Mean Girls

Celebrity Culture in Mean Girls Mean Girls, written by Tina Fey and directed by Mark Waters, takes Its viewers through high school from the perspective of Caddy Heron, a young girl who never known what â€Å"high school† genuinely meant. Upon arrival, she makes friends with Janis and Diana, who were in the stereotypical â€Å"unpopular† crowd. They warn her to stay away from â€Å"The Plastics†, an exclusive clique that includes three drama-filled girls who are superficial, spiteful, and have vicious attitudes that obtain their power and fame from beauty and glamour.However, â€Å"The Plastics† ask Caddy to Join them. Caddy, Janis, and Diana together plot against the leader of The Plastics, Regina George, the most monstrous of them all. In reality, the more time Caddy spends with The Plastics, the more she starts to actually become one. The Plastics themselves show how monstrous qualities are formed in celebrity culture, while the use of Caddy is the perfe ct example of how culture builds up celebrities to break them back down. The Plastics took Caddy, someone who was naive and candid, and turned her Into something she Is not through the manipulation of their own standards and rules.Celebrity culture heavily relies on qualities of manipulation. This was done through thru burn book, etc Rumors and lies are one are heavily used in manipulation. This is the epitome of celebrity gossip, shown in Mean Girls through Regina George. Regina finds out Caddy has a crush on Aaron Samuels, her ex boyfriend, and promises Caddy that she would talk to Aaron for her; however, Regina fabricates lies to Aaron; â€Å"She [Caddy] writes all over her notebook ‘Mrs.. Aaron Samuels'. And she made this tee-shirt that says, ‘l heart Aaron', and she wears it under all her clothes†¦She saved this Kleenex you used and she said she's going to do some kind of African voodoo with it to make you like her†. Evidence In nineteenth century litera ture Is provided In Frankincense, when Victor Frankincense manipulates his monster through lies: He tells his monster he would create a female companion for him, and afterward declares â€Å"Bygone! I do break my promise: never will I create another like yourself, equal in deformity and wickedness† and proceeds â€Å"to [tear] to pieces the thing on which [he] was engaged† (175).Both Regina and Victor broke their promises, developing a kind of behavior that is so focused on policing others, they almost seem to lose track of themselves; they are so busy broadcasting what they hate, and so focused on consumption of their rival with their loathsome fascination, they do not realize their own personalities turn monstrous. They become so engrossed in this idea, they are unable to distinguish that this hate they developed is the sole reason for their viciousness and misery.This happens when one must realize one's own identity Is crafted from the act of hating. It almost seems Like superficial celebrities In celebrity ultra love, yet hate, to be hated; yet they love the act of hating, and use this hate to surround their world. This kind of â€Å"high school† attitude filled with rumors and Lies that Regina possesses exists in the celebrity world, and if it continues, it will influence animosity and disgust, that a world of peace, accuracy, and love may no longer be accomplished. Another key to manipulation is secrecy.There are countless examples of this in Mean Girls. For example, the scene of The Plastics when they are all on the phone; When Gretchen was on the phone with Caddy, it turned out to be a three-way call with Regina, but Caddy didn't know. This complexity progress when viewers realize the girls are all interlinked, all on the phone with each other on separate lines; Karen gets a call from Regina, puts her on hold, and proceeds to talk to Gretchen and says, â€Å"It's Regina, she wants to hang out tonight but she told me not to tell yo u†.This is similar to the theme of secrecy in Frankincense: Victor states, â€Å"The world to me, is a secret, which I desired to discover† (26), â€Å"l have one secret, Elizabeth, a dreadful one; when revealed to you, it will chill your frame with horror† (218), and he refuses to tell the secret to his audience, telling them to â€Å"listen patiently until the end of [his] story, with which [he] is acquainted with† (44). This is similar to Mantilla, where â€Å"[her father] has a secret grief that destroys [them] both: but [he] must permit [Mantilla] to win this secret from [him]† (47).The fact that one possesses a secret, holds it vital, and purposely shields it from the world acknowledges a kind of unmoral sin, or practical wrongdoing; celebrities allow these secrets to internally eat them alive like in Frankincense and Mantilla, or whether it makes their behavior more aggressive eke in Mean Girls, these secrets have the ability to change and ma nipulate others. In celebrity culture, a secret is a form of power, yet vulnerability – a secret itself could stand for everything one can't see.The public blows these secrets up with crazy ideas and provides evidence with the theories they project onto it. The secret could mean nothing, yet everything, at the same time. This is because that a secret exists. It does not matter what the secret actually is, because the people who spread the knowledge of the secret form its monstrosity. The people have ample opportunity to take control, seceding as a whole or individuals whether they want to make up a rumor, lie, tell the truth, say nothing, or contribute to the situation.The people are monsters, because they take complete control over the situation. An example of this is all of Lord's â€Å"fans† who (most likely) made her miserable because they did not approve of the physical appearance of her boyfriend. [A concluding sentence is needed here] Manipulation is also acquir ed through self-pity, which is shown in Mean Girls with the Burn Book. The Burn Book, which belongs to Regina George, is a book essentially signed to bully her classmates: it has students' pictures with mean phrases, secrets, and other things about them.Regina takes her book, puts her own picture on it, and writes something mean about herself. She then reports it to her school's principal and says, â€Å"l found it in the girl's bathroom! It's so mean†. This is similar to when Victor seeks sympathy from Elizabeth in Frankincense: â€Å"If you knew what I have suffered from, and what I may yet endure, you would endeavor to let me taste the quiet, and freedom from despair, that this one day at least permits me to enjoy' (222).In The Complete Poems and Selected Letters of John Keats, in a short poem called â€Å"When I have Fears†, self-pity is asked for when Keats shows he is in pain, likes the pain, and wants to be acknowledged for his pain: â€Å"Of the wide world I stand alone, and think Till love and fame to nothingness do sink† (301). Just like Keats and Shelley, their own needs. Regina did this Just so she could get Caddy in trouble, Frankincense did this to make it look like it wasn't entirely his fault for the monster's actions, and Keats uses his fans' sympathy to become liked.The public falls into a part of this ultra, where one blames someone else; even the victims themselves get blamed for fault. Besides from celebrities' success, looks, and wealth, it is not uncommon for the public to condone that they are people, humans, Just like them. The public is essentially casting a negative eye upon themselves. Celebrities have people who work with them to help mold their image, but the impossible standards of beauty and perfection they try to fulfill originates from the endless, harsh scrutiny the public places upon them.When a celebrity breaks this image, or differs from the norm, they automatically are seen as monstrous, resulting in sneering and degrading comments from fans. This monstrosity on the celebrities has a counter-effect on the fans; every time there is a mean comment, they are normalizing harsh Judgment, extreme reactions, and offensive language. Celebrity culture takes the blame on how the public has developed a cruel society, through self-pity. Another quality of manipulation used in celebrity culture is feigning their own innocence; this is seen quite often in Mean Girls.Gretchen bullies Regina for violating the rules of their â€Å"girl world† by wearing sweatpants on Monday, and Regina lams she is forced to wear sweatpants because, â€Å"sweatpants are all that fits [her] right now', implying she is â€Å"innocent† because it is not her fault she has to wear those. Another scene is where Regina claims innocence is during lecture, (â€Å"workshop†), in the gym, after the Burn Book is discovered: Regina claims, â€Å"Can I Just say we don't have a clique problem at this sch ool, and some of us shouldn't have to take this workshops because some of us are victims in this situation? Regina implies she is â€Å"innocent†, and she herself is a victim. The teacher responds, â€Å"That's probably rue, how many of you have ever felt personally victimize by Regina George? † Actual innocence and feigning innocence is a huge role in Frankincense: though Victor blames himself for the monster killing his family, despite his creation, he convinces himself that he is â€Å"innocent† and expresses how he feels like the victim. Victor is a contradiction: he is innocent, yet, uses that to his advantage to feign his innocence.He is innocent because he has never intended his creation to turn into an actual form of monstrosity, but yet, feigns innocence by his hiding his guilt and hiding his knowledge about his family's deaths. Victor's innocence decreases over time throughout the novel; his â€Å"UN-innocent† behavior destroys the monster's inn ocence. Victor is performing an act that could be considered â€Å"monstrous† in manipulation by taking away the genuine innocence of one who was never given a chance to prove that innocence. At first Victor decides to â€Å"at least listen to [the monster's] tale† (105), but later on, he decides to â€Å"tore to pieces†¦ The thing on which the creature's] future existence he depended for happiness† (190), not giving the monster a chance to uphold its promise. Celebrities start out with genuine innocence, become corrupted, and may attempt to feign their innocence through their roles – However, once celebrities feign their innocence they are portrayed as â€Å"monstrous†, they are not given a chance to stick up for themselves properly without media and public interference. Lindsay Loan, off the set of Mean Girls, got into drugs, which could â€Å"feign innocence†, and assume that she had no role in her fans doing drugs.According to Good Charlotte, this kind of manipulation is the price of having a lifestyle of â€Å"the rich and the famous† (song lyrics). The most vital quality in manipulation is the key tactic in order to be able to get away with spreading rumors and lies, maintain secrecy, create self-pity, and feign illness. Control itself is the piece that connects all of these qualities. Throughout Mean Girls, there are many scenes were one of The Plastics are in control: At the talent show at school, Regina demands for Gretchen to switch sides with Caddy. When Gretchen protests, Regina says, â€Å"Right now you're getting on my last nerve.Switch! † Gretchen acknowledges this control by obeying. Caddy was also acknowledging control hen she fulfills Region's invite to eat lunch with them â€Å"everyday for the rest of the week†. In the beginning of the movie, Regina took control of Caddy social life. Halfway through, Caddy became the center of attention; she gained control of Region's previ ous fame and publicity and made it her own. The previous examples also hint at some aspect of control. Control is also seen in Frankincense, where the monster says, Mimi are my creator, but I am your master;-obey! (174). Victor chooses condone the monster, and the monster responds by taking control, killing all of Victor's family embers. Control in Charitable is implied when Geraldine takes on a role of masculinity: â€Å"lay down by the maiden's side: And in her arms the maid she took† (250-251). In The Major Works, â€Å"Farewell to a Lady' by Lord Byron shows how a woman's beauty takes control of his life: â€Å"In flight I shall be surely wise, Escaping from temptation's snare; I cannot view my Paradise, Without the wish of dwelling there† (1).By the word â€Å"flight†, viewers can assume he is going to commit suicide as a means to control the elimination of all ties with the Earthly Paradise's temptation. This kind of intro can relate to monstrosity and ce lebrity culture in a number of ways; first, one can see that the society of celebrity culture is so monstrously powerful, it is out of the control of the public to change it. Only the celebrities themselves have control of their own lives and culture and how they want to live it.Second, celebrity culture has so much control and influence over their audience, that they are not only controlling their own lives, but dominating American culture as a whole. By celebrities constantly sleeping with one another, taking part in the lies, secrecy, self-pity, and feigning their innocence inspires the public to act in the same manner. Third, by the news being so obsessed with the daily lives of celebrities, it almost implies as if they are encouraging the public to become more and more like celebrity stalkers.Lastly, they manipulate the public into believing their redefined definition of happiness, which solely consists of money, fame, and beauty. Rumors, lies, secrecy, self-pity, feigning inno cence, and control all tangle together to layer and overlap and form manipulation; celebrity manipulators do not only have control of their own world, but also wish to control the world of others. This allows them to occupy both worlds at the same time, with their rules, in their way: how much more control could a person possibly want?These qualities of manipulation in celebrity culture are allowing people to lose touch with things that are the most important in life, like friends and family. Celebrity culture is so controlling that it even takes over the roles of others. In Celebrity Culture: Are Americans Too Focused on Celebrities, Tompkins, a group an example of how celebrities are taking the roles of [super] heroes: â€Å"When I ask allege and high school students who their heroes are, they usually name celebrities, such as athletes or movie stars, not names that did something heroic or noteworthy. (Tompkins 4). Celebrity culture is now one of our prime sources of entertainmen t; ultimately, celebrity culture manipulates to control their audience's society in such a monstrous way so they are not able to distinguish the difference between genuine importance and the importance of celebrity news. One day, I fear genuinely important news, (politics, world news, emergency issues) will be ignored unless it is presented as a source of entertainment, like celebrity culture. Mean Girls Stacy Gregg Sociology M/W 11:30 Sociological Themes Sociology is everywhere we look, its everything thing we are, and can be described within everything we do. The traditional focuses of sociology have included social stratification, social class, culture, social mobility, religion, secularization, law, and deviance. As all spheres of human activity are affected by the interplay between social structure and individual agency, sociology has gradually expanded its focus to further subjects, such as health, medical, military and penal institutions, the Internet, and the role of social activity in the development of scientific knowledge.Looking through films you can see many sociological themes. I chose to look at â€Å"Mean Girls† and pull the sociological themes out. Mean Girls is a movie about a girl, Cady, who moves to the US from Africa and starts at a new school. She immediately befriends two outcasts, who explain the school's social scene. There are a group of three girls ( the â€Å"Plastics†) who are popular, malicious and rule the school. As a trick, these three girls befriend Cady.Her outcast friends encourage her to hang out with the Plastics to see what they do. But as she spends more time with them, she becomes more and more like them, backstabbing, mean, self-obsessed, and superficial. When Cady and the leader of the Plastics go after the same guy, she begins to plot their destruction, and starts sabotaging the girls in worse and worse ways. Eventually she separates from her original friends and her Plastic friends.When the entire school finds out about some of the terrible things the Plastics have said about them by finding a â€Å"Burn Book† everyone turns against the Plastics and Cady. Eventually, she must apologize to everyone she hurt and begin to find a way to become a better person. The first sociological theme I would like to address is stereotypes. A stereotype is defined as a widely held but fixed and oversimplified imag e or idea of a particular type of person or thing.Mean Girls portrays high school stereo types rather well, at school there are groups such as try-hards, wannabes, burn-outs, band geeks, nerds, the popular girls, the jocks and art freaks. All the girls wants to be a plastic so to speak and they all display it in different ways like how the girls who eat nothing are trying to be thin so they can be like the plastics, but the girls who eat their feelings are also trying to be a plastic but by eating they are showing I don’t care what anybody thinks of me, which is a popular trait.Then when everyone is explaining Regina George and one girl says â€Å"One time she punched me in the face†¦ It was awesome! † this implies that this â€Å"wannabe† made contact with Regina George even though it is contact most people don't what it is contact nonetheless which she hopes has passed on a bit of Regina George's popularity. References: (2011, 04). â€Å"Mean Girls† Analysis. StudyMode. com. Retrieved 04, 2011, from http://www. studymode. com/essays/Mean-Girls-Analysis-676080. html Mean Girls Celebrity Culture in Mean Girls Mean Girls, written by Tina Fey and directed by Mark Waters, takes Its viewers through high school from the perspective of Caddy Heron, a young girl who never known what â€Å"high school† genuinely meant. Upon arrival, she makes friends with Janis and Diana, who were in the stereotypical â€Å"unpopular† crowd. They warn her to stay away from â€Å"The Plastics†, an exclusive clique that includes three drama-filled girls who are superficial, spiteful, and have vicious attitudes that obtain their power and fame from beauty and glamour.However, â€Å"The Plastics† ask Caddy to Join them. Caddy, Janis, and Diana together plot against the leader of The Plastics, Regina George, the most monstrous of them all. In reality, the more time Caddy spends with The Plastics, the more she starts to actually become one. The Plastics themselves show how monstrous qualities are formed in celebrity culture, while the use of Caddy is the perfe ct example of how culture builds up celebrities to break them back down. The Plastics took Caddy, someone who was naive and candid, and turned her Into something she Is not through the manipulation of their own standards and rules.Celebrity culture heavily relies on qualities of manipulation. This was done through thru burn book, etc Rumors and lies are one are heavily used in manipulation. This is the epitome of celebrity gossip, shown in Mean Girls through Regina George. Regina finds out Caddy has a crush on Aaron Samuels, her ex boyfriend, and promises Caddy that she would talk to Aaron for her; however, Regina fabricates lies to Aaron; â€Å"She [Caddy] writes all over her notebook ‘Mrs.. Aaron Samuels'. And she made this tee-shirt that says, ‘l heart Aaron', and she wears it under all her clothes†¦She saved this Kleenex you used and she said she's going to do some kind of African voodoo with it to make you like her†. Evidence In nineteenth century litera ture Is provided In Frankincense, when Victor Frankincense manipulates his monster through lies: He tells his monster he would create a female companion for him, and afterward declares â€Å"Bygone! I do break my promise: never will I create another like yourself, equal in deformity and wickedness† and proceeds â€Å"to [tear] to pieces the thing on which [he] was engaged† (175).Both Regina and Victor broke their promises, developing a kind of behavior that is so focused on policing others, they almost seem to lose track of themselves; they are so busy broadcasting what they hate, and so focused on consumption of their rival with their loathsome fascination, they do not realize their own personalities turn monstrous. They become so engrossed in this idea, they are unable to distinguish that this hate they developed is the sole reason for their viciousness and misery.This happens when one must realize one's own identity Is crafted from the act of hating. It almost seems Like superficial celebrities In celebrity ultra love, yet hate, to be hated; yet they love the act of hating, and use this hate to surround their world. This kind of â€Å"high school† attitude filled with rumors and Lies that Regina possesses exists in the celebrity world, and if it continues, it will influence animosity and disgust, that a world of peace, accuracy, and love may no longer be accomplished. Another key to manipulation is secrecy.There are countless examples of this in Mean Girls. For example, the scene of The Plastics when they are all on the phone; When Gretchen was on the phone with Caddy, it turned out to be a three-way call with Regina, but Caddy didn't know. This complexity progress when viewers realize the girls are all interlinked, all on the phone with each other on separate lines; Karen gets a call from Regina, puts her on hold, and proceeds to talk to Gretchen and says, â€Å"It's Regina, she wants to hang out tonight but she told me not to tell yo u†.This is similar to the theme of secrecy in Frankincense: Victor states, â€Å"The world to me, is a secret, which I desired to discover† (26), â€Å"l have one secret, Elizabeth, a dreadful one; when revealed to you, it will chill your frame with horror† (218), and he refuses to tell the secret to his audience, telling them to â€Å"listen patiently until the end of [his] story, with which [he] is acquainted with† (44). This is similar to Mantilla, where â€Å"[her father] has a secret grief that destroys [them] both: but [he] must permit [Mantilla] to win this secret from [him]† (47).The fact that one possesses a secret, holds it vital, and purposely shields it from the world acknowledges a kind of unmoral sin, or practical wrongdoing; celebrities allow these secrets to internally eat them alive like in Frankincense and Mantilla, or whether it makes their behavior more aggressive eke in Mean Girls, these secrets have the ability to change and ma nipulate others. In celebrity culture, a secret is a form of power, yet vulnerability – a secret itself could stand for everything one can't see.The public blows these secrets up with crazy ideas and provides evidence with the theories they project onto it. The secret could mean nothing, yet everything, at the same time. This is because that a secret exists. It does not matter what the secret actually is, because the people who spread the knowledge of the secret form its monstrosity. The people have ample opportunity to take control, seceding as a whole or individuals whether they want to make up a rumor, lie, tell the truth, say nothing, or contribute to the situation.The people are monsters, because they take complete control over the situation. An example of this is all of Lord's â€Å"fans† who (most likely) made her miserable because they did not approve of the physical appearance of her boyfriend. [A concluding sentence is needed here] Manipulation is also acquir ed through self-pity, which is shown in Mean Girls with the Burn Book. The Burn Book, which belongs to Regina George, is a book essentially signed to bully her classmates: it has students' pictures with mean phrases, secrets, and other things about them.Regina takes her book, puts her own picture on it, and writes something mean about herself. She then reports it to her school's principal and says, â€Å"l found it in the girl's bathroom! It's so mean†. This is similar to when Victor seeks sympathy from Elizabeth in Frankincense: â€Å"If you knew what I have suffered from, and what I may yet endure, you would endeavor to let me taste the quiet, and freedom from despair, that this one day at least permits me to enjoy' (222).In The Complete Poems and Selected Letters of John Keats, in a short poem called â€Å"When I have Fears†, self-pity is asked for when Keats shows he is in pain, likes the pain, and wants to be acknowledged for his pain: â€Å"Of the wide world I stand alone, and think Till love and fame to nothingness do sink† (301). Just like Keats and Shelley, their own needs. Regina did this Just so she could get Caddy in trouble, Frankincense did this to make it look like it wasn't entirely his fault for the monster's actions, and Keats uses his fans' sympathy to become liked.The public falls into a part of this ultra, where one blames someone else; even the victims themselves get blamed for fault. Besides from celebrities' success, looks, and wealth, it is not uncommon for the public to condone that they are people, humans, Just like them. The public is essentially casting a negative eye upon themselves. Celebrities have people who work with them to help mold their image, but the impossible standards of beauty and perfection they try to fulfill originates from the endless, harsh scrutiny the public places upon them.When a celebrity breaks this image, or differs from the norm, they automatically are seen as monstrous, resulting in sneering and degrading comments from fans. This monstrosity on the celebrities has a counter-effect on the fans; every time there is a mean comment, they are normalizing harsh Judgment, extreme reactions, and offensive language. Celebrity culture takes the blame on how the public has developed a cruel society, through self-pity. Another quality of manipulation used in celebrity culture is feigning their own innocence; this is seen quite often in Mean Girls.Gretchen bullies Regina for violating the rules of their â€Å"girl world† by wearing sweatpants on Monday, and Regina lams she is forced to wear sweatpants because, â€Å"sweatpants are all that fits [her] right now', implying she is â€Å"innocent† because it is not her fault she has to wear those. Another scene is where Regina claims innocence is during lecture, (â€Å"workshop†), in the gym, after the Burn Book is discovered: Regina claims, â€Å"Can I Just say we don't have a clique problem at this sch ool, and some of us shouldn't have to take this workshops because some of us are victims in this situation? Regina implies she is â€Å"innocent†, and she herself is a victim. The teacher responds, â€Å"That's probably rue, how many of you have ever felt personally victimize by Regina George? † Actual innocence and feigning innocence is a huge role in Frankincense: though Victor blames himself for the monster killing his family, despite his creation, he convinces himself that he is â€Å"innocent† and expresses how he feels like the victim. Victor is a contradiction: he is innocent, yet, uses that to his advantage to feign his innocence.He is innocent because he has never intended his creation to turn into an actual form of monstrosity, but yet, feigns innocence by his hiding his guilt and hiding his knowledge about his family's deaths. Victor's innocence decreases over time throughout the novel; his â€Å"UN-innocent† behavior destroys the monster's inn ocence. Victor is performing an act that could be considered â€Å"monstrous† in manipulation by taking away the genuine innocence of one who was never given a chance to prove that innocence. At first Victor decides to â€Å"at least listen to [the monster's] tale† (105), but later on, he decides to â€Å"tore to pieces†¦ The thing on which the creature's] future existence he depended for happiness† (190), not giving the monster a chance to uphold its promise. Celebrities start out with genuine innocence, become corrupted, and may attempt to feign their innocence through their roles – However, once celebrities feign their innocence they are portrayed as â€Å"monstrous†, they are not given a chance to stick up for themselves properly without media and public interference. Lindsay Loan, off the set of Mean Girls, got into drugs, which could â€Å"feign innocence†, and assume that she had no role in her fans doing drugs.According to Good Charlotte, this kind of manipulation is the price of having a lifestyle of â€Å"the rich and the famous† (song lyrics). The most vital quality in manipulation is the key tactic in order to be able to get away with spreading rumors and lies, maintain secrecy, create self-pity, and feign illness. Control itself is the piece that connects all of these qualities. Throughout Mean Girls, there are many scenes were one of The Plastics are in control: At the talent show at school, Regina demands for Gretchen to switch sides with Caddy. When Gretchen protests, Regina says, â€Å"Right now you're getting on my last nerve.Switch! † Gretchen acknowledges this control by obeying. Caddy was also acknowledging control hen she fulfills Region's invite to eat lunch with them â€Å"everyday for the rest of the week†. In the beginning of the movie, Regina took control of Caddy social life. Halfway through, Caddy became the center of attention; she gained control of Region's previ ous fame and publicity and made it her own. The previous examples also hint at some aspect of control. Control is also seen in Frankincense, where the monster says, Mimi are my creator, but I am your master;-obey! (174). Victor chooses condone the monster, and the monster responds by taking control, killing all of Victor's family embers. Control in Charitable is implied when Geraldine takes on a role of masculinity: â€Å"lay down by the maiden's side: And in her arms the maid she took† (250-251). In The Major Works, â€Å"Farewell to a Lady' by Lord Byron shows how a woman's beauty takes control of his life: â€Å"In flight I shall be surely wise, Escaping from temptation's snare; I cannot view my Paradise, Without the wish of dwelling there† (1).By the word â€Å"flight†, viewers can assume he is going to commit suicide as a means to control the elimination of all ties with the Earthly Paradise's temptation. This kind of intro can relate to monstrosity and ce lebrity culture in a number of ways; first, one can see that the society of celebrity culture is so monstrously powerful, it is out of the control of the public to change it. Only the celebrities themselves have control of their own lives and culture and how they want to live it.Second, celebrity culture has so much control and influence over their audience, that they are not only controlling their own lives, but dominating American culture as a whole. By celebrities constantly sleeping with one another, taking part in the lies, secrecy, self-pity, and feigning their innocence inspires the public to act in the same manner. Third, by the news being so obsessed with the daily lives of celebrities, it almost implies as if they are encouraging the public to become more and more like celebrity stalkers.Lastly, they manipulate the public into believing their redefined definition of happiness, which solely consists of money, fame, and beauty. Rumors, lies, secrecy, self-pity, feigning inno cence, and control all tangle together to layer and overlap and form manipulation; celebrity manipulators do not only have control of their own world, but also wish to control the world of others. This allows them to occupy both worlds at the same time, with their rules, in their way: how much more control could a person possibly want?These qualities of manipulation in celebrity culture are allowing people to lose touch with things that are the most important in life, like friends and family. Celebrity culture is so controlling that it even takes over the roles of others. In Celebrity Culture: Are Americans Too Focused on Celebrities, Tompkins, a group an example of how celebrities are taking the roles of [super] heroes: â€Å"When I ask allege and high school students who their heroes are, they usually name celebrities, such as athletes or movie stars, not names that did something heroic or noteworthy. (Tompkins 4). Celebrity culture is now one of our prime sources of entertainmen t; ultimately, celebrity culture manipulates to control their audience's society in such a monstrous way so they are not able to distinguish the difference between genuine importance and the importance of celebrity news. One day, I fear genuinely important news, (politics, world news, emergency issues) will be ignored unless it is presented as a source of entertainment, like celebrity culture.

Industry Analysis of Hotel Industry, India

Business structure and processes INDUSTRY ANALYSIS FOR HOTEL INDUSTRY, INDIA Shruti Garg 2012H149223P Department of Management 16th November’ 2012 Submitted to Dr. Jyoti TABLE OF CONTENTS 1. Introduction 1. 1 Background of Hotel Industry 1. 2 Structure of Hotel Industry 1. 3 Mid Market Segment 1. 4 Budget Segment 1. 5 Heritage Hotels 1. 6 Others 2. 5 Major Players in Market 3. Profiles of some Major Players 3. 1. Indian Hotels Company 3. 2. ITC/Sheraton Group 3. 3 The Leela Group 3. 4 The EIH Ltd. (The Oberoi Group) 3. The Ashok Group 4. Porter’s Five Forces Model 4. 1 Introduction 4. 2 Bargaining power of Suppliers 4. 3 Bargaining power of Customers 4. 4 Threats of New Entrants 4. 5 Threats of Substitutes 4. 6 Competition Rivalry between Existing Players 5. SWOT Analysis 5. 1 Strengths 5. 2 Weaknesses 5. 3 Opportunities 5. 4 Threats 6. References 3 3 3 4 5 5 5 5 6 6 6 6 7 7 8 8 9 9 9 10 10 11 11 11 11 12 12 Shruti Garg 2012H149223P 2|Page INTRODUCTION BACKGROUND OF THE HOTEL INDUSTRY The Hotel Industry comprises a major part of the Tourism industry. Historically viewed as an industry providing a luxury service valuable to the economy only as a foreign exchange earner, the industry today contributes directly to employment (directly employing around 0. 15 million people), and indirectly facilitates tourism and commerce. Prior to the 1980s, the Indian hotel industry was a slow-growing industry, consisting primarily of relatively static, single-hotel companies. However, the Asiad, held in New Delhi in 1982, and the subsequent partial liberalization of the Indian economy generated tourism interest in India, with significant benefits accruing to the hotel and tourism sector, in terms of improved demand patterns. Growth in demand for hotels was particularly high during the early 1990s following the initiatives taken to liberalize the Indian economy in FY1991, as per the recommendations of the International Monetary Fund (IMF). The euphoria of the early 1990s prompted major chains, new entrants and international chains to chalk out ambitious capacity additions, especially in the metropolitan cities. However, most of these efforts were directed towards the business travelers and foreign clientele. In recent years, the hotels sector has grown at a faster rate than GDP. As a result, the share of hotels & restaurants in GDP at current prices has increased from 1. 2per cent in FY2000 to 1. 5per cent in FY2005. In constant (1999-2000) prices, the GDP from hotels and restaurants has increased from Rs. 222. 65 billion in FY2000 to Rs. 335. 49 billion in FY2005. As a result, the share of hotels and restaurants in total GDP at constant prices has increased from 1. 4per cent in FY2000 to 1. 40per cent in FY2005. 5 STRUCTURE OF THE INDUSTRY Hotels are an important component of the tourism product. They contribute in the overall tourism experience through the standards of facilities and services offered by them. With the aim of providing contemporary standards of facilities and services available in the hotels, the Ministry of Tourism has formulated a voluntary scheme for classification of o perational hotels which will be applicable to the following categories: ? Star Category Hotels: – 5 Star Deluxe, 5 Star, 4 Star, 3 Star, 2 Star & 1 Star ? Heritage Category Hotels: – Heritage Grand, Heritage Classic & Heritage Basic Shruti Garg 2012H149223P 3|Page MID-MARKET SEGMENT This segment comprises 3 and 4 star hotels, which cater to the average foreign and domestic leisure travelers. This segment also caters to the middle level business travelers since it offers most of the essential services of the luxury hotels without the high cost since the tax component of this segment is lower compared with the premium segment. BUDGET SEGMENT These comprise 1 and 2 star hotels referred to as ‘Budget Hotels’. These categories do not offer as many facilities as the other segments but provide inexpensive accommodation tithe highly price-conscious segment of the domestic and foreign leisure travelers. Shruti Garg 2012H149223P 4|Page HERITAGE HOTELS In the past four decades, certain architecturally distinctive properties such as palaces and Forts, built prior to 1950, have been converted into hotels. The Ministry of Tourism has classified these hotels as heritage hotels. OTHERS At any point in time, applications for classification are usually pending with the Ministry of Tourism because of which such properties remain unclassified. The number of hotel rooms pending classification has declined from historical 15-20per cent to 5per cent of the total rooms available in the recent past. 5 major players in market ? The Indian Hotels Company ? ITC/ Sheraton Corporation ? The Leela Group ? The EIH Ltd (The Oberoi Group) ? India Tourism Development Corporation (ITDC) / the Ashok Group Shruti Garg 2012H149223P 5|Page PROFILES of some major players in the Hotel Industry THE INDIAN HOTELS COMPANY The Indian hotels company and its subsidiaries are collectively known as Taj Hotels Resorts and Palaces, recognized as Asia’s largest and finest hotel company. Incorporated by the founder of the Tata Group, Jemsetji N Tata, the company opened its first property, The Taj Mahal Palace Hotel, Bombay in 1903. The Taj, a symbol of Indian hospitality, completed its centenary year in 2003. Taj Hotels and Resorts and Palaces comprises of 59 hotels at 40 locations across India with an additional 17 international hotels in the Maldives, Mauritius, Malaysia, UK, USA, Bhutan, Sri Lanka, Africa, the middle east and Australia. The company has had a long standing commitment to the continuous development of the Indian tourism and hospitality industry. From the 1970s through 1990s, the Taj played an important role in launching several of India’s key tourist destinations. Working in tandem with the Indian government, the Taj developed resorts and retreats while the government developed roads and railways to India's hidden treasures. ITC/ SHERATON CORPORATION ITC – Welcome group Hotels, Palaces and Resorts, is today one of India's finest hotel chains, with its distinctive logo of hands folded in the traditional â€Å"Namaste† is widely recognized as the ultimate in Indian hospitality. Each of the chain's hotels pays architectural tribute to ancient dynasties, which ruled India from time to time. The design concept and themes of these dynasties play an important part in their respective style and decor. With more and more hotels being added at strategic destinations, the group has joined hands with the Sheraton Corporation to strengthen its international marketing base. A successful marketing franchise for almost 25 years now, there are currently 10 ITC – Welcome group Sheraton hotels, and more in the pipeline. THE LEELA GROUP Founded in 1957 by Capt. C. P. Krishnan Nair, the Rs. 4. 5 billion Leela Group is engaged in the business of ready-made garments and luxury hotels and resorts. The Leela Kempinski, Mumbai and The Leela, Goa are two of the best hotels in India, and have also won Considerable international acclaim. For this to have been achieved in 12 short years is Nothing short of Shruti Garg 2012H149223P 6|Page remarkable. Recently in 2001 Capt. Nair fulfilled his longstanding dream of constructing a palace hotel in the garden city of Bangalore. The Leela Palace Kempinski, Bangalore is built in art deco style recreating the grandeur of The Mysore Maharajas Palace. It is set amidst 8 acres of landscaped garden and waterfalls. It is a palace with the heart of a modern hotel. Its 254Kovalam is Kerala’s largest resort, built on a rock face cradled between two wide sweeping Beaches with stunning view of the famous Kovalam coastline. THE EIH LTD (THE OBEROI GROUP) Asian elegance is the key to running hotels, if you ask EIH (better known as The Oberoi Group). The company owns and operates about 20 luxury hotels, about 10 mid-range hotels, and two inland cruises; The Oberoi Group operates primarily in India, but also in Australia, Egypt, Indonesia, Mauritius, and Saudi Arabia. Most of the company’s luxury properties bear the Oberoi banner. The company in 2004 joined forces with Hilton International to rebrand most of its mid-range hotels as Trident Hiltons (the former Oberoi Towers is now known as the Hilton Towers Mumbai). The Oberoi Group also operates luxury cruises of the Nile River and India’s Kerala region. INDIA TOURISM DEVELOPMENT CORPORATION (ITDC) / THE ASHOK GROUP India Tourism Development Corporation (ITDC) was established in 1966 as an autonomous public sector corporation, entrusted with the task of helping develop tourism infrastructure and promoting India as a tourist destination. The ITDC Ashok Group of hotel chains manages some of the best five star and luxury tour hotels in the Indian hospitality industry. The hotels run by the ITDC Ashok Group of hotel chains may be divided into different categories; these are elite hotels, comfort hotels and classic hotels. The ITDC Ashok Group of hotel chains manages 33hotels in 26 different tourist destinations all over India. The management of Ashoka Group believes in offering the best in the hospitality industry and the staff at each of the hotels run by the group is especially trained to be courteous and efficient. The Ashok Group of hotel chains boasts of running some of the best hotels in the Indian hotel industry. The hotels that are a part of the elite and classic category of the ITDC Ashok Group are the Ashok Hotel in New Delhi, the Kovalam Ashok Beach Resortin Kovalam, Kerala, the Agra Ashok in Agra, Hotel Jaipur Ashok in New Delhi and the Qutab Hotel in New Delhi. Most of the hotels managed by the ITDC Ashok Group have had the privilege of playing host to several international and national dignitaries. Shruti Garg 2012H149223P 7|Page PORTER’S FIVE FORCES MODEL INTRODUCTION Porter’s model is based on the insight that a corporate strategy should meet the opportunities and threats in the organization external environment. Especially, competitive strategy should base on and understanding of industry structures and the way they change. Porter has identified five competitive forces that shape every industry and every market. These forces determine the intensity of competition and hence the profitability and attractiveness of an industry. The objective of corporate strategy should be to modify these competitive forces in a way that improves the position of the organization. Porter’s model supports analysis of the driving forces in an industry. Based on the information derived from the Five Forces Analysis, management can decide how to influence or to exploit particular characteristics of their industry. Shruti Garg 2012H149223P 8|Page 1. BARGAINING POWER OF SUPPLIERS The term ‘suppliers' comprises all sources for inputs that are needed in order to provide goods or services. †¢ †¢ †¢ †¢ †¢ The high class hotels are operating by few hotel chains like-TAJ, EIH, ITC & THE LEELA PALACE so they have a control over the industry. There are no substitutes for spas and five star hotels. The hotels customers are fragmented, so they have to reduce their bargaining power to attract the customers. The Taj, ITC& Oberoi are having various rates and tariffs, because they are having their own brand image. The hotel chains are operating different services like Spas, Boatels, Resorts, City Centers, Heritage HOTELS, etc. 2. BARGAINING POWER OF CUSTOMERS Similarly, the bargaining power of customers determines how much customers can impose pressure on margins and volumes. ? ? ? ? The hotel industry is one of the most invested in its fixed assets. So they are trying to recover their amount quickly. The suppliers are providing better information about them to attract the customers’. Here the buyers are highly informed. If the hotel price changes are moderate, the Customers have low margins and are pricesensitive. Some unseasoned timings the hotels are offering discounts and incentives toreduce the bargaining power of buyers. 3. THREAT OF NEW ENTRANTS The competition in an industry will be the higher; the easier it is for other companies to enter this industry. In such a situation, new entrants could change major determinants of the market environment (e. g. market shares, prices, customer loyalty) at any time. There is always a latent pressure for reaction and adjustment for existing players in this industry. Shruti Garg 2012H149223P 9|Page †¢ †¢ ? ? ? The foreign hotel chains are tied up with Indian hotels to reduce the initial cost and using the latter’s brand name. Brand loyalty of customers like TAJ, ITC, and LEELA PALACE affects the new entrants. Access to raw materials and Distribution channels are controlled by Existing players like TAJ, ITC, and LEELA PALACE. The cost of land in India is high at 50% of total project cost as against 15% abroad. This acts as a major deterrent to the Indian hotel industry. In India the expenditure tax, luxury tax and sales tax inflate the hotel bill by over 30%. Effective tax in the South East Asian countries works out to only 4-5%. 4. THREAT OF SUBSTITUTES A threat from substitutes exists if there are alternative products with lower prices of better performance parameters for the same purpose. They could potentially attract a significant proportion of market volume and hence reduce the potential sales volume for existing players. This category also relates to complementary products. †¢ †¢ †¢ †¢ †¢ Brand loyalty of customers (TAJ, ITC, LEELA PALACE, etc,) is dominating the substitutes. The hotel relationship with customer and costs also the reasons to switching to substitutes. The price variation of same class hotel services from various brands is one of the reasons to choose a substitute. The present demand and supply of hotel rooms is one of the reasons to choose a substitute. More fixed cost and switching costs affects the business. 5. COMPETITIVE RIVALRY BETWEEN EXISTING PLAYERS This force describes the intensity of competition between existing players (companies) in an industry. High competitive pressure results in pressure on prices, margins, and hence, on profitability for every single company in the industry. †¢ †¢ The top competitors in hotel industry are having the same services like five star, spas, boatels and motels, heritage hotels and palaces. The healthy competition among the all players is helping to increase the industry growth. Intense in metro cities, slowly picking up in secondary cities. Shruti Garg 2012H149223P 10 | P a g e SWOT ANA LYSIS STRENGTHS †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ A very wide variety of hotels is present in the country. There are international players in the market such as Taj and Oberoi Chains A manpower cost in the Indian hotel industry is one of the lowest in the world. India offers a readymade tourist destination with the resources Natural and cultural diversity Demand-supply gap Government support Increase in the market share WEAKNESSES †¢ †¢ †¢ †¢ †¢ †¢ †¢ †¢ The cost of land in India is high at 50% of total project cost as against 15% abroad. The hotel industry in India is heavily staffed. High tax structure in the industry makes the industry worse off than its international. Only 97,000 hotel rooms are available in India today. Only limited value added services Poor support infrastructure Slow implementation Susceptible to political events. OPPORTUNITIES †¢ †¢ †¢ †¢ Demand between the national and the inbound tourists can be easily managed due to difference in the period of holidays. In the long-term the hotel industry in India has latent potential for growth. Unique experience in heritage hotels. Rising income. Open sky benefits. THREATS †¢ †¢ †¢ Guest houses replace th e hotels. Political turbulence in the area reduces tourist traffic and thus the business of the hotels Changing trends in the west demand similar changes in India 2012H149223P 11 | P a g e Shruti Garg †¢ †¢ †¢ †¢ The economic conditions of a country have a direct impact on the earnings in hotel industry. Lack of training man power in the hotel industry. Fluctuations in international tourist arrivals. Increasing competition REFERENCES ? ? Ministry of tourism website: http://tourism. gov. in/TourismDivision/ Ministry of tourism – Hotel classification guidelines : http://www. hrawi. com/hotelrestaurant/Guidelines_for_classification_of_Hotels. pdf ? ? ? ? ? Hotel pictures: http://www. hotel-pictures. net/ Taj: http://www. tajhotels. com/ ITC Hotels: http://www. itchotels. in/ The Leela: http://www. theleela. com/ ITDC group: http://www. theashokgroup. com/ Shruti Garg 2012H149223P 12 | P a g e

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