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A first-of-its-kind, this book proposes a marketing plan for the police, using the conventional framework of marketing management. While there is considerable discussion and criticism of the way the police force functions in India, no comprehensive alternative model has been proposed to implement the New Police Management (NPM) approach in the force's operations. In fact, the necessity for overhauling the police system is strongly felt all over the world in the light of the recent international security lapses. The framework that this book suggests comprises current situation analysis, SWOT an

Police --- Politie: Indië.

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Consumers are an important source of innovation. They primarily innovate out of non-monetary motivations, such as use interest, learning and social rewards. Nonetheless, increasing numbers of such consumer and user innovators recently began diffusing their creations on online marketplaces, where they price and commercialize them. This empirical work reveals that, compared to firms, consumers' different motivations to innovate affect their pricing decisions systematically in terms of cost, customer quality and competition considerations. Furthermore, it shows that customers' price evaluations differ consistently when a product is marketed as created by consumers. Two empirical, sequential mixed methods studies were conducted for testing a series of hypotheses derived from fusing pricing research with consumer and user innovation theory. The empirical work was executed in the field of indie video games. Its core quantitative analyses were carried out with data scraped from the Steam computer game marketplace. Interviews and experiments with commercializing consumer innovators and their customers scaffold the findings from the market data analyses. The generated knowledge helps (a) consumer and user innovators to shape and validate their marketing strategies, (b) business administrators to respond to an influx of consumer innovators as competitors, and (c) economists in understanding the market impacts of commercial consumer innovation diffusion.

Pricing --- User Innovation --- Diffusion --- Marketing --- Indie

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Voor een Helmondse schoenmakersdochter, een Indische voormalige oorlogstolk en hun zoon bestaat er geen heden. Alleen een belast verleden. De zoon achtervolgt zijn ouders met vragen over de oorlog in Nederlands-Indië die woedt in het gezin. Hun verhalen zijn spannend, hilarisch, gruwelijk, niet te bevatten, rauw, maar niet zonder humor.

Dutch literature --- Nederlands-Indië --- 741 --- Proza - Nederlands --- Dutch fiction --- 870 --- Nederland verhalen --- Indonesië verhalen --- proza --- prose

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J.J. Murphy analyzes the shifting role of the screenplay in the history of modern American independent cinema. He argues that in moving away from the traditional Hollywood approach of using a script developed in pre-production, key independent filmmakers used psychodrama and improvisation to create a new kind of cinema that allowed for more complex characterization and pushed dramatic interaction to the point where the boundary between the fiction and reality begin to dissolve. Murphy begins with filmmaking in the 1950s and 1960s and the works of John Cassavetes, Shirley Clarke, Norman Mailer, Jonas Mekas, and other independent directors. In reading key films and analyzing the techniques of these directors, he demonstrates how their divergence from the script, to varying degrees, created a new American cinema. Murphy then turns his attention to the twenty-first century when filmmakers, influenced by the freedom afforded by digital technology, explored many of the same strategies. Films by Gus Van Sant as well as those associated with mumblecore helped set a new precedent for this second wave of unconventional scripting practices. In his focus on improvisation, psychodrama, and a new approach to scripting, Murphy provides a new history of American indie filmmaking and how it challenged Hollywood industrial practices and performance styles.

Independent films --- Motion picture plays, American --- Indie films --- Motion pictures --- History and criticism.

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How do female Indian artists position themselves today? How do they deal with their responsibilities to society, as well as with the legacy of their feminist predecessors? What kind of language do they invent to express that which has been unarticulated? In Facing India, six female, Indian artists devote themselves not only to the history and future of India, but also to their country in the present day. Torn between tradition and the modern world, India?s patriarchal society is in the midst of a socio-cultural transformation. In their multimedia works Vibha Galhotra (*1978), Shilpa Gupta (*1976), Bharti Kher (*1969), Prajakta Potnis (*1980), Reena Saini Kallat (*1973), Mithu Sen (*1971), and Tejal Shah (*1979) examine boundaries? A central theme in Indian society, whether they are gender-related limitations, or political, territorial, ecological, or religious boundaries. This richly illustrated publication accompanies the first thematic exhibition of Indian women artists in Germany.

7.039(540) --- Gender en diversiteit --- Hedendaagse kunst, Indië --- Mixed media --- Kunstgeschiedenis ; 2000 - 2050 ; Indië --- Exhibitions --- Art --- art [fine art] --- Galhotra, Vibha --- Kallat, Reena Saini --- Kher, Bharti --- Potnis, Prajakta --- Shah, Tejal --- Sen, Mithu --- anno 2000-2099 --- India --- art [discipline]