Types of Loneliness

Types of LonelinessMost people palpate unfrequented(a) close totimes, but it usually only lasts for a few minutes and a few hours. This kind of loneliness is not serious. In fact, it is quite normal. For some people, though, loneliness can last for years. Psychologists atomic number 18 subject fielding this complex phenomenon in an attempt to better understand long-term loneliness. These researchers aim already place three different types of loneliness.The first kind of loneliness is temporary. This is the most universal type. It usually disappears quickly and does not require any special attention. The sustain kind, situational loneliness, is a natural result of a particular situationfor example, a divorce, the death of a loved one, or moving to a naked as a jaybird place. Although this kind of loneliness can cause physical problems, such as headaches and sleeplessness, it usually does not last for more than a year. Situational loneliness is blue to understand and to pred ict.The third kind of loneliness is the most severe. Unlike the trice type, chronic loneliness usually lasts more than two years and has no specific cause. People who experience habitual loneliness have problems affableize and becoming close to others. Unfortunately, many inveterate unfrequented people hypothesise there is little or nothing they can do to improve their condition.Psychologists agree that one important factor in loneliness is a persons social contacts, e.g., friends, family members, workers, etc. We depend on discordant people for different reasons. For instance, our families give us emotional support, our parents and teachers give us guidance, and our friends share similar interests and activities. However, psychologists have found that the number of social contacts we have is not the only reason for loneliness. It is more important how many social contacts we think or expect we should have. In other words, though lonely people may have many social contacts, th ey sometimes feel they should have more. They question their own popularity.Most researchers agree that the loneliest people are between the ages of 18 and 25, so a group of psychologists decided to study a group of college freshmen. They found that more than 50% of the freshmen were situationally lonely at the beginning of the semester as a result of their new circumstances, but had adjust after a few months. Thirteen percent were still lonely after seven months due to shyness and fear. They felt very self-conscious meeting new people, even though they understood that their fear was not rational. The situationally lonely freshmen overcame their loneliness by making new friends, but the chronically lonely remained unhappy because they were afraid to do so.Psychologists are trying to align ways to help habitually lonely people for two reasons. offshoot of all, they are unhappy and unable to socialise. Secondly, researchers have found a connection between chronic loneliness and se rious illness such as heart disease. While temporary and situational loneliness can be a normal, healthy part of life, chronic loneliness can be a very sad and sometimes dangerous condition.

An Examination Of The Caviar Market Economics Essay

An Examination Of The cavi atomic number 18 commercialise Economics EssayThe new commerce is aiming to produce a reserve caviare point of intersection in Russia and Kazakhstan, with a view to exportationationing it to the UK. It is evaluate that the main targets for this product exit be those in the paltry to eye income bracket who would non for the most part be able to afford satisfying caviar. Consumption of caviar in the UK is non as widespread as in some other regions and this is thought to be primarily ascribable to the high charge that is commanded by caviar in the country.The aim of the calling is to provide an affordable alternative that depart be provided over the cyberspace and by phone, allowing for rapid deli very(prenominal) of products that are well equipment casualtyd. Loyalty offers impart be available and the business aims to target the general consumption grocery rather than the exclusive, opulence segment of the commercialize. Initially , the target will be the UK alone, although at that place is no particular reason that this could not be extended in time as takings increases. Substitute caviar do up of a variety of different ingredients will be available in night club to satisfy the widest range of tastes possible.Overview of interrogation ProcessA sundry(a) explore approach has been taken, out-of-pocket to the event that whilst completing the sign inquiry it became clear that the UK foodstuff may not be the best initial overseas grocery to target, and this burdened in a wider abbreviation than originally anticipated. viewation was given to the global market for both the export and substance of caviar and caviar replaces, with a view to gaining an understanding of the general movement of caviar and also in an attempt to understand where the value lies and where in that respect is probability for growth.Another research approach was to look at commentary special to the UK market and the way in which UK consumers view the caviar products, in order to get an idea as to whether or not in that respect is probable to be a penury for a caviar substitute of the character proposed. This type of research will internally require greater abstrusity and primary research in the diversity of consumer questionnaires interviews would also be preferable to supplement the general media proclaims.Information was also obtained in congener to the proceeds industry in Kazakhstan and Russia, which was also seen as important as this gave an trace as to whether or not these countries had the ability to increase their production and had the incumbent facilities to do so at a reasonable price.Critique of Research ProcessThe research process was somewhat scattergun in nature, aiming to administer a wide range of takingss and this resulted in lack of depth at times. By attempting to detect the potency market in the UK, the general market for caviar and caviar substitutes, the gener al production processes and the way in which caviar substitutes are developed, this research was naturally less expatiate than may be necessary in the next stages of business development. A more focussed approach, for example, flavour specifically at the UK and the various caviar substitutes available, may own been a more productive approach at this stage. reason self-containedA wide variety of evidence, of varying reliabilities, has been gather, as noteworthy below. In terms of the education relating to the UK, in that location was very limited general annoy information available and media interpretations had to be relied upon. This in itself is a potential weakness. However, from this research it is clear that caviar in the UK is very such(prenominal) a luxury product that is able to command a substantial price, but it is not growing in popularity as a result of the increasing price that is stimulated by the shortage in supply.Evidence was also ga thered in terms of the global market as a whole, identifying lacquer as a substantial consumer, as well as the US. This brocaded the query as to whether or not the UK is the best plectrum as a target for this new product. This research also looked at the export side of the market and identified both Russia and Kazakhstan as macrocosm life-or-death players. This is likely to be a positive factor, as it indicates that the supply shackles for this type of product are already present, although it may raise concerns relating to intensity of resources, depending on the exact type of substitute that is being used.Critique of EvidenceSome of the issues down been raised already in relation to the dependableness of this research. It has been observe that there is not a great deal of information available in relation to the UK consumption of caviar and caviar substitute, so media commentary has had to be relied upon. There is a danger that this analysis is slanted and does not present all of the available data and this factor need to be considered when looking at the research below.Furthermore, there is little research that actually distinguishes betwixt the relative desire for caviar and caviar substitute, which is potentially fundamental to the likely success of the proposed business. Much of the information available is produced by the industry itself and so there may be issues of bias. The research does not contain information from the last 12 months and again this may result in a degree of weakness in the figures being produced, as matters may have changed dramatically in late months and particularly during the financial crisis.Recommendations for Future ResearchBased on the above, it is suggested that future research is need to supplement the initial research undertaken. A much more detailed analysis of the consumer demand for caviar and caviar substitutes in the UK is required. This is likely to read primary research, which would include consumer analysis in a bid to d etermine just how likely consumers would be to switch to a cheaper substitute and whether the handiness of a cheaper substitute would encourage more consumers to purchase this product.Research into other potential markets should also be undertaken, as there seems to be a greater appetite for caviar in places, such as japan and Sweden, that should be explored in more depth.Research AnalysisFinancial Implications / Ingredients of Caviar and Caviar Substitute (http//www.caviarist.com/index.php?s=substitutex=0y=0)Although focussing on the caviar market, the musical theme by The Caviarist provides valuable financial information, as well as hardheaded suggestions in relation to the market for caviar substitutes. This report is useful, based on the fact that it draws together several industry opinions and also is able to consider the value of these substitutes, in comparison to pure caviar.The reports produced by The Caviarist noted that there was, in fact, a wide range of potential alt ernatives to the traditional pitch-black caviar, m any(prenominal) of which offer a substantially cheaper plectron, but these do not always meet with consumer approval, in terms of taste. Some of the key substitute options were noted as being snail caviar (De Jaeger) from France, Cajun caviar which is made out of Bowfin Roe and comes from the US, and Keta which is derived from salmon roe. Each of these could, potentially, be competitors for any new caviar substitute coming to the market. A further option is to use aubergine which has resulted in poor mans caviar being produced and again shows the potential for cheaper substitutes to be brought to the market.Imitation caviar in Japan is, potentially, well-favoured business already, with one company, Hokuyu Foods Co Ltd., specialising in the production of imitation caviar, which consists of a gum that is derived from kelp, pectin from apples, sea urchin extracts, scallops, oysters and squid ink. The consumption of this caviar is t hought to be approximately 20% of the consumption of genuine black caviar and indicates the potential market for substitute caviar and the consumer willingness to use a substitute. It is, however noted that this imitation caviar, Cavianne, is not often sold directly to consumers, as it is generally purchased wholesale at a price of approximately 11USD for a 50 gram jar.A more recent substitute which has come to the market is that of Cabial, which is sea urchin roe and originates from Spain. The typical price for this is between 10 12 Euros for a 120 gram jar. This, again, suggests that there will be a drop in quality, although it does produce a real pricing contend for any company looking to drop off the market.Substitution is not always welcome, with some individuals only being prepared to consider the real caviar, due to taste and the perceived lack of quality associated with these cheaper options. For those consumers who are prepared to substitute, there is the issue of price competition, which is likely to be fierce and a bulwark for any new substitute.Current Market Trends UK, Russia, Kazhakstan / Competitors (http//www.fao.org/docrep/006/y5261e/y5261e06.htmbm6.4)Reports have suggested that the market for caviar has declined, in recent years. It was noted in this detailed report that the availableness of wild roe was in decline and there was a revival meeting of farmed sturgeon to satisfy the increasing consumer demands for caviar (or indeed caviar substitutes).Production of sturgeon by the farming industry has increased from 150MT, in 1984, to a total of 158MT, in 2000, showing that this industry is growing, albeit not at a rapid rate. Initiatives in the caviar industry are focused on this new form of farming therefore, even where the production of caviar is still taking place, it is being done so with efficiency of production in top dog and this has cut back the prices of production, devising the caviar substitute market even more competitive, o n an ongoing basis. The main markets for producing farmed caviar are Russia (2,050MT), Italy (550MT) and Poland (250MT).When looking specifically at the position in Kazakhstan, it poop be seen that despite being considered a lower-middle income country, it is a highly influential region when it comes to the production of caviar. There is a total of slightly 16,000 fisheries in Kazhakstan and a production of caviar at approximately 1,153 MT (value of US$2,469,500), showing just how influential the caviar industry is to this region and that the likely competitive nature of the industry will result in a price war.Russia is seen to have a equivalent demographic in that it is also considered to be a lower-middle income country that relies severely on the fisheries industry. The number of fisheries in Russia is considerably greater than in Kazakhstan, with a total of 316,300 fisheries of which 1,300 produce farmed caviar alone. Total production in Russia amounts to 77,132 MT and a val ue of around $204,779,000. Export income stands at approximately $1,386,000, indicating that there remains a substantial market for caviar and that the market will become increasingly competitive, as farming production becomes more in force(p) and the economies of Russia and Kazakhstan strive to protect their position within the global market.This market analysis shows both positive and negative trends for a company looking to enter the market. Whilst it is clear that there is a growing market for caviar (both natural and farmed), it is also an incredibly competitive market. Moreover, as real caviar can be produced more cheaply, this will naturally put a farm animal on the market for caviar substitutes.Demand in the UK (http//news.bbc.co.uk/1/hi/uk/1055748.stm)A report from the business section of the BBC has looked specifically at the issue of caviar in the UK and who actually consumes caviar. Although this review dates back to 2000, it is the most recent of its type and is a key indicator of the consumption trends of caviar, in the UK. It was noted, in this report, that from the UK point of view, the availability of caviar has dropped substantially this is likely to be traceable to the fact that the UK relies entirely on imports and does not have its own production facilities. The availability of top quality caviar, e.g. Beluga caviar, remains relatively low and therefore the pricing of this caviar has risen to reflect this lack of supply. For example, it was noted that 50g or Beluga sells at 210 in top restaurants, in the UK, making it very much a luxury product. It is no surprise, therefore, that the consumption of caviar has dropped, in recent years, mainly due to the escalating prices. What is not clear is how much of this reduction is simply a matter of taste and how much of it is bug out to affordability. This will be a key issue to determine when looking at the viability of a caviar substitute. It is estimated that the amount of consumption in the UK is around four tonnes per year when this is compared with Sweden at six tonnes and bearing in mind that Sweden has just 10% of the population of the UK, it is clear to see that the market for caviar, for some(prenominal) reason, is not large in the UK.The consumption of caviar in the UK is, therefore, seen very much as a luxury specialist product that is consumed by very few individuals. This raises interesting questions in relation to the potential for a cheaper caviar substitute, in the UK market. As the price of caviar has risen, so has the direct of sales and this would suggest that a cheaper substitute (end of sentence?).Despite this, it is not clear whether there really is the appetite for caviar, in the UK, and even if the price were to reduce, substantially, it may be that it simply is not a popular choice with UK consumers and that other markets should be considered, in order to introduce this substitute caviar product.A Global Trade PerspectiveThe 2005 Report conside red the global market for caviar, in terms of where the most production was achieved and where in the world the great demand for caviar was. This is particularly relevant in the context of this business plan, as the market for a caviar substitute is likely to learn the same trends as the market for caviar itself. There is, however, the potentially bigger scope of caviar substitutes, due to the fact that they are cheaper to produce and therefore will be sold at a lesser price, which may, ultimately, string a wider consumer base.This report gives an excellent overview of the global position in relation to caviar and caviar substitutes, indicating that the largest exporter of caviar and caviar substitutes is the US, followed shortly by Iran and thence Russia. By contrast, the largest importer is Japan, followed by France. The UK is the 10th largest importer, indicating that there is a demand for the product however, there may be a bigger demand in other regions which have been overl ooked so far during this study, notably Japan. Nevertheless, this report does consider caviar and caviar substitutes, together, and therefore consideration will have to be given as to whether there is a greater demand for substitute caviar, in accredited regions, possibly those that are generally considered to be less affluent, such as Latvia and Hungary, which currently rank relatively lowly, in terms of import.When it comes to imported caviar and caviar substitutes, in Europe, the main targets are France, Germany and Sweden, with the UK ranking relatively lowly, in 8th position, taking under 4% of the European import market. This suggests that the current approach of targeting the UK may not be the best possible business plan, because there is a considerably larger market in other regions of Europe, for example, France which takes up 26% of the European import market.Based on this report and the general demographic of the import and export of caviar and caviar substitutes, it wou ld seem that there is a much greater demand to be had in regions that may have previously been overlooked. For example, there is a substantial market in Japan and France, neither or which was immediately obvious, in the business plan. This report does not distinguish between caviar and caviar substitutes, which may change the demand structure, due to the fact that the cost associated with caviar substitutes is less, potentially, encouraging better market penetration, in certain less affluent regions.

The Banking Sector Reforms In India Finance Essay

The Banking Sector Reforms In India Finance EssayThe commiting field reforms in India ar aimed at foundation garment of best international practices and technological changes for making the Indian banking welkin militant glob all(prenominal)y. The Indian banking system is to a greater extent efficient and stable today. Consequently on that point has been a rapid profit in the chip of banks in this country. The banking opinion is changing because of the increase number of mystical banks and the conflicting banks. Appargonntly in that respect is a cut throat competition between the banks. New and intermixture of go atomic number 18 offered by banks which are non-conventional and customized as per the customer requirements. Banks began to commute their services as part of their corporate strategy to cater to versatile customer segments.Structure of banking in IndiaThe Indian banking system is classified into schedule and non-schedule banks. The scheduled banks are then classified as state cooperatives banks and mercenary banks. The non-scheduled banks are classified as exchange cooperative banks and primary acknowledgment societies and the commercial banks.Commercial banks are classified in some(prenominal) the scheduled banks as well as the non-scheduled banks. Schedule banks are those which are include in the SECOND SCHEDULE of BANKING REGULATION ACT 1956.To be include in the second schedule a bankMust capture paid up capital and reserves of non less than Rs 5 lakhs.It must also satisfy the RBI that its affairs are not conducted in a manner detrimental to the pursual of its depositors.File plan banking structure in India.pngRBI(Reserve Bank of India) is the central bank of the country. As the central bank of the country RBI has the power to supervise and control all the banks with the intensions of developing a sound and efficient banking system. It also performs many divergent developmental and promotional functions.The functions of RBI are as followedNote cut offBankers bankThe central bankBanker to the governmentCustodian to Foreign stand in ReservesManagement regulation of exchangeCredit control early(a) functions.The Indian banking system has witnessed a substantial reformment in both stability and efficiency parameters such as capital position, asset quality, and boilersuit profitableness. There has been a remarkable improvement in the financial wellness of commercial banking field. The banking area reforms wealthy person improved the stability of the Indian financial system.PERFORMANCE OF COMMERCIAL BANKS IN INDIAIndicatorsThe performance and the efficiency is analysed in toll of positiveness, productivity, financial stability, and quality of assets. The following powers are usedProfitability indicators It is deliberate in terms of net profit of the bank. The interest, non-interest income, and the expenses influence the net profit. some of the important indicators of profitability are as follows i nterest group income as fate of total assets Interest income rack up assetsHigher ratio indicates higher profitability.Interest expended ratio Interest expenses wide assetsFall in ratio improves the profitabilityNet Interest Margin(NIM) interest income interest expensesTotal assetsA follow in NIM indicates the need to reorient the banks policies.Intermediation Cost of Assets Ratio (ICAR) Non-interest expensesTotal assetsLower the ratio higher the efficiency.Overhead Efficiency(Burden)Ratio Non-interest incomeNon-interest expensesHigher ratio indicates displace profitability. reproductions on Assets(RoA) Net profitTotal AssetsHigh RoA indicates better deployment of funds.Return on Equity(RoE) Net profitTotal EquityRoE testament help the banks to access new capital.Capital markets indicators The capital market indicator is based on the EPS and P/E ratio.Productivity Indicators productivity indicators are generally analysed in terms ofProfits per employeeBusiness per employeefisca l firmness of purpose Financial steadiness is reflected by the Capital Adequacy Ratio.CAR Total capitalRWAsRWAs Risk Weighted AssetsHigher the ratio better is the reinforcement of the banks.Asset Quality The quality of assets in the bank is shown by the direct of non-performing assets (NPAs). Lower the ratio better is the asset quality. The 2 ratios used areRatio of gross NPAs to gross advances.Ratio of net NPAs to net advances.11The higher up graph has the data of the gross NPAs of the banks. The X axis depicts the historic period and the Y axis depicts the dower. The red dotted line is for the Gross NPAs and the unappeasable dotted line is for the Gross advances. Looking at the graph we muckle confidently state that the Gross NPAs are increasing whereas the Gross advances are decreasing since 2010-11.PERORMANCE OF PUBLIC SECTOR BANKS, NEW PRIVATE SECTOR BANKS, AND hostile BANKS IN INDIAThe comparative performance of public sector banks, new personal sector banks, and u nusual banks is explained below for the recent yearshttp//stockshastra.moneyworks4me.com/wp-content/uploads/2012/03/Indian-Banking-Industry-Statistics.pngProductivity and profitability of banks Productivity is directly related to profitability. It is analysed in terms of agate line per employee and line of merchandise per branch.Business per employee The business per employee in the public sector banks has increased from Rs 471.18 lakhs in 2006-07 to Rs1013.63 lakhs in 2011-12. But is still low as compared to foreign banks. The business per employee for foreign banks has showed a tremendous increase from Rs974.77 lakhs in 2006-07 to Rs1559.74 lakhs in 2011-12. The business per employee for the private banks has also increased from Rs695.23 lakhs in 2006-07 to Rs823.26 lakhs in 2011-12.Profit per employee The kale per employee are the highest in foreign banks followed by new private sector banks in 2011-12. Per employee profit was Rs 16.3 lakhs in foreign bank, Rs 8.1 lakhs in ne w private sector banks and Rs 5.93 lakhs in public sector banks in 2011-12.Interest income The interest income of public sector banks, new private sector banks and foreign banks showed an increase to Rs366318, Rs 96827 and Rs 28520 respectively in 2011-12.Interest expended ratio The interest expended ratio equivalent as interest income has showed an increase for all the banks in 2011-12. The figures are Rs231153 lakhs, Rs57115 lakhs, Rs10622 lakhs.Financial Soundness The CAR(Capital Adequacy Ratio) is the most important indicator of financial soundness of banks. The capital to risk weighted assets ratio is shown is the figure below. The CRAR of public sector banks has been between 12 and 15 percent. The old private sector had CRAR deceitfulness between 12 and 15 percent. The new private sector had CRAR of more 15 percent. It goes the same with the foreign banks for the year ending in butt 2012.9Asset Quality the asset quality of a bank is shown by level of non-performing assets ( NPAs). Better quality of assets is the indicator of efficiency. There is a vast improvement in the efficiency of Indian banks.B1The NPAs as percentage of Average Total Assets are increasing marginally in 2011-12. The NPA of foreign banks rose from 0.8 in 2009-10 to 1.4 in 2010-11 to 1.6 in 2011-12. The new private sector banks showed an increase from 1.1 in 2009-10 to 1.2 in 2010-11 to 1.3 in 2011-12 approximately. The old private sector banks has shown an increase but less as compared to the other banks. The national banks have shown a gradual decrease in the NPAs since 2009-10 to 2011-12.Customer services In order to ease customer access to banking facilities, Indian banks have begun whirl bouquet of financial services to their clients. The number of branches proving CORE BANKING SOLUTION (CBS) is increasing tremendously. Under CBS a number of services are provided such as ANYWHERE BANKING. The number branches of PSBs that have implemented CBS increase from 35464 in abut 31, 200 8 to 46304 in March 31, 2011.ATMsThe banks are providing more and more ATM facilities to the customers. The foreign banks and new private sector banks are the larger contributors in this.http//www.isrj.net/PublishArticles/img/306_2.gifThe above graph is for the year 2008-09. The highest number of ATMs is provided by the state banks but on-site. The highest number of ATMs provided off-site is by the foreign banks.NEW TECHNOLOGY IN BANKINGThe banks in India are using Information Technology (IT) not only to improve their own internal process but also to increase the facilities and services to their customers. Computerization has taken place all over India. The only actor is to bring banking at the fingertips of the customers and employees.THE DIFFERENT FACILITIES PROVIDED AREVirtual bankingATMSDebit cardsCredit cardsPoint of Sales(PoS)Door step bankingInternet banking winding bankingTelebankingPhone bankingElectronic Funds Transfer (EFT)Electronic Clearing go (ECS)Real Time Gross Se ttlement (RTGS)REFRENCINGhttp//ebookbrowse.com/t-y-b-com-paper-iii-business-economics-eng-pdf-d419151576http//etheses.saurashtrauniversity.edu/54/http//schools-wikipedia.org/wp/e/Economy_of_India.htmhttps//docs.google.com/ attestator?a=vq=cacheQUJlL6E5-TAJijimt.org/papers/140-M582.pdf+hl=engl=ukpid=blsrcid=ADGEESjYSzZ1KSelInYi2gBvlRjTk0WyxRsdcYOCBvBaopI7N3pzl8naPA62sFiG0tfzK2x-ZKiVFyysLZhluPTr3O5WorzEXuj_Sn-X6CV1dQ8dqEo1UDv64oMzU7s_i2pw0XNURAnasig=AHIEtbRvIWrXt8CCpGACZrevqopfbX1i4Qhttp//stockshastra.moneyworks4me.com/wp-content/uploads/2012/03/Indian-Banking-Industry-Statistics.pnghttp//www.indiainbusiness.nic.in/studies_survey/banking_systemsurvey.pdfhttp//www.theinternationaljournal.org/ojs/index.php?journal=rjcbspage=articleop=viewpath=488http//www.icra.in/Files/ticker/Indian%20Banks-Note%28Revised%29.pdfhttp//www.icra.in/Files/ticker/IBS%20-%20FY11%20Perf.pdfhttp//www.rbi.org.in/scripts/PublicationsView.aspx?id=14629Business Economics 3 by Johnson, Mascarenhas, and Chatterjee.Th e institute of leased accountancy (India)http//www.google.co.uk/imgres?hl=ensa=Xtbo=dbiw=1366bih=630tbm=ischtbnid=-qRyMTq-g80w5Mimgrefurl=http//en.wikipedia.org/wiki/Banking_in_Indiadocid=RGeL8hvEN_HioMimgurl=http//upload.wikimedia.org/wikipedia/commons/thumb/9/92/NUMBER_OF_ATM.png/220px-NUMBER_OF_ATM.pngw=220h=169ei=xBvwUKiVCpS20QWhmoHYAgzoom=1iact=hcvpx=859vpy=12dur=180hovh=135hovw=176tx=61ty=46sig=115207852604614094774page=4tbnh=135tbnw=176start=72ndsp=25ved=1t429,r76,s0,i316

Iberian Landscape In Jamon Jamon Film Studies Essay

Iberian Landscape In Jamon Jamon Film Studies Essay explain how Bigas Lunas mathematical function of the Iberian embellish in Jamn, dummy upn contri scarcees to our perception of the charges themes. Arguably one of the main concerns of the archaeozoic 1990s cinematic work of Spanish-Catalan director Bigas Luna is that of place or property (Smith, 2000, 89), and it is within this context that the following discussion of Jamn, bone upn (1992), the first film belonging to his Iberian Trilogy, will be placed. If location is key in ground up prognosis with regard to theme in Spanish cinema (Jordan Allinson, 2005, 36), the way in which Bigas Luna utilizes the campestral locale of Los Monegros is then profound to the auditions ability to engage with the thematic discourse. In intercourse to Jamn, jamn, Deleyto (1999, 270) emphasizes the complex delectation of filmic and real seat as the main spin with which the principal themes of gender roles and depicted object indi viduation are communicated, themes which form discussion section of what Fouz-Hernndez (2005, 189) argues is an overall strategy to scrutinize Spanish stereo grammatical cases, or Spanishness (ibid., 189), from the viewpoint of twain an outsider and insider. Consequently, by focusing specifically on the 2 aforesaid(prenominal) themes, the analysis in-hand will examine the Iberian adorn in wrong of its allegorical function, whereby it continually negotiates the binary confrontations of womanhood and maleness, nature and manufacture, as hale as geography and culture. Ultimately, as the concept of theme corresponds to the focus which unifies the of import concerns of a film (Boggs, 1996, 10), I aim to show that it is this dynamic and nonplus integration of setting which, by aiding audience perception of the themes of gender and interior(a) identicalness, facilitates a more comprehensive understanding of the filmic work as a whole.Hochbergs (2007, 57) analysis of perceptio n indicates that as film constitutes a communicative process, initiating an early connection with the audience is key to cinematic understanding a type of engagement which is immediately evident in Jamn, jamn. In the initiative instalment, the camera pans down from behind the silhouette of a home run hoarding to key out a sparse panorama of Los Monegros, however as its bareness gives limited indication as to the location other than that of rural Spain, the setting is instantly set up as a attributeatical mar de tierra, donde la aridez hace que todos los elementos destaquen (Alegre, 1991, 10. Consequently, the geographical embellish functions as an allegorical space against which stereotypes shadower be constructed, in turn alluding to the thematic treatment of characters, sooner than as individuals, as symbols of certain kinds of Spanishness (Deleyto, 1999, 270).In highlighting its starkness as the means by which the audience is steered towards acknowledging the fiddleative function of the characters, the geographical setting is performing an active role in the thematic narrative and ordure be viewed as a protagonist itself. A traditionalistic yarn of the earth as a signifier of fertility and motherhood, whilst rendering this seventh character inherently womanly (Deleyto, 1999, 273), is juxtaposed with the historical as vigorous as opticly apparent reality of Los Monegros as a terreno de secano (Madoz, 1850, 193). As a result, the landscape evokes an opposition among nurture and destruction which is later on mirrored in Carmen and Conchita the former, an embodiment of mother-earth who calls her sexuality to provide for her daughters whilst the latter is a signifier of the arid land, given her excessive displays of voracious motherhood (Deleyto, 1999, 285). As Hochberg (2007, 26) states that symbolisation bewilders likely perception at a distance, the allegorical use of the inseparable surroundings can be understand as a way of drawing au dience attention to the problematic representations of motherhood and femininity that thread throughout the film.The encounterry connected with genus Silvia further demonstrates how the landscape is used to communicate a thematic narrative on gender roles. In her first joint appearance with Jos Luis, the visual association between the hills and Silvias curvaceous breasts (Fouz-Hernndez, 2005, 193) reinforces the link between the land and femininity, with the backdrop of the naked feminine surroundings figuratively mirroring Silvias nude upper corpse and gum olibanum affirming female spatial dominance in the scene. Equally, Silvia occupies a more profound and superior physical position in the frame, as Jos Luis is seen crouching down in order to taste her breasts. As Monaco (2009, 160) argues that the source of film lies in its energy to state rather than suggest, the use of the Iberian locale to emphasise femininity can be understood as a direct sweat by Bigas Luna to thema tically undermine dominant machismo in Spain, and in doing so is calling for the audience to rethink the overall relevance of Spanish stereotypes.By describing his Iberia as a space in which locality is lived with uniquely unintellectual vividness (Smith, 2000, 107), Bigas Luna acknowledges a sexualised interpretation of the filmic setting. Hence, with sex central to the macho ibanti-racketeering law stereotype (Holder, 1998, 35), the landscapes relation to male manfulness must be examined, specifically the films thematic portrayal of a conventional, almost grotesque version of Spanish masculinity (Jordan Allinson, 2005, 168). Given that our analysis considers the question of spectator perception, it can be proposed that it is precisely by Bigas Luna using the landscape to play with audience expectation that our focus is drawn to the thematic relevance of exaggerated displays of male sexuality. The shots of the Osborne wangle hoarding, in both(prenominal) the opening sequence and the scene where Jos Luis forces himself on Silvia, present a unique perspective from which to view Aragons paisaje desolado (Santabria, 2007, 16) expressly, via the rear outline of the bulls private parts. Whereas from the wayside the observer could straightforwardly identify the image and, in the case of a Spanish audience, its meaning as a famous brandy advert (Vilars, 1998, 235), viewing the bull hoarding from behind renders its significance difficult to decipher. Furthermore, the cameras focus on the bulls paquete, whilst rendering the perspective oversexed, also shows it to be fractured and so, as it sways unsteadily onwards the inherently feminine landscape, the shot captures a exemplary destabilization of stereotypical Spanish machismo. Consequently the manipulation of point of view in relation to the landscape (Deleyto, 1999, 273) is a way of asking the audience to take also critical view of Jamn, jamns representation of excessive masculinity.Paradoxically, the rel ationship between men and the rural landscape contributes to the thematic commentary on gender roles and stereotypes, in turn highlighting the binary complexities associated with Bigas Lunas use of setting. In Rals opening sequence, the use of a travelling shot crossways the dry land followed by an extreme long shot stresses the flesh of him in these arid surroundings, with the distance blurring the boundaries between land and men (Fouz-Hernndez marketplacenez-Expsito, 2007, 21). Given that Monacos (2009, 197) treatment of the diachronic shot indicates that unlike close-ups which deprive us of setting, long shots serve to emphasise context over drama and dialectical over personality, Jamn, jamns thematic concern for stereotypes over individuals is thus resonated in Bigas Lunas negotiation of the geographic space. Furthermore, as the role of cinematography, and in picky camera movement, is key to how we perceive film by announceing the ideas and images that characters represen t (Jordan Allinson, 2005, 46), Rals engagement in a mock bullfight, a stereotypically Spanish and male activity (Jordan Morgan, 1994, 59), illustrates how the use of cinematographic conventions that incorporate the dynamics of setting serve, in effect, to define Ral as the quintessential macho incarnate.Nevertheless, it can be argued that any masculine association of the landscape is merely constituted in order for it to be interrupted by femininity, as the opening sequence then cuts to Conchitas underwear factory where a female employee, Silvia, runs a sewing machine across a pair of mens briefs, then to some other eating a ham sandwich. Given that psychologically the cut is the truer theme of our natural perception (Monaco, 2009, 172), Bigas Lunas use of it here thus encourages the audience to make an instinctive association between both the preceding and subsequent image the dramatic interruption by these feminine images figuratively implying male emasculation and the undermi ning of the machismo image which precedes it and thus reverting back to a reading of the landscape as inextricably feminine.The encounter in the cinematic space of femininity and masculinity reveals a further allegorical use of the rural landscape as a vehicle for thematic talk. The way in which both the huge bull hoardings and the Sansn advertisement image of Rals genitals penetrate the feminine soil as well as Rals use of this poster to demonstrate his worthiness to Silvia, suggest a dauntless masculine invasion of the feminine panoramic. Yet, no matter how imposing these symbols of masculinity initially seem against the female landscape, they will never match the great physical scale of Los Monegros given the immenses tendues de terrain quon y trouve (Berthier, 2001, 30). Subsequently, the central position which appears to be given to the male is shown to be no more than an illusion (DLugo, 1995, 71), as it can be suggested that it is the female terrain which in fact enables these emblems of masculinity to be erect in the first place and therefore holds the power to castrate. steal Stone (2002, 195) proposes that by flailing so dramatically at machismo Jamn, jamn destroys audience identification with the characters, nevertheless it is this exaggeration, maintained via Bigas Lunas allegorical use of the landscape, which contributes to the films thematic treatment of discipline identity. In the night-time bullfighting scene Rauls genitals are obscured by the darkness of the physical environment, with the sole light emanating from the corn liquor of Mother Nature. Yet, instead of her glow framing the naked male body it delicately highlights the bulls horns and so this gentle treatment of the bull, a phallic emblem and symbolic representation of masculinity in Spain (Jordan Morgan, 1994, 59), combined with a refusal to reveal Rals paquete, weakens the Spanish stereotype of potent machismo. Given the existence of a stereotypical nonion of national identi ty in which male virility in particular is central (Morgan-Tamosunas Jordan, 1994, 60), the landscapes role here in contend the validity of masculine phallic dominance can be understood as a way of highlighting the issue of problematic national identity in post-transition Spain.The juxtaposition of the rural landscape with the make setting, a space of non-Spanish, globalizing capitalism (Fouz-Hernndez Martnez-Expsito, 2007, 21), further evokes the ambivalence of national identity an opposition which is reflected in the male protagonists association with setting. Whilst Rals establishing shot sustains his visual association with the natural surroundings, Jos Luis is situated within the artificial setting of his family home, a space highly reliant on external symbols of purchasing power (Fouz-Hernndez, 2005, 192). Consequently, the initial relationship the males hold with their environment renders them personifications of the tensions between the old (Raul) and the novel (Jos Lu is) in postmodern Spain (Fouz-Hernndez Martnez-Expsito, 2007, 20). Subsequently, the clash between the manufactured and natural setting in the filmic space reinforces the discord of national identity, including frequent shots of lorries as symbols of consumerism crossing Aragns barren terrain and the underwear factory drawing Ral away from his traditional ham warehouse, a space which is a face of hyper-Spanish and hyper-masculine associations (Jordan Allinson, 2005, 167). In addition, the use of Ral body as a vehicle for commercial consumption via the underwear advertisements which litter the rural panoramic, helps undersell his strength as the physical embodiment of the prototypical macho ibanti-racketeering law (Morgan-Tamosunas Jordan, 1998, 78) and therefore the waning relevance of this image in 1992 Spain. The binary opposition between manufacture and nature can be interpreted as a way of highlighting the national Spanish struggle between traditional and contemporary defin itions of economic culture and identity (DLugo, 1995, 69).The infiltration of modernity is not simply presented as oppressive, as both Ral and Silvia actively want to occupy the commercial space, with Ral aspiring to own a Mercedes and Silvia desiring a shoe cupboard, both in parallel with Conchita as a representation of consumerism. As such, rural Aragon as an allegory of traditional Spain, is shown to be a place where the tho possible escape is via materialistic transactions, reflecting late twentieth century capitalism (Holder, 1998, 33). The characters conjunction in both the manufactured and natural space thus alludes to a definition of national identity which is no longer based on static traditions, but one that is changing through globalisation, as the postmodern deconstruction of identity means recognition of the fact that Spanishness is a change concept, encompassing plurality and contradiction (Labanyi, 1995, 397).The final perspective from which the Iberian landsca pe will be examined is revealed by Freixas (1992, 36) interpretation of its resonance not only in geographical but also heathenish terms. Consequently, the barren space of Aragon can be seen as a canvas on which pagan references are painted in order to reinforce the themes of gender roles and national identity. The binary conflict of the physical landscape, as both manufactured and natural, nurturing provided destructive, is characteristic of Dalis painting Naturaleza Muerta, Viva. Likewise, the positioning of the factory, cars and coke can as symbolic dashes of globalisation against the natural space brings to mind the paintings primary interpretation of an erasure of boundaries (DLugo, 1995, 72), thus echoing the theme of problematic Spanish national identity in relation to globalised post-modern context.Bigas Lunas omnipresent allegorical use of the bull and the pig, two animals closely related to Spanish gastronomy and culture (Fouz-Hernndez, 2005, 193), equally reinforces a heathen reading of the landscape. The Osborne bull itself, by historically transcending its original commercial connotations, became an entire part of Spains ethnic landscape (Fouz-Hernndez Martnez-Expsito, 2007, 22). Likewise, the geographical setting and the cultural significance of the pig are fused in the final sequence in a reworking of Goyas Duelo a garrotazos la rfrence au peintre aragonais Goya dont le tournage sest prcisment effectu dans la rgion natale de ce dernier signalant une filiation artistique (Berthier, 2001, 60). Consequently, Bigas Lunas parodic weft of a fight with hams instead of cudgels renders el famoso jamn a ser arma no del macho excelente y excesivo, sino de su opuesto (Vilars, 1998, 235). Furthermore, the aftermath of the duel sees the women return as a central focus to simultaneously bring together the thematic discourse in a parting pieta the shot panning out to reveal the vastness of Los Monegros, its aridness evoking the power of mother earth which has drained the liveness from the men which stand before it and thus undercutting the myth of Spanish machismo in a culturally prestigious environment (Deleyto, 1999, 281). Monaco (2009, 172) affirms that we are seldom implicated in the intervening filmic space, yet the cinematographic pan draws our attention to just that, therefore its use in the final sequence can be seen as a way of emphasising the resonance of both the geographic setting and its cultural implications.In conclusion, as film corresponds to a one-way system of communication which is composed with the intention of relaying a desired message (Monaco, 2009, 162), the discursive use of setting to reflect the dualities of gender and national identity constitutes a apprised attempt by Bigas Luna to thematically engage with the audience. By rendering femininity dominant and so subverting Spanish machismo, the Iberian landscape acts as the political program on which a critique of Spanish stereotypes is constructe d. Furthermore, the juxtaposition of the natural versus the manufactured setting acts as a means of connecting with a Spanish audience through self-referential reflections on the process through which their identity has been reshaped by multinational capitalism (DLugo, 1995, 69). Hochberg (2007, 26) argues that our perception of a films themes comes not only from what we see but from what we do not see, therefore it is both the recurrent visual bearing of the geographic landscape alongside its symbolic and cultural associations which renders it an effective art in aiding our understanding of the thematic discourse of a film which contempla irnicamente los ritos de una cultura que est intentando desojarse de lo negativo del pasado pero tratando de no sustituir lo bueno tradicional por lo malo moderno (Evans, 2004, 41).