Leadership Case Study: Oticon

attr minuteorshiphip Case Study OticonA range of materials decl atomic number 18 detailed the unalike turn upes to leading, increment of leadership and its circumspection competency structure in a number of plaques. The information provided here is in take to the woodsed to communicate to the readers and markers whether or non actions, activities, and behaviors of Oticon and its president meet entrepreneurial texts. This paper e precisewherely come ons the contrastive conformations of strategies take by a leader to help maximize the success of a business. leadership as a complex process that concerns the extent to which a set of standards, qualities and or competencies can capture the nature that kneads some leaders and government activitys thrive and others unproductive (Burns, 1978). In Oticon, the political, structural, and cultural obstacles that ar present in many transcriptions soak up not been a problem or rafter to the company in obtaining its set ob jectives. Oticon has been able to meet its objectives because the leaders are a ware of these hindrances and demand come up with appropriate resolvings to overcome them solely (Hofstede, 1977). leadership port is the manner of directing, implementation of plans, and motivation of individuals in an organization. thither are a number of theories that have been discussed to show their effectiveness in the organization. Power in Oticons leadership style has been streamlined to each managers. They have shown that heighten is thoroughly, but peerless should take note of the power showtime which greatly impacts the growth of the business and attainment of organisational goals and objectives. Power in this case leads us to under(a)standing the importance of leadership roles in the organization. In the conclusion, we see the appropriateness of the leadership style used in Oticon friendship (Yukl, 1989).Managing versus leadershipLeadership ensures that the organization and all the stakeholders do the right thing. It has the control to set direction, annoy decisions, and create different policies. They as well have the tariff of ensuring that the organization is well managed, resources op dateble are associated with expectations, and that they are operating indoors the legal and ethical boundaries stipu new-maded. Management on the other hand, assures that the staff and volunteers of that organization follow to the latter the direction that has been set by the come a farsighteds of directors and do things right. This is light upond by means of the use of strategic plans that relate to the operational plans which are later presented to the board to explain to them how well the operational plans have been implemented. The management ensures that the board understands the presented selective information (Vroom and Yetton, 1973).Lars Kolind displays to his managers and staff certain emotions which have enabled near of them understand and fully admit the odourings of others. His high emotional intelligence (EI) has vastly contributed to his role of instilling lurch in others feeding in his organization. For those with anger, enjoyment, love, and sadness while working, he has motivate them which have seen to the growth of the business. In the case study, we see that before use the disorganized organization strategy the profits obtained were very low. How ever, when Oticon started apply it, more than profits were obtained in a very short period of time. This was achieved by considering the emotional intelligence of its workers who were not sure of how effective the leadership style would help the organization obtain its objectives effectively. These delegates do transfer to leaders a behavior the business sphere for physical exertion, if one is al manners angry and sad, no one get taboo be able to freely affectionateize with him/her for fear of universe assaulted. Those filled with fear cannot be able to do anything for their own not even engaging in any business.Leadership functionsEffective leadership of change means that, when the leader uses youthful modulates of administration to achieve the desire goals, the staff and managers should accept and implement them fully. The contingency or situational school of notion indicates that the style to be used is dependent on factors such(prenominal) as the situation, the people, the line of work, the organization, and other variables of the milieu (Fiedler, 1967). Fielders contingency model is a theory under the situational school of thought that clformer(a) postulates that managers do not have a single way that can be described as outflank for leading the organization. Situations leave alone be the ones creating the different style requirements for managers. The best solution accorded for a managerial situation is conditional on the factors that encroach on the situation. For example, in Oticon, repetitive mechanical labor movements have become a norm to the workers (dynamic environment), thus a more flexible, participative leadership style has been used. The leader-member relation is good because both the managers and employees relate with each other on a regular basis. The task is unstructured, but the power position is still maintained (Sims and Lorenzi, 1992)Variables of the environment can be measured by using favorable or unfavorable terms depending on the task point style. Managers do mold their environmental variables to suit their leadership styles. Leader-member relations are the amount of devotion, reliability, and employee upkeep received by the leaders. In an unfavorable relationship, the task is unstructured and the leader has self-denial of limited liberty. Position power is measured with the amount of authority the manager sees that has been given to him or her by the organization for the sole aspiration of directing, rewarding, and punishing those subordinates who fail to adhere to the rule s and regulations stipulated. Positioning of power of managers depends on lessen the favorable and increasing the unfavorable power of decision making of the employees of the organization (Clegg, 1975).Relationship-motivated style builds interpersonal relations and extends extra help for team work development in the organization. The task- motivated style leader has delight and ful occupyent in accomplishment of the task at hand. Oticon Company sees to it that the satisfaction of the client has been achieved the company has established a good image which has seen to the increase of the gross sales record, and has outperformed its competitors. Leadership theories have developed from Great Man and Trait theories to Transformational leadership. These former(a) theories focused mainly on the characteristics and behaviors of leaders who have achieved success, while the red-brick theories put into consideration the role of followers and the contextual nature of those leading an organiz ation (Hersey and Blanchard, 1977).Transformational leaders have displayed behaviors that are linked to five primary styles of transformation Idealized behaviors (living on ones vagaryls), Inspirational motivation where leaders flout others, Intellectual stimulation where others are universe stimulated, Individualized considerations that deals with coaching and development of individuals, Idealized attributes which include respecting, trusting, and having faith in others. These leaders are proactive in many unique ways. They optimize on development which includes the suppuration of ability, motivation, attitudes, and values of the organization (Likert, 1961).Transformational leadership is the approach taken by most leaders in creating a share vision, develop and coach employees who will become future leaders, encourage innovation in others in the organization, and act with high ethical standards and integrity (Bass Avolio 1994). Dispersed leadership is an informal, emergent, o r spread leadership where the leaders role has been dissociated from the organizational hierarchy. At all levels of the organizations, individuals have been given the power to exert leadership influence over their workmates hence influence the leadership of the organization. Oticon is a good example. The tasks of the managers have been restructured. A magnetized leader is based on self-belief where people follow others whom they admire (Gordon, 1998). This method of leadership is not a good way of designualizing leaders since there are those who dont have the charisma of attracting individuals but are admired. Leaders do not perform their roles. Their concentration drifts to pleasing individuals at the expense of attaining the organizational goals.Leaders functions from the above with regard to change addresses the need for the leaders to vivify employees quite a than direct them, involve them in decision making rather than divide, encourage diversity and challenging methods r ather than accept the old terrestrial that was being used, encouraging employees to think widely, trust in the projects they come up with and support them, and commitment of the leaders in ensuring that their projects are carried out effectively by the organization by providing them with the resources they require are proficient a few of the functions (Bass, 1985).Leadership RolesOticon Company is different from other existing companies since they instilled change in the work orient for the better by using a different kind of leadership style in leading and managing the organization. In creating a vision for the organization, I will bear in mind the objectives of the organization which are of importance when stipulating the vision. If one does not put it into consideration, the goals and objectives of the organization whitethorn not be attained in time. Teams have managed to access shared information that has helped in lifting the performance of the organization, but in places lik e banks and hospitals, such freedom has been minimized to the leaders only since this will bring slightly confusion in the organization as it deals with very sensitive matters (Daft, 2002). square actions and races of management concerning changing the decision making patterns are the decisions that largely result from external constraints and power-dependence. Symbolic action (expressive) is where management uses symbols and political language in legitimizing and rationalizing the policies and decisions of the organization. The effect of symbolic action is participatory decision-making that reflects the occurrence taking place in the current population (Bennis and Goldsmith, 1997).Oticon Company workers should be given pedagogy and education programs that relate to substantial change that is bound to come their way in the next financial year if need arises. Many organizations that travail to impose change on the organization end up impuissance to meet the targets they intend t o achieve since the workers are against the form of change being imposed on them. The structure of the organization was changed and needed to be communicated to the workers so that they can be aware of how activities are being conducted in the new organization (Byrd, 1987). By communicating to the workers, the leaders were presenting them with the new responsibilities accorded to them by the President of the Company.Redesigning of the jobs enabled the organization to have a high quality of work performance since the needs and capabilities of the employees were fully met. Face-to-face dialogue of the management (Campbell, 1970) and employee made intercourse effective and thus they related on a very green ground that enabled them to exchange ideas and information easily without being distorted at any given time. Not specifying the workstations made it possible for all the workers to modify and get to know each other well, this contributed greatly to the cohesion that existed among them (Belbin,1993).The idea of projects made employees more active in the activities of the company and thus they leted at maximizing profits and satisfying the customers whom they served. Developmental change has been able to reward the need for incremental change orientation process because it is people oriented (empathetic). The leader determined that the maturity level of the employees in relation to the task to be accomplished increased greatly thus reduction of the task behavior by the leader had changed and relationship behavior was increased (Bergmann, Hurson, Russ-Eft, 1999). polishEmphasis has been made on the key points of change in leadership as part of the set management functions stipulated, and these functions can be traced back down to the works of many philosophers. The functions of leaders in the traditional society have changed due to the shift that has occurred in the sources of personal power (Bunce, 1981). Technology was an attribute associated with the gro wth of an organization, but it is not the case. The one factor that contributes to an organizations growth and magnification is effective leadership skills used. Emotional intelligence has also been discussed widely. Theories have also been cited to show how the Company uses the leadership style to manage and lead its employees effectively.Leadership roles and functions are also seen to be changing with time bearing in mind that if a leader wants to achieve effectiveness in his work, therefore change of leadership should be looked into. Several skills and attributes that are desired by most leaders are very essential. Strategic and operational, traditional management and leadership styles have been discussed to show how they have managed to embrace the various skills available for an effective change in a leader to emerge (Kreisberg, 1992).Leadership style effectiveness can be adopted at different levels as discussed depending on the change itself. We are now conversant with the a pproach to take when situations arise and the type of leadership style to adopt.Can the warning of Realism be Plausibly Applied to photo?Can the design of Realism be Plausibly Applied to flash?Realism is arguably the most important concept within lead theory. Since its inception, submit has by and large been come to primarily with facsimileing unfeignedly life events for the audience via photographing and camera techniques. In the process, the aim of take up from its early days has been to realise both assumed and nonfictional events. As Ellis (199838) explains, the essence of cinema has always maintained an current and deepseated relationship with both visual and aesthetic pragmatism. film as a photographic fair instantly poses its images and sounds as put down phenomena, whose construction occurred in another time and place. Yet though the figures, objects and places delineated are absent from the s mistreat in which the viewing takes place, they are also (and as toundingly) present.It is important not to confuse cinematic pragmatism with the realistic and naturalistic dramatic output of theatres. Though the two have often collaborated and interchanged over the past one hundred years, the reality inherent in plays is needfully different to the reality inherent in films. Theatre by nature, with its long pauses, set changes and asides to the audience, is inexorably less realistic than cinema where the division of guesss and the pace of the plot are subject to the whim and the taste of the filmmaker. Moreover, whereas naive naive naive world is a difficult term for theatre analysts to digest dictated on the whole by the skills of the actor (Styan, 19831) the filmmaker is able to use scenery, music, lighter and architectural design in order to recreate a particular context or feeling.For the purpose of analysis, the following account of realness and films essential adopt a dualistic approach. One the one hand, the act must seek t o define realism within film theory, oddly with regards to conceptualising the different kinds of realism prevalent in cinema. On the other hand, it must necessarily look at examples of realism in action to show how filmmakers are able to apply theory to practice in a seamless transition. A conclusion will be sought-after(a) that attempts to show that the realism is the most important paradigm in not only in film but in all earnest fastidious and creative endeavours.Although realism in film theory would place to be a straightforward concept, roughly adhering to the Greek idea of memesis (imitation), the narrative of film has coincided with the history of modern western philosophical tradition, which since the middle of the 19th century has sought to rebel against the perfect notions of the romantic movement in fiction and in painting (Stam, 200015). This signals that realism is a relatively juvenile phenomenon in western artistic ideology. As such, it would be nave to get i nto that it has not been (and will not continue to be) the subject of vast theory-based changes. The following is therefore a brief overview of the variations of realism in film that have been witnessed throughout the past century.Early films could not hope to achieve realism on camera until the advent of sound. With this development, film was in possession of sight, sound and context to aid its replication of real life. This facilitated the classical era of American film with classical realism used as a staple part of the Hollywood diet in the films of the 1930s and 1940s. The aim was to create spatial and temporal continuity. Classical realist films achieved this via the utilisation of conventional devices for denoting the straits of time, editing devices and the adoption of a strict etiquette with regards to changing from scene to scene (such as camera closeups.) It is important to note that this classical ideal of film theory did not seek to exactly replicate reallife scenes s o much as present an optical caper of truth. (Stam, 2000143). This, it was hoped, would result in the production of a transparent kind of film, removing all traces of the physical and technical construction of the movie in the process. Yet, by definition, classical realism in films could not bequeath an overly elaborate plot. Rather, the concept of classical realism is concerned with episodic construction in order to convey the naturalism of the movie.The structure of the realist film, one that attempts to look at the populace objectively, differs from that of the usual narrative film in either being very simple or episodic Each episode or taking over of the film suggests random occurrences that are typical and representative of the people or environment portrayed. (Wead and Lellis, 1981325)Angels with Dirty Faces (1938) is a prime example of this classical early Hollywood realism in action. The movie concentrates on portraying the realism of the American crime era in a way that had not been attempted beforehand. Whereas previous productions had tended to sway towards the stereotypical view of the underworld, Angels with Dirty Faces looks to a enactment a classical realist film with characters that are believable with a plot that rests solely on the pitying element of the complex world of the American gangster rather than the more idealistic, impressionist view that had further been championed by Hollywood impresarios.The American model of realism has been applied with correspond vitality to European cinema where the depiction of another kind of reality has been achieved, particularly since the end of the Second World War. This is not surprising as artistic realism cannot thrive in a climate of conquering and authoritarianism like that which characterised mainland Europe during the 1930s and early 1940s. The life span, for instance, of left-winger filmmaker Brecht was directly related to German politics at the time. In addition, it is surely no coinci dence that the heyday of French poetic realism in mainstream French cinema (where Jean Renoir stands out as the most prominent realist filmmaker of his day) came in the late 1930s, just before the collaborationist Vichy regime strangled the creative life out of all of the national arts. It is an important point and one that should be remembered throughout the remainder of the discussion realism is directly affected by the genial and political context in which it is expressed. Moreover, when this expression is denied by law it in addition affects the vision of realism that a filmmaker wishes to convey.Postwar incarnations of realism were reflective of the mood (certainly in Europe) in the immediate aftermath of fighting. Indeed, after this point, cinema was increasingly seen as the vehicle through which to post real life to the viewer. This was a passing significant factor in the realism and neorealism of the time. It is worth remembering that cinema was part responsible for the unprecedented carnage of the previous decades with the fascists in particular using film as a means of propaganda to seduce the people into acquiescence. Thus, neorealist filmmakers of the postwar era such as Orson rise and Roberto Rossellini wished to seduce the audience back into seeing cinema for the positive medium that it is, not the tool of despotic politics it had hitherto come to represent.In spite of conflicts of style, neo-realism tends to give back to the cinema a sense of the ambiguity of reality. (Bazin, 199769)In the UK, the concept of realism has been applied to film with arguably great frequency and arguably a more accurate result than in any other comparable western country. British cinematic realism differs from the American and European models of realism in its strict representation of complaisant reality, bequeathing the cinematic concept of kind realism. Certainly, with its bleak architecture and temperamental weather, Britain provides the realist filmmake r with the raw materials for accurately depicting the social realties of modern life. These films are consequently oppressive with a strong focus on the human element. In this sense, British social realism can be seen to be apolitical, though it can also be argued that this can never authentically be the case. Regardless of such theories, social realism is a highly useful means of understanding the value of realism in movies.The late 1950s and early 1960s witnessed a spate of such socialrealist films. Room at the Top (1959), Look back in anger (1959), Saturday Night and Sunday Morning (1960) and The Loneliness of the Long Distance kickoff (1962) are all testimony to the introspective path that British film had taken in the postwar years. Part of the impetus piece of tail this change in direction can be attributed to the domestic artistic world being opened up to younger filmmakers of change degrees of social class who wished to portray British life as they aphorism it as oppos ed to British life as viewed through the look of the traditional sociopolitical elite. This kitchen sink realism was superseded by a more urbanised, radical realism in British film in the cash in ones chips decade of the twentieth century. The major difference between the two is the way in which the realism of the 1990s was so much more negative in its outlook than the realism of the middle of the century. No one filmmaker better represents this slip into melodrama than Ken Loach the architect of documentary realism. (Hill, 2000182)At this point, mention must be made of the alternatives to realism as a dominant film theory. While European and North American cinema continues to view realism in all of its forms as a highly useful means of social and cultural expressionism, the movies that tend to make by far the most money at the box government agency continue to be the typical Hollywood blockbuster. These films are defined as cinematic escapism the diametric opposite to films th at rely on depicting realism to tell a story. Blockbusters are increasingly divorced from the social realties of the day with science fiction movies being a luminous example of the way in which cinema and realism are often at odds with one another an uneasy alliance between makebelieve and the movies that has served to make Hollywood cinema the most profitable manufacture in the USA. In terms of consumption, it would appear to be that it is not the films of realism that are the most important partners in film rather it is the nonrealism, idealist films that appeal to the most broadbased conception of the public audience.Indeed, way on the viewer and the audience asks further questions as to the ultimate cogency of realism in films. Although the actor, the director and the producer may all feel that they have collaborated in making a truly realistic film, their perceptiveness is in the end irrelevant. Movies may be made by filmmakers, but the final verdict on its artistic (as wel l as commercial) success always resides with the audience. As such, it is surely the viewer and the audience who must state whether or not a film is realistic. This, of course, involves readerly or spectator pumpial belief, a realism of subjective response, root less in mimic truth than in a strong desire to believe on the spectators part. (Stam, Burgoyne and FlittermanLewis, 1998185)Therefore, in the final analysis, each and every viewer will have a different opinion with regards to whether a film was on the whole realistic or not. No two viewpoints are ever likely to be the same. This is surely the defining source why films are made to encourage divisions of opinion and cultural debate on matters that are of relevance to the society in which the audience lives. Only films that are rooted in the concept of realism are able to achieve this kind of debate, which is in itself testimony to their ultimate value to the artistic community. Those films which seek to get off the audienc e away from reality are generally more concerned with the enormous commercial impact of films in the modern era, not with inciting noetic debate. Serious filmmakers, on the other hand, will always tend to be attracted to the inherent realism afforded by the technology of film and it is for this reason that it is surely the most fundamental paradigm not only of filmmaking but also of any artistic endeavour that truly seeks to engage its audience in any meaningful way.BIBLIOGRAPHYBraudy, L. and Cohen, M. (Eds.) (1999) Film scheme and Criticism Introductory Readings Oxford Oxford University PressEllis, J. (1998) Visible Fictions motion picture Television photograph capital of the United Kingdom RoutledgeLay, S. (2002) British Social Realism from Documentary to Brit horse sense London WallflowerLehman, P. (Ed.) (1997) Defining Cinema London AthloneMurphy, R. (Ed.) (2000) British Cinema of the 90s London BFIStam, R., Burgoyne, R. and FlittermanLewis, S. (1998) New Vocabularies in Fi lm Semiotics structural sociology, PostStructuralism and Beyond London RoutledgeStam, R. (2000) Film Theory An Introduction London BlackwellStyan, J.L. (1983) moderne Drama in Theory and Practice, Volume 1 Realism and reality Cambridge Cambridge University PressWead, G. and Lellis, G. (1981) Film Form and Function Boston Houghton MifflinSelected ArticlesBazin, A. (1997) The Evolution of the voice communication of Cinema, in, Lehman, P. (Ed.) Defining Cinema London AthloneHill, J. (2000) Representations of the Working Class, in, Murphy, R. (Ed.) British Cinema of the 90s London BFI