An Export-Led Growth Strategy: Pakistan Essay

This essay makes no pretence to offer a novel concept or a new development strategy and most economists reading it will probably stifle a yawn and turn the page. Yet it is a subject worth talking about. Many countries round the world, most notably the former Asian Tigers, China, Brazil, Turkey and more recently India have followed such a strategy with great success. Pakistan has not and it is well to ask why and what we can do about it. Pakistan has never had a consistent, coherent and well-articulated export-led growth strategy. Indeed, exports are often treated as a residual, an after-thought, once the domestic market has been filled. This is inexplicable given our persistently large trade deficit which has not been reduced over time and we have difficulty financing it (filling the gap) each year. Economic growth has at various times been driven by either the public or private sector or more recently – and most disastrously in the previous government – by consumption which created dangerous asset- price bubbles in the domestic economy, led to overheating pressures and a surge in inflation and imports. Economic growth has never been driven by exports nor has building a dynamic export sector been at the forefront of any government’s economic strategy. While the large-scale manufacturing sector in Pakistan is the focus of policy attention not least because it has a powerful lobby, it is the tip of the manufacturing (and export) sector ice-berg. It is the small and medium-enterprise manufacturing (SME) sector in Pakistan that generates four-fifths of our manufacturing output, employment and exports. Sustained and focused policy-driven growth in this sector with its strong forward and backward inter-industry linkages is the kind of -inclusive- growth that Pakistan urgently needs. With labor-input a large component of capital and output, rapid SME growth has important positive implications for wages, employment, living standards and the goal of poverty alleviation. Why Pakistan has shied away from adopting such a strategy is not clear. Of course every now and then there is much bluff and bluster about boosting exports and grand plans to contain our external deficit and debt. Since the government is busy giving â€Å"top priority† to everything, the priority that should be given to exports is drowned amid the â€Å"noise† of the many – and often contradictory – pronouncements. Perhaps the first reason for not paying sufficient attention to the SME sector – and an incredible one at that – is that we don’t know much about the SME sector despite its size and importance in the economy. We have large bureaucracies dealing with SME in all provinces but it is unclear what they do. Surveys of activity this sector are taken in -frequently, sometimes as far apart as 15 years, and a inter-survey growth rate is calculated which is then put into the National Income Accounts and repeated year-after-year until the next survey. The real growth rate of the SME sector has been fixed at as low a figure as 2. 5% per annum. The present fixed rate is 7. 5% per annum. But what is really happening in the SME sector in the inter-survey years no one knows except through crude methods of linear interpolation. If there is no information and just a fixed assumed growth rate with fixed and outdated coefficients for employment and capital, there can be no meaningful strategy of export- led growth in the SME sector to begin with. The second reason could be that we don’t like to talk about exchange rate policy except in whispered conspiratorial terms. Maintaining a -stable† exchange rate is always thought to be a reflection of how well economic policies are being managed. Governments frequently interfere with exchange rate management issues and demand that the exchange rate is kept -stable. † An appreciating exchange rate is greeted with applause. Devaluation is always bad. Nominal â€Å"exchange rate stability† was one of the highly –touted achievements of the Musharraf years even though no one was noticing that Pakistan’s export to GDP ratio was falling (along with our notoriously under-performing and falling tax-to-GDP ratio). This presented prima facie evidence that export profitability was most probably being compressed and the authorities should have done something about it. But given that we were in an era of plentiful aid and other capital inflows there was no pressure on government to do much either on the export or the tax front. Added to the conspiracy theories, there is a widespread view that exchange rate devaluation which for exporters means more rupees earned per dollar exported, has no effect on export performance. The reality is more nuanced and worthy of some elaboration. There are fairly long lags between exchange rate depreciation and the response of exports. It takes time to gear up production to the new level of export profitability. Furthermore, for devaluation to impact exports in a positive way, the exchange rate must depreciate in â€Å"real,† rather than only â€Å"nominal,† terms, that is, the extent of depreciation (or increase in nominal export profitability), of say 10 percent, must exceed the going rate of domestic inflation, say 7 percent. Exports respond to increases in real profitability (in the above example the real increase in export profitability is 10 percent minus 7 percent = 3 percent, not just the nominal change in profitability, 10 percent). If the extent of devaluation is offset, or more than offset, by higher inflation because macro policies are insufficiently tight and there is cost-push inflation, there will be no stimulus to exports because there is no, or perhaps even a negative, change in real export profitability. Importantly, any increase in real export profitability needs to be sustained if the stimulus to exports is to be lasting. If exporters see that the improvement in real export profitability is likely to be fleeting and will dissipate through future inflation, or a change in government policy, they will have little incentive to export and would prefer to sell in the domestic market. Given the concentrated, oligopolistic structure of industry in Pakistan and the high-levels of protection afforded to producers in the domestic market from foreign import competition, real profitability in the domestic market can be very high, often a multiple of what can be earned in the export sector. In Pakistan this has been a strong disincentive to produce for exports. This brings to the foreground a â€Å"second-order condition† for a successful export drive. Even if there is a real increase in export profitability, the much higher real profitability levels, or â€Å"monopoly rents,† that can be earned in the domestic market will induce firms to sell domestically, eschewing exports. Worse, firms may actually switch back to selling in the domestic market and cease exporting altogether as the differential between domestic profitability and exports rises. Of course, a judicious application of trade, tax and tariff policies and other incentives can help countries achieve an incentive structure more favorable to exports. Many countries that are more aggressive with their export drive actually tilt profitability sharply towards the export sector and ensure it is sustained. The importance of establishing an incentive structure favorable to exports is underscored by the fact that exporting, per se, is a challenging task. Not only are quality requirements higher, strict adherences to, for example, packaging, labeling, and hygienic standards is essential. One often hears of Pakistani exports being banned in foreign markets because of our failure to adhere to high standards. Competition from other countries selling in the same market is intense; price wars and dumping can be ruinous, and there are tariff and non-tariff barriers and complex procedural regulations in the importing country that have to be negotiated and complied with. These â€Å"non-price† determinants of exports can be of significant importance. While price and non-price factors interact to determine competitiveness, exports also respond to export market income growth. The magnitude of the response of exports to income growth is the â€Å"income elasticity of demand for exports† which generally reflects the country’s export mix. Given the commodity composition of Pakistan’s exports, dominated by low-value textiles such as yarn and cloth, the income elasticity of our exports is not large, perhaps even less than unity (or less than one). This means that for every one percent increase in export market income growth, our exports respond by less than one percent. This less than â€Å"unitary income elasticity† of our exports explains why Pakistan’s export market share has lagged behind the growth in global income and trade. By contrast, in the more dynamic exporting countries, the income elasticity of exports of their higher-value added products can be as high as four or six and these countries have made impressive strides in expanding their global market share. Many countries use the exchange rate as a weapon of export competitiveness, most prominently China, where the exchange rate is kept artificially depreciated (by some calculations by as much as 42% but now down to 24%), when China’s massive trade surpluses with other countries, most notably the US, and even more massive foreign exchange reserves (presently $2. trillion) would point towards a policy of gradual appreciation of the currency that would slow down the torrid pace of China’s exports and pull in more imports driven by domestic demand. In doing so, China’s massive trade surpluses would start to diminish, and with other surplus countries adjusting in a similar manner, the global economy would be better balanced. According to a recent estimate a 20% appreciation of the Chinese currency would cut $150 billion off the US trade deficit with China and create 1 million US jobs by making US exports more competitive. Pakistan needs to change the commodity composition of its exports, add new higher value products for export and look for new export markets. After 62 years we still export the same products of largely unchanged quality to the same markets as reflected in the estimated â€Å"Commodity Concentration Index† of our exports which has remained broadly unchanged. We have made little progress in moving up the -value-added chain† and getting better unit prices for our exports. One study showed that the unit price our exports can be as low as one-third of the unit price other developing exporting countries earn for the same product. The unit price of our exports of garments, for example, was lower than the unit price received by exporters in Bangladesh for the same garments selling to the same market. This is a distressing fact since it shows the Is there any empirical econometric support to the view that the real exchange rate matters? There have been a surprisingly few studies done in Pakistan given the importance of the subject (most of the studies have been done by the World Bank, Asian Development Bank and the IMF using Pakistani data). These studies do point to a strong and fairly robust relationship between the real exchange rate and exports. Of course, other factors too contribute as explanatory variables such as world income growth. The lags between real exchange rate changes and real exports mentioned earlier need to be carefully specified to get a better â€Å"fit† of the predictions of the econometric model to the actual data. Other than these models which are probably out-of-date, the projections that are made each year in the context of our export targets are based on what can be termed â€Å"casual empiricism. The government iterates to a target figure for each export commodity based on discussions with trade bodies and simply extrapolates by using an agreed compound growth rate from a given base-year figure. There is no rigorous forecasting model which specifies explanatory variables that underlies the export targets. To sum up, Pakistan needs more information and better information on what is going on in the SME sector from which most of our exports emanate. It will be costly since the SME sector is widely dispersed but the benefits would more than justify the cost of more frequent surveys of the full population of the SME sector, say every three years with smaller sample surveys taken each year so as to build-up a time-series profile of the dynamics of the SME sector. External donors would be more than willing to finance such a survey (s) with grant (non-debt-creating) funds if Pakistan can present a credible plan. The decision by the US to give $100 million to the SME sector could portend a new beginning for the sector but one has misgivings about the administrative and technical capacity of the SME establishment and whether they can or will deliver meaningful results. Discussion of the appropriateness of the exchange rate and how domestic inflation and relative inflation affects export profitability, the difference between nominal and real exchange rate, the overall conduct of exchange rate policy, and different exchange rate regimes followed by more successful exporting countries, needs to be more transparent, up-front and better understood. The point to drive home is that the real exchange rate does matter and is an important – albeit not exclusive – determinant of lasting export success. It is the most important price signal in any economy. The incentive structure needs to tilt towards exports versus selling in the domestic market through judicious adjustment in trade, tax, finance and tariff policies. Special, selective incentives should be given to exporters, especially new exports which should not be available to producers selling in the domestic market within of course the ambit of WTO rules. To prevent abuse of these incentives they should be tied to performance and withdrawn if performance is not forthcoming as measured by, say, actual exports in the previous three years. If this â€Å"tilt† is sustained, new exports will emerge of products and from sectors previously un-thought of A look at the rag-bag category of â€Å"Miscellaneous Exports† in the export data turns up some surprising high-value items that Pakistan exports (some to very sophisticated markets in Europe) but the amounts are small and their year-on-year growth is erratic. Since there is little targeted encouragement given to these new exports, they usually fade out of the export picture altogether. If there is no domestic market that they can turn to, these firms shut down. In both cases, Pakistan has lost a potential export item and valuable foreign exchange something that we can ill-afford. Focusing on fostering growth in these high-value exports which emanate from the SME sector would improve the export mix, diversify the export base, reduce the commodity concentration of our exports and increase the income elasticity of demand for our exports in world markets. The non-price determinants of exports need to be strengthened through emulating â€Å"best-practice† techniques employed by the leading exporters of the world. This is not rocket-science since most of the â€Å"best-practice† techniques can be gleaned from the internet. Furthermore, domestic investors and FDI proposals that are aimed at exports should be given the highest priority and placed on a fast-track of approval. FDI inflows offer the best route to securing structural shifts in the technological progress function in the SME sector while at the same time bringing in better managerial and marketing skills which are so critical in exporting. Enhancing productive efficiency in the SME sectors means being able to offer higher wages in line with productivity improvements which would lead to higher living standards and poverty levels dropping to the teens as demonstrated by the remarkable success of other exporting countries. As productivity growth responds to output growth (as in the P.  J. Verdoon and Kaldor models which inverts the causality of neo-classical models of Solow and Swan) with output growth being driven mainly by net exports as would be the case in an export-led development strategy, static and dynamic economies of scale can be reaped through the process of â€Å"Learning-by-Doing† as espoused by the US economist Kenneth Arrow in his path-breaking work. Such dynamic economies of scale and increasing returns can generate positive cumulative circular causation effects that impact costs, prices and profitability in the export sector.

Much Ado About Nothing Essay

Much Ado About Nothing–the title sounds, to a modern ear, offhand and self-effacing; we might expect the play that follows such a beginning to be a marvelous piece of fluff and not much more. However, the play and the title itself are weightier than they initially seem. Shakespeare used two other such titles–Twelfth Night, or What You Will and As You Like It–both of which send unexpected reverberations of meaning throughout their respective plays, the former with its reference to the Epiphany and the topsy-turvy world of a saturnalian celebration, and the latter with its implications about how the characters (and the audience itself) see the world in general and the Forest of Arden in particular. Much Ado About Nothing is no different, but we do not pick up the deeper resonances as quickly as an Elizabethan would, simply because of a shift in pronunciation. We get our first real glimpse of the pun in the title when Don Pedro says, â€Å"Note notes, forsooth, and nothing!† (The Complete Signet Classic Shakespeare, ed. Sylvan Barnet, New York: Harcourt Brace Jovanovich, Inc., 1972, 2.3.57). As A. R. Humphreys explains, â€Å"That ‘nothing’, colloquially spoken, was close to or identical with ‘noting’ is the basis of Shakespearean puns, especially in a context of musical ‘noting’. A similar pun, though non-musical, is conceivable here† (Introduction, The Arden Shakespeare: Much Ado About Nothing, London and New York: Methuen, 1981, 4). The play is, in fact, driven by the â€Å"noting† of scenes or conversations and the characters’ reactions to these observations; â€Å"noting† seems to be the thematic glue that binds the various plot elements together. When he wrote the play in 1598, Shakespeare assembled the Hero-Claudio plot line from bits and pieces of Ariosto’s Orlando Furioso (Canto V) and Spenser’s The Faerie Queene (Book II), and added details about Claudio and Don Pedro from Bandello’s La Prima Parte de la Novelle (Novella 22). For the characters of Beatrice and Benedick, Shakespeare drew not so much on a specific story or plot as on the tradition of wit combat and characters from his own earlier comedies; these two characters can be seen, in fact, as wittier and more mature versions of Kate and Petruchio from The Taming of the Shrew. Dogberry and Verges also have no clear literary source, but seem instead to be taken from Shakespeare’s England. (For a detail ed discussion of Much Ado’s sources, see A. R. Humphreys’ introduction to The Arden Shakespeare: Much Ado About Nothing, London and New York: Methuen, 1981, 5-25.) These  characters, different though they may be, mesh together (and frequently clash) through their observations, chance overhearings, and deliberate eavesdroppings. The first sign of this comes early in Act I. When Claudio asks Benedick what he thinks of Hero, Benedick responds, â€Å"I noted her not, but I looked on her† (1.1.158). It becomes increasingly clear that they see in Hero two entirely different people. To Claudio she is â€Å"a modest young lady,† â€Å"a jewel,† and â€Å"the sweetest lady that ever I looked on (1.1.159, 175, 181-2). But to Benedick, â€Å"she’s too low for a high praise, too brown for a fair praise, and too little for a great praise† (1.1.165-70). This is, as John Wilders â€Å"notes,† â€Å"a play much concerned with the ways in which people perceive one another, with our tendency to see in other people whatever by character and experience we are predisposed to see† (New Prefaces to Shakespeare, Oxfo rd: Basil Blackwell, 1988, 147). So we must consider that Claudio is describing what he sees through the hazy mists of romantic attraction, and that Benedick (whatever he may say) is analyzing her through the mask of â€Å"a professed tyrant to their sex† (1.1.162-3); neither of them may be seeing Hero as she really is. Claudio, however, has an unfortunate tendency to believe exactly what he sees, and his eyesight proves more powerful than his faith in Don Pedro and his love for Hero. When Don John, in his first bit of mischief, suggests to Claudio that Don Pedro is courting Hero for himself, Claudio (despite his knowledge of the wooing plan and his friendship with the prince) takes what he sees for truth. And he is not convinced otherwise until the Don Pedro actually hands Hero over to him. Benedick also believes what his eyes show him: â€Å"The Prince hath got your Hero†¦. But did you think the Prince would have served you thus?† (2.1.189-90, 193-4). But Benedick, at least, may be excused by his ignorance of Pedro’s intent to woo in Claudio’s name. This excuse cannot be made for Claudio; he seems more willing to trust what he sees rather than what he believes in his heart or knows in his mind to be true. It is this quality that enables Don John to convince Claudio that H ero is unchaste; so when Claudio sees Margaret, impersonating Hero, in intimate conversation with Borachio, he disregards what faith (if any) he had in her, abandons his earlier observation that she is â€Å"a modest young lady† (1.1.159), and determines to shame her at the marriage ceremony. In his relationships with Don Pedro and Hero, visual proof (in both cases provided by a thorough-going  villain) takes precedence over previous experience. Eyesight, however, is not the only deceiving sense; hearing is also included in the play’s treatment of â€Å"noting.† At the beginning of 2.1, we learn that one of Antonio’s servants happened to overhear Claudio and Don Pedro making plans for the winning of Hero, but the servant must not have heard the conversation in its entirety because he runs to Antonio with the story that Don Pedro means to court Hero in earnest. Auditory observations can apparently be just as unreliable as visual ones. Borachio, perhaps a more adept spy, also overhears Claudio’s and Don Pedro’s conversation, but he comes away with a more accurate version of the plan (2.3.56-61). The next eavesdropping scene, carefully engineered by â€Å"the love-gods† (2.2.382) for the gulling of Beatrice and Benedick, is yet another demonstration that what we see and hear is not necessarily what is. Just as Don John and Borachio create an event to deceive Claudio, Don Pedro and his c onfederates act out a scene for Benedick, and Hero and Ursula do the same for Beatrice. The quarrelsome couple believe what the â€Å"love-gods† say because on some level it’s true and because Beatrice and Benedick want to believe that each is in love with the other. In the same way that we see what â€Å"we are predisposed to see† (Wilders 147), we also hear (and believe) what we are predisposed to hear. The final (and perhaps most important) overhearing connects the comic subplot of the constabulary with the world of Don John and Don Pedro. Despite their lack of sophistication and their abuse of the English language, Dogberry, Verges and the rest of the Watch discover Don John’s plotting and manage to sort out the confusion created by the aristocrats. â€Å"Much Ado is,† as John Wilders says, â€Å"a play about ‘noting’, about the various and conflicting ways in which we respond to and judge other people† (147). It is about the flexibility of reality–our ability to manipulate what other people observe and o ur occasional tendency to let biases influence our perceptions. And finally, it is about the inadequacy of â€Å"noting† the world with eyes and ears only, and the importance of relying on one’s experience with and consequent faith in other human beings. Much Ado is all this, and marvelous comedy too.

Kfc And Its Impact On The World s Most Prevalent Chicken...

However, Fried is like almost everything throughout KFC, the primary course from the menu in KFC is really browned chickens. KFC has been sued by the Center for Science in the Public Interest (CPSI), accused of the sustenance contains stunning whole of Trans fat. In one three-piece chicken combo supper contains 15 grams of Tran’s fat, which is over the breaking point that a man ought to have in one week. These Trans fat is really hurting shopper s wellbeing, KFC as the world s most prevalent chicken fast food chain, their unethical behavior has impacted generally against their clients. It is a genuine ethical dilemma that exists throughout KFC. (Aggarwal, 2015) Managerial ethics is an arrangement of standards and guidelines directed by upper administration that characterize what is good and bad in an association. The rule aides coordinate bring down supervisor s choices in the extent of his or her employment when a contention of qualities is introduced. 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The Disease Of Alzheimer s Disease - 2364 Words

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In order to produce and provide information about AD researchers follow the information transfer theory. Information transfer theory states that â€Å"individuals, as members of role groups within society, have discernible and unique patterns for creation, production, dissemination, organization, diffusion, and use of information, which is further influenced by external societal variables, such as environment, culture, economics, and policy (Achleitner and Grover, 1988, p. 94)†.The information transfer theory, also known asShow MoreRelatedThe Disease Of Alzheimer s Disease1421 Words   |  6 Pagesengulfed by a mysterious disease. The neurons being cut off and destroyed by two abnormal structures. First memory is affected gradually getting worse. Then one is unable to think properly, reason, and lacks of self control. Gaps are formed in the brain s ventricles, due to the amount of dead tissue. In the end, it will lead to death. 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Social Media Is A Double Edged Sword - 1410 Words

Negative Effects/ limitations However, social media is a double-edged sword. It also brings some problems to the public health while the public health gets lots of benefits from it. The spread of false information provides wrong information and brings big troubles to the public health work; expanding negative information may obstruct the development of health agencies. The spread of false information Sharing information is the main function for the social media. People share different kinds of information and their opinions with each other in the social media. However, not only the right information but also the wrong information are spread widely and quickly through social media. i. Rumors and misinformation Sharing false information becomes the biggest issue caused by social media. It is quite hard for the public health agencies to totally control the dissemination of false information. As Arya, Basu, and Khurana (2014) stated, â€Å"the incidents of mass hysteria can often start with just a rumor, and it can often affect a large population if the rumor or triggering factor spreads through electronic media that is easily accessible by the general population† (p.170). For example, during the outbreak of Ebola, large amounts of tweets were analyzed as lies, half-truths, and rumors which spread just like true news. Take some tweets from late September to late October 2014 as examples, â€Å"The new iPhone 6 is infecting people with Ebola†, â€Å"Health officials might inject EbolaShow MoreRelatedThe Double Edged Sword We Call Technology1098 Words   |  5 Pages The Double Edged Sword We Call Technology In the recent years, modern technology has heavily impacted nearly every aspect of human life. The things we experience, how we communicate, our values, how we develop from a child, technology impacts us in such a way that we don’t even realize it. 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Analysis of Gaveston in Edward Ii free essay sample

Gaveston in â€Å"Edward II† by Christopher Marlowe Piers Gaveston first appears in â€Å"Edward II† in Act 1 Scene 1 and is a major character throughout the play even after his death in Act II Scene VI. Before the beginning of the play, Gaveston was assigned by Edward I to be a companion to Prince Edward (later King Edward II) in the hope that Prince Edward would lose some of his non-masculine qualities. Once Edward I dies, however, and Edward II is crowned King of England, Gaveston is free to return to England and effectively become co-ruler. However, the nobles will not accept a man born of a lower status than them receiving a position of power above them. The very first line of the play begins with Gaveston reading a letter from the new King Edward, â€Å"My father is deceased, come Gaveston, / And share thy kingdom with thy dearest friend† (1. 1. 1-2). This letter expresses the relationship between Gaveston and Edward. Now that Edward I is dead, his son has revoked the exile on Gaveston by inviting him back to England. Piers Gaveston is clearly excited at his return when he says â€Å"Ah, words that make me surfeit with delight! What greater bliss can hap to Gaveston / Than live and be the favourite of a king? † (1. 1. 3-5). This is an example of dramatic irony because it is his return to England that is the cause of his death. Gaveston continues his soliloquy: Sweet prince I come; these, these thy amorous lines Might have enforced me to have swum from France, And, like Leander, gasped upon the sand, So thou wouldst smile and take me in thy arms. (1. 1. 6-9) These lines show the affection and relationship between Edward and Gaveston when Gaveston proclaims that he would swim from France to England to be with his beloved. Gaveston then says, â€Å"The sight of London to my exiled eyes / Is as Elysium to a new-come soul† (1. 1. 10-11). In Greek mythology, Elysium was the resting place reserved for the souls of the heroic and virtuous. Gaveston says that it is not London or the people that he loves; it is the man the city holds. He gives his biggest compliment to Edward when he says, â€Å"What need the arctic people love star-light / To whom the sun shines both day and night? † (1. 1. 16-17). Marlowe uses this metaphor to show that the ing, whose traditional symbol is the sun, is being compared to the arctic sun, which shines all the time during summer months. As Gaveston is thinking about Edward, he is interrupted by three poor men wishing to become servants of him. He believes himself to be above and better than these poor men, â€Å"Let me see, though wouldst do well to wait at / my trencher and tell me lies at dinner-time; and, as I like / your discoursing, I’ll have you. â₠¬  (1. 1. 30-33). He uses sarcasm when he says â€Å"Let me see† because Gaveston has no intention of employing the poor men. He seems to boast that he has power and offers them a low position. Marlowe uses foreshadowing when a poor man says, â€Å"Farewell, and perish by a soldier’s hand† (1. 1. 37). In Act II Scene VI Gaveston is killed by the Earl of Warwick’s soldiers. Gaveston’s has a very brutal response to the poor man. He shows that that poor man has no power over Gaveston at all by comparing himself to a porpentine, and the poor man to a goose. Obviously, a goose’s plume has no power against the powerful quills of a porpentine; therefore, the poor man’s words have no effect on Gaveston. Gaveston has shown his true colors as a manipulative, devious liar. After the three poor men exit, Gaveston shows how much he wishes to please Edward by saying, â€Å"Music and poetry is his delight: / Therefore I’ll have Italian masques by night,† (1. 1. 53-54). Marlowe continues to develop the character of Gaveston by showing the homosexual side of Edward’s and his relationship when he says, â€Å"To hide those parts which men delight to see,† (1. 1. 64). This part of the play is one of the only situations in which Gaveston is clearly homosexual. Also, Marlowe makes another reference to Greek mythology: One like Actaeon, peeping through the grove, Shall by the angry goddess be transformed, And running in the likeness of an hart, But yelping hounds pulled down, and seem to die. (1. 1. 66-69) This is referring to the story of Actaeon, a hunter who accidentally came across Artemis bathing in the woods. He was turned into a stag and hunted down and killed by his own hounds. Finally Edward and Gaveston are together and as Gaveston kneels before Edward, Edward says, â€Å"What, Gaveston, welcome! Kiss not my hand, / Embraces me, Gaveston, as I do thee: / Why shouldst thou kneel? Knowest thou not who I am? † (1. 1. 139-141). This shows how Edward views Gaveston as an equal. Gaveston replies, â€Å"And since I went from hence, no soul in hell / Hath felt more torment than poor Gaveston. † (1. 1. 145-146). Gaveston is displaying his love for Edward by saying not even the souls in hell have felt more torment than him. Edward also shows how he thinks of Gaveston as his equal when he more or less offers him England: Fear’st thou thy person? Thou shalt have a guard. Wants thou gold? Go to my treasury. Wouldst thou be loved and feared? Receive my seal; Save or condemn, and in our name command Whatso thy mind affects or fancy likes. (1. 1. 165-169). Edward offers him protection, money, and power. This forshadows Gavestons fall, because he needed the protection Edward offers. Edward’s adoration eventually leads to both his and Gaveston’s downfall because Gaveston is given privileges outside of his class because of his relationship with Edward. Their entire relationship is summed up in a few lines when Gaveston says, â€Å"It shall suffice me to enjoy your love, / Which whiles I have, I think myself as great† (1. 1. 170-171). Gaveston turns down all these favors from Edward, claiming that his love is enough. However, the love that Gaveston and Edward share is not without major pitfalls. We do not know whether Gaveston actually loves Edward, or is simply using him until the end of the play when we find out it is both. The relationship eventually costs both of them the ultimate price.

Frankenstein and The Hound of the Baskerville Essay Example

Frankenstein and The Hound of the Baskerville Essay This essay will be comparing and contrasting the opening scenes of Frankenstein and The Hound of the Baskerville paying particular attention to the film techniques used to capture the audiences attention. the techniques I will be focusing on particularly are lighting, sound, camera movement, edition and mise en scene. The film Frankenstein is based on Mary Shellys story, Frankenstein which tells the story of a man named Victor Frankenstein, a young doctor who is upset by the death of his mother during child birth, and becomes obsessed with bringing the dead back to life. Victor Frankenstein creates a creature from various body parts. Its not long before Frankenstein regrets his creatures actions. In contrast, The Hound of the Baskerville is of a completely different genre, one of mystery. The Hound of the Baskerville grabs the viewer by the throat from its opening scene; Sir Charles Baskerville lies dead on the moors of his family estate. With the look of fear on his face and the presence of animal foot prints around his corpse suggest the impossible, that a large hound, long feared by the Baskerville family is responsible for his death, as the next heir of the Baskerville family, Sir Henry Baskerville takes up residence at the family estate, legendary detective Sherlock Holmes and his trusted assistant Dr. Watson arrive to investigate the mystery. Although film makers use the same techniques they use them to make different effects as I will explain. The director of Frankenstein seems to use high key lighting throughout the whole of the beginning of the film. We will write a custom essay sample on Frankenstein and The Hound of the Baskerville specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Frankenstein and The Hound of the Baskerville specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Frankenstein and The Hound of the Baskerville specifically for you FOR ONLY $16.38 $13.9/page Hire Writer High key lighting means that the picture is overall more realistic, also while Victor and the Crew Captain were talking you can see that the candle is glowing and flickering is trying to build up some sort of suspense. The director of Hound of the Baskerville seems to use lighting in a different way like in the scene where you see the corpse on the dissection table seems to be very bright I think the reason for the light being so bright while the camera is focused on the corpse is because in real life the corpse would have to be brightly lit so the dissectors can see the parts of the corpse clearly. At the beginning of Frankenstein where a women is speaking and seems to be reading out of a book, this is non-diegetic sound because if the scene was in real life you wouldnt hear her speaking because she is not there but if she was sitting there reading it out then this would be diegetic. But in Hound of the Baskerville I cannot find any non-diegetic sounds other than the background music which is used for quite a lot of the way through it. In Frankenstein there is a large amount of diegetic sound, sound that belongs in the scene. Here are a few examples of diegetic sound I found in Frankenstein; after the opening scene where the woman is speaking, you see lots of men on a ship and the sound of the waves hitting the ship and the lightning and all the crew yelling this is all diegetic sound. Later on once the ship gets stuck in the ice berg, the crew are trying to release the boat by hitting the ice with axes the sound of the axes hitting the ice is diegetic. Also another good example of diegetic sound in Frankenstein would be when the dogs are barking and then the chain snaps. In Hound of the Baskerville there are many good examples of diegetic sound my favourite one has got to be when the papers are flying out of the room when the escaped convict is on the loose, I also like the diegetic sound of when the officers are drowning in the quick-mud. I personally think that Frankenstein has better uses of sound than Hound of the Baskerville. The main ingredient in a good film has got to be good editing and I think both of these films have good editing but I personally think that Hound of the Baskerville has a lot better editing than Frankenstein. Here are some examples; in Frankenstein it is mostly straight cuts, the beginning is also very slow as the name of the film slowly gets closer and then speeds up at the end to get your attention. Similarly Hound of the Baskerville uses mainly straight cuts as well but Hound of the Baskerville uses them a lot more cleverly like for example the editor keeps making quick flashes of the body as if it is a bad memory in the doctors head, this is trying to grab your attention or in some cases scare you. The camera movements in both films are quite similar in some ways for example in Frankenstein there are lots of fast moving camera movements when the crew are on the ship and its very choppy on the sea this is similar to in Hound of the Baskerville were the prisoner is running away it was as though the camera man was running with the prisoner I think that it was a great use of camera movement. But the fast moving camera movements in Frankenstein are a bit to all over the place because you cant often see what is actually happening in that scene. Mise en scene is used to describe many different aspects of the film production like the clothing, make-up, settings and props. I think the makeup in Frankenstein was a lot better than the makeup in Hound of the Baskerville. For example when the camera zooms into the faces of the crew of the ship there faces are white and have ice on them to signify that it is really cold. But in Hound of the Baskerville the corpse is excellent the corpse is shaped as though it was scared to death and is as white as the crew in Frankenstein. In conclusion I think that Hounds of the Baskerville is better for suspense and has better editing, but Frankenstein has better Makeup. But the camera movements are better in Hounds of the Baskerville. Personally the beginning of Hounds of the Baskerville would make me continue to want to watch it.