The Devil Wears Prada- Organizational Behavior.edited

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1 The Devil Wears Prada- Organizational Behavior Student’s Name Instructor’s Name Course Date

2 Four Levels of Culture (Section 15.1) Artifacts: Artifacts represent the visible and tangible aspects of organizational culture. In "The Devil Wears Prada," the fashion magazine industry is visually and stylistically portrayed through various artifacts. The extravagant office spaces, luxurious fashion shows, and the prestigious Runway magazine itself serve as symbols of the industry's culture. The opulent decor, sleek fashion accessories, and high-end clothing worn by characters are physical manifestations that communicate the industry's emphasis on aesthetics, luxury, and status. This aligns with the textbook's definition of artifacts as physical manifestations of culture, including dress codes, office spaces, and the symbols associated with the organization (Guhin et al., 2021). The film emphasizes how these artifacts contribute to the overall atmosphere and expectations within the organization. The stylish attire becomes not just a dress code but a statement about the industry's values, where external appearance is intertwined with professional identity. The artifacts, in this case, play a crucial role in shaping employees' perceptions of what is considered valuable and prestigious within the organizational context. Espoused Values and Norms: Miranda Priestly, as the editor-in-chief, becomes the embodiment of espoused values and norms within the organization. Her explicit communication of values is evident in speeches emphasizing the pursuit of excellence, dedication to staying ahead of trends, and an unwavering commitment to delivering top-tier content. These values, as per the textbook, are the explicitly stated organizational values that guide behavior. Miranda's speeches, interactions, and decisions become the formal representation of the organization's values. The pursuit of excellence is not just a vague notion but is clearly defined by Miranda's expectations for perfection. Staying ahead of trends is not a passive goal but an active commitment demonstrated through the characters' constant engagement with the fashion world. The espoused values become the guiding principles for decision-making, setting expectations for employees, and defining the magazine's identity. Assumptions: Assumptions in organizational culture are the taken-for-granted beliefs and values that guide behavior. In the film, a deeply ingrained assumption is the paramount importance of external appearance in the fashion industry. This assumption is not explicitly stated but is evident in the characters' behaviors, especially the transformation of the protagonist, Andy. The film captures how, over time, Andy adopts the industry's implicit belief that success is intricately linked to one's ability to conform to and influence fashion trends (Goojara, 2023). The assumption is ingrained in the culture to the extent that it becomes a norm for employees to prioritize external appearance. This aligns with the textbook's definition of assumptions as unconscious and taken-for-granted beliefs. Andy's transformation reflects the powerful influence of organizational assumptions on individual behavior, highlighting how employees internalize these beliefs even if they were not part of their initial value system. Enacted Values: Enacted values are the norms and behaviors actually exhibited by employees. In the film, the intense competition and high-pressure work environment illustrate the values enacted in the fashion magazine industry. Characters engage in cutthroat competition, and Miranda Priestly's demanding standards become the norm, reflecting the day-to-day realities of the organization. The enacted values are not just theoretical concepts but are observable in the characters' behaviors. The competition among employees is not limited to professional achievement but extends to personal appearance and lifestyle. Miranda's demanding standards, though challenging, become the standard by which employees gauge their own performance. This reflects the textbook's definition of enacted values as the behaviors employees exhibit based on

3 their observations of what actually goes on in the organization. Therefore, "The Devil Wears Prada" provides a rich portrayal of the four levels of organizational culture. The artifacts visually communicate the industry's emphasis on aesthetics and luxury. Miranda Priestly's character embodies and communicates espoused values, setting the tone for the organization. Deeply ingrained assumptions about the importance of external appearance influence characters' behaviors, and the enacted values of competition and high standards are actively demonstrated throughout the film. Together, these levels of culture create a comprehensive and immersive depiction of the fashion magazine industry's organizational culture. 2. Cultures of Conflict (Section 15.2): Dominating Conflict Culture: The film vividly portrays a dominating conflict culture within Runway magazine, led by the formidable Miranda Priestly. Her direct and confrontational management style creates an environment where disagreements are not only accepted but, at times, encouraged. The dominating conflict culture is characterized by open power struggles, heated arguments, and a willingness to confront challenges directly. For instance, the film features multiple heated arguments between Miranda Priestly and her subordinates. Within the organization, these arguments are accepted and considered standard decision-making. Miranda speaks up when she disagrees with an employee or decision. Miranda confronts Andy over her clothing, demonstrating the active and disagreeable nature of organizational dispute resolution. Additionally, Miranda's role as editor-in-chief creates power tensions. Miranda's authority motivates staff to use power dynamics to express their opinions. Miranda and her first assistant, Emily, have a power struggle that is expected. This power play fosters a conflict culture where employees compete for power and recognition. Evaluation: The dominating conflict culture in Runway magazine aligns with the characteristics described in the textbook for this type of conflict culture. The active and disagreeable nature of conflict resolution is evident in the direct confrontations and power struggles depicted in the film. Miranda Priestly's leadership style sets the tone for the organization, emphasizing that open disagreements are not only tolerated but are, in some instances, appreciated as a means of achieving the best results. The dominating conflict culture contributes to the high-pressure and competitive environment portrayed in the movie, shaping the dynamics of interpersonal relationships within Runway magazine. 3. Technology and Innovation (Section 15.3): The film "The Devil Wears Prada" offers an intriguing portrayal of the fashion journalism industry, revealing a complex interaction between the glitzy world of high-end fashion and the cutting-edge tools of technology. In alignment with the themes discussed in Section 15.3 of the textbook, the movie vividly illustrates the pivotal role of technology in shaping the organizational culture of Runway magazine. A prominent facet of this integration is the ubiquitous use of digital communication tools by the characters. Throughout the film, email exchanges and instant messaging are depicted as integral components of the characters' daily routines. This resonates with the textbook's assertion that technology facilitates seamless communication within organizations. The adoption of these tools is not merely a convenience, but a necessity in a high-pressure, fast-paced environment where staying connected is paramount. Furthermore, the film delves into the realm of design, showcasing the industry's reliance on advanced software for creative endeavors (Basuki et al., 2022). Designers at Runway magazine are portrayed working on digital platforms, manipulating intricate fashion layouts with the precision offered by cutting-edge software. This aligns with the textbook's argument that

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4 technology can play a pivotal role in fostering creativity and innovation within organizational processes. The fashion industry, as depicted in the film, leverages technology as a catalyst for pushing the boundaries of design. Online platforms take center stage in the movie as characters engage in trend analysis to navigate the ever-evolving landscape of fashion. The film captures the characters immersing themselves in digital spaces to gain insights into emerging trends, mirroring the textbook's idea that technology can be a strategic tool for organizations to adapt to market dynamics. In the fashion journalism industry, being attuned to the pulse of rapidly changing trends is a competitive necessity, and online platforms become indispensable for this purpose. One of the striking elements portrayed in the film is the seamless integration of technology into daily tasks, exemplified by characters like Nigel. Digital devices and software are not depicted as disruptive forces but as natural extensions of the characters' work routines. This aligns with the textbook's assertion that technology becomes ingrained in organizational processes, ultimately influencing the daily behaviors and practices of employees. In "The Devil Wears Prada," technology is not an external tool but an intrinsic part of the organizational culture. The fit of technology within the organizational culture of Runway magazine is evident. In an industry where time is of the essence and staying ahead of trends is imperative, the seamless incorporation of technology aligns with the magazine's ethos. Far from being a disruptive force, technology becomes a silent enabler, contributing to the efficiency and effectiveness of the publication process. 4. Socialization (Section 15.4): The process of socialization, as depicted in "The Devil Wears Prada," emerges as a pivotal element shaping the protagonist's, Andy's, journey into the intricate world of high-end fashion journalism. The film provides a lens through which we can analyze the dynamics of organizational socialization, shedding light on how individuals, particularly newcomers, acclimate to the demanding and competitive culture of the fashion industry. Miranda Priestly, as the formidable editor-in-chief of Runway magazine, stands as the architect of socialization within the organization. From the moment Andy steps into the glamorous but unforgiving world of fashion journalism, Miranda sets the tone for what the industry demands. This aligns with the textbook's assertion that experienced individuals play a crucial role in the socialization process, becoming exemplars whose behavior serves as a guide for newcomers. The film's socialization exposes new personnel to the industry's brutality. The protagonist, Andy, rapidly enters Runway magazine's high-stakes environment. The film shows the industry's long hours and meticulousness. This confirms the textbook's argument that socialization conveys organizational membership values, norms, and behaviors. Andy's fashion journalism introduction is fast and high-quality. The socialization story highlights Miranda's leadership. Her high standards and perfectionist attitude shaped her business behavior (Basuki et al., 2021). Leaders shape company culture. Miranda portrays industry competition with her actions and demeanor. Andy must grasp Miranda's stringent leadership style and professional standards while socializing. The film shows that socializing is a dynamic interplay between newcomers and experts. Miranda directly influenced Andy's fashion knowledge. Miranda's advice, criticism, and expectations shape Andy's socialization. This supports the textbook's view that socialization is ongoing and impacted by formal and informal procedures. Andy and other newbies look to Miranda for inspiration. The film emphasizes experienced people as cultural bearers, showing how their behaviors and expectations shape the company. This supports the textbook's claim that formal and informal socialization programs greatly influence corporate ideals.

6 References Basuki, R., Tarigan, Z. J. H., Siagian, H., Limanta, L. S., Setiawan, D., & Mochtar, J. (2022). The effects of perceived ease of use, usefulness, enjoyment, and intention to use online platforms on behavioral intention in online movie watching during the pandemic era (Doctoral dissertation, Petra Christian University). Goojara (2023). The Devil Wears Prada (2006). Retrieved from: https://ww1.goojara.to/m3gWy3 Guhin, J., Calarco, J. M., & Miller-Idriss, C. (2021). Whatever happened to socialization? Annual Review of Sociology , 47 , 109-129.

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