FlashMobz is a mobile phone and accessories retailer based in England, owned by Asif. The business started with a single shop, which Asif has grown into a chain of eleven. The first four shops were opened from scratch but in July 2014 Asif bought âPhonesRUsâ a group of three outlets, which he intends to operate under the FlashMobz brand. The recent acquisition is a significant expansion in the operation of the business, not least because two of the new outlets are in Belgium. Asif is hoping that this will help him to gain a foothold in the European market. As a result of the expansion Asif has identified a need to open a new warehouse in the East of England, and he has decided that this would be an excellent opportunity to launch an eCommerce arm to the business, capitalising on the success of the FlashMobz brand, but with a relatively small additional overhead.
FlashMobz and PhonesRUs have different IT systems, and in addition to integrating the two parts of the business there is the need to add âb2câ eCommerce functionality. Asif would like this to be fully integrated with the retail stores, allowing customers to collect and return stock via the stores, as well as via courier.
You are a member of the SBS Consultant Team employed by FlashMobz. You are required to write a professional report which deals with the issues outlined above and presents your analysis and recommendations.
⪠Identify key business and technical challenges of FlashMobz acquisition of PhonesRUs and transition to eCommerce.
⪠Consider barriers to implementation and how these might be overcome.
⪠Build an inclusive and persuasive argument that can be presented to Asif.
Sample Solution
Jeunet drew inspiration from the sets of Carne. In aiming to recreate Carneâs fiction on location, the unreality of Amélieâs Paris is heightened by the irony of filming on location, but physically and digitally modifying the shots, to recreate Carneâs artifice. Jeunetâs emphasis on the unreality of Amélie is furthered by his contrasting of Amélieâs stylised world and the spectatorâs reality: âBecause an excess of originality affects reception adversely, one must know how to use signs that are dispensable-or already familiar to the ambient milieu-to be understood.â Beyond the references to French cinema, with the familiarity of advertising aesthetics, highly stylised visuals of Amélie are juxtaposed by actual events tied to the reality of the audience: the death of Princess Diana. In situating his film around a real event tethered to a specific time-August 31st, 1997-Jeunet creates a temporal references that encourages an anachronistic viewing of the âretroâ aesthetics of his film. The idea of the past also presents an objective experience in viewing the film, with the past functioning as a quasi-character. Beginning with the the narration in the opening scene-an imposition of the present onto the past-and the sandwiching of the film, as it ends with a parallel narration at the end. If the role of an author of film is to direct the lens to increasingly valuable discoveries, Jeunet, with his direction, uses his visuals to self-consciously thematise issues raised by visual representation. Controlling every element of sound and picture, Jeunet manufactured Parisâ aesthetic, digitally enhancing every-shot, erasing all traces of the unsightly reality: graffiti, pollution, crime. Jeunet as the auteur of Amélie captures the photogenie of the iconicity and nostalgia of the spectacularised Paris. In the>
Jeunet drew inspiration from the sets of Carne. In aiming to recreate Carneâs fiction on location, the unreality of Amélieâs Paris is heightened by the irony of filming on location, but physically and digitally modifying the shots, to recreate Carneâs artifice. Jeunetâs emphasis on the unreality of Amélie is furthered by his contrasting of Amélieâs stylised world and the spectatorâs reality: âBecause an excess of originality affects reception adversely, one must know how to use signs that are dispensable-or already familiar to the ambient milieu-to be understood.â Beyond the references to French cinema, with the familiarity of advertising aesthetics, highly stylised visuals of Amélie are juxtaposed by actual events tied to the reality of the audience: the death of Princess Diana. In situating his film around a real event tethered to a specific time-August 31st, 1997-Jeunet creates a temporal references that encourages an anachronistic viewing of the âretroâ aesthetics of his film. The idea of the past also presents an objective experience in viewing the film, with the past functioning as a quasi-character. Beginning with the the narration in the opening scene-an imposition of the present onto the past-and the sandwiching of the film, as it ends with a parallel narration at the end. If the role of an author of film is to direct the lens to increasingly valuable discoveries, Jeunet, with his direction, uses his visuals to self-consciously thematise issues raised by visual representation. Controlling every element of sound and picture, Jeunet manufactured Parisâ aesthetic, digitally enhancing every-shot, erasing all traces of the unsightly reality: graffiti, pollution, crime. Jeunet as the auteur of Amélie captures the photogenie of the iconicity and nostalgia of the spectacularised Paris. In the>
