Human Resources YIFY ##VERIFIED##

I thought that this is a very good movie, and it can make a good candidate for the foreign language Academy Awards. The storyline is based on a novel titled 'A woman in Jerusalem' by one of the better known Israeli authors, A.B. Yehoshua. I have not read the book, but I am told that the story in the novel takes place in Siberia, whereas the film (or most of it) takes place in the Carpathian Mountains in Romania. The English title is misleading, the full title in Hebrew means 'The mission of the Human Resources Manager'. A Romanian worker of a very large industrial bakery in Jerusalem is killed in a terrorist attack and is taken to the morgue; a journalist finds out that a salary slip found on her is from the bakery and writes an article blaming her workplace of lacking humanity. Driven by this bad publicity, the bakery sends its HR manager with the mission to "do the right thing" and take care of the proper burial of Iulia Petrache in her home country. However, things are not that simple. For a burial papers need to be signed by the next of kin, and a quest starts for the next of kin, the first one being her husband. However, it turns out that her husband is actually her ex-husband, and her son is still a minor, and the only eligible next of kin is her mother who lives very far, high up in the mountains. So the HR manager decides to get there and do the right thing, bury her in her childhood village, although he had the opportunity to take a shortcut and bury here en route. The intricate story line actually develops into a story of human relationships between total strangers. The journalist travels with the HR manager, and along the way they pick up Iulia's rebel son and travel to their distant destination in the company of weird people. There is humor and drama in these relationships, and the initial mutual animosity and contempt develop into a weird friendship. There are many twists and turns in the story and they all add to a movie that keeps the audience in constant suspense about what happens next. The characters, even the minor ones, are well played, and although some of the situations are practically impossible, overall the story line gets the viewer involved not only in the tragedy of Iulia's death but also in the tragedies of each of the other characters: the HR manager and his shattered family life, the orphan teenager and his bad relationship with his father, the bakery's night shift manager, and finally, the encounter with Iulia's mother who says that Iulia was unhappy in the village. This movie is very close to being a masterpiece. The cinematography is amazing and the camera goes into small details, such as a herd of geese crossing the road on the Romanian countryside. The only happy people in the movie seem the be the Israeli consular representative and her husband, and they provide some comic relief for the otherwise tragic situations. Highly recommended.

Human Resources YIFY

The Human Resources Manager (2010), directed by Eran Riklis, is a film that starts off with the death of a Romanian immigrant in Israel. Although her death was not work-related, an investigative reporter--"The Weasel"--decides to publicize the case as an example of the cold-hearted approach of the company to its employees. (The company officials did not realize that she had died.) To counteract the negative publicity, the human resources manager is sent to accompany the body to Romania, and to arrange for burial. Of course, The Weasel shows up in Romania as well.Naturally, complications ensue. The complications make up the real plot of the film. The HR Manager is out of his element, doesn't speak Romanian, and is a Jew among Christians. He is trying to act in good faith, but personal problems, mechanical problems, and religious problems continue to obstruct progress.This isn't a bad film, but it's somewhat formulaic, and not always very funny. The acting is good, especially that of Mark Ivanir as the HR manager and Guri Alfi as The Weasel. There are some humorous moments, but the grim, unhappy moments outweigh them. This wasn't really a memorable film for me. It's worth seeing if it comes your way, but I wouldn't seek it out. We saw it at the excellent Rochester Jewish Film Festival, in the wonderful Dryden theater at George Eastman house. However, there's no reason it shouldn't work as well on the small screen.

The creators of "Corporate" deserve some credit for miraculously making sympathetic a cutthroat head of the Human Resources department in a corporation.At first glance, Emilie Tesson-Hansen seems responsible for the intimidation of an employee named Didier Dalmont, who takes his life after being harassed and let go by the company. What follows is an investigation into corporate malfeasance, and the target of the inquest is the HR director Tesson-Hansen. The major question raised by the film: Was Tesson-Hansen the instigator of abusive practice, or was she also a victim?While there were some slick production values of the unpleasant and unwholesome work environment, the film was ultimately unsuccessful in demonstrating inhumane working conditions in what are undoubtedly standard hiring and firing practices in the corporate world.It was especially unconvincing that an outside "inspector," Marie Borrel, would be sent in conduct interviews and then work in concert with Tesson-Hansen to unmask the executive Stéphane Foncart for his devious plan to offload undesirable members of the staff.Another shortcoming of the film was the depiction of the home life of Tesson-Hansen and a truly bizarre scene that involved Emilie conducting what would appear to be an interview of her husband and disrobing in the process. The husband's role in the affairs of her office work was never made clear. And what was the purpose of the scene where Tesson-Hansen decided to get drunk with a coterie of Japanese businessmen?In the end, the film was not absorbing as an exposé of corporate shenanigans. It was slow-paced with far too many extraneous details. Arguably, every employee of Tesson-Hansen's corporation was a victim for choosing to work for such a sleazy operation in the first place.

Six captive office workers are literally chained to their desks by a demented, escaped serial killer; former regional manager Thomas Reddmann (Redd). He assigns his 'human resources' the impossible task of proving his innocence or suffering gruesome consequences.

From New Mexico where he taught at the University of New Mexico from 1959 to 1965, Tuan then moved to Toronto between 1966 and 1968 teaching at University of Toronto.[2][3] He became a full professor at the University of Minnesota in 1968. In the same year he received a Guggenheim Fellowship. It was while he was at Minnesota that he became known for his work in humanistic geography, but his forays into this approach began earlier with an article on topophilia that appeared in the journal Landscape.[4] In a 2004 "Dear Colleague" letter he described the difference between human geography and humanistic geography:

Human geography studies human relationships. Human geography's optimism lies in its belief that asymmetrical relationships and exploitation can be removed, or reversed. What human geography does not consider, and what humanistic geography does, is the role [relationships] play in nearly all human contacts and exchanges. If we examine them conscientiously, no one will feel comfortable throwing the first stone. As for deception, significantly, only Zoroastrianism among the great religions has the command, "Thou shalt not lie." After all, deception and lying are necessary to smoothing the ways of social life.From this, I conclude that humanistic geography is neglected because it is too hard. Nevertheless, it should attract the tough-minded and idealistic, for it rests ultimately on the belief that we humans can face the most unpleasant facts, and even do something about them, without despair.[5]

Tuan has not focused on either his ethnicity or his sexual orientation in his research. Rather than stress axes of difference or social power relations, he has attempted to capture universal human experiences. He works to show nuances of common phenomena such as the experience of "home" that cut across cultural divides even as they reveal distinct manifestations in different places and times.

Tuan describes his approach as humanist, however his humanism does not entail replacing spirituality with rationalism or promoting human beings as wholly self-directed.[9] Instead, he sees humanist geography as a way to reveal "how geographical activities and phenomena reveal the quality of human awareness" and to show "human experience in its ambiguity, ambivalence, and complexity".[9] To do so requires empathy, and for this he seeks assistance from literature, the arts, history, biography, social science, philosophy, and theology. Tuan's approach is qualitative, but more narrative and descriptive than philosophical, in light of his concern that a philosophical theory can become "so highly structured that it seems to exist in its own right, to be almost 'solid,' and thus able to cast (paradoxically) a shadow over the phenomena it is intended to illuminate" whereas he prefers for theories to "hover supportively in the background."[10]

Tuan is most interested in ambivalent human experiences that resonate with the opposing pulls of space and place, the intimate and the distant. His approach is suggested by titles such as Segmented Worlds and Self, Continuity and Discontinuity, Morality and Imagination, Cosmos and Hearth, Dominance and Affection, and above all, Space and Place.[11][12][13][14][15] These existential dialectics propel people between a pole of experience characterized by rootedness, security and grounding, on the one hand, and a pole characterized by outreach, potentiality and expansiveness, on the other hand. These opposites interact: there is a certain distance in what is nearby and a certain nearness in what is far away. Therefore, ambivalence is the norm when it comes to the human experience of dwelling in the world with its existential pulls between space and place, mobility and stasis, the distant view and embodied engagement. 041b061a72