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More related to media studies
How can they tell if I am male or female? Gender stereotypes in Disney movies
Seminar paper from the year 2015 in the subject Communications - Movies and Television, grade: 2,3, LMU Munich, language: English, abstract: If we look behind the “sparkling stars” and “memorizing magic” that is Disney, we might see that these Disney princesses are not the best role models for children. Therefore, this research paper aims at showing these role models in Disney movies and give an awareness of problems they bring with them. “How can they tell if I am male or female?” This last line of The Ballad of Mulan shows that the gender question was already raised in the 6th century. This research aims at analyzing the representation of females in Walt Disney movies: the appearance and intelligence, helplessness and the need of protection and domestication. Before doing so, there has to be a definition what gender role is, in general, but also in Disney movies.
The Camera tells the Story. Alfred Hitchcock’s "Rear Window": A Short Analysis of the Use of non-verbal Communication in Film
Seminar paper from the year 2003 in the subject Communications - Movies and Television, grade: High Distinction, James Cook University (James Cook University), course: Communication, Information & Society, language: English, abstract: Alfred Hitchcock used non-verbal communication extensively in his filmmaking to convey meaning and to create suspension for the audience. His critical and disparaging opinion of dialogue in film shows clearly that he did not consider language to be a privileged cinematic medium for communication - quite the opposite and he remarks that language “should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms” (Hitchcock in Truffaut 272). The possibilities of the camera for conveying meaning was paramount to Hitchcock’s storytelling. As a film-maker, he is widely acknowledged for his use of point-of-view shots, tracking shots, and other techniques that reinforce the power of looking or the role of the gaze in cinema. A well-known example of his use of camera movement is Rear Window (1954), a film that evokes a viewing experience for the spectator in the form of “a mental process, done by the use of the visual” (Spoto 224). As director, Hitchcock makes intensive use of his prerogative to manipulate points of view thereby controlling the viewer’s gaze with narrative frames. The directing of the gaze is both an exercise of power and an imposition on those whom it captures. Theatrical and cinematic effects dominate in his work with the use of proxemics, stance and gestures of actors. Other visual clues are clothes and accessories worn by actresses. In Rear Window, most of the female’s protagonist’s dresses are mirrored in the dresses worn by other women. By coding dresses in such a way and juxtaposing them in different frames, they signify different states of mind and intentions; they act as emotional referents that connect the women through their visual appearance.
Lost Horizon - A film review
Literature Review from the year 2003 in the subject Communications - Movies and Television, grade: A, San Francisco State University (Ethnic Studies), course: AAS 693 Asian Americans and the Mass Media, language: English, abstract: At first sight, Lost Horizon may be understood as a utopia, a paradise opposed to the wartorn world of 1937. At that time, there had already been quite a number of incidents which would lead up to the Second World War, especially concerning the Japanese attempts to colonize Asia. One of these attempts would be the 1931 invasion of Manchuria by the Japanese army, and the establishment of the puppet state Manchukuo, another would be the 1937 Marco Polo Bridge Incident, which brought about the beginning of the second Sino-Japanese War. However, I do not consider Lost Horizon as the portrayal of a paradise: in my opinion, the movie perpetuates stereotypes about Asians. This was certainly true in the 1930s, but this effect may still show today for many people still hold the same stereotypes today. They include the idea that Asians are followers, that they belong to an inferior culture, that they have accents, and so on. The idea that Asians are followers is most evident in the leading role of white people like the High Lama, Father Perrault, and Robert Conway, a little less evident if one looks at the fact that Sondra, a white woman, is the school teacher of the Asian children, and, therefore, a leader, too. However, most leaders are men. We soon find out that Chang, who first appears to be a leader, is, in reality, only a puppet of the High Lama. Except Chang, who is, in a way, a perfect imitation of a white man and a product of Father Perrault, Asians hardly speak or act at all as individuals. This idea of whites leading and Asians following is also apparent in the music played in the background of many scenes: tranquil and monotonous music is used to assert Asian passiveness, whereas loud music is used to emphasize white activeness. All seems to indicate, moreover, that there is a definite need for a white leader in Shangri-La. It seems unimaginable for Father Perrault to make an Asian, even his creation Chang who is the imitation of a white man, a leader. He rather takes immeasurable efforts to lead Conway, a real white, to Shangri-La.
Video On Demand - Television For A New Millenium
Seminar paper from the year 1998 in the subject Communications - Movies and Television, grade: 1, Ohio University (School of Telecommunication), course: New Technologies of Telecommunication, 17 entries in the bibliography, language: English, abstract: There has been a lot of talk about video on demand (VOD) in the last couple of years. Scenarios of a bright future for couch potatoes who had a whole videostore at their fingertips were constantly wandering through the media. When the Internet became a huge success the attention and future fantasies shifted away from the television and video on demand towards the computer. But how interesting and important is VOD really? The following chapters will explain what VOD exactly is, how it works and who’s standing behind it – its advantages and possibilities as well as its disadvantages and limitations.
Direct Broadcast Satellite, Telephone / Traditional Cable
Seminar paper from the year 1999 in the subject Communications - Movies and Television, grade: 2+ (B+), Ohio University (School of Telecommunication), course: Cable Communications, 22 entries in the bibliography, language: English, abstract: It was only a very small report on the front page of last Thursday’s issue of USA Today, but it indicated a tremendous change not only for America’s telecommunications market, but also for its society as a whole. In a small box between headlines about the crisis in Kosovo the interested reader could find out that AT&T had announced to purchase cable giant MediaOne and that software producer Microsoft was about to invest $5 billion in AT&T shares. This huge move won’t let the video distribution market unchanged and many experts believe that this merger has triggered a lot of new developments in all kinds of fields. This paper deals with the competition between traditional wired cable (as we know it since the beginnings of television) on the one hand – and newer services like direct broadcast satellites (DBS) and video and data distribution via telephone lines. While the first part will mainly cover the latest developments in the telephony business (focusing on the breathtaking AT&T deal), the second part will compare the benefits of cable and DBS in detail. It lies in the nature of the subject that the playing field can change in a couple of weeks (if not even in a couple of hours). Therefor it is very important to rely on up-to-date information and literature. Especially literature from before the 1996 Telecommunications Act, which allowed cross-ownership between cable and telephony and the like, can’t be considered too useful and was used only to get a historic idea of the subject matter. In doing research in this field one also has to be especially careful not to rely on sources that are heavily influenced by either the cable or the DBS lobby. Both groups naturally try to present the facts in a light that makes them look better and emphasizes the advantages of their particular system over the ones of the competition.
MTV - Gatekeeper for the music industry?
Seminar paper from the year 1999 in the subject Communications - Movies and Television, grade: 1- (A-), Ohio University (School of Telecommunication), course: Cable Communications, 31 entries in the bibliography, language: English, abstract: MTV – an “all encompassing mediator of popular culture” (Goodwin, 1992) or as the Washington Post once put it “perhaps the most influential single cultural product of the [eighties]” (McGrath 1996, p. 8). A trademark that has become a synonym for modern television, fast moving pictures and even a certain lifestyle. ‘MTV generation’, ‘MTV-like’, ‘I want my MTV’ etc. But MTV is more than entertainment for teenagers and music with colorful pictures around it – It is not only the world’s fastest growing network but also a powerful gatekeeper. It influenced traditional cable television and revolutionized the advertising industry. Whoever makes it onto the playlist of the network can expect his CD sales to skyrocket and his concerts to be sold out. With thousands of bands releasing hundreds of records each year, of course some kind of selection process has to take place. But who makes these decisions? What role does the record industry play? What are the criteria for a successful (and suitable) video that airs on MTV? Is MTV making its own rules or are there also pressures on the network from the outside? This paper tries to find some answers to these and other questions about the exciting and influential cable network. Its role as an powerful gatekeeper for the multi-million music industry will be examined as well as its strong influence on the content of songs and video clips. Many has been written about MTV, so finding appropriate literature wasn’t really a problem, although not all of it was always up-to-date. Unfortunately I wasn’t able to get in contact with some MTV executives. In the last chapter, however, an interview with radio veteran Dave Robbins from CBS Columbus can be found, who has some interesting views on the cable network. One should nonetheless bear in mind that he is more or less sitting on the other side of the table and works for the competition.
Music and Advertising in Television II: Case Study Analysis - The X Factor
Research Paper (undergraduate) from the year 2008 in the subject Communications - Movies and Television, grade: 1,1, London Metropolitan University (London Metropolitan University), language: English, abstract: “The X Factor” is a reality pop program which first aired in the UK in September 2004 and which is still on screens today. The history of the sector is multi-faceted with the very first reality pop series, New Zealand’s “Popstars”, dating back to 1999. “The X Factor” emerged after “Pop Idol”, a similar show to “Popstars”, was put on indefinite hiatus after its second run. Ever since its first series, “The X Factor” has gone from strength to strength, with audience and voting figures increasing with each series. The single most important person behind “The X Factor” is music mogul Simon Cowell who created the show back in 2004. His television company SyCo TV produces the program together with Fremantle Media’s talkbackTHAMES. “The X Factor” is aimed at reality TV’s target demographic and manages to attract an audience of approximately 8-9m during its weekly live broadcasts. As the reality genre has proven particularly amenable to TV and media convergence, “The X Factor” does not just rely on the television set to communicate its message to its audiences. It also relies on other “platforms”, like the internet, live events and telephone voting, hence altering popular music consumption. With the audience determining the winner of “The X Factor” several albums released by contestants have reached the UK Albums Chart; six of them making it to number one. “The X Factor” is often heavily criticized for standardizing pop music. Winners of “The X Factor” are often referred to as over-hyped and over-manufactured artists with reality pop programs being accused of not producing important or lasting musicians. However the commercial success of “The X Factor” is indisputable, which as a result, continues to encourage the production of further X Factor series as well as similar shows to go on.
Voice-over narration in Desperate Housewives
Essay from the year 2009 in the subject Communications - Movies and Television, grade: 1,7, University of Siegen, course: Serial TV, language: English, abstract: Desperate Housewives is an American comedy-drama serial created by Marc Cherry. After its premiere on October the 3rd, 2004 on “abc” the serial had altogether 111 episodes in six seasons. Desperate Housewives won several awards since its broadcast, like the Emmy, the Golden Globe and the Screen Actors Guild Award. In April 2007 the serial was awarded as most popular show with an audience of over 119 million viewers. The fictional setting of Wisteria Lane in Fairview is the home of a group of women protagonists: Gabrielle Solis (Eva Longoria), Lynette Scavo (Felicity Huffman), Susan Mayer (Teri Hatcher), Bree Van de Kamp (Marcia Cross), Edie Britt (Nicolette Sheridan) and Katherine Mayfair (Dana Delany) are the main female characters that are more or less friends. All of them have their own specialties and problems in their lives. The plot of each episode follows these struggles they have to deal with in their family lives in domestic surroundings. But with every episode it becomes clearer that even in beautiful and seemingly perfect suburban neighborhoods lots of secrets, crimes and mysteries are buried. The answers to these mysteries are mostly given by another friend of them – Mary Alice Young (Brenda Strong) – who died in the pilot episode of Desperate Housewives because she committed suicide. Mary Alice Young nevertheless appears in the series – but as the narrator of each episode. Her voice leads the viewer through the happenings and through the plot of Desperate Housewives and structures the series with her pro- and epilogues. The following composition is going to deal with the narration of Mary Alice Young and is based on the presentation to the according topic of Desperate Housewives in the seminar “Serial TV”. This term paper will first concentrate on the tradition of voice-over narration and afterwards on general facts of the voice-over narration in Desperate Housewives. In a final step the narration of Mary Alice Young will be discussed.
“Breakfast at Tiffany’s”. The Message of Truman Capote’s Novella Compared to the Film Adaptation
Seminar paper from the year 2013 in the subject Communications - Movies and Television, grade: 1,7, Johannes Gutenberg University Mainz, course: Cultural Studies, language: English, abstract: The story of "Breakfast at Tiffany's" is well known: Holly, a young glamour girl, tries to find her way in New York City, relying on the favor of male benefactors who give her “powder-room change”, while at the same time she keeps chasing her dream of marrying a rich millionaire. Paul Varjak, a young writer, falls in love with her and tries to convince her to settle down with him. The movie has become a crucial cultural reference. But before the film, there was a source text: a novella by the same title, written by Truman Capote and published in 1958. The film adaption was made only three years later, by director Blake Edwards, scriptwriter George Axelrod and the producers Martin Jurow and Richard Shepherd. Those who have read Capote’s novella and have seen the film usually complain about huge difference between the two – and they undoubtedly have a point. However, adaptation studies have far too long concentrated on the issue of fidelity alone, implying that a story could just be projected on the screen without having to undergo change. But film and literature are two very different mediums and thus, in the process of an adaptation, transformation must occur. There is no need for proving that book and film are different – this has been discussed many times before and can be read in a great number of critical reviews. But there is much more to adaptation studies than a simple fidelity analysis. What I intend to do is to find out why book and film differ crucially in many points in order to prove that in spite of sharing (at least in big part) the same characters, the same setting, important parts of the story, key motifs and even often the same dialogues, the novella Breakfast at Tiffany’s and the film based on it actually tell very different stories with very different, even contradictory underlying messages and thus with a very different reception and impact.
Playing with the Gaze in Hitchcock. The Experience of Visual Pleasure in "Rear Window", "Vertigo" and "Psycho"
Bachelor Thesis from the year 2011 in the subject Communications - Movies and Television, grade: 1,0, University of Heidelberg, language: English, abstract: Woman [...] stands in patriarchal culture as a signifier for the male other, bound by a symbolic order in which man can live out his fantasies and obsessions through linguistic command by imposing them on the silent image of woman still tied to her place as bearer, not maker, of meaning (Mulvey, “Visual Pleasure” 15). Ever since Laura Mulvey published her essay “Visual Pleasure and Narrative Cinema” in 1975, feminist film theorists have challenged her assertion that films are directed at an exclusively male spectatorship. Despite the fact that Mulvey herself has revised some of her ideas in “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ inspired by King Vidor’s Duel in the Sun (1946)” (1981), theorists are still struggling to understand if and how visual pleasure manifests itself for female viewers. In classical Hollywood cinema, this visual pleasure is the result of successful audience manipulation. Cinema is often regarded as a ‘narrative machine’ because “the narrative is delivered so effortlessly and efficiently to the audience that it appears to have no source” (Belton, American Cinema 22). As a rule, the film’s artifice is hidden so well that it remains unnoticed by the audience, conveying the impression that the narrative is “spontaneously creating itself in the presence of the spectators [...] for their immediate consumption and pleasure” (ibid.). Thus, cinema’s visual manipulation techniques enable viewers to experience visual pleasure as they enter the world on screen and become involved in the lives of their screen surrogates. Among the many talented directors in the history of film making, Alfred Hitchcock is known for being one of cinema’s most productive auteurs and a pioneer in the field of visual manipulation. Through his way of directing the camera – and with the camera also the gaze of the spectator – his audience not only appreciates the narrative itself but also, and especially, Hitchcock’s technique of storytelling. By means of simultaneously zooming in and tracking out, combined with point-of-view shots and extreme close-ups, the audience assumes the protagonist’s perspective along with a sense of vertigo, guilt and pleasure. Thus, as a director, Hitchcock is like a criminal who makes the audience his accomplice in a crime that is about to unfold in front of their eyes. [...]
Medial effectiveness from portrayal of violence in horror films: Demonstrated by a comparison of the films “The Texas Chainsaw Massacre” and “The Blair Witch Project”
Seminar paper from the year 2012 in the subject Communications - Movies and Television, grade: 2,3, University of Applied Sciences Köln RFH, language: English, abstract: 1. Introduction 2. Definition 2.1 Horror films 2.1.1 Splatter films 3. Medial effectiveness from portrayal of violence in horror films 3.1 Review 3.2 Portrayal violence in “The Texas Chainsaw Massacre” 3.2.1 Film Review 3.2.2 Real documented violence in a splatter film 3.3 Portrayal violence in “The Blair Witch Project” 3.2.1 Film Review 3.2.2 Fictional violence in a horror film 4. Conclusion
"Ally McBeal". Critique Of A Prime Time Network Television Program
Seminar paper from the year 1998 in the subject Communications - Movies and Television, grade: 1 (A), Ohio University (School of Telecommunication), course: Broadcast & Cable Programming, 16 entries in the bibliography, language: English, abstract: If there was one show in the last year almost everybody talked about, it was certainly Fox Network’s new series “Ally McBeal”. The show tells the story of a young woman working for a Boston law firm, trying to be successful in the courtroom as well as in her love life, succeeding in the former rather than the latter. On her first day in the new job for example she finds out that her ex-boyfriend Billy (Gil Bellows) works there as well as his new wife, the smart and beautiful Georgia (Courtney Thorne-Smith of “Melrose Place”). Since Ally (Calista Flockhart) still has feelings for Billy, treating him and Georgia as colleagues of course isn’t quite so easy and the three find themselves in a lot of awkward situations. Trying to figure out what genre “Ally McBeal” belongs to, is not so easy. On the first look it might appear to be a courtroom drama due to its hour-long format and trials taking place in every episode. But there is also a comedy side to “Ally McBeal”. Her struggle with life is shown in a humorous (often even slapstick) way and other characteristics of a comedy, like “childish behavior of the protagonist” or “lack of experience with the other sex” (Kaminsky 1985, p. 137-139) can be found as well. Although the show won two Golden Globes in the comedy categories in 1997, “Ally McBeal” should rather be labeled as a “dramedy” due to its mixture of humor and serious issues. The genre of “dramedy” is a combination of drama and comedy and had its (short) heyday during the 1980s when it was praised as a fresh recipe to address an upscale audience. “Ally McBeal” does a very good job in reviving this genre, making its audience laugh as well as reflect or even cry.
Nickelodeon. Analysis of a Cable Network
Seminar paper from the year 1999 in the subject Communications - Movies and Television, grade: 1- (A-), Ohio University (School of Telecommunication), course: Cable Communication, 19 entries in the bibliography, language: English, abstract: This research paper deals with a cable network that could establish itself within the last 20 years from a small and unknown service to a synonym for kids’ programming: NICKELODEON. The basic cable network is one of the most successful ones in the US – commercially as well as from a programming standpoint – and is also expanding into other countries all over the world. As a result of a clever branding approach the name of the network is well known to a lot of people and stands for a unique philosophy and image, which will also be discussed in this research paper. NICKELODEON is one of the biggest players (if the not the single biggest one) in the worldwide ‘kidvid’ market and therefor should be very interesting to analyze.
Soap Operas. What is a soap?
Seminar paper from the year 1997 in the subject Communications - Movies and Television, grade: gut, University of Graz (Fachbereich Literaturwissenschaften), course: Soap Operas, 9 entries in the bibliography, language: English, abstract: A soap opera is a serialized drama which runs for 52 weeks of the year with continuous storylines dealing with domestic themes, personal or family relationships and a limited running characters. Soap operas or serials are open-ended ... Soap operas are one of the few genres where weddings, for instance, are not a happy ending but the beginning of a marriage that may be troubled or even doomed to failure. A dramatic program usually presented daily, with continuing characters and multiple plots. The action, which deals with contemporary problems and their solutions, continues from episode to episode called soap opera because many of the original sponsors were soap manufacturers. Also called daytime drama, soap, and soaper. Television soap operas are long-running serials concerned with everyday life. The serial is not to be confused with the series, in which the main characters and format remain the same from program to program but each episode is a self-contained plot. In a serial at least one storyline is carried over from one episode to the next. A series is advertised as having a specific number of episodes, but serials are potentially endless. These definitions can be seen as a sort of introduction to the whole field of soap operas. In the following chapters I will deal with this topic in detail.
Transnational Format Adaptation: Comparing the Ways of Representation of 'The Office' and 'Stromberg'
Seminar paper from the year 2012 in the subject Communications - Movies and Television, grade: 1,7, University of Bremen (Institut für historische Publizistik, Kommunikations- und Medienwissenschaft), course: Transcultural Communication, language: English, abstract: Everyone who is familiar with the current television landscape can probably name at least one or two TV programs of which they know there are other versions of the same programs broadcasted in other regions of the world. To name only a few, there are quiz and game shows, such as Who Wants to Be a Millionare? or Wheel of Fortune, reality shows, such as Big Brother or The Bachelor, but also drama programs, such as Coronation Street or The Restless Years. Different versions of the same program often show striking similarities in their basic structure, they might have similar narratives and characters, or even convey the same values; yet they have a local coloring from the region where they are produced through local participants or actors, plotlines based on local problems or local cultural references. This is caused by the fact that the different versions of one program stem from the same format that originated in one cultural environment, was taken over into other regions and adapted to the local backgrounds. This process of deterritoralizing TV formats by using a foreign format and producing a local version of it is called transnational TV format adaptation. The reason why there is an increase in transnational format adaptations and why consumers are aware of that is because of the continuing globalization of media communication, meaning the advanced exchange of products, practices and ideas through progressive technology (Hepp 2006: 9f.). While being a result of globalization, however, format adaptations are produced in local contexts “integrating ‘local’ content in various ways” (Machin/Leeuwen 2007: 1f.). By combining parts of different cultures they are neither completely global nor local products but rather examples a transnational media landscape (cf. Jensen 2007: 5, 13). Although “the prac-tice is not new and can be traced back to the radio”, research focused more on transnational program sales or co-productions, and format adaptation has only come to the center of atten-tion in research in the past 15 years (see Moran 1998, Moran/Malbon 2006, Jensen 2007).This is why this topic has aroused my interest and will be the topic of this paper.
A future scenario of Interactive Television - information and technology that belongs to the rich?
Seminar paper from the year 1994 in the subject Communications - Movies and Television, grade: B+, University of Amsterdam, language: English, abstract: In the following l want to discuss the effects the interactive television technology might have on the ′Information society′ and which tasks have to be fulfilled to become a member of it. l want to focus on the question, what are the advantages to be a ′member′ of such a society and what advantages these technologies offer? My task is not to find a definite answer to these questions. They must be seen as speculative ones. All the new communication technologies like interactive television, are just at the beginning of its ′booming′ development and there is no empirical research done on it yet. However, want to take the interactive television technology as an example to discuss, what opportunities this new technology offers. Therefore, my work is primarily a theoretical approach to an issue that will become even more important if the new System will knock on the door of private households in Europe. l also want to discuss some ideas of Bertolt Brecht, who already in the 1920′s made suggestions for interactive broadcasting, which were primarily concerned about the radio system. But nevertheless his ideas are still applicable on any other communication system. His ideas of interactivity are more relevant than ever.1 The industry took on this argument for their own purposes. They Claim, that interactive television is absolutely necessary, because the Computer generation is raised with interactivity. Video games are one the best examples for interactivity. As well as the latest information l collected from newspapers, l will also use magazines and other media.
From existential duality towards global colonization. Gillian Armstrongs “Oscar and Lucinda”
Ana María Leiva Aguilera
Literature Review from the year 2015 in the subject Communications - Movies and Television, grade: A, University of Jaén, language: English, abstract: This essay deals with the Film "Oscar and Lucinda" by Australian director Gillian Armstrong. The aim of the essay will be that of developing all the themes which underlie under the plot, by taking the two main characters as referents. Among these topics, we distinguish: struggles and religious ideologies, colonization, gambling, love passion, determinism and divine will, fight towards freedom and female rights. All this under the same prism of the Victorian Period in England. The film Oscar and Lucinda, directed by the Australian Gillian Armstrong, is a cinematographic adaptation of the same named novel, by the Australian Peter Carey and written in 1988. The story, narrated by one of the main character’s descendant, begins in South New Gales in 1848 and develops during post-colonialism of the Old British Empire in Australia which took place during the second half of the 19th century. It is a story of confronted religious confessions, love, game, adventure and colonization. All this crimped from the meeting and experiences of an Anglican priest and a rich heiress, to whom passion and love will link altogether.
Visual Uncanny. Freud's Screen Translation in Hitchcock
Kazi Ashraf Uddin
Seminar paper from the year 2012 in the subject Communications - Movies and Television, Jahangirnagar University, language: English, abstract: “Uncanny” as a recurrent gothic ingredient has been pervading the literary narratives for quite a long time since the period of The Castle of Otranto and Mysteries of Udolpho. The idea of the “return of the repressed” dominates the concept the “uncanny” which Sigmund Freud elaborated in his 1919 essay “The “Uncanny””. However, this unfamiliarity of the real is something which grounded the domain of suspense in the prose narratives and helped in rendering the text a creepy sentimentality. But it should be kept in mind that this feeling is nothing alien to our emotional praxis. Rather, it derives or finds its root from the mundaneness of our life. Maybe, such concern influenced Freud to theorize dream and propound the idea of “dream thought” and “dream content”. The concept of “uncanny” is related in many ways to the concept of “return”, be it a memory, an unhappy recollection or a traumatic revisitation. Such “return” definitely accounts for a psychological interpretation with probable reference to “hauntology” and unconscious. One thing has to be clarified at this point of our discussion about “uncanny, that is, this phenomenon should be distinguished from “magic realism” which rather problematizes the reality and our familiarity with the reality. But in the context of “uncanny”, the reality should be recognized as an expression of the unconscious. The translation of textual “uncanny” is something which deals with the visual physicality of the objects. The “uncanny” what we perceive through words is quite different from what is spelt out by means of visuals and sound. The elaboration of popular culture and the invention of cinema technologies have facilitated and innovated a new mode of presentation of the “uncanny”, that is film. Film as a new sign system can different modes of presentation to render the familiar unfamiliar ranging from shots, set-design, settings to sound cuts. As “uncanny” became the key supplement to gothic literature, so gothic films (generic term for horror movies) inculcate the depiction of the so-called unfamiliar (the unheimlich). Film plays, as Lesely Stern argues, with “indeterminacies: here/there, appearance/disappearance, life/death, past/future [...]” thus knocking our “imagination, our unconscious, to produce a sensory affect of dissonance at the very moment of identity.” The fluctuation between such indeterminacies is what renders the “uncanny” possible and helps question our own senses. [...]
The Contrasting Use of Formalism and Realism in Jonathan Glazer's "Under the Skin"
Essay from the year 2015 in the subject Communications - Movies and Television, grade: 80, University of Greenwich, course: Film Studies, language: English, abstract: Jonathan Glazer presents an explicit mix of formalism and realism in "Under the Skin". The contrasting techniques are used to present the films themes of the female body and its power and vulnerability in society. The use of realism effectively portrays the world we live in, whilst formalism is able to successfully convey the alien aspect of the film, showing the protagonist's actions to be very much other-worldy. I look at various criticisms of formalism and realism in film and how they can be applied to "Under the Skin".
Comparison of News Bulletin Openings. Nova Evening News Broadcast and BTV Evening News Broadcast
Essay from the year 2018 in the subject Communications - Movies and Television, grade: 5, New Bulgarian University, language: English, abstract: The purpose of this essay is to contrast and juxtapose the BTV and NovaTV evening news bulletin openings on the 3th of April, 2018. In general, both evening news place emphasis on the escape of two prisoners from Central Sofia prison. The other sections of the news bulletins differ in their sequence, content and importance for the two openings; the case of food poisoning of children at a green school in Dobrinishte has not been reflected in the evening news of Nova TV. Most bulletin openings comprise in voice-over; however, within the case of BTV, the anchorwoman does not appear on the screen until the opening is finished and a significant transition is made.
Response to the Movie "The Truman Show"
Essay from the year 2013 in the subject Communications - Movies and Television, grade: 97, Horry Georgetown Technical College, course: English 101, language: English, abstract: A film response to the film "The Truman Show" starring Jim Carrey about a man whose daily life is the enjoyment of millions at home. He is filmed 24/7, unknowingly, and is broadcasted across the world.
The absurdity of war: An analysis of the depiction of death within the movie Waltz with Bashir
Seminar paper from the year 2013 in the subject Communications - Movies and Television, grade: 1,0, Stockholm University (JMK), course: Media and Death, language: English, abstract: 1 Introduction ......................................................................... 2 2 Involvement and detachment ........................................................... 4 3 Escapism ............................................................................. 5 4 Symbolic death........................................................................ 6 5 Real death.............................................................................8 Bibliography ---- How authentic can an animation movie be? “Documenting the undocumentable” (Nichols, 1991, p. 57) is a philosophical as well as a technical challenge and the lack of a ‘scientific’ basis to memory might make it difficult to categorize WWB as a documentary in the first place altogether (DelGaudio, 1997, p. 190; Pinzon, 2009, p. 10). On the other hand, since their beginning, scholars have already examined it under various viewpoints, mainly dealing with questions of authenticity (e.g. DelGaudio, 1997) and memory (e.g. Landesmann & Bendor, 2011). 3 documentaries have been used to illustrate abstract concepts (DelGaudio, 1997). To mould those concepts into something comprehendible the creators of this movie (Folman, 2008) could not imagine any other way than using the skills of an animation artist to make the audience understand (Sofian, 2005, p. 9)4 Combining intangible memories and dreams with classical journalistic methods like talking heads (Saunders, 2012, p. 13), Ari Folman exploits the boundless opportunities of animation and documentary. As his film is purely created from scratch, he has in addition feature film elements at his hand like sound/music and colour/light to underline the meaning (Folman, 2008). The outstanding use of colours, sound and perspective becomes clear when watching the movie. But the message Ari Folman wants to get across isn’t always that self-evident when seeing WWB for the first time. (...)
DEFA's "Der Schweigende Stern" - a Successful Reaction?
Scientific Essay from the year 2010 in the subject Communications - Movies and Television, grade: A-, University of Toronto, course: East German Film, language: English, abstract: This paper takes a closer look at DEFA's production, Der Schweigende Stern, and argues that this film can be classfied as reactionary. To get to this conclusion, we first analyze the intentions of DEFA producers when making this film, and we discuss the ways in which the movie responds to western (primarily American) capitalist culture during the Cold War. Then we look at the overall success of the film and reflect if it still has any relevance today, some twenty years after the end of the Cold War, the Wende, and the complete disappearance of the German Democratic Republic from the world map.
Film analysis "Nissan - we are driven"
Seminar paper from the year 2011 in the subject Communications - Movies and Television, grade: 76 %, Queensland University of Technology, language: English, abstract: The film “Nissan – we are driven” of 1984 by Stephanie Tepper which is examined in the following case study, is a documentation about working conditions, trade unionism and management styles at Nissan, one of the biggest Japanese automobile manufacturers. The film shows the situation of workers in several plants in Japan as well as the application of the Japanese management system to a Nissan plant in Tennessee, USA. At first, some general cultural differences between the USA and Japan and their consequences for the employment relations are explored. Then, the different employment practices in the two plants are explained.
"Cape of German Hopes". Exploring German culture in Cape Town: A Reflective Essay supporting the Documentary Film 'Cape of German Hopes'
Master's Thesis from the year 2011 in the subject Communications - Movies and Television, grade: 75, University of Cape Town (Centre for Film and Media Studies), language: English, abstract: Documentary film, in the words of Linda Williams, always has the receding goal of finding “some form of truth”. Yet documentary film as an art also blurs the notions of fact and fiction and runs the risk to construct reality rather than merely show it. This dissertation paper is a Reflective Essay supporting the documentary film 'Cape of German Hopes' and aims, with special references from the director's and editor's perspective, to back up the documentary by explaining more in depth about the motivation, goals and achievements of the film. The documentary is a journey that explores life experiences of German families and people of German heritage who settled in Cape Town. It uncovers how they seek to find a balance between their cultural heritage and the culture they are living in. In selected scenes, the paper illustrates how the protagonists on the one hand open up to the South African culture, but on the other still manage to keep their typical 'Germanness'. As migration increases around the world, the studies of its cultural consequences concern more and more people. Exploring cultural aspects of other social groups implies dealing with anthropological terms like identity, transnationalism and acculturation. But it is difficult to define, what shows itself only in full play. Consequently, the documentary film wants to serve not only the German community in Cape Town, but also function as a blueprint for other immigration groups living all over the world.
What happens to the 'M' in MTV? A look at the changes in MTV's programming
Seminar paper from the year 1998 in the subject Communications - Movies and Television, grade: 1- (A-), Ohio University (School of Telecommunication), course: Broadcast & Cable Programming, 37 entries in the bibliography, language: English, abstract: A couple of months ago I had the chance to talk to the pop critic and founder of the Rolling Stone Magazine Greil Marcus doing an interview for a German radio station. When I asked him, what he thought of the recent HipHop videos, he answered, “ In the United States MTV doesn’t show many music videos anymore. They show date shows, game shows or celebrities playing volleyball on the beach shows. Videos are shown only in the middle of the night, when I can’t watch them”. I had noticed a similar trend on MTV Europe but wasn’t aware that MTV’s move towards non-music programming was even more severe in the United States. Greil Marcus is certainly not the only one complaining about the lack of music in “Music Television”. Even Bart Simpson during the beginning of one episode of “The Simpsons” writes a grumpy “In don’t want my MTV anymore” on the blackboard in his classroom (Stein 1997, p. 103). But what has led to the focus of MTV on non-music programming? Or is the trend even reversing and MTV is going back its roots? What about the new spin-off channels MTV started to offer in the past? This paper takes a look at the changes in MTV’s programming within the last couple of years, at the new programs of this season and at the historical development of this interesting network.
Music as an essential part of storytelling in television series such as "Breaking Bad"
Seminar paper from the year 2015 in the subject Communications - Movies and Television, grade: 2,0, Justus-Liebig-University Giessen (Englisch), course: Scripted Entertainment, language: English, abstract: Television series have become more and more popular in the course of time. Analyses of this kind of scripted entertainment deal with quality and quantity of content and form. The following term paper focuses on the aspect of music in television and in this sense intents to show, that the soundtrack is an essential part of the narrative storytelling in television series. "Breaking Bad", an American crime drama television series, serves as an example within the context of this term paper. The so called "auteur series" express a historical turn, from the silent film era to todays new American television culture, on the level of content and form, by acquiring innovative stylistic devises (from both, cinema and television). Many scientific researches survey television series in terms of dramaturgy or the pictorial design, whereby the area of sound design has received less attention for a long time. The purpose of this work is first of all to consider the expression and significance of musical ideas and concepts in televisual structures in theory, and secondly to analyze in how far the music supports the narrated story, especially the character change of one of the main characters in "Breaking Bad", namely Walter White, who – as the series’ title says – "breaks bad".
"A day without a Mexican": a persuasive analysis
José Eduardo Villalobos Graillet
Seminar paper from the year 2006 in the subject Communications - Movies and Television, grade: A, Appalachian State University (Communication Studies), course: Theory of Persuasion, language: English, abstract: The United States has been described as a melting pot, i.e., a place where the previous identities of each immigrant group are melted down to create an integrated, uniform society. Since the 1960s, many Americans have rejected the melting pot metaphor in favor of the image of the mosaic, a picture created by assembling many small stones or tiles. In a mosaic, each piece retains its own distinctive identity while contributing to a larger design. Advocates of the mosaic metaphor assert that it better represents the diverse multicultural society of the United States. Today, many Americans value their immigrant heritage as an important part of their identity. More recent immigrant groups from Asia have established communities alongside those populated by the descendants of European immigrants. Although the United States has been shaped by successive waves of immigrants, Americans have often viewed immigration as a problem. Established Americans often look down on new immigrants. The cultural habits of immigrants are frequently targets of criticism, especially when the new arrivals come from a different country than those in the established community. Despite such tensions, economic needs have always forced Americans to seek immigrants as laborers and settlers, and economic opportunities have beckoned foreigners. The vast majority of immigrants to the United States have come in search of jobs and the chance to create a better life for themselves and their families. In all of American history, less than 10 percent of immigrants have come for political or religious reasons. Economic immigrants from Europe, Asia, and Latin America have come to the United States voluntarily. Others were involuntarily transported to North America to do forced labor or to be sold as slaves. Regardless of the reasons they come to the United States, new immigrants typically work in menial, labor-intensive, low-paying, and dangerous jobs—occupations that most other Americans shun. They are often treated with disdain until they assimilate, that is, adopt the mainstream American culture established by earlier immigrants. Of the 224 million people reporting their ancestry in the 1990 census, only 13 million, or 6 percent, identified themselves as Americans only. The rest chose one or more broad racial or linguistic groupings (such as African American or Hispanic) or national heritages (German, English, Irish, and Italian were most common) to define their origins.
The Future of Television. To Infinity and Beyond Reality
Seminar paper from the year 2014 in the subject Communications - Movies and Television, grade: 1,0, University of Applied Sciences Hamburg, language: English, abstract: The media sector is changing and TV is right at the centre of this development. Everybody is or wants to be “connected” with their friend, so TV has to be too. The world is moving fast and people want to watch TV when and where they have time for it. The flood of information swamps the audience. For TV to become more targeted it has to be personalized. Finally, TV should not just be an “incidental medium” as is common to- day. TV should be an experience, so it has to be more interactive (Neef, Schroll & Hirsch, 2011). But what will happen in 20 years? There has to be an innovation that combines all these needs. Time to take a look at a science fictional future: Star Trek – and their one idea that combines all these aspects – the holodeck. “A holodeck is a room that creates objects, people and images on the fly and has no restriction on time and space” (Rhodes, 2008, p. 1) Going first a couple of steps back, the following paragraphs will then explain the hypothesis: “holodeck, the ultimate idea of future television in 20 years” by looking at the four main innovations in the television industry, the reasons for their use and their connection to the ultimate idea of future television – the holodeck. Finally, taking into consideration how advanced the technology is and what lies ahead to create the holodeck? The voyage starts by looking at the current developments and what lies ahead to boldly go where no one has gone before. This research paper is based on a review of literature.
Affirmative action on the playlist - An analysis of the representation of African-Americans on MTV
Seminar paper from the year 1999 in the subject Communications - Movies and Television, grade: 1 (A), Ohio University (School of Telecommunication), course: Multicultural Broadcasting, 38 entries in the bibliography, language: English, abstract: MTV – an “all encompassing mediator of popular culture” (Goodwin, 1992) or as the Washington Post once put it “perhaps the most influential single cultural product of the [eighties]” (McGrath 1996, p. 8). A trademark that has become a synonym for modern television, fast moving pictures and even a certain lifestyle. ‘MTV generation’, ‘MTV-like’, ‘I want my MTV’ etc. But MTV is more than entertainment for teenagers and music with colorful pictures around it – It is not only the world’s fastest growing network but also a powerful gatekeeper. Whoever makes it onto the playlist of the network can expect their CD sales to skyrocket and his concerts to be sold out. But the question is, is MTV giving everybody the same chance? This research paper deals with the question of how black people are represented in the music programming of MTV. Although MTV today features more game, quiz and celebrity shows and less music videos than it did in the 1980s, it can still be considered ‘Music Television’ and has 50 different titles in rotation each week. To find out more about the representation of African-Americans on MTV, the following hypotheses will be tested: H1: The percentage of black artists on MTV’s playlist has increased significantly over the last decade with a particular strong increase in the middle of the 1990s. H2: The percentage of other minorities (like Asians, Hispanics, etc.) in contrast has not increased over the last 10 years. H3: The percentage of black artists on MTV’s playlist is higher in February (Black History Month) than in another random month. In the first chapters, however, MTV’s history will be briefly examined as well as its role as a strong gatekeeper in the music industry. Additionally, the big controversy that took place in the early years of MTV, when several black artists protested the network’s “impenetrable racial barrier” (Idowu 1999, p. 41) will be talked about.
The Wild Bunch. A Western and More
Essay from the year 2017 in the subject Communications - Movies and Television, grade: 95.0, University of Westminster, language: English, abstract: Few movies have so equally enthralled and shocked their audiences like that of Sam Peckinpah’s 1969 Western "The Wild Bunch". The epic Western is set in the year 1913 and follows the journey of protagonist Pike Bishop and his gang of aging outlaws as they look to make one last score in a rapidly modernizing American West. The movie is considered by many as one of the greatest Westerns of all time. Yet it would be a mistake to not recognize all the ways in which it goes above and beyond the traditional Western. What makes "The Wild Bunch" truly a remarkable movie is the innovative use of new cinematic techniques, it’s epic shootouts, and the subtle but powerful messages within it.
Movie Censorship in Germany: Filmzensur in Deutschland
Seminar paper from the year 2013 in the subject Communications - Movies and Television, grade: 1,7, University of Applied Sciences Köln RFH, language: English, abstract: Although article 5 of the German constitution says that ”There shall be no censorship.“ and ”Art [...] shall be free.“ the reality looks different. Mainly movies and especially the horror genre often have problems with their aimed rating before they are published. In spite of an existing prohibition of censorship movies are cut down to be less harmful to youngsters and children although they are only suitable for adults anyway. But how does this procedure work? Which laws restrict the constitution and when are they applied? After a short definition of the word censorship, an introduction of the most important institutions and a view of the general censorship situation in Germany this term paper shall make clear that: Movie censorship is not necessary (in Germany).
Format adaption global or local?
Essay from the year 2009 in the subject Communications - Movies and Television, grade: 4,0 => 2,0 (vgl. Anm.), University of Helsinki (Communications), course: Introduction to Media and Global Communication, language: English, abstract: This essay addresses the topic of format adaption. The definition of a format, the development history as well as the role of format adaption in the global and local media landscape will be examined. The main focus will lay on the question if and how format adaption has influenced the media world and why formats are so successful. These questions will be linked to the cultural imperialism and globalisation discourse. The theoretical construct will be complemented by the example of Big Brother to clarify the most important aspects of the argumentation. A discussion of this topic is valuable because the arguments raised in the positioning of format adaption reflect the general point in the media imperialism (critique) and globalisation debate.
Engaging Killer Performances. Strategies for Affective Engagement in Genocide Documentaries
John Nicolas Helferich
Seminar paper from the year 2016 in the subject Communications - Movies and Television, grade: 1.0, University of Mannheim (MKW), language: English, abstract: The documentary genre has recently gone through challenging times as the 21st century and its culture are characterised as both postmodern and “post-documentary”. This means that an attitude towards knowledge has evolved that rejects modernity’s belief in universal truth and its privileging of techno-scientific modes of discovery – such as documentary film. As a result viewers treat grand narratives about political ideology in media with suspicion. Consequently, questions arise around how political documentaries are able to voice social critique and bring about change in this new context without getting accused of outright manipulation? In order to answer these questions, this work analyses Joshua Oppenheimer’s The Act of Killing (2012) and The Look of Silence (2014) about the 1965 killings in Indonesia. Oppenheimer employs an innovative approach as never before have mass murderers been recorded in the making of a film about their crimes (TAoK), nor has there ever been a film where a victim confronts the perpetrators while the perpetrators are still in power (TLoS). This work looks at the potential for feelings of closeness with the perpetrators and victims resulting from the complementary film documents. The findings show that Oppenheimer avoids ideological claims by inviting viewers to immerse themselves in the lives of the protagonists. Viewers shall draw individual conclusions that are stimulated by a heightened perceptual experience of the filmic world.
Video Games and Why They Help Children
Essay from the year 2016 in the subject Communications - Movies and Television, grade: A, Portland State University (Communications Department), course: Writing Research Papers, language: English, abstract: A look into the lighter side of video games and their benefits on the maturation of a child. This paper aims to denounce accusations that video games only hinder the development of a child's mind, and preaches several reasons why the opposite is true. Video games are beneficial to the maturation of a child’s cognitive processing, they are constructive regarding a child’s self esteem and encourage a favorable self-image, and lastly they provide unparalleled inclusive opportunities for children to thrive socially. With education playing such a pivotal role in an adolescent’s upbringing, video games bring forth a unique, productive, and wholly efficient template for learning.
Analysis of Speech Acts in Movie Dialogues on the Example of Ridley Scott's Bladerunner
Seminar paper from the year 2004 in the subject Communications - Movies and Television, grade: keine, University of Münster (Englisches Seminar), language: English, abstract: This survey will show that stylistic theories, especially the analysis of dialogues in terms of speech acts, turn taking and politeness, can be applied to movies. The intention is to show that these theories, previously applied to literature, enable us to access a complete new level of movie analysis. Language and narrative features in movies are similar to the features in written fiction like novels and can be valued under same criteria. The analysis will focus on two interrogation scenes using the effect of speech acts combined with performance features in order to create a realistic picture of the Replicant itself. This fictional artificial lifeform has a decisive role in the plot of “Bladerunner”, for the difference between humans and Replicants can only be made out from deviations in language, gesture and reactions. These criteria will be looked at in reference to Mick Short’s and Michael Toolan’s basic stylistic theories. The primary objective is to reconstruct the way Scott uses language to outline the characteristics of Replicants from human behavior. Another ambition is to reconstruct the development of realism in sci-fi, in respect of the given criteria, and to show that it has increased over the last decades.
Where is the legacy of the cinema verite moment of documentary filmmaking to found now. Your response must make detailed reference to at least two film or tv examples
Essay from the year 2003 in the subject Communications - Movies and Television, grade: D (1,5), Macquarie University (Media Department), course: Introduction to the Cinema, 13 entries in the bibliography, language: English, abstract: This essay will treat the “Cinema verite” and its development until today. As the development in Europe and in the USA had been similar, I will choice to describe the German development and emphasis an example from the 60’s and two from today. The movie from the 60’s is the German documentary “Warum ist Frau B. glücklich?” by Erika Runge, made in 1968, the actual examples are: “Der 3. Weltkrieg” by Robert Stone, made in 1998, and “Napoleon” by David Grubin, made in 2003. The stretch will lie on the first movie. It is a perfect example for the “cinema vérité”. I will give you a short overview about the movies, explain the term authenticity and give a conclusion. And during the essay you will see differences and similarities between a motion picture and a documentary movie. You will see that today documentaries could better be called infotainment and the documentaries during the 60’s could better be called portrait. While the innovation in the late 60’s was, to show the normal life (before documentaries dealt with famous persons/situations), today normal and special events are shown in a mix of movie and documentary.
The Mind-Game Film. Cinema in the Digitalized Societies of Control
Seminar paper from the year 2014 in the subject Communications - Movies and Television, grade: 1.0, University of Hannover (Englisches Seminar (English Department)), course: Digital Movies, Chaos Cinema, Post-Cinematic Affect: Thinking 21st-Century Motion Pictures, language: English, abstract: This thesis brings into relation Thomas Elsaesser's category of the "mind-game film" and Gilles Deleuze's observations of a new depiction and awareness of time in film. The mind-game film is then read as symptomatic of a social change from a society of "discipline" towards a "society of control" (Michel Foucault). In the course of this analysis, the catalyst role of technical progress and pervasive interconnectedness becomes evident. Traditional tenets of cinema and storytelling are overcome and played with. Time, which used to flow naturally, and therefore unnoticed, has evolved into a crucial, freely modulatable dimension of its own and serves as an additional structural and narrational level on top of the spatial dimensions. This development is propelled by the rise of the digital image and its manifold possibilities of interfering with the flow of time. Likewise, the principle of "focalization" is extended beyond the idea of merely directing our attention, towards the total filtration of the film reality through the (subjective) vision of a (or several) character(s) (Buckland 8). Thriving on these central elements, mind-game films aim to deceive the spectator by determining when, or if, he/she receives certain information which is crucial to the understanding of the story. Just as no focal character can possibly be sure of his/her own perception's reliability or, for that matter, his/her own mental sanity, we cannot trust our perception. What we see is the image of an image, filtered through a succession of two minds, the character's virtual one and our own [...]
Broadcast Color Correction Guideline for C-TV Productions: Using Apple's Final Cut Pro 7
Michael Alexander Geyer
Bachelor Thesis from the year 2009 in the subject Communications - Movies and Television, grade: 2, St. Pölten University of Applied Sciences (Department IT & Medien Medientechnik), language: English, abstract: Campus TV, short “C-TV” is the name of 30 minutes of TV program, which students of the St. Pölten University of Applied Sciences Media Technology produce every month. All work in C-TVs productions is done by students. Every year, the most experienced students leave the C-TV team, because they have successfully finished the education at the St. Pölten University of Applied Sciences Media Technology. As a result a lot of important knowledge leaves with these students. Every year a new team of students starts to work at C-TV and all necessary things for producing 30 minutes of TV have to be learned again. Next to editing, or sound mixing which students learn during the education at the St. Pölten University of Applied Sciences Media Technology the important part of color correction often stays behind. Unlike editing, shooting, sound mixing or recording, color correcting is not a subject at the St. Pölten University of Applied Sciences Media Technology. As a result most of CTVs productions since C-TV has started its productions, two years ago, did not have any color correction. Facing these facts, this work aims to be a color correction guide for Apples Final Cut Pro. The software Final Cut Pro is used for editing in C-TVs workflow. Final Cut Pro also offers inbuilt color correction software, which is powerful enough to fulfill all needs to make C-TVs productions suitable for broadcast. The work starts off with a brief overview of color science explaining color spaces and technical background knowledge on video formats. Then the author explains how to use Final Cut Pro`s color correction tools from a beginner level on. All necessary tools, buttons, and sliders, for color correction in Final Cut Pro are explained. The author uses practical examples, illustrated with pictures how to use Final Cut Pros color correction tools. Based on examples the work shows common mistakes, during shooting and gives ideas to solve these with color correction. Using examples of different movies the work illustrates how to create different color looks.
Based on historical evidence and contemporary events consider whether the future of broadcasting in Germany will better be served by the State or by the market
Seminar paper from the year 2001 in the subject Communications - Movies and Television, grade: 1 (A), University of Leeds (Communication and Cultural Studies department), 24 entries in the bibliography, language: English, abstract: At the beginning of the new century, with the ever greater interconnectedness of people through communication technology and the shift from material resources to information as indicator of the wealth of a nation, the common cultural policy debate about the control and financing of broadcasting continues on a broad level. Fuelled by the mediated attacks on the United States on September 11th the debate about whether there should be public service broadcasting and a licence fee or whether broadcasting would be better served by the market alone, fills pages in newspapers again (e.g. the three-days special in the G2 section of The Guardian about the state of British television, 19., 20. and 21.11.2001). Common accusations public television faces are that it allows itself to become increasingly commercialised and that it converges with the choice of programmes of private companies, thus violating its own programme commitments. In the following the German media landscape will be looked at to find out how broadcasting is being served in this European country and if the system ′in some respects really has model features′.
Bringing Up Equality: Gender in Howard Hawks’ Screwball Comedy "Bringing Up Baby"
Scientific Essay from the year 2013 in the subject Communications - Movies and Television, grade: 1,0, Pace University, language: English, abstract: The arts, especially films, have always functioned as mirrors of current conditions in society. Gerald Mast states that the reflection of social reality is the primary intention of commercial motion pictures (203). Film comedies, in particular, are able to deal with these conditions in an iconoclastic manner and can question or even expose “the shams of society,” because they use “the entertaining comic form” (21). After the imposition of the Production Code on American film productions in 1934, it appears the conservative values of gender, love and family become more consolidated in films. According to Jane Greene, the outcome of this suppression of, for example, explicit sexuality led to an all new genre - the “screwball comedy” (45). The iconoclastic quality of comedies during that time, hence, relied on a “unique aesthetic for destroying Hollywood assumptions while appearing to subscribe to them” (Mast 250). In particular, the screwball comedy Bringing Up Baby (Howard Hawks, 1938) breaks the classical gender roles and undermines male supremacy in the Hollywood conventions long before the second wave feminist movement of the 1960s. In particular, the female lead’s “screwball” actions can be read as a performance in sharp contrast to the Victorian role model of women. In the following analysis of specific scenes, the film’s use of the cinematic techniques of mise-en-scene, cinematography, and its opposing main characters in order to construct an equal gender image will be examined, drawing mainly on readings by scholars such as Gerald Mast, S.I. Salamensky, and Stanley Cavell.
Queer eye for the straight guy: Contemporary depiction of homosexuality on TV
Seminar paper from the year 2005 in the subject Communications - Movies and Television, grade: 1,0, University of St. Thomas, course: Communication Studies 340, 13 entries in the bibliography, language: English, abstract: Queer Eye for the Straight Guy (hereafter Queer Eye) is a television series which was first aired in July 2003 on Bravo Cable Network. Basically, the main content of each episode is that five gay men, each of them an expert in their field, make over a person, most often a straight man, for a special occasion, such as a proposal to a girlfriend or even a wedding. The series was an instant, and somewhat unexpected, success. It is especially remarkable for the way homosexual and heterosexual men are presented. My paper raises, and partially answers, questions such as: What is so different here about the way sexual orientation is presented? Through which symbols is homosexuality conveyed? and, What might be the effect of these representations on the audience? I argue that even though the symbols and stereotypes have not changed, their implications on Queer Eye make them a more positive representation of homosexuality than ever before seen on television. In order to understand why Queer Eye is revolutionary, I will first give a short overview about the presentation of homosexuality on television in the past five decades. After that I depict the symbols, and particularly visual and aural symbols, through which homosexuality is conveyed in the show by giving specific examples from single episodes. Then I describe the stereotypes which are presented on Queer Eye, followed by the influence of these representations of homosexuality on the audience.
The Beginnings of "Doctor Who"
Essay from the year 2014 in the subject Communications - Movies and Television, University of Constance, course: Proseminar: British Science Fiction, language: English, abstract: This essay discusses the British Science Fiction series "Doctor Who". It gives information about the circumstances under which this BBC series was created and which people played important roles concerning this creation. It also discusses how the concept of the series came into being and mentions the very first episode called "An Unearthly Child".
The Crimson Kimono - A film review
Literature Review from the year 2003 in the subject Communications - Movies and Television, grade: 1, San Francisco State University (Ethnic Studies), course: AAS 693 Asian Americans and the Mass Media, language: English, abstract: During his career, the Hawaiian born Nisei actor James Shigeta was cast as everything but a Hawaiian born Japanese American. Among others, he played Chinese, Japanese, Korean, and Tibetan characters. Depending on the time frame of a given film, i.e. if it was set around World War II or not, he played either a villain or a hero. One of the movies he portrayed a hero in was Samuel Fuller’s Crimson Kimono (1959). This movie could be characterized as an urban crime story and an interracial love triangle, but it is also one of the first multicultural films before the term “multiculturalism” was even coined. In Crimson Kimono, James Shigeta plays Detective Joe Kojaku, a police detective working for the L.A. homicide squad. His partner is a white American, Detective Sergeant Charlie Bancroft, played by Glenn Corbett. Joe and Charlie are both Korean War veterans. During the war, one of them saved the other’s life by donating blood, and since then, they have been friends. While working on a case – a stripper has been murdered – the detectives’ friendship is tested by a romantic triangle. First, Charlie gets involved with one of the main witnesses, a white female art student called Chris. But then, Joe, as well, falls in love with her. While Joe’s behavior changes to apathy in his friendship to Charlie, the situation turns into an identity crisis for him personally. Joe begins to interpret Charlie’s jealousy as racism and turns away from his friend. However, in the end, the friendship is restored with Charlie giving up Chris for his friend Joe, and the murder case is solved, too.
The role of heroes in American Science Fiction movies in the 1970’s and 1980’s. E.T. and Alien in comparison
Seminar paper from the year 2010 in the subject Communications - Movies and Television, grade: 2,0, LMU Munich, language: English, abstract: This paper concers the role of heroes in American Science Fiction movies from the 1970's and 1980's, namely E.T. the Extra-Terrestrial (1982) by Steven Spielberg and Alien (1979) by Ridley Scott. It is a comparing review that analyzes the novelty of women and children as heroes in American Film. A selection of scenes from the original movies are analyzed in detail to figure out the innovation that is the new kind of heroes.
Consumer Perception of the state-owned "Bangladesh Television" network
Dewan Mehrab Ashrafi
Research Paper (postgraduate) from the year 2015 in the subject Communications - Movies and Television, East West University, language: English, abstract: This study aimed to specify the factors affecting consumer’s perception towards Bangladesh Television. Identified factors were : entertainment, technology, information and program form secondary data analysis (Appendix). The industry expert helped to clarify and understand other factors as well. Primary data were obtained through survey questionnaire. Paired T test has been carried out to find out the accuracy of the hypothesis. Regression model has been used to find out if the independent variables have significant relationship with the dependent variable. From data analysis, 20-factors were found influencing the dependent variable, and the data was from the questionnaire which was completed by different people of different ages, gender, occupation, location. Frequencies, crosstabs, paired t-test, regression analysis and correlation were used for data analysis. This analysis showed that 20 of the independent variables influences the dependent variable. From the regression analysis, it has been found that the value of R square is 0.934. That means independent variables have 93% impact over the dependent variable. In other words, the dependent variable can be influenced 93% by the independent variables. Adjusted R square is .934 which is close to R square.
Mulan - A film review
Literature Review from the year 2003 in the subject Communications - Movies and Television, grade: A, San Francisco State University (Ethnic Studies), course: AAS 693 Asian Americans and the Mass Media, language: English, abstract: Whenever a new Disney film is released, millions of people, children as well as adults, rush to the movie theatre to see it. Disney films are much liked by old and young people alike. Very frequently, they use already commonly known plots and give them a new shape. Their repertoire covers many fairy tales and legends. One of these legends to be found in the Disney film collection is the story of Mulan, the story of a Chinese girl, who, disguised as a man, takes her father’s place in the Chinese army and helps defend China against the Huns. She does this to preserve the honor of the family. This old Chinese legend has, as is true for most of the Disney productions, been changed and made suitable for the (white) American market of family entertainment. The China portrayed in the original version of the legend of Mulan, or rather the children’s book that was available to me in our course reader, is a pretty accurate description of what ancient China must have been like. However, for the audience this children’s book is probably aimed at, i.e. an audience with a Chinese background, Chinese culture is nothing extraordinary, so the culture is not highlighted in any way. In this book, Mulan has been trained in martial arts by her father from very early in her childhood. Moreover, she has a brother whose name she takes on when taking her father’s place in the war against the intruders. In other words, Mulan has been given her martial arts skills as well as a name from a man, she has not acquired or created them herself. When she leaves, she leaves her home with the permission of her parents. Due to her knowledge of martial arts and her intelligence, she is soon admired by all of the soldiers and becomes a commanding general during a war of more than ten years. There is no one there to either protect her or assist her with advices. In the end, this very strategically oriented general uses the superstition of her enemies, which are not the Huns but simply “enemies from the north,” against them and defeats them. She wins without failing first, and it is only in the end that everyone finds out that she is actually a woman, and no one feels offended about it. The possible message of this legend may be the importance of honor in ancient China, which has to be defended against the enemy, no matter who this enemy may be.
Viral Marketing Campaigns For Horror Movies From "The Blair Witch Project" (1999) Up To "Rings" (2017)
Seminar paper from the year 2017 in the subject Communications - Movies and Television, grade: 2,0, University of Bonn, language: English, abstract: In this paper the following horror movies will be analyzed: The Blair Witch Project (1999) and Blair Witch (2016), Paranormal Activity 1 (2007), Cloverfield (2008) and 10 Cloverfield Lane (2016), The Ring Two (2005) and Rings (2017). These movies are being analyzed since their marketing campaigns concerning virality, word of mouth, interactivity and storytelling show many similarities but also some of them bring innovation to the marketing of horror movies. In the viral marketing of horror movies the strategies of storytelling and word of mouth are major factors in order to generate virality and to expand the fictional world consisting of characters and plot both online and offline. How the marketing campaigns of the studios regarding the movies listed above make use of these strategies and how viral marketing of horror movies has changed in terms of interactivity, mediality and storytelling since The Blair Witch Project will be examined in this paper.
The Older the Better? Crises of Masculinity in "The Graduate" and "Harold and Maude"
Scientific Essay from the year 2013 in the subject Communications - Movies and Television, grade: 1,0, Pace University, course: American Film Comedy, language: English, abstract: The time of transition and adaption after the Paramount decree and the decline of the studio system in the 1950s is what many film scholars refer to as the New Hollywood era. Geoff King describes with this term two versions of how the industry approached the difficult economic circumstances at this time (New Hollywood 3). This includes the emergence of the American art cinema, which King calls the “Hollywood Renaissance” (3). With this term, he primarily characterizes the 1968 to 1980s approach of the studios to target films “at a variety of smaller, more specific” audiences (34; 48). According to King, there had been a demographic shift and a greater cultural awareness of a new generation since the 1960s (30). As a result, this led to new forms of narrative and style, as well as more critical topics that were addressed in films within the studio system. Many of today’s well-known filmmakers began their careers in this period of a greater artistic freedom and shifts in social awareness. The comedies "The Graduate" (Mike Nichols, 1967) and "Harold and Maude" (Hal Ashby, 1971) both reflect the alienated youth generation of their era through their respective male protagonists. In particular, both characters’ identity crises derive from a not-yet-accomplished masculinity and are coped with through a taboo-breaking love affair. In the following comparison, the use of the cinematic techniques of mise-en-scene, cinematography, and music in both films will be shown to represent this crisis of manhood and its final accomplishment by the principal male protagonist. This theme will be examined, drawing mainly on readings by scholars such as William Indick and Wayne Schuth.
Visuality and Identity in Christopher Nolan's "Memento"
Seminar paper from the year 2013 in the subject Communications - Movies and Television, grade: 1,3, University of Mannheim, language: English, abstract: Christopher Nolan’s film from 2000, "Memento," takes a critical look at the visually dominated world we live in and challenges traditional cinema by addressing the film’s artificiality and visuality. Memento draws attention to the sheer mass and variety of visual stimuli that surround us by playing with the use of camera, photographs, mirrors and other visual media. The focus on visuality illustrates our dependence on visual media in determining who we are, how we see the world and how we think. Memento is centered on a protagonist – Leonard Shelby – who is especially reliant on the help of visual media but does not realize how much it influences his identity. Leonard is a former insurance claims investigator who suffers from anterograde amnesia, a condition that prevents him from turning short-term memories into long-term ones. Leonard’s amnesia is the result of a head injury he received while he was trying to rescue his wife from a murderer. Thus, Leonard lives in episodes that last about 15 minutes and after each such episode he forgets everything that happened before. Being deprived of the ability to remember anything that has happened since his wife’s murder, Leonard has to come up with his own strategies to deal with everyday life. In the course of the film, the audience learns that Leonard has developed a system of visual cues to replace his memory. He even goes further and declares that his method of remembering via photographs, mind maps, tattoos and notes, is more reliable than memory itself. Leonard calls his visual cues ‘facts’ and ignores the lack of context that comes along with a memory that consists only of separate Polaroid photos, ink on his skin and a few slips of paper.
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