The Organization And Leadership Through Film

Clint Eastwood, with his movie Invictus, notches another success which uses a rugby championship as a means for examining South Africa 's transition from apartheid. Two characters are highlighted: Nelson Mandela (played by Morgan Freeman) the new president of South Africa (1994-1999) and the captain of the Springboks, François Pienaar (played by Matt Damon). After being locked up for 27 years, Nelson Mandela returns to politics. He symbolizes the new South Africa in which Black and White have the same rights, and the same opportunities. Mandela is calm and confident, but fully aware that his country could erupt into political violence with the least provocation. Mandela 's strategy is to embrace his opposition, a tactic that distances him

This genre is typically modern, perky and upbeat, but the common narrative in all of them is that it features a woman who is strong and she overcomes adversity to reach her goals. There is also a message of empowerment that also struggles with a romantic predicament and using comedy to poke fun at the male characters. Industries are still producing soppy romantic comedies for the female audience but the divide between the standard chick flick and romantic comedy is slowly disappearing. Similarly to the beginning of this essay it is evident that institutions are moving in the direction of women’s place in culture in relation to this film genre; women are usually shown as the super power since they are made to appeal to the female audience. However

In Thinking Like A Director: A Practical Handbook, Michael Bloom explains the importance of research and how a director should conduct his or her research for a play. Bloom states that “it’s the director’s responsibility to unearth all versions and, in consultation with the producer, determine which to use” (18). I think it would be important for a director to be familiar of multiple versions of a play instead of one. If there are multiple versions of a play, a director could read each of them to determine which text they would prefer to use for his or her production. Reading each version could also give a director additional knowledge of the play. Having access to different versions of the text could also make the director aware of the advantages

During the “Part III: Conflict and Summation” in the video Group Work: Leading in the Here and Now (Association for Specialists in Group Work, n.d.), the group worked through a tremendous amount of conflict. The main driving force for the conflict was based on self-disclosure that group member Jean offered to the group, surrounding her feelings of anger and distrust with the other members. Her comments sparked the group to investigate and explore their own feelings and emotions not only towards Jean, but the group itself. Corey, Corey, and Corey (2010) noted that, “by taking risks in disclosing here-and-now observations and reactions, members are actively creating trust and making it possible to engage in deeper self-exploration,” (p. 253).

The film Stop Loss follows a group of men in the army in 2007 who are stationed in Iraq. Throughout the movie, the main characters confront inner demons and PTSD, while trying to balance their professional and personal lives. Some characters exemplify great leadership qualities, while others struggle. The film Stop Loss depicts leadership through collaboration and common purpose, commitment, congruence, and social change.

Movies often depict a glimpse into the inner workings of organizations which are complex and fascinating entities that consist of a group of people, who work together. Analyzing how the characters, as individuals and groups, interact with one another allows for an understanding of “how people think, feel and act” within an organization, also referred to as the study of organizational behaviour. The movie The Devil Wears Prada, set at Runway fashion magazine in New York City, is the story of Andrea "Andy" Sachs, an aspiring journalist who gets the job that “a million girls would kill for”. She is hired as the second assistant to Miranda Priestly, the powerful and ruthless executive of the magazine. The job is her stepping stone into the

“The powerful look of the male protagonist ….is broken in favor of the image in direct erotic rapport with the spectator… .[The woman] is no longer the bearer of guilt but a perfect product whose body, stylised and fragmented by close-ups, is the content of the film, and the direct recipient of the spectator’s look.” (Mulvey 1975)

In this paper I will identify and explain the leadership concepts that I learned in this class using characters from the film Finding Nemo. To do so I will provide examples of transformative leadership and describe the impact it had on others. I will also explain how the characters acquired their leadership effectiveness by identifying experiences that were instrumental in their leadership development.

Dr. Paola Bonifazio, associate professor of Italian at the University of Texas in Austin, discussed how women are depicted in films. More specifically, Dr. Bonifazio focused her lecture around the film La Femme, starring a progressive female character named Nikita. Throughout La Femme, Nikita is depicted as a woman that isn’t hypersexualized and is ambiguous in her femininity; which, is contrary to how women are conventionally portrayed in film. Furthermore, Dr. Bonifazio provided clear definitions that are pivotal to describe film among critics.

“Devil Wears Prada” is a story of a protagonist, Andrea Sachs and her occupational journey of trying to balance her profession and her social life. Andrea or known as Andy, has graduated and is hoping for a job as a journalist. Despite her dreams of becoming a journalist she receives a job at a fashion magazine known as Runway magazine as an assistant for Miranda Priestly. Throughout the movie, Andy had to balance her social life and her career pursuit where Miranda had given her many problematic tasks that Andy had to complete. In the workplace, there will be a wide variety of instances where you will work hard to complete a task, without receiving any recognition. Three instances where Andy completed a difficult task

During the mid to late years of the 19th century, a new form of entertainment emerged. Film entered the stage of innovation. New marketing and technological innovations developed for film to become the art it is today. In the 1830s, Joseph Plateau designed the Phenakistoscope. This device had a picture in the middle of a wheel made with mirrors and small openings. When spun, the Phenakistoscope made the picture appear to move. The name changed to Zoetrope in the 1860s and producers advertised the product as an accessory every home needed (Dixon & Foster, 2008). Later inventions that preceded the first motion picture camera include: Henry Du Mont’s Omiscope, Henry R. Heyl’s Phasmatrope, Eadweard Muybridge’s Zoöpraxiscope, Etienne-Jules Marey’s fusil photographique and Eastman Kodak’s chronophotographs (Parkinson, 1997). With a design by Thomas Edison, William Kennedy Laurie Dickson built the first modern movie camera, the Kinetograph, in 1890 (Dixon & Foster, 2008). In 1895, Auguste and Louis Lumiére patented the Cinématographe, a machine that combined the engineering of a camera and a projector (Bergan, 2006). Businessmen capitalized on the growing need for a place to witness these brand new films, thus they charged people to see them in their living rooms (Potter, 2014). These creations made movie-making a reality.

Michael Moore is an American documentarian whose work focuses on political issues and injustices in the United States. In Roger and Me (1989), Moore's first feature length production, the filmmaker makes an unequivocal statement about the social responsibilities of corporations. By focusing on General Motors and Moore's hometown of Flint, Michigan, Moore is able to explore the complex relationship between a corporation and the town that depends on that corporation for the local labor market. Thus, corporations like General Motors are engaged in a co-dependent relationship with an entire community. Moore exposes both the benefits and the drawbacks of this relationship, primarily showing that the perceived initial benefits to the Flint community were short-lived and tenuous. Starting the film with personal anecdotes and using first-person narration throughout the movie, Moore shows how multiple generations of Flint residents like his father had come to trust General Motors as a purveyor of jobs and job security. Because there is an expectation of trust on the part of the entire community, the shutting down of the Flint, Michigan plant constitutes a gross ethical violation, Moore suggests in his film. The title refers to then-Chairman of the Board of General Motors, Roger Smith. The film's title also underscores Moore's personal approach to documentary narration, and the filmmaker never purports to be objective in his delivery of the workers' side of the story. Roger and Me

The movie The Devil Wears Prada demonstrates the burden that employees bear in balancing work and life in an organizational environment that seeks to regulate and control their identity across all platforms.

Through out Psychology in Cinema course, we have discussed the many strengths and “weaknesses” as shown through various characters in featured films. Films such as: Sully, Good Will Hunting, Freedom Writers, Concussion and more. In the beginning of our course, each of us had to take a character strengths test, know as a VIA survey. Based on my results, my top five character strengths (in order) are: Appreciation of Beauty & Excellence, Perspective, Social intelligence, Judgement and Honesty.

My pursuit is to become the best at filmmaking. I have always enjoyed movies ever since I was a kid and have always dreamed of making them when I got older. In high school I made several short films/ videos for my class and for different events. To reach this goal I want to learn from the best schools that dedicated to film. Daniel Wager writes in his book, Expanding the Menu: ReImagining Film School for an Evolving Landscape, that film education is falling behind the changes happening in the film industry (Wager 117). I want to be at a school that strives to be ahead of its competitors because without a school that is ahead there is no point in going to film school. Duncan Petrie and Rod Stoneman write in their book, Educating Film-makers: Past, Present and Future, that alumni of film school students traditionally pass on their skills and knowledge to other up and coming filmmakers (Petrie 4). After my education I would like to teach others what I have learned so that they may enjoy filmmaking as much as I do.