The Negative Effects Of Animated Cartoons

The Negative Effects Of Animated Cartoons What are cartoons? According to Oxford Advanced Learner Dictionary (1948), a cartoon is an amusing drawing in a newspaper or magazine, especially one that comments satirically on current events. Also, it defines animated cartoon as a film made by photographing a series of gradually changing drawings, giving an illusion of movement. An animated cartoon is a short, hand-drawn (or made with computers to look similar to something hand-drawn) film for the cinema, television or computer screen, featuring some kind of story or plot (even if it is a very short one) (Wikipedia, the free encyclopaedia, 2001). AudioEnglish.net (2000) defines animated cartoon as a film made by photographing a series of cartoon drawings to give the illusion of movement when projected in rapid sequence. Then, Britannica Concise Encyclopaedia (1994) claims that originally, a cartoon was regarded as a full-size drawing used for transferring a design to a painting, tapestry, or other large work. The encyclopaedia also claims that it was in the 19th century that the term acquired its popular meaning of a humorous drawing or parody. Cartoons are not simply animated, sketched or drawn figures as unfamiliar viewers may think, they are comic constructions, ranging from mildly humorous to savagely satirical, based on current happenings and/or peoples lives (Websters Dictionary, 1972). This is where the problem comes in. What are cartoonists making children feel is funny, trivial or even of no consequence? Before the advent of the word cartoon in its modern sense in the 19th century, all sorts of funny and/or awkward drawings were referred to as caricatures. (Microsoft Encarta Online Encyclopaedia, 2004) The most famous figure of early times for the world of cartoons is William Hogarth created in 18th-century Britain. Honorà © Daumier, a French man, introduced text to his cartoons to convey their unspoken thoughts in the 19th century. Following this, Britains punch became the leading source of cartoons in the 19th century and then The New Yorker took the lead for the Americans (Britannica Concise Encyclopaedia, 1994). According to Museum Broadcast Communication (2008), cartoons as we know them today generally evolved in the teens, however, their growth was stifled by the fact that for every second of animation, about 25 scenes had to be drawn. This made production tedious and uneconomical. Nonetheless, Earl Hurd revolutionized the insipid industry of the era by designing the cel (a sheet of lucid celluloid) patented with Bray Studios Inc. The cel provided cartoonist with new light; they only needed to redraw the part of the cartoons that moved. Studios also discovered ways to simplify the process of animation by initially departmentalizing the steps of the process of making the cartoons and then using storyboards (little drawings of scenes that represented different sections in the cartoon) to plan cartoons. Thus, something similar to a production line was formed for producing animation, making it much more economical. Furthermore, Jerry G. Butler states that the animated cartoon industry was born with Krazy Kat created by the American George Herriman. This was followed by Pat Sullivan and Otto Mesmers Felix the cat which was the first series of the animated cartoon industry; the majority of the first animated cartoons were adapted from comics, following their earlier popularity with readers. Walt Disney, one of the early producers, was one of the first to use new technologies and devise competent modes of cartoon production. His Steamboat Willie (1928) was the first notable cartoon with harmonized sound and also his Flowers and Trees (1932) was the first to employ the tri-colour, Technicolor procedure which became the industrys primary colour scheme of the time. The major reason for the success of the cartoon industry according to the Museum Broadcast Communication (2008) was an effective distribution system. Before sound was introduced to cartoons, they were produced by smaller studios with restricted theatre access. Later on, major studios such as MGM and Warner signed distribution deals with these smaller studios gaining their distribution rights and greatly increasing the distributing power of these smaller studios. Some major studios even went on to produce their own cartoons, as the standard way of exhibiting films at the time included cartoons. Jerry Butler says that cartoons started emigrating to television around the late 1940s when Van Beuren (a smaller studio) started selling its shows to early programs for children like Movies for small fry. Disney was one of the first major studios to follow this trend posting The Mickey Mouse Club to television. Thereafter, the other major studios joined in. Microsoft Encarta Online Encyclopaedia (2004) says that concurrent with the vital changes for the film studios, there were also changes in the aesthetics of the cartoons that were made. Hitherto the 1950s, cartoonists in particular those working for Disney strived to achieve naturalistic figures so much so that they transformed dancer Marge Champion into Snow White. However, World War II and post World War II art movements including Pointillism cast off this natural style to nurture an approach that stressed abstract line, shape, and pattern. United Productions of America (UPA) was at the fore front of this revolution, with its first achievement coming with the Mr Magoo series in 1949 followed by its Gerald Mcboing Boing which won an Academy Award in 1951; truly setting this new style into motion. According to Wikipedia, UPAs style featured flat perspectives, imaginary backgrounds and strong primary colours all with limited animation. UPAs cartoons were simply flat in backgrounds of wide fields of colour; squiggles suggesting clouds and trees. Also, Wikipedia says that crucial for the progress of television cartoons, was the limited nature of UPAs creations summarized as, the amount of movement within the frame was greatly reduced, the motions are often repeated. A character chattering his teeth, for example, might contain only two distinct movements which are then repeated without change. Thirdly, limited animation uses less individual frames to embody a movement. Full animation might use 24 discrete frames to represent a movement that takes one second; however, limited animation might cut the number in half. The result is a faintly jerkier movement. Wikipedia noted that UPAs changes in animation which appeared to have been aesthetically inspired, also made good business sense. Flattened perspective, abstract backgrounds, strong primary colours, and limited animation result in cartoons that are cheaper and quicker to produce. When animators began creating programs specifically for television, they quickly adopted UPAs economical practices but did away with their aesthetics in the process. The first successful, designed-for-television cartoon was Jay Ward and Alexander Andersons Crusader Rabbit initially distributed in 1949. Network television cartooning which came along eight years later had its first cartoon series developed by Bill Hanna and Joe Barbera, the most successful producers of television cartoons. The Ruff and Ready Show was the first made-for-TV cartoon to be broadcast nationally on Saturday mornings; its popularity helped to establish the practicality of Saturday morning network programming. Hanna-Barberas The Flintstones (1960) was prime-times first successful cartoon series but also its last until the debut of The Simpsons in 1989. With these first well established cartoons, the characteristics of the made-for-TV cartoons were laid down (Toontracker, 1996). UPA-style aesthetics (especially limited animation) were mixed with narrative structures that were developed in 1950s television making the final trait of the made-for-TV cartoons an emphasis on dialogue as dialogue in the made-for-TV cartoons often re-states that which is occurring visually. In this way, televisions roots in radio are revealed. There is a reliance on sound in, for instance, Tom Jerry cartoons in which there is no dialogue at all, made-for-Television cartoons are often less visually oriented than theatrical cartoons from the golden era. (Museum Broadcast Communication, 2008) Television cartoons in the 1990s were dominated by the phenomenal success of Matt Groenings The Simpsons, which thrived after its series first appearance in 1989. Its success was principally responsible for the creation of the FOX network and the launching of one of the largest merchandising campaigns of the decade. (The Simpsons Bios, 2009). With this history in view, there are various types of cartoons which different sources including Wikipedia, the free encyclopaedia (2001) have highlighted, they include: Fine art These types of cartoons were basically blueprints used by artists to transfer their ideas from the canvases to actual pieces. They were used in the production of frescoes and also by weavers to transfer designs to their looms. Tapestry cartoons which were usually coloured, were followed by eye by the weavers on the loom. Print media In the sense as used by print media today, a cartoon is a work of art, typically intended to be funny. This use dates from about 1843 when the Punch applied the term to the sardonic images it contained. Cartoons were initially meant to be ironic, mocking the outrageous events of the time. Print media cartoons can also be further broken down. Gag cartoons or single-panel cartoons, are found in all print media and they are generally made up of a single drawing with a subtitle immediately below or a speech balloon. Editorial cartoons are a type of gag cartoons found mostly in media dealing with news and although they may be humorous, they are more serious in tone parodying recent happenings. Comic strips, also called cartoon strips are found every day in newspapers globally. Usually they are short series of cartoon illustrations in sequence and although humour is the rifest subject matter, adventure and drama are also represented. Motion Picture Due to the close similarities between early animated cartoons and comic strips, cartoon as generally used today refers to motion picture cartoons. This type of cartoons are displayed on television or in cinemas and are created by showing illustrated images in swift succession to give the illusion of motion. They may or may not include synchronized sounds but most modern motion picture cartoons do. In the past few years, it has been noticed that there is an increase in violence and other inappropriate behaviours among children who we expect to be generally peaceful. What do many children today have in common, what do they share that could be the cause of this change in behaviour? The quest for a reason, an answer has led to the main source of entertainment for children today, cartoons (Leonard Erin, Senior Research Scientist at the University Joanne Cantor, 2002). Cartoons have become the favourite past time of most of the worlds children today. Their lives revolve around everything they watch on television or read in comic books and this has been estimated to take up about 4 hours of their day (Mariam, 2009). Normally, children start watching cartoons whilst they are very young and at the age of two or three they would have been converted to ardent apostles. This has become an issue as many problems have been discovered to have roots in watching cartoons (Stevie Hossler, 2004). MENTAL AND PSYCHOLOGICAL EFFECTS OF CARTOONS ON CHILDREN By Stevie Hossler (2004) Children spend a total of about 13,000 hours in school from day one till graduation day. This seems like a very long time under which the influences of their teachers can be felt. However, within the same time frame children spend a total of about 18,000 hours watching cartoons. This is more than enough time for cartoons to take their effect on the childrens brains, emotions and sense to feel pain. David Satcher, the United States Surgeon General, stated in a report on adolescent violence (2000) More aggressive behaviour in a young childs life is caused by recurrently watched entertainment that contains violence. The American Psychological Association passed a resolution in February of 1985 due to its research findings, communicating the dangers violence on the television has on children. The major effects proved by their study are: The children may become less sensitive to the pain and suffering of others; children who watch violence do not fear violence nor are they bothered by violence in general. The children are more likely to become aggressive or use harmful actions towards others. When we are born we have the capacity for motivation, experience, and training, and because of this our minds are very impressionable. Therefore, our brains development is an active mix of nature and nurture, so it is important to choose a healthy environment for all children. This means cartoons with violence will be detrimental to a child because in general, being interactive with any environment enhances the development of a successful brain. As a result, a tremendous amount of childhood involvement with electronic media can limit social interaction and may obstruct the development of a brains social systems. However, some cartoons promote creativity in children making them more exposed to information that was once unavailable to people their age. Also, children seem to have become brighter and are more emphatic INCREASED CHILD SAFETY RISKS DUE TO CHILDREN WATCHING CARTOONS BY Brandon Ybarra (2004) Today, very many unrealistic things can be seen in cartoons; surviving gunshots at extremely close range and even coming back from the dead. Unfortunately, parents seem to be happy with these cartoons as they do not promote sex but these sorts of cartoons are not good for children. In many episodes of Pokemon for example, brawls can be seen between the Pokemon and in the incident of the death of any of the pocket monsters they are simply reborn, they can never die. Teaching children this is relatively unhealthy as they are young and inquisitive and may not know the full implications of death. It is understood that growing children admire and most often imitate their cartoon heroes even to the extent of trying to fly like Superman or climb walls like Spiderman. Unfortunately, this is not just a cut when talking about injuries to children. VISUAL SUBLIMINAL MESSAGING IN CHILDRENS CARTOONS BY Chris Choma, (2004) Cartoons are packed with many contentious matters which are not consciously noticed but do have an effect on the subconscious minds. This is called subliminal messaging. It is defined by the American Heritage Dictionary as, Below the threshold of conscious perception; inadequate to produce conscious awareness but able to evoke a response (AHD, 1352). It means therefore that broadcasters are brainwashing people and more significantly children. Unfortunately, this act is not yet illegal but it is widely frowned at. The use of subliminal messaging has greatly reduced due to advances in technology which enable viewers to scrutinize what they are watching frame by frame. Although subliminal messaging seems to have reduced, no one can be certain as only those who put these messages there are supposed to know that they are there. AUDITORY SUBLIMINAL MESSAGING IN CHILDRENS CARTOONS BY Shawnte Ray (2004) The delivery of auditory information to parts of the mind without an individuals actual perception is called auditory subliminal messaging. A classic example is a statement made by Meowth in an episode of Pokemon which was aired on Monday, October 11th, 2004 at 4:00 p.m. He said, If thats the Democratic way, I am voting Republican. Children are exposed to auditory subliminal messages which are quite common in popular cartoons. Their effects may never be discovered as they will become part of the childrens lives. CARTOONS EFFECTS ON CHILDRENS BEHAVIOR BY Ben Wikox (2004) Organizations such as the American Academy of Child and Adolescent Psychiatry have discovered from research that children who watch cartoons in which violence is incorporated are more likely to employ violence in real life. They insist that parents should screen the cartoons their children watch and also parents should act as interpreters when necessary, telling the children violence is not the best course of action. The American Academy of Paediatrics states, Neuroscientists have shown that external experiences notably mould a young brain and following this they have discovered that a higher rate of cartoon viewing can be linked to lower academic achievements, particularly comprehension scores. Their humorous nature stifles the development of the left hemisphere of the brain which dominates our use of language. Television is a very quick medium, with messages shot at the viewers like lightening bolts. The minds of children have therefore adapted to obtaining such high speed information and therefore tend to refute slower forms of gaining information or thorough reading as in day to day schooling. TELEVISIONS EFFECT ON THE BRAIN AND EYES After watching an episode of Pokemon which was aired in December 1997, many children across the globe were reported to have suffered seizures (Warner, 2004) It has been agreed on by eye specialist that watching television under right conditions does not cause any harm to the brain or the eyes, however, doing so in inappropriate conditions; in a dark room closer than five feet, will lead to eye fatigue and as scientific evidence also corroborates, brain damage (Adams, 1992). A study which was carried out by the Childrens Hospital and Regional Medical Centre of Seattle, Washington made known that children who watch three to four hours of cartoons daily have a 30 to 40 percent higher possibility of developing attention deficit disorder than children who did not watch cartoons (Todays Chiropractic, 2004). From the foregoing, it can be suggested that though cartoons have some advantages to their viewers, their disadvantages out weigh those advantages, thus, this research hopes to prove that the seemingly harmless cartoons children are exposed to and/or allowed to watch have some adverse effects on their behaviours and at the same time create an awareness of the dangers of cartoons to our communities and have these dangers checked so as to prevent an aggravation of what seems at present to be a harmless situation.

Ethics: Review Questions Essay

1. Why do we study ethics? Morality or ethics is one of the main subjects of philosophy, which focuses on the morality of human society. Delineate what is right and what is wrong. If it is easy to explain what ethics means to be separated from the good from the bad, why we should learn about ethics because learning ethical action is right or wrong according to society, culture and traditions of happiness? 2. Why should we be concerned about doing â€Å"the right thing†? Doing the right thing is to make a social convention by which people in society recognize the need and the peace of society, free from bias and corruption to society. 3. If each of us has a unique set of influences and values that contribute to our personal value system, how can that are applied to a community as a whole? The Personal Values ​​to social participation is difficult, if our thinking is not good enough, and contrary to social ethics. But it’s not that impossible, if we know how to convince people in the society and present the advantages and disadvantages that will be followed for everyone to learn our thoughts may be influenced by a small group to big society is not difficult. 4. Is it unrealistic to expect others to live by the Golden Rule? Which we have moral, ethical, and with others person, it cannot guarantee that other parties will perform as well as we do the right thing always. Thus, we must adhere to what is good for social peace. 5. Consider how you have resolved ethical dilemmas in the past. What would you do differently now? I’ve been hit in the head several times to err on the side of ethics. For example, using connections to make good results from others using the influence of the family. After doing so, I think that the act is wrong, I should have the ability to solve their own problems and presented with their own ability to influence others not to threaten to get in the thing desired. 6. What would you do if your resolution of an ethical dilemma turned out to be the wrong approach and it actually made things worse? If I am in a situation like that, I tend to see the damage that would follow from the action unethical if it is not serious, I will find a good solution to that situation. Serious consequences if I choose not to do, and he was reprimanded by my boss to summer than to others person, I believe that every situation there is a solution, if everybody not  selfish.

Kodak Essay

Foreword During 2011, Kodak was under intense pressure to survive in the digital imaging business. As professor Burley describes, ‘Kodak was caught in a perfect storm of not only technological, but also social and economic change’ (Neate, 2012). As of Thursday 19 January 2012, Kodak filed for bankruptcy protection (Neate, 2012) and has until 2013 to reshape its business and exit out of the bankruptcy plan (Business Spectator, 2012). Introduction Eastman Kodak (Kodak) was once a leader (Finnerty, 2000) and legendary brand in the photographic film industry (Associated Press, 2011b). It used the catchy slogan â€Å"You press the button, we do the rest† (Kodak, 2011) to successfully market its digital camera products. It employed as many as 145,300 people and sales as high as $16 billion when it monopolized the US photography industry and became number one in the industry in 1988 (Dobbin, 2011). Recently, Kodak lost 90 percent of its market value (Weiss, 2011) and is facing the threat of extinction (Associated Press, 2011b). In this case study, we propose and defend a recommended strategic direction for the company to implement in the next three to five years based on a balanced assessment of the company’s options. We first conduct a detailed analysis of Kodak’s internal and external environments to understand the opportunities and threats facing the company. Analysis Kodak has tried to transform itself from an aged old film technology business into a fast and digital cultured business but has failed as a result of decline in sales in the United States (Deutsch, 2004). It is still trying to play catch-up with rivals (Associated Press, 2011b) such as Canon, Sony and HP for the past 15 years. Its current products and services span across digital cameras, inkjet printers, sensors, retail kiosks, workflow and business process services and software through to consumer, professional photographic film, paper processing chemicals and industrial materials such  as films for printed circuit boards (Kodak, 2010). Through the help of drug and discounts stores, Kodak was able to add self-service kiosks to encourage people to print their own digital photos (Deutsch, 2004). Kodak formed strategic joint ventures with companies like Sanofi, AOL online (Grant, 2005), and most recently in 2007 Cinelabs (Beijing) Ltd (Kodak, 2007). It has tried to acquire several s maller successful companies such as Ofoto and Practice works to fill in the missing pieces of technology and markets that it did not have capabilities in (Deutsch, 2004). Strengths Kodak has several strengths to distinguish itself from rivals. Kodak has superior brand recognition (Aaker, 1992; Deutsch, 2004; Grant, 2005) as compared to rival brands such as Agfa based on US consumer reports (Simonson et al., 1994). Its brand was supported by its massive worldwide distribution presence through retail photography stores, film processors and professional photographers which provided Kodak with the competitive advantage (Grant, 2005). Kodak leads in the higher-end photo quality camera segment (Smith, 1999) where it launched its major innovations in imaging (Grant, 2005). Traditionally, Kodak has strengths in photofinishing services and consumables such as paper, ink and chemical technology (Grant, 2005). This is derived from a rich portfolio of 11,000 patents (Associated Press, 2011b) derived from a strong R&D investment during the early 1980s (Grant, 2005). Kodak was financially secure with cash flows flowing from its existing photography business during the early 1990s (Grant, 2005). Weaknesses On the other hand, Kodak has weaknesses. Kodak avoided taking risks, they were not innovative enough and relied on existing procedures and policies to maintain standards (Gavetti et al., 2005). They were slow to bring new products to market (Grant, 2005). Its retail network of stores was a depreciating asset due to the increase use of home computers, email and print technologies (Grant, 2005). Kodak focused too heavily on the extremely competitive entry-level market and failed to develop innovative products fast enough (Grant, 2005). Its product development and sales departments were fragmented and scattered over many divisions (Gavetti et al., 2005). Subsequently, Kodak’s middle managers were resistant to change and did not understand the digital world (Gavetti et al., 2005; Lucus & Goh, 2009).  Kodak managers ignored analysis work based on information gained from Kodak’s eroding market share (Gavetti et al., 2005). Kodak managers lacked vision and strategy (Gavetti et al., 2005). Opportunities A few opportunities exist for Kodak. It can build consumer trust in digital that Kodak already has in film (Smith, 1999). Kodak could focus on its core business and develop new technologies (Gavetti et al., 2005) and new products (Deutsch, 2004). Threats However, Kodak will suffer long term threats to its core franchise in the film business if it does not extend its brand name to digital (Smith, 1999). IBISWorld forecasts the demand for physical photographs would fall due to improvements in digital technology (IBISWorld, 2011). Kodak has been in battles with other competitors such as Sony over patent infringements (Deutsch, 2004; Associated Press, 2011a). It has been struggling with a price war between strong competitors such as Fuji Photo Film (Smith, 1999) in the photographic film industry. Industry analysis – Porter’s five forces Threat of Entry An analysis of the industry using Porter’s five forces shows that threat of new entry is moderate. Significant investment in capital would be required to enter a new industry (Select Knowledge, 2001) such as the digital imaging and photography industry. Printing equipment such as hardware, software, photographic paper and chemicals is estimated to be 45.7% of purchases versus wages at 26.8% of revenue (IBISWorld, 2011). New entrants would lack experience and knowledge in key areas of digital imaging and photography such as technical and business knowledge (Greenwood, 2008). Buyer power The buying power of consumers is high especially for consumer electronics (Skoloda, 2009). Buyers are given a range of differentiated digital camera products from a number of companies (IBISWorld, 2010). They expect better offerings and customization of goods and services (Fraser, 2007). Supplier power Supplier power is low. A lot of the suppliers are located around the world  both locally and internationally. Kodak has several supplier contracts spanning one to three years (Kodak, 2010). However, there are single or limited sources of finished goods manufactured and purchased by the company’s third party suppliers which may pose a risk for the organization (Kodak, 2010). Unique suppliers can reduce industry profitability (McGuigan et al., 2010). Threat of substitution The threat of substitutes is high. Companies are quick to match specifications, features and pricing (Select Knowledge, 2001). There are minimal switching costs between brands or substitutes as buyers can change to new updated models based on reasonable buyer perception (Select Knowledge, 2001). Competitive rivalry Competitive rivalry is high. Kodak’s faces intense competition from rivals such as start-ups (Grant, 2005; IBISWorld, 2010; Smith, 1999;) and major competitors are Canon, Fuji Photo Film, Hewlett Packard (HP), Nikon and Sony (Gavetti et al., 2005). Similarly, Kodak is competing in similar segments with rivals – Hewlett-Packard (HP) to provide digital printing technology to consumers and commercial businesses (Weiss, 2011). Kodak (2010) states that competitive pricing and rising commodity prices has contributed to the negative results for 2010 across its prepress solutions, digital capture and devices, and entertainment imaging (Kodak, 2010). External Analysis There are several external (political and legal, economical, socio-cultural and technological) factors which impact Kodak’s business model. Political and legal  Laws and government environmental regulations have an impact to the way Kodak operates in several different countries. For example, U.S federal legislations such as the Toxic substances control act, clean air and water act etc. impact the way Kodak manufactures products and process waste for proper disposal (Kodak, 2010). In 2003, it needed to form a committee to reduce odours which descended towards nearby neighborhoods (Kodak, 2006). Economical From an economical view, the decline in prices has made it affordable for  consumers to purchase digital cameras (IBISWorld, 2010). However, forecasts show that standalone digital cameras have reached a state of market saturation with little room for future growth (IBISWorld, 2010). Socio-cultural and Technological Digital cameras became an integrated and standard feature in mobile phones (IBISWorld, 2010). Increasing trends show that consumers are taking and sharing photos on mobile phones daily (Okabe, 2004). The archiving and exchange functions for photos have been facilitated by online communities and social practices (Scifo, 2009), such as Facebook (Upbin, 2011), and mobile social-media applications (Naaman et al., 2005). Intense competition between rivals is expected for new 3D camera technology on mobile phones (AFP, 2010). Strategy, approaches & implications In order for Kodak to sustain a competitive advantage, it needs to strategically transform its entire business model around to capture new and unique growth opportunities. There are several options which Kodak can explore to achieve this strategy. The options below focus on structural changes in the industry and resources (skills and capabilities) in the organisation. Business Process Re-engineering (BPR) Kodak can reconstruct the organisation using business process re-engineering practices. Its current traditional photographic business is vertically integrated (Grant, 2005). The organisation can be redesigned from a vertically to a horizontally integrated organisation through process-oriented organizational restructuring, offering a more low-level flat organisational structure (Wu & Li, 2011). The result gives improved efficiency and business simplification (Wu & Li, 2011) for Kodak to compete effectively in a tough competitive environment where it needs to quickly deliver innovative products out to market. Kodak can focus on its real core competencies in film chemistry, production and processing (Garrett, 2010), so that it can create new markets, products and services. BPR gives obvious benefits such as the reduction in complex bureaucracy in the organisation (Wu & Li, 2011). However, as cited by Greenberg (2002), there are limitations in BPR such as resistance to change, lack of ma nagement support etc. (Schniederjans & Kim, 2003). Rebranding Other opportunities exists for Kodak, it can change its name from Eastman Kodak Company to say Kodak Communication (Deutsch, 2004), or as Hopelain suggests, it will need to establish a separate Kodak Technology brand (Deutsch, 2004). An organisation’s strategy and operations will be potentially impacted by the scope of corporate rebranding (Burke et al., 2011). Stakeholder commitment needs to be achieved for the revised brand to be successful (Burke et al., 2011). It will involve staff in planning for proposed changes and training employees for changes (Burke et al., 2011). Any rebrand will impact the value of the brand (Davis & Baldwin, 2006). Rebranding will involve a lot of communication and stakeholder involvement (Davis & Baldwin, 2006). Poor corporate rebranding can be a high risk (Davis & Baldwin, 2006) for the organisation where core values may not integrate well into the new brand (Burke et al., 2011). Leadership and organisational learning Kodak will need to train staff, especially managers in weak areas on vision and strategy (Gavetti et al., 2005). For example, managers can be taught ‘design methods’, to generate growth, evolve, and react as the marketplace (Rahim & Rahim, 2009) and user needs changes so that the business model can evolve to bypass extinction (Fraser, 2007). Similarly, Apple evolved with the user to new opportunities, it did not live to the constraints of its current business model (Fraser, 2007). Subsequently, Kodak will need to discontinue some of its products, especially in saturated markets such as digital cameras (IBISWorld, 2010) where profit margins are low (Pride & Ferrell, 2007) and competition is fierce. It can better utilise its resources and real core competencies (Garrett, 2010) to make it difficult to imitate its products (Prahalad & Hamel, 1990) and demonstrate leadership. However, leaders would need to be able to influence teams indirectly through climate and culture in t he organisation (Kaiser et al., 2008). Technology enabled transformations will affect the importance of organisational culture (Lucus & Goh, 2009) where hierarchy and standards provides resistance to disruptive technologies (Lucus & Goh, 2009). Joint ventures and outsourcing Kodak can form joint ventures with other companies. It can create new emerging industries or new value propositions, alliances and collaboration – to be form by complementing and adding to its capabilities and resources (Camillus, 2000). It can capitalise heavily on its existing patent portfolio (Deutsch, 2004). Kodak will need to outsource a lot more of its manufacturing (Deutsch, 2004), while part-time and casual staff can lead to the reduction of labour costs (IBISWorld, 2011). Extreme care needs to be taken where processes of high strategic importance should not be outsourced (Sounderpandian & Sinha, 2007). The result will allow Kodak, to develop new competencies for future developments and sustain the importance of long-term success (Utterback, 1995). Recommendation To sustain competitive advantage, Kodak needs to strategically transform its entire business model around to capture new and unique growth opportunities. It is recommended that Kodak, take the BPR and organisational learning approach, to improve efficiency and simplify the organisation; leadership to communicate and influence vision and change (Bolman & Deal, 2008); to capture new business models and better match user needs and economic value (Fraser, 2007). Larsen & Leinsdorff (1998) research suggests that BPR and organisational learning work well together (Larsen & Leinsdorff, 1998). Though, developing a coherent strategy is not going to be easy for a digital imaging business (Grant, 2005) like Kodak. It will be Kodak’s last chance to ‘reinvigorate their human capital to get ahead of the curve’ (Fraser, 2007, p.67).

Michael Collins, Astronaut of Apollo 11 Mission

Astronaut Michael Collins has often been called the forgotten astronaut. He flew to the Moon aboard Apollo 11 in July 1969, but never set foot there. During the mission, Collins orbited the Moon, doing photography and keeping the command module ready to receive moonwalkers Neil Armstrong  and Buzz Aldrin when they finished their surface mission. Fast Facts: Michael Collins Born: October 31, 1930, in Rome, ItalyParents: James Lawton Collins, Virginia Stewart CollinsSpouse: Patricia Mary FinneganChildren: Michael, Ann, and Kathleen Collins  Education: United States  Military Academy at West Point, Harvard UniversityMilitary Career: U.S. Air Force, Experimental Flight School, Edwards Air Force BaseNASA Accomplishments: Gemini astronaut, pilot of the Apollo 11 Command Module, flew to the Moon with Neil Armstrong and Buzz Armstrong.  Interesting Fact: Collins is a watercolor painter of Everglades scenes and aircraft.   Early Life Michael Collins was born on October 31, 1930, to James Lawton Collins and his wife Virginia Stewart Collins. His father was stationed in Rome, Italy, where Collins was born. The elder Collins was a career Army man, and the family moved quite often. Eventually, they settled in Washington, D.C., and Michael Collins attended St. Albans school before leaving to attend college at the United States Military Academy at West Point.   Collins graduated West Point on June 3, 1952, and immediately entered the United States Air Force to become a pilot. He took flight training in Texas. In 1960, he joined the USAF Experimental Test Pilot School at Edwards Air Force Base. Two years later, he applied to become an astronaut and was accepted into the program in 1963.   Collinss NASA Career Astronaut Michael Collins in his official NASA portrait. NASA   Michael Collins entered NASA in the third group of astronauts ever selected. By the time he joined the program, he had studied spaceflight basics as a graduate student, along with other future astronauts Joe Engle and Edward Givens. Astronaut Charlie Bassett (who died in a crash before he could fly in space) was also a classmate. During training, Collins specialized in extravehicular activity (EVA) planning for the Gemini program, as well as spacesuits for use during spacewalks.  He was assigned to the Gemini mission as the backup and flew aboard the Gemini 10 mission on July 18, 1966. It required Collins and his crewmate astronaut John Young to rendezvous with the Agena vehicles. They also performed other tests, and Collins did two spacewalks during their time on orbit.   Going to the Moon Upon his return to Earth, Collins began training for an Apollo mission. Eventually, he was assigned to Apollo 8. Due to some medical issues, Collins did not fly that mission but was instead assigned as the Capsule Communicator (known as Capcom) for that mission. His job was to handle all communications with Frank Borman, James Lovell, and William Anders on the flight. Following that mission, NASA announced the first team to go to the Moon: Neil Armstrong and Edwin Buzz Aldrin to land and explore, and Michael Collins to be Command Module pilot orbiting the Moon. Astronaut Michael Collins, command module pilot of the Apollo 11 lunar landing mission, studies flight plan during simulation training at the Kennedy Space Center in preparation for the mission. Bettmann Archive / Getty Images The three men lifted off from the Kennedy Space Center on the Apollo 11 mission on July 16, 1969.  Four days later, the Eagle lander separated from the command module, with Armstrong and Aldrin headed to the Moon. Collins job was to maintain the orbiter, follow the mission on the surface of the Moon, and photograph the Moon. Then, when the other two were ready, dock with their Eagle lander and bring the other two men back to safety. Collins performed his duties and in later years, admitted that he was very worried about Armstrong and Aldrin landing safely and getting back. The mission was a success, and upon their return, the three astronauts were heralded around the world as heroes.   Apollo 11 astronauts (L-R) Aldrin, Collins, Armstrong peering out window of quarantine room aboard recovery ship Hornet following splashdown fr. historic moon mission. The LIFE Picture Collection/Getty Images / Getty Images A New Career Path After the successful Apollo 11 flight, Michael Collins was tapped to join government service, where he was made the Assistant Secretary of State for Public Affairs late in 1969, serving under President Richard Nixon. He held that position until 1971, when he took over as Director of the National Air and Space Museum. Collins held that job until 1978 and then was appointed the undersecretary of the Smithsonian Institution (the parent body over the Air and Space Museum).   Since leaving the Smithsonian, Michael Collins has studied at Harvard Business School and served as vice president of LTV Aerospace. Hes also written several books, including his autobiography titled Carrying the Fire. He is also well-known as a watercolor painter, focusing on scenes in Florida and also on spacecraft and aircraft subjects.   Awards and Legacy Michael Collins is a retired USAF general  and belongs to a number of organizations, such as the Society of Experimental Test Pilots and the American Institute of Aeronautics and Astronautics. He was also inducted into the Astronaut Hall of Fame. Over the years, Collins has been given many awards and honors, including the Presidential Medal of Freedom, the NASA Exceptional Service Medal, Air Force Distinguished Service Medal, and NASAs Distinguished Service Medal. A lunar crater is named for him, as well as an asteroid. In a rare and unique honor, due to his involvement in several movies and TV, Collins and his fellow astronauts Armstrong and Aldrin have a star on the Hollywood Walk of Fame dedicated to the Apollo 11 astronauts. He also appeared in a documentary about his flight to the Moon.   Collins was married to Patricia Mary Finnegan until her death in 2014. He remains an active and sought-after public speaker and continues painting and writing. Sources Chandler, David L., and MIT News Office. â€Å"Michael Collins: ‘I Could Have Been the Last Person to Walk on the Moon.’† MIT News, 2 Apr. 2015, news.mit.edu/2015/michael-collins-speaks-about-first-moon-landing-0402.Dunbar, Brian. â€Å"NASA Honors Apollo Astronaut Michael Collins.† NASA, NASA, www.nasa.gov/home/hqnews/2006/jan/HQ_M06012_Collins.html.NASA, NASA, er.jsc.nasa.gov/seh/collinsm.htm.Nasa. â€Å"Michael Collins: The Lucky, Grumpy Astronaut - The Boston Globe.† BostonGlobe.com, 22 Oct. 2018, www.bostonglobe.com/opinion/2018/10/21/michael-collins-the-lucky-grumpy-astronaut/1U9cyEr7aRPidVuNbDDkfO/story.html.