Analyze the role of strategic planning in establishing competitive advantage.
Validate understanding of APA formatting and citation criteria to support doctoral course work.
Evaluate the benefits and challenges of implementing strategic planning within an organization.
Despite the fact that the ethical stories that constitute Polish executive Krzyszto Kieślowski's The Decalogue (1989) were enlivened by the Ten Commandments (according to the movies' umbrella title), the way they identify with God's Law as uncovered to Moses is in no way, shape or form direct or obvious; nor is the rich imagery which Kieslowski weaves all through the movies. As this paper will illustrate, the thoughts and subjects in The Decalogue are mind boggling and frequently vague, particularly concerning two essential and repeating images: the colossal flat complex where the different characters dwell and once in a while run into each other and an anonymous, strange male figure who drifts on the fringe of the activity, quiet and watching. Kieślowski utilizes these two images to show and build up the metaphysic that lies at the core of the film. "The movies [that constitute The Decalogue] ought to be impacted by the individual edicts to a similar degree that the rules impact our every day lives", Kieślowski notes in the prologue to the distributed content of The Decalogue (cited in Cunneen, 1997). Joseph Cunneen recommends that this impact is unobtrusive and circuitous. It is critical that the movies don't have isolate titles that contain content of the edicts; subsequently, the watcher is "regularly uncertain of the connection between a movie and a specific precept; to the chief, if the quantities of a few scenes were turned around - for instance 6 and 9 - it would have no effect" (Cunneen, 1997). Kieślowski in this manner energizes scholarly mystery with respect to his gathering of people. "I simply report, for instance, Decalogue 1. The onlooker takes a gander at the film and . . . starts to consider the commandment(s)". (Kieślowski, as cited in Cunneen, 1997). For instance, in Decalogue VI there appear to be no reference to any one specific rule, however it contains references to taking (the peeping-tom hero takes a telescope to keep an eye on a female neighbor) and executing (a similar character slices his wrists close to the finish of the film). This "altogether un-pedantic" approach empowers Kieślowski and his co-screenwriter, Krzysztof Piesiewicz, to build up their subjects with nuance and restriction (Porton, 50). In The Decalogue, as throughout everyday life, nothing is straightforward. "Every scene can be compared to an ethical story that proposes . . . how we can live morally in reality as we know it where the bogus solace of either a faith in God or argumentative realism is inaccessible", states (Porton, 48). Jonathan Rosenbaum would appear to concur that the movie's capacity is suggestive instead of educational: "The finely etched contents of these movies move toward becoming recommendations of how we may consider these individuals, not mandates about how we should judge them" (Rosenbaum, 159). He goes ahead to state that the choice to deliver a progression of movies that relate to the Ten Commandments in name and number is basically "a bundling thought, effectively intended to give Kieślowski a universal notoriety and made to a limited extent for send out" (Rosenbaum, 155). By the executive's own confirmation, he and Piesiewicz maintained a strategic distance from any obvious political references to the Poland of the mid-1980s all together that the movies could be advertised in different nations (Stok, 145). However none of this takes away from The Decalogue's scholarly person, good and tasteful stature. Kieślowski is a genuine craftsman whose extreme concern is uprightness - that of his characters and furthermore of himself, as a movie producer. He doesn't show ethical quality (in the feeling of "thou shalt not") yet rather considers and tests life's alleged "hazy areas". As indicated by him, "honesty is an amazingly confounded blend and we can never at last say 'I was straightforward' or 'I wasn't straightforward'. In the entirety of our activities . . . we end up in a situation from which there's extremely no chance to get out - and regardless of whether there is, it is anything but a superior way out [but only] the lesser malevolence. This [choosing which way out to take], obviously, characterizes uprightness" (Stok, 146 and 149). The thought, at that point, that an arrangement of ten standards is all we require is shortsighted to the point of ridiculousness. The choices we as a whole should make in our lives are regularly troublesome and agonizing; they are additionally subject to a large group of various elements which must be weighed and considered. Where profound quality is concerned, viewpoints must be changed and in some cases supplanted with new ones. Mario Sesti recommends that the multifaceted nature of the thoughts at play in The Decalogue is symbolized, to a limited extent, by the skyscraper loft complex which is the focal setting for every one of the scenes. "All through the work an arrangement of indications, correspondences and references impalpably binds together the tangled predicaments of the characters who live in the [same] loft square. Everybody either knows or overlooks each other, yet everybody knows (anyway reluctantly) that they have a place with a similar account" (Sesti, 183). Portman comments that Kieślowski's mark subject in for all intents and purposes the entirety of his movies (not only The Decalogue) is "the indescribableness of human experience through possibility experiences - or close experiences - of heroes whose ways could never commonly meet" (Portman, 2001). Finding the majority of the activity in and around the gigantic condo building where the different characters live, and where their ways once in a while cross, enables Kieślowski to stage such shot experiences and close experiences while "(weaving the) single scenes into a general embroidered artwork" (Sesti, 183). The executive notes that picking characters aimlessly and watching how they act and interrelate is very much served by the flat building setting: "We had the possibility that the camera should choose, . . . at that point tail him or her all through whatever is left of the film", he says, including that since the flat building has "a great many comparative windows encircled in the setting up shot", it was a perfect setting for his motivations (Stock, 146). Cunneen clarifies that the condo building binds together "the arrangement" since we see a similar couple of structures over and over (that is, from scene to scene), including that "in such a setting it winds up normal for a character we see on the stairs in a single scene to end up a noteworthy figure in a later one" (Cunneen, 2001). By expansion, it would not be a distortion to state that the condo building symbolizes the solidarity - and interrelatedness - of experience. In spite of the interrelatedness, Michael Wilmington contends that every one of the characters in the arrangement consider themselves basically "detached" (Wilmington, 2001). Periodically, to some minor degree, the setting shifts from the Warsaw suburb and into the city, and even the field, yet the chief has a nostalgic thought of an arrival the dull tall structure squares (Wilmington, 2001). The imagery of the idea to depict such zones of Warsaw is that lone in those tall dim structures can the group of onlookers get acquainted with a wide range of feelings of the occupants: love, despise, cordiality, courteousness, interest and that's only the tip of the iceberg. There is steady cooperation between the neighbors, making Kieślowski's arrangement exceptionally sensible and easy to comprehend for his watchers. The loft building is, in actuality, a target correlative to this very discomfort. The "purposely dark or bitter hues" of the building "catch a structure that implies both the State and the dullness of life in 'Individuals' Poland'" (Porton, 2001). In a comparable vein, Agnieszka Tennant makes reference to the "mass-delivered, lackluster structures", "depressed stormy outside", "chilly pads" and "unoriginal stairwells, lifts and workplaces" that constitute the film's mise-en-scène (Tenant, 2001). Another capacity of the flat building setting is that it takes into account an open story structure - a structure which "welcomes the watcher to decipher the activities of [the] heroes, to take after their battles with predetermination in a wealth of chance experiences" (Haltof, 79), while filling in as a helpful image for voyeurism and moving viewpoints (in other words, the watcher's and in addition the chief's look). Cunneen is right to pressure that Kieślowski's camera is "attached to windows, mirrors, or any articles that offer potential outcomes of reflections" (Cunneen, 2001). This propensity opens new points of view on the heroes of the film arrangement. They are seen from behind the glass, focal point or mirror which features that their activities couldn't be what they appear and have more measurements to them. In Kieślowski's movies, glass "serves to hesitantly closer view the demonstration of looking", as indicated by Annette Insdorf (Cunneen, 2001, citing Insdorf in the last's Double Lives, p. 91). In Decalogue V, Piotr, the legal advisor of Jacek the executioner, is "surrounded in a mirror" before we really observe him. Also, "the driver [victim] is displayed as glass mirrors the loft complex" and "Jacek is presented in the road, reflected in a mirror too" (Insdorf cited in Cunneen, 2001). Sesti alludes to Kieślowski's subjects of "vulnerability" and "bewilderment", taking note of that "the most run of the mill picture in The Decalogue is a shadowy inside, a character at the window, or a look without animosity, bliss or expectation" (Sesti, 187). An a valid example is Decalogue VI, which starts with Olaf, the peeping tom character, keeping an eye on Magda, the more established lady who is his neighbor, yet closes backward, with Magda keeping an eye on him. Kieślowski surrenders that this "adjustment in context" is basic to the scene's structure (Stok, 169). Different cases of the look might be found in Decalogue I when the kid Pawel watches a pigeon on his windowsill to start with. Afterward, after Pawel suffocates, his close relative watches moderate movement commemoration film of him on a TV screen in a shop window. In Decalogue V the look is seen amid the murder of the taxi driver when the executioner Jacek falters for a concise minute when the vic>GET ANSWER