Dominicans In America Essays - Hispanic And Latino American

Dominicans In America Andre Washington Wilbert Nelson Sociology 140 December 13, 1999 Dominicans, Americas Growing People for the New Millennium The Dominican Republic or also known as La Republica Dominicana is a small island that is 18,816 square miles, located off the coast of Florida. The Dominicans of this land share their island with the Haitians. The island has a subtropical climate, mountains, rolling hills, and fertile river valleys. The economy is mainly dominated by sugar, which still earns much of the countrys foreign exchange despite establishment of varied light industries and the development of nickel, mining and tourism. Coffee, cocoa, tobacco, and bananas are also a major export crop. But, despite their seemingly stable economy, and lush landscaping, a vast majority of the estimated 8,603,200 people that live there wish to migrate to the United States. This may be due to the fact that since the time the Dominican Republic was proclaimed in 1844 as a dictatorship, it has come under the attack of bad political leadership, and civil strife. In 1899 the country was bankrupted by civil strife after the murder of U lises Heureaux, their dictator. Shortly after that the country came under U.S. control. Even under U.S. control the country still suffered from dictators with highly restrictive policies on leaving the island, and harsh economic conditions. These terrible economic conditions only worsened and caused a gigantic influx of immigrants from the Dominican Republic to the United States in the early 80's and even more in the 90's (Hale-Benson, p. 97). The people came in groves to the United States seeking more opportunities and a better life, but they soon learned that they would face many of the same cultural, racial and ethnic barriers that other ethnic immigrants have faced when seeking a new life in a new land. In this paper I will detail the hardships Dominicans have suffered since their influx to America. Such as harsh economic problems here in the U.S., almost worse than those faced in the Dominican Republic, lack of quality and skilled job opportunities, due to a poor education, dis criminatory barriers they have been forced to endure and overcome, and various other obstacles that they have had to surmount, all while striving to become a productive and contributing people here in America. New York Citys fastest growing immigrant group are Dominicans, a Spanish speaking people, flocking from the Dominican Republic to the United States, New York City in specific. In 1980 the Dominican population in NYC was 125,380, in 1990 it was 332,713, and today in 1999 it is an estimated 500,000 people. The only problem with this is through the years of their migration to America, their per capita income has declined precipitously. It seems as though when the Dominican population in America increases, their income as a whole decreases. Nearly half of the Dominicans in NYC live below the poverty level. In 1990 29% of Dominicans where on welfare. Of foreign people immigrating to the U.S., only people from the former Soviet Union had a higher percentage of people living on public assistance. From 1989 to 1996 their per capita income declined 23% to $6,094 a year, in inflation adjusted dollars, while their poverty rate rose from 37% to 46%, that is almost double for the city as a whole. Unemployment also rose from 17.2% in 1990 to 18.8% in 1996 (Lopez, p. 3). The source of these severe economic problems according to Internet site, Latino Link, are from a lack of a proper education and skills, and their unusual young age. 6 out of every 10 Dominicans in the U.S. reside in New York City. Washington Heights, located in upper Manhattan houses the largest Dominican population nationwide. Dominicans make up 7% of NYC, but their children make up 12% of elementary age kids. On average Dominicans are much younger in comparison to Americans age in NYC. The average age for a New Yorker is 36, compared to 24 for someone of Dominican Heritage. This plays a large role in the problem they face when looking for skilled jobs. Researchers have said that their young age places a major barrier when seeking jobs outside of the blue collar market. Most Dominicans enter the full-time workforce here in America around

Management Change and Innovation

Management Change and Innovation Key issues in the case study There are a number of key issues that arise from the case of Nestle. One of the major issues that come up is the impact of mergers and acquisitions for large multinationals.Advertising We will write a custom case study sample on Management Change and Innovation specifically for you for only $16.05 $11/page Learn More As a result of its growth Nestle chose to acquire more companies in order to make an impact in its global expansion especially in foreign markets. It struck big financial deals with companies like L’Oreal and Alcon Laboratories Inc and saw acquisition of the two companies. However, not all these big deals go well and in the case of Nestlà ©, L’Oreal was largely in debt and to some extent could have contributed to its financial woes. Another issue is the diversification of the market both in terms of products and market presence. These are seen as key factors in enhancing global expansion as well as pro fits. Nestle aimed at improving its finances through diversification as well as strategic acquisitions. It therefore made its presence in the U.S market through Alcon Laboratories Inc. It also diversified its products to include cosmetics through L’Oreal and pharmaceutical and ophthalmic products I addition to the original dairy products. This diversification could work for or against the company as it requires more resources on the part of the management. Organizational change is yet another key issue observed in this case. Nestle went through radical changes between the second world war to 1990’s all through to date.Advertising Looking for case study on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More These changes have come in many faces, for example in the outlook of the companies before 1980 and change in the management of the organization as well as the continuous restructuring. More issues on organizational change will be brought up in the topics discussed below. Importance of innovation in regard to organizational change is also a key issue. Innovation in terms of technology as well as new markets cannot be overlooked. For long-term continuance of the organization innovation should be consistent with the firm’s objective. New technology and new markets should not be exclusively left be the centre stage of organizational change and growth. Changes in Nestle Nestle went through both the first-order and the second-order changes. First order change is the continuous and incremental change which may call for modifications in processes, structures or even systems; however, does not go into changing the basic strategy, core values of the organization and corporate identity. It is basically meant to sustain organizational order and continuity. Second-order change on the other hand is drastic, transformational and with far reaching implications on the core of the organiz ation. It is aimed at changing the nature of the organization and not developing it. Nestle went through the second-order change in that it carried out activities that had an effect on the nature and strategy of the organization. Although the changes may not have been aimed at changing the nature of the organization entirely, it had far reaching implications. For example; a change in the strategy of global expansion and increase in financial gains saw nestle sail through several acquisitions.Advertising We will write a custom case study sample on Management Change and Innovation specifically for you for only $16.05 $11/page Learn More These acquisitions also meant that nestle was no longer an organization that was based on dairy products. Acquisition of Alcon Laboratories Inc and the cosmetic producers L’Oreal made a move to include cosmetics, pharmaceutical and ophthalmic products as part of nestle. Acquisition as a strategy of growth can also be co nsidered as another example of second-order change. These changes effected before 1980 had far-reaching effects on Nestle and that is why they are considered as second-order change. Diversification or investment of Nestle into developing markets is another example of second-order change. Nestle diversified into developing markets not only to continue the organization but majorly increase the profits as well a change to include the organization into a cosmetic producer and supplier. This could also be traced back to when Nestle changed its strategy and started acquiring subsidiaries in foreign markets. Traditionally, Nestle used sales agents in countries that were outside its home market, but it later changed into having their presence in those foreign markets by acquiring some existing factories. Another example of second-order change evidenced in nestle is the transfer of several executive offices offshore to the U.S. this was instigated by the feeling of isolation in home offices, Switzerland and thus calling for the transfer. This move was aimed at increasing the efficiency of Nestle both in productivity and financial efficiency. The purchase of carnation in 1984 is also an example of second-order change after a number of failed acquisitions that left Nestle with many non-profitable and nonstrategic businesses. First-order change for Nestle is evidenced basically in the today’s Nestle in the period after 1990s. However, even before then Nestle sold most of its nonperforming and nonstrategic businesses.Advertising Looking for case study on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More This was basically meant to keep the organization going forth despite the losses. Under the management of Brabeck-Letmathe is seen to be leaning more on the first-order change rather than second-order. This could be due to the past failures as a result of aggressive acquisition and needed for expansion. When the CEO insists on ensuring the longevity of the organization without necessarily dwelling on short-term profits then this is first order. The change according to him is also meant to be gradual and slow is evidence that nestle is going into first-order change. As a result, it has developed approaches like corporate growth and a â€Å"corporate culture† that will ensure that longevity and continuity. Incremental approach to change Incremental approach to change is arguably the most effective method of change. Brabeck-Letmathe has to some extend used incremental approach in implementing change. One of the ingredients used is identifying the strengths of the organization an d trying to come up with ways to improve. This does not only dwell in strengths but also in weaknesses, opportunities and threats and trying to work on them. Incremental approach to change is also focused and conscious. It ensures a slow injection of change and at the same time trying to maintain internal balancing. A focus on the long term goals of the organization without laying much effort on the short-term profit motives is one of the factors key to incremental approach to change. This ensures the continuity of the business without involving radical measures that could be more destructiveness to the organization. Brabeck-Letmathe has used two vital tools that steer this type of change. These are entrenching a corporate culture and mechanisms for corporate growth. This approach ensures that Nestle establishes strengths that are not easily swayed. This is made much better by the fact that the managers have been incorporated into that corporate culture. However, there are some aspe cts of Brabeck-Letmathe approach that do not concur with incremental approach to change. For instance the complete wipe out of the executives was too radical a move. However important it may be to have managers who are well entrenched in corporate culture, we cannot ignore the fact that there is a need to listen to people or employees before creating an organizational change. In addition, we cannot ignore the role of technology in incremental corporate approach. Brabeck-Letmathe appears reluctant in embracing technology which is instrumental to growth. Though he is right on not making it the central strategic pivot point of growth his reservations are uncalled for. Brabeck-Lameck does not value social preferencing as a key aspect of incremental approach. This could be a better approach in dealing with the change managers. He seems put and as already having structures that is necessary for change. Additionally, his measures are too qualitative to fit in incremental approach to change because; this approach majorly builds on measurable quantitative aspects that become its key limitation. Implications for change managers Change managers in Nestle should have acumen in coming with the approaches that can well meet the needs of nestle. One of the key issues in consideration is the need to ensure longevity and continued existence of Nestle regardless of short operating profits. Another challenge lies with the fact that Nestle is a multinational company that has over 80 factories in different countries. This calls for efficiency and increased productivity. This increased efficiency and productivity should ensure that it doesn’t use measures that are too radical that could plunge Nestle into another financial difficulty. Restructuring process is another possible source of implication for change managers. It is costly ($300 million yearly) and a slow process that requires a lot of patience. Nestle management may have reacted to the need to sustain the longevity of Nestle by identifying factors that threatened its efficiency. For instance dropping out all non-profitable acquisitions as well as concentrating efforts on one line of products, probably dairy products. Change managers should also focus on ensuring that all the 80 factories are productive to avoid a scenario where they are servicing unproductive outlets. Therefore monitoring and evaluation should be done using the yardsticks of long-term goals of the company. In the quest of bringing change and restructuring, they should be careful to avoid strategies that may eat into company’s growth in the long run, as in the case of prior acquisitions. A similar challenge could be easily brought up by overemphasis on technology at the expense of sustainable growth. It is also beneficial for the change managers to come up with restructuring strategies that are less costly Three examples of lessons from the front line of Nestle case and possible solutions Three issues come up from the fr ontline of this study case. One of the major issues is the numerous sub branches of Nestlà © and the impact of aggressive acquisitions and mergers to penetrate foreign markets. Another subject of discussion is the diversification of products as varied as chocolate, milk products, cosmetics and pharmaceutical products. The third aspect is long-term performance or longevity of an organization Vis a Vis the short-term profit performance. Nestle just like many other big organizations used acquisition approach as a vehicle to global expansion and productivity. However, they did not consider the factors behind the deal or the financial position of the subsidiary company. This led to financial problems that saw its bad days kick in just like many other huge deals. Secondly, the need to diversify into many other foreign markets and with new products is likely to cause diseconomies in terms of management and finances. It is important for managers to weigh these implications and put structur es to deal with them before hand. Finally, many organizations and managers tend to overlook the long-term being and prefer high short term profits using very aggressive second-order approaches with great economic implications.

How solar cells are made Assignment Example | Topics and Well Written Essays - 500 words

How solar cells are made - Assignment Example In this process, PV ( photovoltaic ) energy is converted into electrical energy. According to National renewable Energy Laboratory (NREL )website , this is the most common technology used for providing energy to homes. However, like any technology, certain steps and procedures must be thoroughly learned before one can set-up a solar panel .In fact, Solar Energy International(SEI), an online website , provides an online workshop for those who are interested in making their own solar panels. In fact, SEI suggests that one should study first â€Å"Solar Electric Fundamentals and Grid Design† before taking up other courses. A single solar panel used for homes are made up of modules that can contain about 40 cells. However, this is not sufficient that is why there is a need to produce up to 20 solar panels in order to provide electricity for a medium-sized house. There are also certain considerations such as making sure that the panels are placed in a direction that captures maximum sunlight. Usually, solar panels are placed to the south to be able to capture good

The Unconventional Depiction of Women in Japanese Films Essay

The Unconventional Depiction of Women in Japanese Films - Essay Example Women, as portrayed in Japanese films are meek and a follower of men. They are the guardians of the house and children and the helper of men, they are the ones that fall in the background but very much important nonetheless. Men are driven by pride; they would do things that are out of their league for the sake of containing and maintaining their pride, their ego, their dignity. Men are depicted as great thinkers and they invent something new every day and by nature they are competitive and easily driven by a desire for power and glory, whether it is for a higher rank or for the love of someone, even love becomes a game, even life or freedom will be put at stake just to prove that they are better than someone else, they like to gamble and they rarely think of the outcome before they do crazy stunts and acts recklessly. They like the thrills and the element of danger and adventure, a male figure will grow in his appearance and expand his understanding but in spirit, he remains a boy who likes challenges and unbelievable stunts and plot to make it better than it was before. They do not easily accept defeat and they do not easily give in and in fact, most of the time, not at all. Although women are devious in ways a man will never understand, they are the keepers of the house and will be as gentle as an angel even when angered or wronged but they unleash a fury greater than hell when forced to it. Most women think of not just of herself but the whole package, of the people around her and of what an action may cause to the generalized public.... Men are depicted as great thinkers and they invent something new everyday and by nature they are competitive and easily driven for a desire of power and glory, whether it is for a higher rank or for the love of someone, even love becomes a game, even life or freedom will be put at stake just to prove that they are better than someone else, they like to gamble and they rarely think of the outcome before they do crazy stunts and acts recklessly. They like the thrills and the element of danger and adventure, a male figure will grow in his appearance and expand his understanding but in spirit he remains a boy who likes challenges and unbelievable stunts and plot to make it better than it was before. They do not easily accept defeat and they do not easily give in and in fact, most of the time, not at all. Although women are devious in ways a man will never understand, they are the keepers of the house and will be as gentle as an angel even when angered or wronged but the unleash a fury greater than hell when forced to it. Most women think of not just of herself but the whole package, of the people around her and of what an action ma cause to the generalized public but women are just as human as a man and therefore are not an exception to crime and they also has faults and they also commit devious crimes but this population is at least just 20% of the total, unlike with men who are more exposed to the brutal reality of having power in the society. Women are more likely to be the victim of a crime than a man, women are not born weak but they are being dominated over by men and since women believes in love more than men does. Since women are the

Current Crisis Essay Example | Topics and Well Written Essays - 1750 words

Current Crisis - Essay Example Congress, which continues to support a mortgage tax deduction that gives consumers a tax incentive to buy more expensive houses. Real estate agents, most of whom work for the sellers rather than the buyers and who earned higher commissions from selling more expensive homes etc’ (Bianco) The crisis is so deep that only the economic reform policies alone may not bring the desired results. Many economists believe that the current recession may continue longer than anticipated. President Obama has taken lot of measures (Obama program) to counter the current crisis which has been brought mixed reaction from the economic experts. This paper evaluates the criticism raised by CATO Institute, Paul Krugman and Joseph Stiglitz and the support extended by Lawrence Summers to the Obama program. The American people’s changing life styles are one of the biggest factors for the current crisis. The greedy customers accepted the offers (loans) from the financial institutions with both hands. They have approached the banks for everything and the banks were ready to help them without even assessing their backgrounds or financial capabilities. The financial institutions miscalculated that the global economy will never exhaust and whatever the goods and services sold in the market will bring profit. Such irresponsible allocation of resources in the market was the main cause of the current problem. The banks have given more focus to the goods or services sold rather than the goods or services bought. In other words, they were more interested in selling of their services. They never thought too much about the returns against the services they provided. Once the balance between the services and goods sold and bought were destroyed, financial crisis came into exist. The banksâ⠂¬â„¢ decisions and behaviors with respect to lending were not based on the economic theory of supply and demand. The supply must not be

The History Of Wilhelmine Cinema Film Studies Essay

The History Of Wilhelmine Cinema Film Studies Essay In this essay I shall be exploring the history of the National German cinema and how it has transformed and adapted to the continuous shifts in political, economic, social and cultural influences both internally and externally that Germany and its people have experienced over the last century. Wilhelmine Cinema Cinema made its debut in Germany in 1895 when brothers Emil and Max Skladanowsky invented their own projector system called the Bioscop and on November 1st 1895 demonstrated it with a series of 8 short films lasting 15 minutes in total, this was the very first displaying of moving images to a paying audience in Europe and this symbolises the start of the German film industry. Hake, as well as numerous other scholars and I tend to agree, argue that Wilhelmine cinema can be divided into three distinct periods. Which are (1895-1906) Emergence and Experimentation, (1906-1910) Expansion and Consolidation and (1910-1918) Standardization. There periods saw numerous and various influences on cinema in its early years. For example the first decade saw plenty of technological innovation especially since industrialisation was still in full swing during this period, for example Ottomat Anschà ¼tzs Tachyscope. However with Germany still being a furiously imperialist nation the wonder of moving images was not met with enthusiasm by all parties. Germanys educated upper classes had a strong resistance to the power and appeal of the cinema which was based not only in their anxieties about the levelling effect on cultural life but also their fears of the modern masses for whom cinema had become the preferred form of entertainment. (Hake 2008:11) With the many cultural influences on cinema such as the circus and the fairground, early German cinema had little need for the contemporary literary conventions and instead focused on the visual spectacle and illusionary aspects of the medium. If one looks to where cinema receives its ultimate power, into these strangely flickering eyes that point far back into human history, suddenly it stands there in all its massiveness: visual pleasure. (Brockmann 2010:16) 1906-1910 saw the German Film Industry begin to consolidate itself into a national industry. All resources, capital, production, facilities and technical know-how were consolidated into a few dominate companies, similarly to the studio system in Hollywood. This followed by the foundation of the Geyer Printing lab in 1911 gave the German industry independance from its French competitors, who had been a dominant force in the European film market since the early days of film. The standardisation phase (1910-1918) saw the beginnings of the longer narrative film which became the most popular cinematic form in 1913 alone, more than 350 new films were released nationwide (Hake 2008:13). This had a knock-on effect for filmic forms and styles in Germany with the introduction of various new filming and editing techniques including greater variation in shot size and composition, superimposition, fading and masking. The First World War saw German cinema finally break free of French influence with the inclusion of nationalism within films, forming a new bond between industry and state. However Germany did not exploit film and a medium of propaganda as much as Britain did for example with The Beast of Berlin. Surprisingly films and newsreels from the war period were aimed more towards escapism, they may have shown scenes from the front lines however realism was often avoided and narrative styles taken up instead. WW1 saw the rise and establishment of some of the industrys big hitting studios such as the UFA studios (1917), setting the stage for the next era of German cinema. Weimar Cinema Economics had the biggest impact on cinema in the Weimar period, the harsh reparations outlined in the Treaty of Versailles caused hyperinflation in 1920s Germany. However this allowed for the emergence of the expressionist cinema movement. The inflation allowed filmmakers to Papiermark which would have vastly devalued by the time it needed to be repaid. Nevertheless, film budgets were tight and the need to save money was a contributing factor to the rise of expressionist films like the Cabinet of Dr Caligari (1920). The struggle for economic survival after the currency reform of 1924 manifested itself in an intense competition over film audiences that affected everything from advertising, journalism, and fandom to programming practices, admissions policies, and theatre architecture and design. Two simultaneous developments informed the transformation of cinema as a public sphere: the unification of audiences under the idea of a homogenous middle-class society and the diversification of markets.(Hake 2008:51) The late twenties, whilst still not entirely free from economic trouble, brought greater economic security to the Weimar Republic. The number of cinemas increased (approximately) from 2,300 to 3,700 between 1918 and 1920, however, despite this films were still constricted by small budgets. Yet as the decade moved on the influence of Expressionism began to fade which allowed for a variety of new styles and genres to emerge most of which concerned with the idea of New Objectivity a phenomenon influencing all artistic mediums of the Weimar period. These films were primarily concerned with social themes and a return to realism. Films such as Joyless Street (Die Freudlose Gasse) (1925) and Pandoras Box (1929) by Georg Wilhelm Pabst fall into this new filmic form. The return to a realist style of cinema prompted a new trend in asphalt and morality films which focused on subjects such as prostitution, homosexuality, addiction, oral sex and abortion. On the other hand Arnold Fanck was also d eveloping the Bergfilm as a genre, these films typically featured the protagonist battling the elements up in the mountains. There was one other big movement in German cinema during this period which came in the form of the chamber play or chamber drama (Kammerspiel). Associated with Carl Meyer these films were in many ways a statement against the popular spectacle and expressionist films. chamber play films expressed more conservative attitudes especially in regards to opposing big city life, were often set in small, dreary and very bland settings, usually backing traditional family values. They were often known better as instinct films since they focused on the intimate psychology of the characters. The last few years of the Weimar Republic saw some dramatic changes in Germany both technologically and politically. National Socialism was on the rise with the German people starting to look for someone to blame for their hardships during the twenties, which would have a dramatic effect on Germany and its film industry in the years to come, but more immediately the introduction of sound was re-shaping the film industry. With a now global economic crisis the three big German studios (Ufa, Terra, and Emelka) couldnt afford the enormous costs of transitioning to sound films so as a result they consolidated and began searching for new sources of needed capital, resulting in a new found ties with the state in order to protect German culture and stave of American film dominance. Nazi Cinema 1933 saw the fall of the Weimar Republic and the rise of the Nazi party thus beginning the next phase in the ever changing face of German national cinema. The earlier economic crisis had seen a number of German directors leave Germany for greener pastures but the new anti-semitic laws enforced by the Nazis caused many other directors, actors, composers and screenwriters (Hake 2001:23) to leave the country taking with them the unique flare that constituted German cinema. Obligatory cheerfulness and and crude sexual humour took the place of subtle innuendo and double entendre. Visual, acoustic and linguistic wit was abandoned in favor of conventional dramatic effects, and the provocative play with identities gave way to highly normative definitions of gender and race (Hake 2001:24) With the relationship established between the film industry and the state before the downfall of the Weimar Republic it was easy for the Nazi party to impose it influence over the studios. The Ufa was effectively under Nazi control by March 1933 when Alfred Hugenberg excluded Jews from being able to work at the studio which was several months before the establishment of the Reich Chamber of Film (Reichsfilmkammer) which made the film industry directly under Goebbelss propaganda ministry and led to the exemption of Jews and foreigners from employment within the German film industry. Approximately 3000 people in the industry were adversely affected forcing most to leave Germany such as Fritz Lang who proceeded to have a long and prosperous career in Hollywood. Yet was, as you would expect, all German cinema of this period purely propaganda? Goebbels himself always made the distinction between the 20 percent big budget films with clear propagandistic intentions and the 80 percent films on a higher artistic level. (Hake 2001:3) However it has been argued that this was not entirely the case with Hans Wollenberg arguing that even apparently harmless subjects, comedies or even musicals, have, somehow a tendency to advance Nazi ideologies (Wollenberg 1948). It is clear that there is truth to this as Goebbels proceeded to ban film criticism in 1936 leaving journalists only to comment on the content of a film rather than its merits, artistic or otherwise. The import of foreign films was also highly restricted between 1933 and 1940 the number of American films shown in Germany dropped from 64 to a mere 5 films a year. Entertainment films became increasingly important towards the end of the second world war with films providing from a distraction from the constant threat of Allied bombing and German defeats at the front. Cinema admissions in 1933 and 1944 exceeded over a billion sales consisting of big box office hits such as Die große Liebe (1942) and Wunschkonzert (1941) which combined elements of musical, wartime romance and patriotism. The Nazi regime however brutal and restrictive was not totally without technical innovation in the film industry. One such innovation was the introduction of Agfacolor as a major element of the film production process in 1939. Leni Riefenstahl also made numerous contributions to technical and aesthetic achievement with her film Triumph of the Will (1935), documenting the 1934 Nuremberg Rally. This combined with the documenting of the 1936 Summer Olympics, led the way with new techniques for camera movement and editing practices which still influence filmmakers to this day. West Germany With the fall of the Nazi regime in 1945 Germany became divided into the East (Communist controlled) and West (capitalist) zones which had an incredible and unmistakable knock on effect to National German Cinema. The Allies began a process of decartelization led by th the American principles of free competition, open markets, and the abolition of state control (Fehrenbach 1995:51-52). This coupled with the Occupation Statute which protected the German film industry by forbidding import quotas allowed cinema in Germany to get back onto its feet. The west established the SPIO, the main professional organisation of the West German Film Industry (Hake 2008:96) in 1949, which helped establish a voluntary self-censorship code that was agreed upon by the industry for all the western zones. This code was managed by the Freiwillige Selbstkon (FSK), the code was modelled after the MPPDA model and has the same taboo subject- nudity, vulgarity, blasphemy (Hake 2008:96)) and so on. In 1951 the Filmbewertungsstelle (Film Evaluation Board ot FBS) was established creating a system of economic support for filmmakers however was also known for political censorship in an effort to make sure West German films featured principles that would allow smoother integration into the western alliance. For the first time in years German audiences had unrestricted access to world cinema with melodramas from the states and Charlie Chaplins classics being popular during this period, the share of German films remained high at 40% of the market in the 1950s with American films taking up a mere 30% of the market. (Schneider 1990:35, 42 44). Most West German films of the post war period have been categorised as the rubble film (Trà ¼mmerfilm). Rubble films were not too dissimilar in style Italian neorealist films and they focused themselves on day to day life in war torn Germany and the initial reactions to the Nazi period. With the arrival of the 1960s German cinema reached an impasse, the growth in Cinema attendance that had been seen in the 50s had begun to stagnate and decline. By 1969 cinema attendance was at an all time low with an average of 172.2 million visits per year, 25% of the attendance peak seen in the previous decade. (Kinobesuche in Deutschland 1925 bis 2004) Thus the Oberhausen Manifesto was created by a group of young up and coming filming makers who said The old film is dead, we believe in the new. the government responded to this mounting criticism by setting up the first film subsidy agency, the Kuratorium junger deutscher Film (Board of Young German Film). Launched in 1965 by the BMI, the Kuratorium was given a brief to promote the kind of filmmaking demanded by the Oberhausen Manifesto signatories and to stimulate a renewal of the German film in a manner exclusively and directly beneficial to the community (quoted in Dawson 1981: 16) (Knight 2004). The establishment Kuratorium helped create a batch of critically acclaimed films which appeared to be a renewal of German film such as Kluges Yesterday Girl which won the Special Jury Prize at the 1966 Venice Film Festival and a number of other awards this was the start of what was initially termed Young German Film and later became the New German Cinema. (Knight 2004) East Germany East Germany or the German Democratic Republic (GDR) initially benefited from the fact that the majority of Germanys film production infrastructure was now located in Soviet controlled Berlin. Soviet administration was keen to get the film industry started again and moved quickly to do so, cinemas were re-opened just three weeks after the occupation began and the production company Deutsche Film-Aktiengesellschaft or DEFA was established in May 1946. DEFA became the centre of a centralized system of film production and by 1949 was totally under state control. Bertolt Brecht noted that Defa has all sorts of problems finding subjects, especially contemporary ones. Those at its head list significant themes: underground movement, distribution of land, two year plan, the new man etc., etc.; then writers are supposed to devise stories that interpret them theme and its associated problems. This naturally often goes wrong (Allan and Stanford, 1999:6-7) This strong political control lead to a severe lack of scripts capable of being a driving force for pushing Soviet ideologies and as such DEFA had real difficulties in the early fifties only 30 films were released in the first four years (Allan and Stanford, 1999:7) After managements restructure and the exploitation of the climate of compromise by Hans Rodenburg the later half of the fifties saw DEFA produce a variety of films on a number of different topics. Childrens films, science-fiction and red westerns were all genres that developed in this period. With the dawn of the 1960s East German cinema moved away from the Stalinist approach to filmmaking and increasingly the films of the 1960s tackled subject matter that was both controversial and contemporary. (Allan and Stanford, 1999:6-7) but filmmakers were still affected by the ever changing political stances if the SED (Socialist Unity Party of Germany) the whole slate of films from 1966 for example was pulled from distribution. The early seventies was ablaze with popular success and was one of the most successful times for DEFA with films like Frank Beyers Jakob, der Là ¼gner which was the only DEFA film nominated for an Oscar. This success however alarmed the SED leadership and after sharp criticism of Ulrich Plenzdorf and the expatriatiation of Wolf Biermann another wave of filmmakers left Germany as a direct result of this and the harsh restrictions placed upon them and their work. The 1980s were the beginning of the end for DEFA changing political stances of other countries was allowing films from nations such as Poland and Hungary to become easily available in East Germany not to mention increasing access to American television from West Germany. This combined with pressure from a new generation of directors that were displeased with opportunities with DEFA, fast and furious changes to internal politics and the fall of the wall in 1989 saw the restrictions on filmmaking vanish along with the GDR as Germany reunified. Post Unification Cinema Unified Germany and the newly re-unified Europe created new problems and new opportunities. 1990s Germany was focused on merging two distinct ideologies, resulting in debates about what constitutes Germanness in the arenas of culturally, socially and politically. The film industry was of course affected by this the old state owned studios were privatised, DEFA was sold to a French conglomerate, an initial peak in cinema attendance in the early nineties known as the cinema of consensus and the privatisation of cinemas across Germany coupled with the availability of Hollywood films kept German cinema going and pushed forward the development of high budget entertainment films and so the industry began focusing on the now accessible transnational markets. Several developments and events contributed to the making of such a transnational cinema: the fall of the wallthe influx of Eastern Europeans the establishment of the EU and the integration of Germany into the European labour market (Hake 2008:216). With some German films gaining international success such as The Edge of Heaven which premiered at the Cannes Film Festival. As the last decade of the 20th Century has shown, the future of German cinema will require more than the perfection of well-tested generic formulas and the creative contribution of a few talented directors. And as the first decade of the 21st Century has suggests, the survival of the influential filmic tradition will involve the elements that have characterized German cinema from the start. Now as then, this process requires a workable compromise between art film and popular cinema, generic tradition and formal innovation, political ideology and mass diversion, public interest and corporate profit, cultural heritage and cultural industry andbetween national, international and transnational identity in a global media landscape. (Hake 2008:221) In conclusion it is clear that German cinema has been affected by an ever changing political and economic settings where cultural and social ideologies are constantly changing and merging as influences both internal and external shaped the country, its people and its culture.

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CHAPTER 1 PROJECT OVERVIEW 1.1 Background Duke, an acronym for The Duta-Ulu Kelang Expressway, structures the key missing connection in the Kuala Lumpur Road Master Plan, joining Duta in the west to Ampang in the east, and to Karak in the north. Duke finishes the Intermediate Ring Roads (Int Rr) of Kuala Lumpur, spanning the North Klang Valley Expressway (Nkve), Sprint (at Penchala Link) and Ulu Kelang area of the Middle Ring Road Ii, permitting drivers to make a trip from finish to end in only 9 minutes. More than simply enhancing connectivity, Duke likewise scatters activity from the city towards different suburban ranges through various entrance and retreat focuses at major spiral convergences. With Duke, you have the capacity to go from one end of Kl to different parts in minutes, bypassing high movement territories, for example, Lebuhraya Mahameru, Jalan Tun Razak, Jalan Kuching, Jalan Sultan Ismail and Jalan Ampang. No upsetting driving, no packed in slither and no unmoving motor blazing valuable petrol. 1.2 Parties involved The development, principles, administration and use of freeways in Malaysia are liable to Federal Roads Act (Private Management) 1984. In Malaysia, expressways are characterized as fast tracks with no less than four paths (two in every course) and might as well have full access control or fractional access control. Most freeways in Malaysia are regulated access roads. Konsortium Lebuhraya Utara-Timur (KL) Sdn Bhd, or KESTURI, is a wholly owned subsidiary of Nuzen Corporation Sdn Bhd, which is a joint venture company between Wira Kristal Sdn Bhd and Malaysian Resources Corporation Berhad. KESTURI was awarded the Concession Agreement to design, construct, finance, manage, operate and maintain the Exp... ...s. This is lead to cause the slowdown of traffic around the construction area. CHAPTER 6 CONCLUSION As a conclusion, the environmental issue will inevitably arise in the construction of a project. The impact of construction on the environment can be addressed through the establishment of effective prevention and follow the environmental impact assessment. This is because in order to develop our country the development and construction is very necessary. The construction of DUKE highway ( Lebuhraya Duta Ulu Kelang) has advantages and disadvantages. The advantages from this highway construction are able to provide efficient and effective transportation and communication systems between highways in Klang area. For the disadvantage of this highway construction is environment pollution. However, various measures can be taken to reduce and prevent this problem.