accompany it. This was De Sicas way of showing the thoughts of our main character, that he has this sudden idea of jumping to his death rather than live in this world he feels he has no control over. Again, De Sica tends towards wide shots and mid shots, showing the streets that hes filming in, showing the people and including the outside world. De Sica again uses simple cuts in between his scenes and opts for long takes which these wide shots manage to capture with the odd pan to include the surroundings more. In accordance with the neorealism movement Umberto D takes advantage of natural lighting whilst out on location, one of the bare necessities and making the most of what was available. Figure 2 Umberto D (1952) When It comes to the characters that De Sica portrays they arent loved for their perfection or their beauty. Mr Umberto is left with only his dog and a maid who has her own troubles. He is almost completely alone. This movement means a camera that shows things for exactly how they are, the character if Mr Umberto isnt romanticised yet he is loved by the camera and it sticks with him through an ordinary experience.[7] The actor himself is one which was chosen from a sea of thousands, like this opening scene in Figure 2, showing the men marching demanding fair pension, any one of them could have been De Sicas muse, all of them in a way are Mr Umberto. This would be the first and last film that this non-professional actor would play and yet this man manages to create such an emotion because he is authentic, and this is what the camera captures.[8] Like in Bicycle Thieves we see a character going on a journey, however, in bicycle thieves it is a journey looking for life whereas Umberto D focusses on a man searching for his death. This is however complicated by his dog Flike which he loves above anything else. He cant bear to abandon him. He finds himself at times having to beg on the street something which he cant stand to do himself, hence using Flike, but even when Flike is recognised by an acquaintance he claims he is only messing around in the hopes of saving his own dignity. Mr Umberto represents the middle class, one which is concerned with the protection of outward appearances. He is more afraid looking poor than actually being so.[9] Everything is taken from him so only Flike and his dignity remain, he represents a character which doesnt want to be defined a nuisance by a post-war society. A society which already sees a group of men marching down the street in protest as a pest. In the ending scene, we see Mr Umberto walking straight onto the rail tracks with Flike with the intention of ending both their lives, this is accompanied by dark music and an accompanying atmosphere. However, last minute Flike jumps out of his arms and Mr Umberto chases him, missing the train that would have ended his life. In chasing after Flike Mr Umberto chooses life. The music in changes from one of despair to one of buoyancy, for the first time in the film we see a happy and carefree Mr Umberto as he jogs off into the distance with Flike, escaping the manipulation of society and showing an understanding that his fate Is truly in his own hands. Even though the ending is ambiguous it leaves an audience with hope, a different yet preferable ending to that of Bicycle Thieves. One which shows that even though an individual may feel hopeless for a time they may find themselves again in the end, a true reflection of the damage yet survival of the war (Lu, 2010).[10] In conclusion both these films capture a true authenticity for the time that they were released. Since the neorealism movement meant filming using a scarcity of resources and a reliance on real world locations, and the fact that both narratives tell stories that were incredibly impacting and realistic for this time. So much so that they could be described as documentary like in their depiction of real places and real people. References Bradshaw, P. (2008). Film review: Bicycle Thieves. [online] the Guardian. Available at: https://www.theguardian.com/film/2008/dec/19/film-review-bicycle-theives [Accessed 3 Mar. 2017]. Eggert, B. (2009). Umberto D.. [online] Deep Focus Review. Available at: http://deepfocusreview.com/definitives/umberto-d/ [Accessed 4 Mar. 2017]. Haaland, T. (2009). Bicycle Thieves (Ladri di biciclette) (review). Project Muse, [online] 16, pp.463-465. Available at: http://muse.jhu.edu/article/263879 [Accessed 3 Mar. 2017]. Hamzaki, Z. (2010). The Bicycle Thief. [online] Twocentsworthafilm.blogspot.co.uk. Available at: http://twocentsworthafilm.blogspot.co.uk/2010/06/bicycle-thief.html [Accessed 3 Mar. 2017]. Kartal, E. (2013). Defining Italian Neorealism: A Compulsory Movement. Cinej Cinema Journal, [online] 2.2(2158-8724). Available at: http://cinej.pitt.edu [Accessed 4 Mar. 2017]. Lannone, P. (2016). Deep focus: The roots of neorealism | Sight Sound. [online] British Film Institute. Available at: http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/deep-focus/roots-neorealism [Accessed 4 Mar. 2017]. Lu, J. (2010).  » Film Analysis on Umberto D. Media Studies. [online] Jennylu.qwriting.qc.cuny.edu. Available at: http://jennylu.qwriting.qc.cuny.edu/2010/10/21/film-analysis-of-umberto-d/ [Accessed 4 Mar. 2017]. Snyder, S. and Curle, H. (2000). Vittorio De Sica. 1st ed. Toronto: University of Toronto Press. [1] Esma Kartal, defining Italian Neorealism: A Compulsory Movement, Cinej Cinema Journal, 2.2.2158-8724 (2013) . [2] Pasquale Lannone, Deep Focus: The Roots Of Neorealism | Sight Sound, British Film Institute, 2016 [accessed 4 March 2017]. [3] Zulfiya Hamzaki, The Bicycle Thief, Twocentsworthafilm.Blogspot.Co.Uk, 2010 [accessed 3 March 2017]. [4] Peter Bradshaw, Film Review: Bicycle Thieves, The Guardian, 2008 [accessed 3 March 2017]. [5] Torunn Haaland, Bicycle Thieves (Ladri Di Biciclette) (Review), Project Muse, 16 (2009), 463-465 [accessed 3 March 2017]. [6] Brian Eggert, Umberto D., Deep Focus Review, 2009 [accessed 4 March 2017]. [7] Stephen Snyder and Howard Curle, Vittorio De Sica, 1st edn (Toronto: University of Toronto Press, 2000). [8] Brian Eggert, Umberto D., Deep Focus Review, 2009 [accessed 4 March 2017]. [9] Esma Kartal, defining Italian Neorealism: A Compulsory Movement, Cinej Cinema Journal, 2.2.2158-8724 (2013) . [10] Jenny Lu,  » Film Analysis On Umberto D. Media Studies, Jennylu.Qwriting.Qc.Cuny.Edu, 2010 [accessed 4 March 2017].

Appearance vs. Reality Essay

Appearance vs. Reality is a prominent theme in The Crucible as some people are carried and blinded by appearance while others actually look at the facts, John Proctor and Elizabeth are not carried away by lies while Abigail and the rest of her friends are ignorant and spread lies. The town of Salem, Massachusetts went through a yearlong period of witch trials. A group of girls led by Abigail the reverend’s niece manipulated the people of Salem to make them believe that witchcraft was happening in Salem. It began with Mrs. Puttman wanting Tituba to conjure up spirits of her dead babies, Abigail and her cousin Betty joined in along with other girls. â€Å"She always sings her Barbados songs, and we dance.†(Act1 line102)This is when she is trying to explain to her uncle what was actually going on in the woods. They were caught by Parris, Betty became sick and the girls decided that they were going to convince everyone this was witchcraft. This led to Abigail spreading rumo rs about people she did not like in the town. â€Å"We must tell the truth Abby!†(Act1 line 318) this was Mary Warren trying to convince Abby to tell the truth. It appeared that Elizabeth was committing witchcraft because of the voodoo doll found in her house when Cheever went to her house to arrest her. â€Å"Tis’ hard proof?(To Hale)I find here a poppet Goody Proctor keeps. I have found it, sir.(Act2 lines 812) Marry Warren told her she was mentioned in court but not yet accused and she attempted to clear her name but clearly failed. She knew that Abigail just wanted to get rid of Elizabeth because she wanted John for herself. â€Å"It’s a bitter woman, a lying, cold, sniveling woman†(Act1 line138) Abby was bitter that Elizabeth had fired her from the job but it was all Abby’s fault as she was getting to close to John. She needed Elizabeth in jail or killed for that to happen. So Abigail started the rumor that Elizabeth was doing witch craft on her. â€Å"Why Abigail Williams charge her.†(Act2 lines753) and that the voodoo doll was for her, she even went as far as stabbing herself with a needle. â€Å"And in the belly of the poppet a needle’s stuck.†(Act2 Lines813) Mrs. Putman is also adding to the fire of the hysteria, she brings up her even dead babies he  makes a big deal to reverend Hale â€Å"They were murdered, Mr. Parris! And mark this proof! Mark it! Last might my Ruth were ever so close to their little spirits†(Act1 lines232) She wants everyone to believe it wasn’t a coincidence all but one of her babies died. And now Betty is sick and so she is blaming it on an unholy cause. She is representing the appearance of things. The reality is Ruth is faking being sick and maybe she wasn’t making healthy babies, enough for them to be alive and well. Another example of appearance vs. reality is when john proctor finally gives in and admits he is a witch, he goes to the court. â€Å"He’s only playin’ you! He means to hang us all!† (Act3lines 382) He realizes that the truth will set you free he confessed but later took it back because he didn’t want his name soiled in the town â€Å"I have given you my soul; leave me my name!† (Act4 lines728) He doesn’t want his children to grow up having a father with a soiled name a blackened name. He prefers to be hung rather than lie to keep his life. In conclusion Appearance and reality are too different things it is one thing to see something but another to understand it. Appearance is never enough you must know the facts before jumping to conclusions. Most of the town would be better of knowing this lesson before they got carried away with silly stories made up by bored teenagers. They should look at the facts before getting carried away with appearance.

Definition and Examples of Dialect in Linguistics

A dialect is a regional or social variety of a language distinguished by pronunciation, grammar, and/or vocabulary. The adjective dialectal describes anything related to this topic. The study of dialects is known as dialectology or sociolinguistics The term dialect is often used to characterize any way of speaking that differs from the standard variety of a language which is largely considered to be dialect-free. With that said, few people actually speak the standard variety and most language represents a dialect. Definition of Dialect A dialect is a variety of English which is associated with a particular region and/or social class. To state the obvious, speakers from different geographical regions speak English rather differently: hence we refer to Geordie (Newcastle English), New York English or Cornish English.   In addition to geographical variation, the social background of a speaker will also influence the variety of English that person speaks: two children may grow up in the same Yorkshire village, but if one is born into a wealthy family and attends an expensive private school, while the other is born into a less well-off family and attends the local state school, the two are likely to end up speaking rather different varieties of English. It is this combination of regional and social variation that I refer to collectively as dialect, (Hodson 2014). Distinctions Between Language and Dialect The very fact that language and dialect persist as separate concepts implies that  linguists  can make tidy distinctions for speech varieties worldwide. But in fact, there is no objective difference between the two: Any attempt you make to impose that kind of order on reality falls apart in the face of real evidence...English tempts one with a tidy dialect-language distinction based on intelligibility: If you can understand it without training, it’s a dialect of your own language; if you can’t, it’s a different language.   ï » ¿But because of [the] quirks of its history, English happens to lack very close relatives, and the intelligibility standard doesn’t apply consistently beyond it...In popular usage, a language is written in addition to being spoken, while a dialect is just spoken. But in the scientific sense, the world is buzzing with a cacophony of qualitatively equal dialects, often shading into one another like colors (and often mixing, too), all demonstrating how magnificently complicated human speech can be. If either [of] the terms language or dialect [has] any objective use, the best anyone can do is to say that there is no such thing as a language: Dialects are all there is, (McWhorter 2016). Distinctions Between Dialect and Accent Accents have to be distinguished from dialects. An accent is a persons distinctive pronunciation. A dialect is a much broader notion: it refers to the distinctive vocabulary and grammar of someones use of language. If you say eether and I say iyther, thats accent. We use the same word but pronounce it differently. But if you say Ive got a new dustbin and I say Ive gotten a new garbage can, thats dialect. Were using different word and sentence patterns to talk about the same thing, (Crystal and Crystal 2014). Prominence of Dialects It is sometimes thought that only a few people speak regional dialects. Many restrict the term to rural forms of speech—as when they say that dialects are dying out these days. But dialects are not dying out. Country dialects are not as widespread as they once were, indeed, but urban dialects are now on the increase, as cities grow and large numbers of immigrants take up residence...Some people think of dialects as sub-standard varieties of a language, spoken only by low-status groups—illustrated by such comments as He speaks correct English, without a trace of dialect. Comments of this kind fail to recognize that standard English is as much a dialect as any other variety—though a dialect of a rather special kind because it is one to which society has given extra prestige. Everyone speaks a dialect—whether urban or rural, standard or non-standard, upper class or lower class, (Crystal 2006). Regional and Social Dialects The classic example of a dialect is the regional dialect: the distinct form of a language spoken in a certain geographical area. For example, we might speak of Ozark dialects or Appalachian dialects, on the grounds that inhabitants of these regions have certain distinct linguistic features that differentiate them from speakers of other forms of English. We can also speak of a social dialect: the distinct form of a language spoken by members of a specific socioeconomic class, such as the working-class dialects in England, (Akmajian 2001). Prestige Dialects In the earlier history of New York City, New England influence and New England immigration preceded the influx of Europeans. The prestige dialect which is reflected in the speech of cultivated Atlas informants shows heavy borrowings from eastern New England.  There has been a long-standing tendency for New Yorkers to borrow prestige dialects from other regions, rather than develop a prestige dialect of their own. In the current situation, we see that the New England influence has retreated, and in its place, a new prestige dialect has been borrowed from northern and midwestern speech patterns. We have seen that for most of our informants, the effort to escape identification as a New Yorker by ones own speech provides a motivating force for phonological shifts and changes, (Labov 2006). Dialect in Writing Do not attempt to use dialect [when writing] unless you are a devoted student of the tongue you hope to reproduce. If you use dialect, be consistent...The best dialect writers, by and large, are economical [with] their talents, they use the minimum, not the maximum, of deviation from the norm, thus sparing the reader as well as convincing him, (Strunk, Jr. and White 1979). Sources Akmajian, Adrian, et al.  Linguistics: an Introduction to Language and Communication. 7th ed., The MIT Press, 2017.Crystal, Ben, and David Crystal.  You Say Potato: a Book about Accents. 1st ed., Macmillan, 2014.Crystal, David.  How Language Works. Penguin Books, 2007.Hodson, Jane.  Dialect in Film and Literature. Palgrave Macmillan, 2014.Labov, William.  The Social Stratification of English in New York City. 2nd ed., Cambridge University Press, 2006.McWhorter, John. â€Å"Theres No Such Thing as a Language.†Ã‚  The Atlantic, Atlantic Media Company, 20 Jan. 2016.Strunk, William, and E. B. White.  The Elements of Style. 3rd ed., Macmillan, 1983.

Impact of Culture on Negotiating Styles in Relation

Impact of Culture on Negotiating Styles: in Relation to Hofstede’s Dimensions of National Culture Abstract An effective business negotiation is very significant in achieving a successful business relationship. As the businesses expand globally, so do the conflicts between the interacting parties. These conflicts only get amplified if the interacting parties are from different cultural background. An individual s cultural background plays a big role in his perception, which affects his judgment, motivation and behavior at the bargaining table. The perception of an individual is the manifestation of the deeper held values and beliefs he has grown up with. In short, culture affects the whole negotiating process. A better†¦show more content†¦Hofstede’s website provides an overview of his research on dimensions of national cultures. Negotiating Tendencies Based on Cultural Background It is inferred from Hofstede’s research data for a few selected countries derived from his website (http://www.geerthofstede.nl/) and presented in Appendix B, that Mexico has a high power distance, uncertainty avoidance, and masculinity indices but low individualism index. Cultures with strong uncertainty avoidance have low risk taking capabilities. A comparative analysis of negotiating tendencies by Metcalf et al. (2006) concludes that Mexican respondents are least likely to favor a high-risk approach to negotiating. This is consistent with the high uncertainty avoidance (UAI) scores assigned to Mexico in Hofstede’s research. Heydenfeldt (2000) studied the Mexican behavior based on the individualistic/collectivistic model of cultural variation and concluded that Mexicans exhibited collectivism by engaging in behaviors that suggested relational concern. According to Metcalf et al. (2006), small power distance is characteristic of Finnish culture. The small power distance was evident from the Finnish team organization skills where individuals were responsible for decisions, but large power distance was evident for both Indians and Mexicans as the authority to make decisions was vested in a few at the top. According to Hofstede (1980), countries such as Austria, Denmark, Israel, New Zealand, Ireland, Sweden, Norway,Show MoreRelatedThe International Business Negotiations Influenced By Chinese And American Cultures And Differences743 Words   |  3 Pagesinfluenced by Chinese and American cultures and differences Jialin Zhao CMN6060 Professor Stephen Novick October 26, 2016 Abstract Cultural negotiations are business negotiations with different cultural conditions. Under the background of economic globalization and international economic integration, the business ties between countries are becoming more and more closely. In order to avoid cultural conflicts, it is important to understand the different cultures of different countries. This articleRead MoreCross Cultural Negotiation1379 Words   |  6 PagesCross Cultural Negotiation Michal Zieba Bookmark Page Download PDF Print This Page The impact of international business in domestic markets compels us to ask a question: â€Å"How can we survive in this global playing field, and what can we do to run our businesses more effectively?† Nowadays, businesses of all sizes search for suppliers and customers on a global level. International competition, foreign clients and suppliers may become a danger, but they may also create huge opportunitiesRead MoreAdjusting to Cultural Change1761 Words   |  7 PagesAbstract Culture inevitably influences the needs and desires of consumers of particular countries and socialized groups, consequently, businesses, in order to succeed have to be aware of cultural interests and target their products and operations to cultural demands. Succeeding necessitates knowing the factors that crisscross with the other culture and understanding the other cultures practices in regards to these factors. It also requires an understanding of ethical practices of the other culture asRead MoreThe Strong Need For Proper Negotiations Between Different Cultures949 Words   |  4 Pagesfor proper negotiations between different cultures. This topic is one that needs everyone’s full attention, especially for those professionals involved in negotiations or government. Yes, this matter touches governments, because such negotiations, in many occasions involve other countries. For this particular exploration, one will focus on negotiations with Mexico. Therefore, it is for this affair that everyone must understand how important cross-culture negotiations are for this country. In additionRead MoreSituational Leadership Theory And Organizational Leadership1660 Words   |  7 Pagesaccomplish the goals and objectives of the organization (Plunkett, Allan, and Attner, 2013). Effective leadership has a direct impact on the motivation, or lack thereof, of employees and how they interact with others within the organization. Followers will also act in ways that reflect their leaders example, whether it is positive or negative. It is obvious that the leadership culture within our organization is ineffective and employee productivity and morale has slipped to unacceptable levels. BecauseRead MoreMarketing in Germany: Three Ethical Issues to Contemplate When Entering the German Market1265 Words   |  5 Pagesmany ways, has some critical cultural differences which will impact the ways in which a foreign company presents itself and interacts with local organizati ons. Labor issues One notable business failure of an American corporation in Germany was Wal-Mart, which was forced to entirely close down its operations despite its many international successes elsewhere. This was rooted in Wal-Marts inability to understand German labor relations. German trade unions are very powerful, and worker protectionsRead MoreThe Importance Of Religious Practices In International Business957 Words   |  4 Pagesinternational business to make sure that your products and ways of negotiating are suitable to the countries of destination in terms of their habits, tastes, and values. From the above example we discussed, it indicates that doing business with foreign countries has changed the traditional thinking patterns, and some successful companies have been adapted to particular coping styles according to different cultures. History is the best treasure, which explains theRead MoreChallenges Of Cross Cultural Work Environment999 Words   |  4 Pageswe can over come these challenges. Cross-culture as the name sounds involves dealing with various cultures across the world. Working in a cross-cultural work environment is always difficult and the need to face challenges is quite common in such organizations. Communication is one of the key challenges in an environment like this. Cultural adaptability and communication go hand in hand. Since receptiveness is not always consistent across all cultures countries, communication, strategic planningRead MoreThe Impact Of Communication On The Workplace Essay1646 Words   |  7 Pagescontext, communication is a medium of either verbal or non-verbal communication within a specific context (Louw and du Ploy-Cilliers, 2014). 2.1.1 Role in the workplace Communication has several purposes in the work place that include things like negotiating, conflict management discussing and resolving work issues as well as influencing and persuading others just to name a few. In the movie Piers Morgan struggles to communicate effectively with Omarosa as there is no mutual respect between them regardingRead MoreKinesthetic - Greece is located at a gathering point of the eastern nations of the planet the1200 Words   |  5 Pageseastern nations of the planet the western nations this influences its culture. - Consequently the way of life of the citizens is prejudiced by varied traditions practices, which additional affects the culture of the soil. - Greece is recognized to have a great history. - The country had been under the job of a no. of nations has also passed through numerous chronological times. - All these have had a collision upon the culture society of Greece. - Greek is the native language of the nation.