Analytical Essay of The Castle free essay sample

The film, ‘The Castle’, directed by Rob Sitch, is an Australian satirical movie about the triumphs of an ordinary working class family. It is a comedy, and foregrounds the importance of family and loyalty, which are considered important in today’s Australian society. Although the audience is positioned to feel sympathy for the Kerrigan family because of their unfortunate situation, their story is told in such a comical manner that the audience can’t help but find it funny. The story is told through the perspective of Darryl Kerrigan’s son, Dale, but so much emphasis is put on Darryl that it is clear that he is the star of the story. The film uses techniques like camera shots, language and the use of narration to develop conflict between a decent, old fashioned suburban family, the Kerrigans and seemingly evil corporation called Airlink. Feature films like ‘The Castle’ are cultural products because they use attitudes, values and stereotypes about what it means to be Australian. In this film, an Australian family living in their beloved home, situated at the end of an airport runway, are faced with a touch challenge as the faceless company Airlink threaten to take away their house, and the houses of their neighbours. Darryl Kerrigan (Michael Caton), the head of the house, is outraged, and hires a pathetic lawyer, Dennis Denuto, to help defend his and his friends’ homes. After a feeble attempt in court to convince the judge that the taking of their houses was, â€Å"against the constitution†, that it was the â€Å"vibe of the thing† their case was turned down, and all hope seemed lost. This caused great sadness within the Kerrigan home, and Darryl had fallen silent. After the Kerrigan family had completely given up, they got a knock at the door from Lawrence Hammill, QC who had met Darryl at the court house and felt empathy for his case. He told Darryl he would defend his case, free of charge, and they set their sights on High Court. This film was set in Melbourne, near the Melbourne Airport. The fact that the Kerrigan household is located so close to the airport positions the audience to think that the house is cheap and invaluable, which is emphasized when the audience is shown the huge power lines situated almost in the Kerrigans’ backyard, as well as the â€Å"dodgy† extensions on the house Darryl has done himself. This being said, Darryl loves his house, and couldn’t bring himself to leave it. ‘The Castle’ puts heavy emphasis on gender construction. The male roles in the movie are stereotypical. Darryl Kerrigan is a family man, which is shown when the audience sees the extensions on the house, and also when he stands up for himself and his family’s rights in court. Darryl is typically always thinking about projects he can begin, which is very stereotypical in today’s Australian society. Dale Kerrigan likes to go fishing with his Dad, which is considered a stereotypical male activity. The males in the film generally do the work and protect for the women of the family. The females are positioned to look as if they need to be taken care of. This film is full of stereotypes. Some of these are challenged, so as to avoid ‘The Castle’ becoming another clichà ©. One stereotype that is challenged is that of a wife; that she should stay at home, while her husband works. This is challenged by Tracey Kerrigan. She has her TAFE certificate of hairdressing, and works as a full time hairdresser. Although this stereotype is challenged by Tracey, it is perpetuated by Sal Kerrigan. She is the stereotypical housewife, and stays at home doing housework, cooking, and craftwork. Another stereotype perpetuated is the typical Lebanese man, represented by Farouk, the Kerrigans’ neighbour. His stereotype consists of talk about bombs and cash being carried at all times. This is perpetuated when Darryl and Farouk are talking about the aeroplanes flying overhead and lowering the value of their houses, and Farouk says, ‘Plane fly overhead, drop value. I dont care. In Beirut, plane fly over, drop bomb. I like these planes’ and also when he mentions, ‘You have friend, I have friend. My friend go to your house, put bomb under your car and blow you to sky!’ Darryl Kerrigan is seen as a stereotype from when he first appears on screen in a midshot, with a hose in his hand, wearing a flannelette shirt and jeans, and looking up at the powerlines situated behind his house. Throughout the movie he is shown as a strong and silent type, as is the stereotypical Australian man. The whole Kerrigan family, for the most part, perpetuate the stereotype of the typical Australian Family. This is shown in their closeness, their loyalty, and their willingness to help each other. Many people and issues are silenced and foregrounded in this film. Airlink and its opinions are silenced, so as to position the audience to view the company as faceless and evil. All the audience sees of Airlink are a few lawyers intent on taking the Kerrigans’ home away from them. In contrast, the Kerrigans opinions are heavily foregrounded. The audience sees all their emotions and arguments as they fight for their precious house, which encourages the viewers to feel empathy. Wayne Kerrigan’s opinions are also silenced. All the audience sees of him which may influence their empathy is the medium long shot of him lying in bed looking up at the photo of his family stuck to the wall. Class and power is shown in different ways throughout the film. Airlink’s power is shown through professional lawyers, in contrast to Dennis Denuto and his incompetence. This contrast is shown when one of Airlink’s lawyers walks into Dennis’ office, while Dennis is struggling with a broken copying machine, swearing, on his knees. Darryl Kerrigan’s power (within his family) is demonstrated in the way that Dale Kerrigan admires him, and focuses his story so much on Darryl instead of telling the story more from his perspective. Darryl is, as Dale says, â€Å"the backbone of the family† and this is shown as Darryl compliments his wife on her cooking each night, and encourages his family to do their best. Different class power discourses are shown throughout the film. The Kerrigans’ class discourse is shown in many ways. Speech is a main part of the discourse. While in High Court, Darryl’s outburst of â€Å"suffer in your jocks!† shows that he doesn’t know how to act in court, as higher class and more educated people would. Again this is shown when he is in court being represented by Dennis Denuto, and yells in excitement when he thinks he’s won the case. Even in the way he speaks, his thick Australian accent, and the way he uses colloquial terms shows the audience his class. Lawrence Hammill’s class is almost immediately known, though it isn’t directly shown when he is first shown in the movie. The audience realizes that he is of higher class than Darryl, because of his language, and by the fact that he doesn’t use colloquial terms. Throughout the film, different camera angles and shots are used to position the audience in different ways. For example, when shown Darryl’s Pool Room, close up shots of items on the walls and in cabinets (Tracy’s TAFE certificate, pictures and trophies) make it obvious to the audience what possessions Darryl treasures most. When Darryl, Dennis and Lawrence are standing in front of the High Court, before they go inside, the camera is angled upwards, in a medium close up, from the ground. This positions the audience to believe the three look ready, powerful and prepared. Another shot that positions the audience is the long shot of Darryl is admiring the power lines behind his house. This makes the power lines look bigger, greater, and more significant. The ideologies foregrounded in this film are those of the underdogs. If the directors were to show the ideologies and opinions of Airlink the audience may not have felt such empathy for the Kerrigans and their neighbours. The Kerrigan’s values are dominant in this film. They value family, loyalty, and justice. This is made clear by the way that the whole family sits down together to eat dinner each night, which is becoming more uncommon in today’s society. It is also made clear by how much time they spend together, talking, telling stories, and going on family holidays. Loyalty is shown by the way that Darryl unites with his neighbours, and cares about how they feel. An example of this is when Darryl tells them they need to get money together to pay to go to court, and how he offers to pay for Jack, because he is old and cannot afford it. Overall, this is a funny classic for all the family to enjoy. The use of foregrounding and silencing of opinions and ideologies positions the audience to feel strong empathy for the Kerrigan family, and encourages them to be on side with the family. The movie is a triumph of human spirit.

Kubla Khan Essays - British Poetry, Samuel Taylor Coleridge

Kubla Khan Kubla Khan If a man could pass thro' Paradise in a Dream, & have a flower presented to him as a pledge that his Soul had really been there, & found that flower in his hand when he awoke -- Aye! and what then? (CN, iii 4287) Kubla Khan is a fascinating and exasperating poem written by Samuel Taylor Coleridge (. Almost everyone who has read it, has been charmed by its magic. It must surely be true that no poem of comparable length in English or any other language has been the subject of so much critical commentary. Its fifty-four lines have spawned thousands of pages of discussion and analysis. Kubla Khan is the sole or a major subject in five book-length studies; close to 150 articles and book-chapters (doubtless I have missed some others) have been devoted exclusively to it; and brief notes and incidental comments on it are without number. Despite this deluge, however, there is no critical unanimity and very little agreement on a number of important issues connected with the poem: its date of composition, its meaning, its sources in Coleridge's reading and observation of nature, its structural integrity (i.e. fragment versus complete poem), and its relationship to the Preface by which Coleridge introduc ed it on its first publication in 1816. Coleridge's philosophical explorations appear in his greatest poems. 'Kubla Khan', with its exotic imagery and symbols, rich vocabulary and rhythms, written, by Coleridge's account, under the influence of laudanum, was often considered a brilliant work, but without any defined theme. However, despite its complexity the poem can be read as a well-constructed exposition on human genius and art. The theme of life and nature again appears in 'The Rime of the Ancient Mariner', where the effect on nature of a crime against the power of life is presented in the form of a ballad. 'Christabel', an unfinished 'gothic' ballad, evokes a sinister atmosphere, hinting at evil and the grotesque. In his poems Coleridge's detailed perception of nature links scene and mood, and leads to a contemplation of moral and universal concerns. In his theory of poetry Coleridge stressed the aesthetic quality as the primary consideration. The metrical theory on which 'Christabel' is constructed helped to break th e fetters of 18th-century correctness and monotony and soon found disciples, among others Walter Scott and Lord Byron. Opium and the Dream of Kubla Khan Coleridge's use of opium has long been a topic of fascination, and the grouping of Coleridge, opium and Kubla Khan formed an inevitable triad long before Elisabeth Schneider combined them in the title of her book. It is tempting on a subject of such intrinsic interest to say more than is necessary for the purpose in hand. Since the medicinal use of opium was so common and wide-spread, it is not surprising to learn that its use involved neither legal penalties nor public stigma. All of the Romantic poets (except Wordsworth) are known to have used it, as did many other prominent contemporaries. Supplies were readily available: in 1830, for instance, Britain imported 22,000 pounds of raw opium. Many Englishmen, like the eminently respectable poet-parson George Crabbe, who took opium in regular but moderate quantity for nearly forty years, were addicts in ignorance, and led stable and productive lives despite their habit. By and large, opium was taken for granted; and it was only the terrible experiences of such articulate addicts as Coleridge and Dequincy that eventually began to bring the horrors of the drug to public attention. Coleridge's case is a particularly sad and instructive one. He had used opium as early as 1791 (see CL, i 18) and continued to use it occasionally, on medical advice, to alleviate pain from a series of physical and nervous ailments. But the opium cure proved ultimately to be more devastating in its effects than the troubles it was intended to treat, for such large quantities taken over so many months seduced him unwittingly into slavery to the drug. And his life between 1801 and 1806 (when he returned from Malta) is a somber illustration of a growing and, finally, a hopeless bondage to opium. By the time he realized he was addicted, however, it was too late. He consulted a variety

Going Behind the Curtain FAQ on Publishing and the Legal Issues of Hiring a Ghostwriter - The Writers For Hire

GOING BEHIND THE CURTAIN: FAQ ON PUBLISHING AND THE LEGAL ISSUES OF HIRING A GHOSTWRITER In the first nine months of 2017, nearly two dozen civil lawsuits were filed that included allegations of libel or defamation. And those were just the cases in the United States Fifth Circuit Court†¦in Texas alone. Nationwide, more than 440 such cases were filed during the same time. Of those, many are obscure cases that never reach the headlines, but nevertheless cost both plaintiffs and defendants sizable sums for legal fees and court costs. Other cases, such as Jesse Ventura’s case against Chris Kyle’s widow or the suit filed by Terry Bollea (aka Hulk Hogan) against Gawker Media, have gained far more notoriety. The notoriously litigious nature of the United States leaves many would-be authors with plenty of unanswered questions. Can I write about living people? Can I quote songs in my manuscript without inviting a copyright suit? What about pictures – do I need to get permission to print those? We field questions like these every day, and we recognize that any author must navigate plenty of legal pitfalls to be successful. Below we’ve compiled a list of the most frequently asked legal questions we hear about writing and ghostwriting. Is the practice of ghostwriting legal? Yes, absolutely. It’s a great way for leaders and experts to enlist the help of a seasoned writer to help craft and hone their message. People can’t be great at everything, and while some have fantastic abilities to govern or lead a business, they may not be the most effective at communicating the written word. At its core, there is some debate as to whether ghostwriting is a form of plagiarism. As David Rothschild, a representative of iThenticate.com, has written, even though ghostwriting is essentially a form a plagiarism, the agreements put in place between authors and ghostwriters provide for the legal consent required for authors to take credit for ghostwritten works. What items should an author be sure to include in a collaboration agreement with a ghostwriter to provide legal protection? This is a complicated question – publishing law constitutes an entire realm of American jurisprudence. However, according to Alan Kaufman, an attorney specializing in publishing law and a former General Counsel to Penguin Books, â€Å"one always wants the issues determined up front in a collaboration agreement which covers compensation, the grant of rights, late or unsatisfactory delivery, credit, copyright.† Can a ghostwriter claim that they own the work resulting from our collaboration? If the issues of credit and copyright are addressed in a collaboration agreement, then a ghostwriter can’t violate that agreement and claim the resulting work. This is why it’s so important that very clear boundaries and expectations be settled up front. If structured properly, a collaboration agreement between author and ghostwriter can address all of the above-mentioned items. What’s more, agreements can also include a confidentiality clause or other restrictions against your ghostwriter using any proprietary information that you disclose for their own benefit. If a ghostwriter, editor, or someone else reviews a book, what keeps them from stealing it? Per Mr. Kaufman, if you send a work to someone for review, they can’t legally steal it and claim it as their own. â€Å"The U.S. Copyright Act states that copyright subsists in whatever is created from the moment of creation. So, copyright protects you.† Most collaboration agreements provide for the author’s ownership of any product resulting from the work of a ghostwriter, meaning that anything a ghostwriter writes, while working on the client’s book or article, is that client’s property. These are just some of the legal issues between client and ghostwriter. In the process of writing, a number of separate considerations need to be made for specific content, including quotes, references, and characterizations. Here are some of the questions we frequently hear about these more technical aspects of writing, which a professional writer can help to navigate. In today’s world o f self-publishing, these concerns are especially relevant. How can I avoid getting sued if my book or article is about real people? As many defendants in civil cases will attest, this can be a tricky area to navigate. According to Alan Kaufman, it’s important to understand that â€Å"real people are protected in two ways.   First are libel laws which protect from defamation.   Secondly, private individuals are protected by the laws of privacy.† If a book might be controversial, an author can always have it reviewed by legal counsel to assess their potential liability. What criteria have the courts historically used to define libel or defamation? Business attorney and author Helen Sedwick penned the Self-Publisher’s Legal Handbook in 2014, and she speaks in-depth to these issues. As she has written in a detailed post on her website, in order to prove libel, someone must prove that an author maliciously or negligently published a lie about someone who ca n be identified and which hurts their reputation. If any of these qualifications are unmet, then it isn’t libel. For instance: If the author publishes something that is true, that’s not libel.If an author publishes a lie about someone who can’t be identified based on the published material, that doesn’t constitute libel.If the statement doesn’t actually hurt the subject’s business or occupation, or hold them up for public hatred or ridicule, then that’s not libel. Simply publishing something offensive or insulting is not sufficient. What about invasion of privacy? This is another subject on which Ms. Sedwick has written in detail. She indicates that privacy laws protect people from having embarrassing or unpleasant information published about them that (in the words of Ms. Sedwick) â€Å"is offensive to ordinary sensibilities and not of overriding public interest.† Most importantly, however, the person must have a reasonable expectation of privacy. Public remarks or conduct, in other words, would not be protected by privacy laws. Celebrities and other public figures, it is noted, have little expectation of privacy and (within reason) can usually be written about without their permission. Can I quote songs in my writing without opening myself up to a lawsuit? The short answer is yes, if done correctly. Music companies tend to be aggressive litigants, so this is an area where authors need to exercise caution. Attorney Alan Kaufman encourages writers â€Å"not to use more than a couplet.† Can I quote other books? To a certain degree, quoting other works is considered â€Å"fair use.† However, it’s worth noting that this is based on the total amount of original material used, relative to the total size of the book or article that is being quoted. Unfortunately, there is no consensus on just what percentage constitutes plagiarism. Much of the debate has been focused within academi a, with many universities relying on plagiarism checkers such as TurnItIn. These checkers often limit the amount of directly-quoted text to 15% or less – however, this may still be too much if everything quoted is one continuous block of text. Some more stringent universities raise red flags if more than seven consecutive words of text show up in a paper that’s run through a plagiarism checker. For a few, the limit is even less: five words. None of this is to say that an author can’t use the text – only that a citation needs to be included to give proper credit to the original.The bottom line here is that, when in doubt, it’s best to give credit to another author – even if it’s just for an idea.Tweet this How can I determine what pictures I can legally use? Dr. Curtis Newbold is an Associate Professor of Communication at Westminster College, where he oversees the Master of Strategic Communications program. In addition to teaching ma ny courses on Communications, he has written extensively about the fair use of photographs. He has outlined the criteria that authors should consider when deciding if a photo can be used. A more detailed breakdown can be found on his website, but here are a few examples of photographs that can be used: Pictures that you took yourself that are based on your own concept, for which you own all the rights. More on this later.Pictures that someone else took, but which you are using in â€Å"an education or research setting, for limited non-profit uses.† Dr. Newbold also notes that copyrighted images shouldn’t be printed for personal or decorative purposes.Pictures someone else has taken and you’ve secured permission to use, or for which you’ve purchased the rights (such as through a stock photo company or from a photographer).Sara Hawkins is an attorney specializing in advertising, social media, and intellectual property. According to her, if you aren’t sure whether the photographer has released their rights to a picture, it’s best not to use it until you’ve made that determination or received express permission to use the image. There are still a lot of grey areas with plenty of exceptions. Authors are always encouraged to take as much caution as possible when dealing with potential copyright issues. Are there any restrictions on using images that I’ve taken myself? There are a number of issues at play there. First, if you want to publish a picture of your own, you need to consider whether the photo was truly original (not designed to resemble or mimic someone else’s photograph). Second, you need to consider where you were when the photograph was taken to decide whether it may include anything proprietary. Generally speaking, if the picture was taken in your own home or while you were in public, then this shouldn’t be a concern. If my pictures are of other people, do I need to get permissi on from people in the pictures? What if they’re old pictures and I can’t locate the people in them? In cases where authors want to use images that they took themselves of other people, there are a few issues at play, including privacy laws and potential defamation or misappropriation, according to the Digital Media Law Project. Firstly, most states prohibit the use of â€Å"someone elses name, likeness, or other personal attributes without permission for an exploitative purpose.† This would violate the person’s â€Å"right of publicity† – their right to make money from their name or likeness. This concern arises most often with advertising or other promotional materials. However, it can also be the case in other works like books or articles, which an author is publishing for commercial benefit. Here again, it’s better to be safe and get permission before using images. What if I want to use an interview I did with someone for my boo k? When conducting interviews to use as source material for a book, it’s a good idea to have interviewees sign a written release acknowledging that their responses may be published. If you are recording an interview, it can be sufficient to include a stated acknowledgement on the recording that the interview is being recorded and the interviewee understands that what they say may be published. By doing so, they not only acknowledge that they’re being recorded, but also give consent for the interviewer to use their quotes for publication. The same principal goes if you plan to conduct recorded interviews by phone. There are some strict laws about phone recordings. Kelly Yamanouchi, a business reporter for the Denver Post writing for the Society of Professional Journalists, reminds us that â€Å"most states require only one-party consent to recording. However, 12 states and the Commonwealth of Puerto Rico require the consent of two or more parties.† She goes on t o note that, in these cases, it’s not only important to get permission to publish responses in an interview, but also â€Å"to take great care when securing permission to record.† Her suggestion is that writers first ask the interviewee whether it’s OK to record the conversation. Then, after recording begins, it’s a good idea to have the interviewee put their permissions – both for the recording and for publication of their responses – on the record. What if the person I interviewed is dead now, or I want to use a picture of someone who is now dead? If someone that you’ve interviewed or photographed has since passed away, the right to sue dies with them. However, if you want to use someone else’s photograph, it doesn’t matter whether a person in the photograph has died – you still need to get the photographer’s permission. In fact, even if the photographer has died, their estate can still own the rights to their pictures for decades after their death. Writing a book is no small or straightforward undertaking. There are a number of legal issues to weigh, both with regard to the relationships between author, ghostwriter, and publisher, as well as the nature of the material to be published, source material to be quoted, and pictures to be included. While issues in the former category can be addressed explicitly in a collaboration agreement negotiated and signed up front, working with seasoned professionals can go a long way toward resolving issues in both of these areas.

Movies Adapted From James Patterson Books

Movies Adapted From James Patterson Books James Patterson is an American author best known for his compelling books. His works tend to fall into the young adult fiction, thriller, and romance categories. With such exciting plots, many of his books have been turned into movies. For James Patterson book fans interested in watching a movie adaptation, or for those who would rather experience a story through film rather than text, here is a list of James Patterson movies by year. Kiss the Girls (1997) The protagonist is Alex Cross, a sharp Washington D.C. cop, and forensic psychologist. His niece is kidnapped and held captive by a serial killer by the name of Cassanova. One of his victims who escaped, Kate, joins forces with Alex to find his niece.   Starring Morgan Freeman and Ashley Judd, this crime-mystery thriller will keep you on the edge of your seat. Miracle on the 17th Green (1999) This sports drama revolves around the game of golf. Mitch loses his job, and rather than find another job at age 50, he decides to compete on the senior golf tour. But this decision affects his home life, as his wife and family start to feel neglected.   Along Came a Spider (2001) Another movie in the Alex Cross series, Morgan Freeman returns as the titular psychologist and detective. Alex loses his partner on the job. Experiencing insurmountable guilt, he retires from working in the field. That is until a senators daughter is kidnapped and the criminal will only deal with Alex. First to Die (2003) Homicide inspector Lindsay Boxer is dealing with a lot. In the case of her career, her team successfully captures a serial killer but she also finds herself falling for her partner. All the while, she is secretly handling a life-threatening disease. Suzannes Diary for Nicholas (2005) Christina Applegate stars as Dr. Suzanne Bedord in this romance-drama. Suzanne discovers the truth about her former lover in a round-about way- through the diary that his first wife wrote to their son.   Sundays at Tiffanys (2010) Jane is about to get married to TV star, Hugh. But not all is happy and well. In fact, Hugh is only using Jane to get a lead role in a movie and Janes mother is very controlling. Janes childhood imaginary friend, Michael, reappears in her life. In fact, Michael is a guardian angel that is sent to help neglected children until they turn 9-years-old. This is the first time Michael meets with one of his kids when they are adults.   Maximum Ride (2016) This action-thriller follows six kids, who arent really human. They are human-avian hybrids bred in a lab which they escaped from and now hide-out in the mountains. When the youngest is kidnapped, everyone else tries to get her back and learn secrets about their enigmatic past in the process.

Survival of the Holocast essays

Survival of the Holocast essays The goal of the Holocaust camps was to eventually kill, and destroy all Jewish and other ethnic groups whom did not succeed under Hitlers expectations. Although this was the purpose of these horrid places, which now dread among the memories of those who are now living, they had their own purpose, which was to survive. The harsh camps had unbelievable conditions, which even to these oppressed people, were unimaginable. Items of any value and family members were taken away from camp members, which would most likely to decrease their determine to survive. The book Night, shows many examples of ones who long to survive through out the story. This is one of the many examples, One day we stopped, a workman took a piece of bread out of his bag and threw it into the wagon. There was a stampede. Dozens of starving men fought each other to death for a few crumbs. This statement shows how valuable life is, which is why I think the main theme of this book should be survivor. So many died in the horrible time in history, but at the same time, so many wanted to survive. Survival was the main goal of all prisoners of the Holocaust of 1933-1945. ...

Discussion board 2.2 Essay Example | Topics and Well Written Essays - 500 words

Discussion board 2.2 - Essay Example The target behavior is one upon which people want to emphasize upon the behavior in essence. Similarly this is measurable and observable at the same time, and is stated within an operational capacity. Hence behavior is important to ascertain because it mentions the significant pointers that are a part of the human life. Behavior is hard to define due to a number of issues because its impacts are either short term based or one for the long term. Behavior leads towards practicing a general act or form that demands a change in attitude (Parnaudeau, 2011). There are a number of examples that have been mentioned in the power point, all of which have one context or the other as far as work manifestations are concerned for the human beings. The examples suggest the basis of success as to how the power point lists down the behavioral regimes and what kind of changes would be deemed as successful right from the onset of one such understanding. The power point also mentions the basis of the AB Cs of behavior which are clearly distinguished by the antecedent, the behavior and the consequence. These tenets list down the significant pointers which play a very imperative role at the formation of the ABCs of behavior in this day and age.

Applying SWOT analysis to Vauxhall as a firm bases in EU Essay

Applying SWOT analysis to Vauxhall as a firm bases in EU - Essay Example The foremost impact of political policies and regulations is seen on the socially responsible conduct of businesses in the region. Due to the increasing pressure of environmental activists and consumer groups, car manufacturing businesses in the region are forced by the political administration to manufacturer automobiles that are safer with minimum harm the ecological environment (European Monitoring Centre on Change, 2004). Additionally, the Political administration of the region also works together towards providing relief to automobile manufacturing businesses in the form of levies on taxes, easing recruitment regulations and providing incentives for incorporating social responsibility framework in business practices. The economic outlook of EU region is somehow unstable. There are countries in the continental alliance that are experiencing an economic downturn and are forced to provide bail-out plans to businesses in their respective countries. Spain and UK are the biggest example of financially unstable countries in the region. As a result, the purchasing power and spending trends of consumers in financially unstable countries of the region is reflecting a unfavorable trend. On the contrary, the car manufacturers in EU region are considered as a vital economic stimulator. This is because, in the manufacturing of automobiles, the manufacturers utilize other complimenting products such as textile output, aluminum, copper, steel, computer chips, iron, lead, plastic, vinyl and rubber. Considering this assertion, it can be said the car manufacturing is an important driver of the region’s economy (European Commission, 2009). The society in EU region perceives their vehicles to be reflecting their social status. Majority of the societies in EU region prefer vehicles that are environment friendly and designed keeping in view the