Finance Net Present Value and Options Principle Objective

FIN/571 Final Examination Study Guide This study guide will prepare you for the Final Examination you will complete in the final week. It contains practice questions, which are related to each week’s objectives. In addition, refer to each week’s readings and your student guide as study references for the Final Examination. Week One: Foundations of Finance Objective: Discuss 12 principles of foundational corporate finance. 1. __________ occurs when inaccurate information exists. a. 0 The principle of valuable ideas b. 0 Free-rider problem c. 0 Moral hazard d. 0 Adverse selection Objective: Discuss 12 principles of foundational corporate finance. 2. __________ refers to situations wherein the agent can take unseen†¦show more content†¦What is the contribution margin? a. 0 $0.90 b. 0 $1.70 c. 0 $2.50 d. 0 Not enough information Objective: Analyze the effect of price setting on capital budgeting. 12. The wholesale price for Captain John’s is $1.00 per loaf, and the variable cost of production is $0.50 per loaf. Captain John’s expects that expansion will allow them to sell an additional 5 million loaves in the next year. What additional revenues minus expenses will be generated from expansion? a. 0$25,000 b. 0$250,000 c. 0$550,000 d. 0$2,500,000 Objective: Explain the methods, pitfalls, and benefits of capital rationing. 13. Pursuing valuable ideas is the best way to __________. a. 0 achieve extraordinary returns b. 0 get yourself in trouble c. 0 restrain your spending d. 0 avoid risk Objective: Explain the methods, pitfalls, and benefits of capital rationing. 14. Due to asymmetric information, the market fears that a firm issuing securities will do so when the stock is __________. a. 0 undervalued b. 0 overvalued c. 0 caught up in a bear market d. 0 being sold by insiders Objective: Create a financial plan. 15. __________ says to forecast the firm’s cash flows, and analyze the incremental cash flows of alternative decisions. a. 0The signaling principle b. 0The time value of money principle c. 0The principle of incremental benefits d. 0The principle of risk-return Objective: Create a financialShow MoreRelatedThe Natural Gas And Oil1425 Words   |  6 Pagesquickening RE installations but are as well incorporating RE into their present set-up to grasp a 100% mix of RE. More than a few countries are innovators in renewable energy. Iceland acquires 85% of the country’s electricity from earth’s hotness. The country’s electricity stock is 100% renewable and relies on geothermal and hydropower. 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We will use a real discount rate for the real cash flows, a nominal rate for the nominal flows. The alternative is to convert all cash flows to real

The Competition Level Of Burger - 1488 Words

Lila’s burger shop has been operating the business for the past 20 years in Melbourne. This company has its popular product lines such as vegie burgers, beef burgers, chicken burgers, bacon and cheese burgers which use the locally produced raw materials and green organic vegetables as the fillings. The company has gained the popularity within Victoria and has attracted many interstates tourists as its fans. The company is positioned as the unique cuisine provider who can represent the true Australian culture and food. Objectives of the research: †¢ To identify what competition level of burger providers within the targeted international markets †¢ To identify consumers’ attitudes towards Australian burger products within the targeted international markets †¢ To identify the demanding levels with Australian burger products within the targeted international markets Include a list of information sources that you used and a brief summary of the information provided. †¢ Information source 1 http://www.themalaysianinsider.com/business/article/burger-bakar-abang-burn-strives-to-double-sales-to-rm20-million †¢ Information source 2 http://www.austrade.gov.au/Australian/Export/Export-markets/Countries/Malaysia/Industries/Food-and-beverage †¢ Information source 3 http://www.futuredirections.org.au/publications/food-and-water-crises/2022-australia-s-food-export-outlook.html †¢ Information source 4Show MoreRelatedThe Competition Level Of Burger1238 Words   |  5 PagesCompany details: Lila’s burger shop has been operating the business for the past 20 years in Melbourne. This company has its popular product lines such as vegie burgers, beef burgers, chicken burgers, bacon and cheese burgers which use the locally produced raw materials and green organic vegetables as the fillings. The company has gained the popularity within Victoria and has attracted many interstates tourists as its fans. The company is positioned as the unique cuisine provider who can representRead MoreBurger King Marketing Essay1183 Words   |  5 Pagescompanies create value for customers and build strong customers relationships in order to capture value from customers in return, Kotler amp; Armstrong (2010). Burger King Corporation (BKC) is one of the world’s leading fast food restaurants with more than 12,170 restaurants in 76 countries throughout the world. The chain offers a range of burgers, sandwiches, salads and breakfasts, french fries, soft drinks and other food items. 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Australian artist Free Essays

The everyday phenomenon or contemporary art is art made since World War II or the art made or produced at the current point in time. Since 20th century the common concern was and is what constitutes of art. Contemporary art is not always easy for it takes a person to the heart of many ideologies and issues. We will write a custom essay sample on Australian artist or any similar topic only for you Order Now And for our case it helps Australian populace to know their past, present and future. (Crosskey 77) National identity was an issue the Australians argued about in 1990s the symbols, images representing Australians experience and history. Artists focus on symbols or issues that we ourselves do not treat with seriousness e. g. suburban houses or even acknowledgement of indigenous Australians experiences. Art display welcomes questions but also a reflection of values, history and lifestyle. (Daly 188) Australian Art Australian aboriginal art and post colonial art are classified under art of Australia. In both western traditions and indigenous traditions Australia has produced distinguished artists. The uniting subject for both histories of Australian art is the sacredness and importance of the land. (Smith 42) Early colonial art when taken to Europe was received with skepticism. John Lewin was the first resident professional Australian artist; he arrived in 1800 and had two publications on natural history of art. In natural history, in 830 especially there was some ethnographic portraiture of Aboriginals. (Lindsay 138) There has been a gradual change since 1788 in Australian art from a European sense of light to an Australian one. Lighting sense in European differ from Australian this is reflected on early attempts at landscapes. In 1835 to 1878 Conrad Martens a professional artist painted many landscapes which made him financially successful. His work on landscape was regarded softened so as to fit European emotional response. John Glover was another significant landscape artist of this era. (Pratt 69, 240) In 1840s attempts of art exhibitions were made and managed to attract some artists but there financial difficulties. Regular exhibition became popularized by 1850s with huge display of various arts. (Lindsay 138) Decorative art such as water color painting, miniature, and functional objects such as urns, before second war I became more popular in Australia. Modernist art after World War I began to be felt and cause disputes between detractors and its practitioners. (Wood 30) Archibald Prize the most famed art prize was founded in 1921 even though definition of portraiture has always yielded to disagreements. There was evident cross pollination of Aboriginal and western art in 1930s and 1940s, after Australian interior was opened. (Art Gallery of New South Wales 19-22) Artists in 1940s began to try other styles such as Surrealism and others. John Brack brought to attention suburban landscape; there was an increased landscape painting. Brett Whitely a Sydney artist was one of the known painters till his passing away in 1992. (Biennale of Sydney, 102) Papunya Tula School or ‘dot art’ developed after Geoffrey Bardon a teacher in 1971-1972 motivated the Aboriginal people of Papunya to paint their dream time narratives on canvas, one of well known artist of ‘dot art’ is Clifford Possum. Dot Art style art has become well recognized through out the world. Some of well known contemporary Australian artist have progressively used video and photography i. e. Tracy Moffat in their work. (Art Gallery of New 50-62) Aboriginal artists that make use of western in-between have been recognized internationally and seen as recent time great painters’ example being Freddy Timms. The Australian war memorial has some authorized war artists such as Rick Amor and others for East Timor peacekeeping mission, Lewis Miller in the 2003 Iraq War. (Bosch 90) Artists Imants Tiller Diaspora of Imants Tiller art took an everyday phenomenon that was overlooked. Diaspora means a dispersal of populace of same national beliefs or origin. Diaspora was a series of Imants Tillers in 1990s which he described as a new exemplar in his work. His four painting were relating to displacement of persons from their original land of your birth due to colonization and dissimilar cultures combination which makes the most part of the narratives and legacies of these societies in the 20th century. For people in Australian and New Zealand countries Diaspora is inbuilt in creation of the society that they are today. (McCulloch 776) Imants paintings were Diaspora 1992, Izklied 1994, Paradiso 1994 and farewell to reason 1996. The thing that was conspicuous about Tillers paintings was the way one big painting had small one next to each other. The impression that is created by Tillers different interaction of his four art works is that one of worlds within worlds, moving in numerous courses within each work and from one to another. This works are in relation to Till ongoing interest to turn over professed ideologies on periphery and centre of North America and Europe and on one side and comparatively indistinguishable places on the â€Å"world stage’ e. g. Lavitia, Australia, and New Zealand. While the liberty of Baltic States was a facilitator for Tillers four series, his works integrate a broader concentration in the insider/outsider puzzle across boundaries. (McCulloch 776) His work also notes reoccurring cycles of loss, new beginnings and require admitting varied voices. A non-Balt or Balt that observed the great pro- independence protests in 1988 to 1991 will not remember them and the great moving impact they had; the tears, the songs, the sense of liberation as populace were able to utter open things which in forty years they were afraid even to sigh in secret; ‘For you shall know the truth and it will set you free’ Anatol Lievin. (Rowley 192-193) Diaspora 1992 Tillers painting Diaspora 1992 was a reaction to the theoretical political events in 1990 in Lavitia (Home nation to his parents). Tillers connection with Lavitia was unclear his alertness of an innate culture and the image was of the past, were constants in his childhood. They moved from Lavitia to Siberia in Baltic State which emerged after collapse of Soviet Union as refugee due to colonization. This led to Tillers outstanding sudden turnaround. (McCulloch 776) The painting that Tiller exhibited in Melbourne, at a Gallery was his first to enter Diaspora collection. This work included many references i. e. fragments of images, images, symbols and words from more than twenty works of art of eleven artists from dissimilar art chronological periods and dissimilar cultures. Pierre Restany commented: ‘The spectator witnesses an unfolding of coded messages and secret references, imprecations and fragments of ex-votos, making up the flux, or rather the weave of collective memory. ’ (Rowley 192-193) Izkliede 1994 Izkliede 1994 was created with Australian spectators in mind. It composed of many small pictures like in Diaspora 1992. Tillers second art has elements in moving up and downward in instabilities performances; this can be translated as globe further than the purely purposeful and rational features of reality. Rudolf Steiner has described it, ‘what is essential is the fact that the visualizations liberate the soul from dependence on the physical. ’ Izeklied can have many meaning like a language. Swastika on the inflammatory matchbox symbol when it adopted by the Nazis caused people to die in millions, for over 3000 years the symbol had been used in many cultures symbolize life, sun and good luck. (Curnow 148) In Izklied there is Joseph Stalin’s head portraying political image and is surrounded by shapeless masses. When this piece was displayed in Sherman Galleries in 1994 it made a lot of impact to those who saw the piece. By the moment Tillers painted his version the Cold War it had already ended. In Tillers title he suggests that many other battles were in the mind of many people this included the need to take precaution and protect the surrounding through out the world. ‘Let us posses one world, each has one, and is one’ this writing on the piece gave it new energy. (Curnow 148) Paradiso 1994 Paradiso 1994 is the third work of Tillers in Diaspora. Its context was relations in a disjointed world. His third work was reflecting on relocated people hope for a new ‘promised land’ after going through various problems. This notion or though was never a reality though the displaced people were freed from day to day domination in their own country. The situation was very tough in the countries they took refuge in as they tried to go on with their lives. This ideology of paradise, is connected with faith; gone astray, found and longed for. Tillers slots in Meka’s book and his words writings ‘We are dreaming of bread and liberty We’ll dream the same when we die Hungry, imprisoned, enslaved And scattered across the face of the earth’(Rowley, 192-193) Farewell for Reason 1996 In Farewell for Reason 1996, they are many secret codes that speak about mortality and rites across diverse cultures. In farewell to reason the idea of recycling is seen because of the panels on the top left and right, in bold letters ‘see’ and ‘surf’. His adaptation of the words such as ‘surf’ an abbreviation for ‘surfeit’ it has profaned and sacred implications. This work was the last on Diaspora by Tillers. (Rowley 192-193) Finally Diaspora series advocate that social, cultural and local specificities influence language and the manner we think, difference of culture is there for us to come to grips with it, coexistence is a procedure of becoming that is incessantly developing. (Curnow 48) Gordon Bennett and Peter Robinson Peter Robinson and Gordon Bennett in the late 1980s and early 1990s, the have had the intention of commenting, exposing and reflecting on the occurrences of New Zealanders and Australians. Their works describe and state current day culture, considering the creation of country societies and histories after the colonial rule and also look into the function of an artist in the modern art industry. (Benjamin 127) The both have dissimilar degree of aboriginal descent in their personal past and this has manifested in production of the two artists work. Robison at first gained skills as a sculptor and Bennett work was on painting. Their origin has played a great role in their work for it is divergent in the art world and from how they define their own identity. They do not agree to be called native artists; they prefer their art not to be weighed down by the descriptions of others. In each artist art work there are some visible elements such as native history, post European arrival and the impact of social politics and conflict with the awful nature and other cultural and current experiences. (Benjamin 127) Their works have been displayed in Three Colors Exhibition and Catalogue basically to give their work closeness rather than compare the two. They both knew very little about the components work for they had not met prior, but Three Colors gave them this opportunity for their art to talk to each other. In compassion with Ross Gibson’s portrayal of a physical but also a thought of ‘badland’, ‘†¦ a disturbing place that you feel compelled to revisit despite all your wishes for comfort or complacency’ Robison and Bennett react to and involve their cultures, to address problems that are likely to be ignored or serve that risk. Their approaches of art make us to keenly look at the difficult issues at hand (Cambridge 34-40) Bennett’s expression on the abstract notion of identity bothered specific conformist views that regarded the native Australians, the hegemonic perspective of native culture and past as formulated by the colonial dialogue, and brought close concentration to the widespread implication of such deliberating for viewer and subject. Bennett’s early works seemed to have a liberating sense, for they confronted the Anglo-Saxon Australian description of history seeking to acknowledgement, motivate understanding and re-examining of approach and communal actions. (Cambridge 34-40) The Coming of light 1987 this is an indication of Bennett’s early works which was filled with anger i. e. a sarcastic tone going throughout his practice. His title was indicating modernization and bringing light to savage mind which was dark. The Urban European attack in this project is represented by elements such as typical city buildings, a backdrop of a mass of European white faces looking with eyes wide opened at one black native and a guillotined jack-in-the-box hanging from a nose. Use of alphabets in his work is a symbol of capital and commerce, indicating the power in European language and other structures of thought. (Benjamin 127) Peter Robison in his work tried to answer ‘What kind of Maori person was I, if at all? He was from Maori tribe. By choosing g art as a career he was to revive political and cultural interest in Maori individuality, language and customs at that time. He went deeper into the Maori heritage in his work: ‘I am of Maori descent and maybe I’m aware of it, or completely unaware – but I’ve been de-tribalised. So when I started producing Maori art it was like I was part of a lost tribe that had lost its roots in Maoriness and was finding its own roots. ‘ (Benjamin 127) Gordon Bennett and Peter Robinson work Tongue Of The False Prophet (1992), 3. 125% (1994) and Untitled (1994) are indication of Robinson’s reply, reviewing and investigating his individual stand in the intricacies of the New Zealand cultural state. Robison work the ‘percentage paintings’, 3. 125% (1994) symbolize the inquisitive position that he followed in answering to his ‘Maoriness’ in an opened-ended method, focusing on the dualities inside his individual state of affairs and the superior bicultural state, through its olden times of battle over dominion and privileges: ‘A large number of Robinson’s works have centered on this issue – not just the tools and methods that the power culture in New Zealand has used to de-legitimize and diminish Maori cultural identity and Maori rights to lands and resources, but also the impact that such experiences have had upon the Maori people. ‘(Benjamin 127) 3. 125 percentage , is the mathematics quantity of Maori blood containing Robinson’s ancestry, a number that can be thought as insufficient or sufficient to assert social or cultural rights, depending on the alternative of defining structure; blood, familiarity, or policy: ‘And then they accuse you of jumping on the Maori art bandwagon. The percentage paintings were a way of exposing these kinds of attitudes. It is my belief that Maori identity is a matter of identifying yourself as Maori – belonging in terms of ancestral connections as opposed to being a concept of how much Maori you are in terms of blood quantities. ‘(Benjamin 127) Self Portrait (Good Guys) has a powerful mournful expression on the psychic, self and social effect of color disparity and assimilation. It is against generalization and subsuming of identities on grounds such as scientific, social religious, political or any other grounds. ‘This is what my project is all about – not only through my art but in my coming to understand for myself that I am a measure of Australia and of Australian culture, that I was conditioned and socialized into this culture in a fairly average way. I feel that by deconstructing my false notions about myself and my Aboriginality then, in some way, I am also reflecting how that is being falsely reflected within Australian culture. So, there’s this connection between my deconstructing this image in myself and deconstructing it in Australian culture. ’ (Benjamin 127) Robinson respond to current concerns with ethnicity and identity or other issues is to satirize political accuracy. The irrefutable legacy of lineage is closely examined by Robinson and Bennett in works acknowledging the difficulties of self identity. Self Portrait (Ancestor Figures) (1992) is one of Bennett’s work mostly documented among their works. (Benjamin 127) Boy Am I Scarred, Eh! (1997) there was a scarring and psychic damage to Maori after McCahons speculation. ’ I see much of my current work as History painting, not as a documentary History painting, but rather it is painting that investigates the way history is constructed after the event, always mediated by someone’s point of view, a teleological one point perspective that reflects a Eurocentric bias. ‘(Benjamin 127) In early 1990s Bennett’s painting had accounts of optical grids, perspectives, black voids signs and dates signifying the impact and actions of arrangements of thinking applied by European colonial governments and individual putting borders and giving significance to the land of Australia and its populace. (Benjamin 127) Conclusion The Everyday phenomena style of art has affected the communities in a positive way since they get into issues that in most cases would have been ignored or overlooked. In Australia during the 1990s the artist and everyday theme was similar since during this period there were issues such as European colonization, displacement of people from their land and people taking refuge in other states in hope of a new start of their lives. Imants Tiller, Gordon Bennett and Peter Robison in their work have interest on the everyday phenomena in their work. (Crosskey, 77) Works Cited Bosch A. V. den, Aesthetics, Allen Unwin Publishers, 2005, ISBN: 1741144558 Biennale of Sydney, Sydney Opera House, Art, Modern, Biennale Publishers, 2002 Wood P. , Perry G. , Postmodernism, YALE UNIV PR Publishers, 2004, ISBN: 0300101430 Lindsay, R. , and et al, Painting, Modern, National Gallery of Victoria, 1983 Pratt W. B, Encyclopedias and dictionaries, Australia, Grolier society of Australia, 1977, ISBN: 0959660402 Lindsay, R. et al, Art, Australia, National Gallery of Victoria, 1987, ISBN: 0724101225 Daly M. , et al, Australia, Rough Guides, 2003, ISBN:1843530902 (Crosskey , J. Philip, Rose G. Roger, Art/Pacific Area, University of Hawaii Press, 1993, ISBN:0824815734 Curnow w. , Art, Australia, Craftsman House, 1997, ISBN:9057032716 (Rowley, S. , Handcraft/Philosophy, Allen Unwin, 1997, ISBN: 186448313X McCulloch, A. , Biography, Allen Unwin, 1994, ISBN: 1863733159 Benjamin R. , Art, Australia, Guggenheim Museum, 1995, ISBN: 0892071451 Cambridge Scientific Abstracts, Art Modern, Clio Press, 1969 Art Gallery of New, South Wales, Art Modern, the Biennale Publishers, 1986, ISBN: 0959661956? Smith, S. Ure, Traveling Exhibition, the Museum of Modern Art, 1941 Art Gallery of New South Wales Art, Australia, the Gallery, 1989? How to cite Australian artist, Papers

Essentials of Strategic Management

Question: Discuss about the Essentials of Strategic Management. Answer: Introduction The five competitive forces that shape strategy were developed and explained by Michael Porter in the 1980s. Michael porter explained and evaluated how the five forces affect the profitability levels of any particular industry in the long run. The five forces determine how the economic value created by players within a particular industry is divided among the industry players (Daft Daft,2007). The five forces that shape strategy are: The power of customers Power of suppliers Rivalry among existing competitors Threat of substitutes Threat of new entrants into the market The objective of this task is to determine ways in which the five forces shaped the historical Cola wars. There are three very important aspects of value chain in the carbonated soft drinks industry. These aspects are; concentrate producers, bottlers and retailers. Both of these value chain participants are affected by the five competitive forces in one way or the other (Porter, 2008). Qualitative research methods will be used to achieve the objective and goals of the study. This methodology will involve reviewing past research work on the subject and using the knowledge gained to analyze and resolve the study question. Concentrate Producers Threat of new entrants into the market refers to the probability of new firms joining a particular industry hence increasing competition (Etro,2009). In this case, industries that seem profitable will attract new customers compared to those whose fortunes are dwindling. A look at the cola wars reveals that the threat of new entrant into the market had very minimal effect in shaping competition in this industry. This may have been influenced by one or more of the factors discussed above. One of the major reasons why threat of new entrants was very minimal is because of the initial capital requirements as well as the fact that the existing competitors enjoy economies of scale (Salonen,2010). The customers also have very little bargaining power in relation to the producers of concentrate. This is because, the companies in this industry depend on a variety of distribution channels and they do not deal directly with the consumers. The number of customers in this case is high and they do not have associations hence have little bargaining power. The bargaining power of suppliers is strong in relation to the concentrate producers. This force is strong because the number of suppliers in this industry is small. It therefore means they can come together and form associations through which they will use to influence price of raw material. The suppliers in this case supply the concentrate producers with the raw materials used in making the concentrate. The lack of substitute raw materials to be used in making the concentrate further strengthens the bargaining power of suppliers (Ganesan,2012). The degree of rivalry between competitors in an industry is strong in relation to the concentrate producers. This is because, the level of competition in this industry is fiercely stiff and therefore every action taken by the competitor will require a reaction by the other industry players. The market force of threat of substitute products is very strong impact on the producers of concentrate. This is because; this industry has products that are very close substitutes. It therefore means that if the producers of the concentrate do not stay on their toes especially on factors involving market research and promotion, they will be stifled by the competitor (Shankar Carpenter, 2012). Bottlers The bottlers purchase the concentrate; add water and other necessary ingredients to make the drink. The bottlers then package the resulting carbonated soft drink in bottles or cans ready for sale to the dealers who sell on behalf of the company. Sales agents assist in distribution of the product. The bottlers being part of carbonated soft drinks value chain are also subject to the five competitive forces(Keillor,2007). The power of suppliers is a very strong force for the bottlers. The suppliers of bottlers in this case are the concentrate producers. The power of suppliers is very huge because there are enjoy the power of monopoly. This means that the bottlers cannot change their suppliers. If a company bottles coca cola products, it cannot find the concentrate used to make coca cola anywhere else. The cost of changing supplier is also very high (Shankar Carpenter, 2012). The power of buyer in relation to the bottlers is not very significant. This is because; there are high levels of customer loyalty to the tastes and preferences of consumers. The consumers are many and are not concentrated in the same geographical region. This makes it difficult for them to negotiate prices and therefore they cant affect the demand of products in this market. The threat of new entrants in the industry is not high among the bottler. This threat is not high for the bottlers because, the concentrate producer gives permission and license to any company that wants to bottle its products. It therefore means that the concentrate producer regulates the number of bottlers in a particular market. The force of threat of substitute products is strong on the part of the bottlers. This is due to the fact that if consumers decide to substitute the carbonated drink for example with bottled water, the business of the company which engages in bottling of carbonated drink will be affected. The force of rivalry among existing competitors is weak in relation to the business of the bottlers; this is because the rivalry is very minimal since the industry is regulated by the concentrate producers (Meldrum McDonald,2007). The retail channels This refers to the means and intermediaries involved in delivering the product to the final consumer. Distribution in the carbonated soft drinks industry takes pace mostly through supermarket, mass merchandisers and vending machines. Power of suppliers has a very strong effect on the retailers. This is because, the market has few suppliers. The suppliers in this case are the bottlers of soft drinks. The prices of the products are also dictated to them by the bottlers depending on their costs of production and other factors (Keillor,2007). The bargaining power of customers is weak on the part of retailers. The market has very many buyers who are distributed across wide geographical areas. The customers bargaining power is minimal because they cannot form associations which they can negotiate to influence prices or demand. Customers will then be forced to buy the products at the going market price. The threat of new entrants in the retail business of carbonated soft drinks is high. This is because; there are no barriers to entry. There is no government policy regulating entry into the industry. The capital requirements for new firms to enter the market are also low. A combination of these factors makes the threat of new entrants very real (Marich,2013). Retailers of CSDs are also highly affected by the threat of substitute products. The CSDs industry products have very many substitute products. This therefore means that, the retailers of the companys products are bound to be affected by the competition from the substitute products. This affects demand and pricing. The rivalry among existing competitors is has a huge impact on the retailers. This is because; the producers of the concentrate are involved in marketing and promotional activities of their products. It therefore means that aggressive advertising by the competitor may affect the demand of the products of the other companies. This will in turn have an impact on the profitability of the retailers. This will therefore affect the strategies to be employed by the competitors (Keillor, 2007). Coca Cola market position The position of Coca Cola on the bargaining power of suppliers is weak. This is due to the fact that the suppliers are very few in the market and therefore its impossible to switch between suppliers. Coca Cola suppliers therefore have a lot of bargaining power. On the bargaining power of customers, Coca Cola is in a strong competitive position. This is because, the market have many buyers and therefore one buyer or a small proportion of buyers cannot influence the prices of Coca Cola products or affect its level of demand. Coca cola is in a strong position in respect to the threat of new entrants. The patent regulations make it difficult for new firms to enter the CSDs industry. The capital requirements are high for new entrants. The economies of scale enjoyed by Coca Cola scares away any firms intending to join the industry. In respect to the competitive force of threat of substitute goods, Coca Cola Company is in a weak position. This is because; there are very many substitutes in the soft drink industry. It therefore means that the substitute products are a threat to Coca Cola market share. The degree of rivalry between Coca Cola and its competitors is high. The position of Coca Cola in relation to this aspect is not very favorable. This is because intense competition means that the rival firms have to spend a lot on, marketing and promotion activities. Recommendations Coca Cola company should integrate backwards in order to improve its position on the bargaining power of suppliers. This will work by the company engaging in production of raw materials that are used to make the concentrate. This way, the company wont have to deal with powerful few suppliers anymore. The position of Coca cola in relation to the bargaining power of customers should be improved by implementing loyalty programs. This will work well for the company since the customers will feel a sense of connection with the companies` products. Due to this reason, the customers will continue to buy the companys products. To improve its position in relation to entry of new firms, Coca Cola should use retaliation. This involves using methods that will scare off new firms such as lowering the price of products (Derval, 2007) Threat of substitute goods is a very strong force affecting Coca Cola competitive strategies. To improve its position, the company should diversify its products line. The company will make substitute products itself and hence retaining its market share. To improve its position in respect to rivalry between existing competitors, Coca Cola should increase its investment in market research and innovation. Increasing its advertising expenses will also help the company improve its position. Conclusion The application of Michael Porters five competitive forces in analyzing the CSDs industry has provided a clear understanding and insight on how the forces shape the strategies of firms in this industry. The five forces influence the concentrate producer, the bottlers and the retailers in many different ways. The analysis of this effects helps in making decisions meant to improve the overall market position of the firm References Daft, R. L., Daft, R. L. (2007). New era of management. Mason, Ohio: Thomson South-Western. Porter, M. E. (2008). On competition. Boston MA: Business Harvard School Hill, C. W. L., Jones, G. R. (2009). Essentials of strategic management. Mason, OH: South-Western/Cengage Learning. Salonen, T. (2010). 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