True Blood. True blood will be analyzed using a Christian ideology, exploring the value and themes in the context of this ideology.
True Blood is an American television drama series created and produced by Alan Ball. True Blood is based on the Southern Vampire Mysteries a series of novels by Charlaine Harris, season one of the True Blood television show is based on the first novel Dead till Dark and details the co-existence of vampires and humans in Bon Temps, a small northern Louisiana town two years after Japanese scientists create synthetic blood and vampires 'came out of the coffin' and made humans aware of their existence. The series centers on Sookie Stackhouse, an incidental sleuth and telepathic waitress at Merlotte's Bar and Grill, who falls in love with vampire and civil war veteran Bill Comptone. Christian ideology, in regards to film and television, is an ideology based on Christian beliefs and values. Christians believe in absolute truth, meaning there is a definite right or wrong in regards to all morality and actions. The Christian ideology seek to search and identify the deeper values in a film or television show and if they line up with the values conveyed in the bible, on which all Christian ideology is based. These values include love, justice and a lack of sexism and racism. All the values are Christ centered. The only difficult with using the Christian ideology to explore and explain films is that because Christian beliefs are very personal and no two Christians will have exactly the
The Effects of Public, Private, and Hybrid Systems of Broadcasting on Democratic Debate
The Effects of Public, Private, and Hybrid Systems of Broadcasting on Democratic Debate The emergence of broadcasting in the early 1900's resulted in the development of different broadcasting systems throughout the world (Nesbitt-Larking 58). Britain and the US, two democratic nations with many shared cultural, economic, and political values, quickly developed remarkably dissimilar systems of broadcasting which became the models used by other countries as they struggled to develop their own systems (Emery 5). Most eventually followed the British model, opting for public broadcasting systems (Emery 7). Private systems similar to the US model thrived in others (Emery 7). A few, including Canada, developed hybrid broadcasting systems, characterized by a relatively equal combination of public and private elements (Emery 8). In addition to the launch of different broadcasting systems, the early days of broadcasting also marked the beginning of an enduring debate about the potential of these different systems to strengthen democracy and foster democratic debate in a democratic society (Browne 9). This debate is a complicated one, offering no easy answers, and no clear path to a superior democracy (Browne 10). Two viewpoints have typically been represented in this debate. They agree that an important function of broadcasting should be to nurture democracy and that a
How Does The Media Represent Rap/Hip-Hop?
Rap music and hip-hop (a cultural formation of which rap music is only one component) have slowly found their way to the top of mainstream popular music culture over the past twenty to thirty years. Hip-hop is now the most important musical style. What jazz was from the 1920's to the 40's, or rock and roll was from the 50's to the 70's, hip-hop has been from the 80's onwards. Like most genres of music that have had mainstream popularity, hip-hop tends to have a bad reputation with mainstream media outlets, thus impacting on the public perception of the music and the culture itself. Throughout this research assignment we will be looking at the theoretical framework surrounding the negative representations of hip-hop in the media and carrying out a discourse analysis on a newspaper article. Before we go any further, let's briefly take a look at the history of rap music and the hip-hop culture in general. This will give us the basic understanding of where, when and why rap music and hip hop culture formed thus helping us to understand the representations of hip-hop. 'There is a general consensus among both academic and non-academic accounts of hip-hop that the style originated in the South Bronx area of New York during the early 1970's' (Bennett, 2000, p. 134). Rap music is something that's being done, where as hip hop is something that is being lived, therefore to understand
representation of ethnic minorities in eastender
Advertising and Media BA Module: MP0501 Cultural Identities and British Television Word count: 1714 (excluding bibliography and title) 5/5/2009 STUDENT NUMBER: S013351 Student name: Fahmida Begum The representation of ethnic minorities (especially of Black and Asian origin) in the BBC Soap Opera EastEnders This essay will be exploring and critically examining how ethnic minorities are represented in the British soap opera EastEnders' and how accurate their portrayals are and its affectivity on representing reality. 'Ethnic minorities' are those who are the 'minority' in context to the rest of the population in terms of race, culture and religion. Within the UK this includes: Asians, Blacks, and Chinese etc. The essay will begin by giving an outline of the soap opera genre and a brief history of EastEnders'. It then goes into further depth of current and past characters from different ethnic groups and whether this was positive or negative representation. In exploring these issues, the essay endorses the lack of representation within the soap and its effect it has on the audiences understanding of other races through how characters are represented in the soap. Soap Operas are serial dramas set in a domestic setting; they deal with everyday issues and are very character based, the plots often rely on the actions of more than one character. Hobson
How does the Television Drama Series Shameless, Disrupt Stereotypes of Working Class Ideologies?
How does the Television Drama Series Shameless, Disrupt Stereotypes of Working Class Ideologies? Introduction Ideologies are ideas presented as truths and as White mentions in terms of TV, 'the ideological perspective assumes that television offers a particular construction of the world rather than a universal truth' (1992, p. 172). Television programmes bring along a certain set of definitions, underlying assumptions, standards of performance and norms. These ideological methods are generally seen as 'universal' and aid in naturalising the events and stories we see on television (White, 1992). From a Marxist position you would argue that as the dominant bourgeoisie class owns and operate the television industry, their ideologies and beliefs are reflected in the industry and therefore all viewers are buying into these ideas that are represented as universal truths. As mentioned within the title, what this research aims to investigate is the way in which the television drama Shameless goes against the dominant (mostly negative) stereotypes of the working class. In order to carry this out, first we will be taking a look at theoretical work from secondary sources on representations of class, family and gender. This should provide us with the basic knowledge and foundations to which we could then critically analyse episodes (in this case two episodes) of the British drama
Violence and the Media
Violence and the Media In Manteca, California, two young boys murdered a disabled man by violently kicking, stabbing, beating, and finally choking him. When being questioned by the police as to why the boys poured salt in the dying mans wounds, one of the boys responded, "Oh I don't know. I just seen it on TV" (Levine 71). In today's society, these situations are becoming extremely common. Violence on television is overwhelming, and the negative affect it has on viewers is frightening. The overall pattern of research findings indicates a positive relationship between television violence and aggressive behavior. An article from the American Academy of Child and Adolescent Psychiatry states that "the majority of evidence from more than 3,000 research studies over two decades shows that the violence portrayed on television influences the attitudes and behavior of children who watch it" ("Children and TV Violence"). It has become evident that violence glamorized on television causes viewers to learn aggressive behavior. According to Leonard Eron, an expert authority on media, "There can no longer be any doubt that heavy exposure to televised violence is one of the causes of aggressive behavior, crime, and violence in society" (Levine 4). There are a variety of reasons one might expect viewers to learn aggressive behavior from the media. The abundance of violent acts on
ANALYSE THE USE OF PERSUASIVE LANGUAGE IN PRINT ADVERTISEMENT.
ANALYSE THE USE OF PERSUASIVE LANGUAGE IN PRINT ADVERTISEMENT. In the media today, the medium of advertising has proliferated to a point near market saturation. As a result, industry professionals have found themselves in a highly competitive field in which persuasion of the consumer is their primary goal. The contemporary consumer has little time in which to read a highly description of a product and therefore the percentage of text to image in advertising has dramatically reduced in comparison to texts from previous eras. When asked to analyse the use of persuasive language in a print advertisement I decided to use an advertisement from 1958 as during this era, it was more conventional of the medium to use a larger percentage of text to image. For example, in the Coca-Cola advertisement I have selected the percentage is approximately 30% text to 70% image. This means that there is likely to be a larger amount of text to analyse and a greater amount of persuasive devices employed. The word advertisement derives from the Latin 'adverte', which means to 'turn towards'. The way in which advertisements encourage consumers to 'turn towards' them is through the use of persuasive language; therefore the effective use of language is critical in any advertisement to connote the desired mood as well as the message. The language used in advertising is often described as 'loaded'
The show that I have chosen to critique is The West Wing, which is shown on NBC, Wednesdays at 9:00. The first episode that I watched is called Hartsfield's Landing. It broadcasted on Wednesday, February 27 2002.
The West Wing The show that I have chosen to critique is The West Wing, which is shown on NBC, Wednesdays at 9:00. The first episode that I watched is called Hartsfield's Landing. It broadcasted on Wednesday, February 27 2002. The West Wing was created by producers Aaron Sorkin ("A Few Good Men"), Thomas Schlamme ("Tracey Takes On") and John Wells ("ER"). This episode was directed by Vincent Misiano. It stars Rob Lowe ("St. Elmo's Fire"), Dule Hill, Allison Janney ("American Beauty"), Janel Moloney, Richard Schiff ("Relativity"), John Spencer ("L.A. Law"), Bradley Whitford, and Martin Sheen ("Apocalypse Now"). For its debut season (1999-2000), "The West Wing" was honored with nine Emmy Awards, including Outstanding Drama Series, which it won again in 2001. It holds the record for most Emmys won by a series in a single season (its first). Other awards include a Peabody Award for excellence in television, a Golden Globe nomination for Best Drama Series and three Television Critics Association Awards (official site). In the first episode I watched, "Hartsfield's Landing", President Bartlet (Sheen) returns from a visit to India to face a major foreign affairs issue. The Chinese government wanted to practice war scenarios where they would invade Taiwan. China threatened this because Taiwan was going to test weapons they bought from the United States. While in his
What has been the social, cultural, political and technological impact the TV programme Big Brother has had on us, the television viewer?
What has been the social, cultural, political and technological impact the TV programme Big Brother has had on us, the television viewer? The TV programme Big Brother has had a massive impact on today's society for a variety of reasons. Some may say that it is the defining jewel-in-the-crown in reality television; it is without doubt the most recognised and quite possibly the most watched in an expansive genre. Its creation, by a Dutchman for the television company Endemol in 1997, spawned the first broadcast of the programme in Great Britain shortly after in 2000. And so the fly-on-the-wall docu-soap was born, followed by variations to the theme and structure, but in essence keeping the same core format of members of the public being kept locked away in a house, their every move captured by 30 cameras. The housemates are, for the most part, isolated within the house. They are allowed no access to the outside world using any medium and in some shows, even books and writing material are not permitted, with the exception of religious materials such as the Bible. They perform tasks in order to win prizes and extend their shopping budget for the week. In previous years, the contestants were usually young, good-looking and charismatic, but as the show has grown in popularity, and therefore attracted a wider viewing demographic, they have gone for a mixture of people, old and
Did 'the world's most beautiful music' strike a mortal blow to 'the cultural fabric of the nation'? Discuss the impact of Classic FM on Radio 3.
Music and the Radio Essay 1: Did 'the world's most beautiful music' strike a mortal blow to 'the cultural fabric of the nation'? Discuss the impact of Classic FM on Radio 3. Radio in Britain was started on the 'principle of public service' (p12 Scannell 1990). It was fundamentally a public utility, which promised to be a cultural, moral and educative force. These were the founding ideals of the BBC, which remained paramount during their formative years. However, as mass media became more readily available, particularly with the impact of television, the BBC was forced to popularize its service. At the same time they were facing competition from commercial radio stations. These stations were financed by advertisers and thus were more interested in adhering to popular taste to ultimately make greater profit. The impact of Classic FM on Radio 3 is an excellent example of this process. Radio 3 provided a mix of serious classical music, fused with other forms such as jazz, folk, new music (etc). They interspersed the music with serious documentaries - creating an all round "educational experience" (Independent 1992). In 1992, Classic FM was introduced to our airwaves. They played 'popular classics', including film music and requests from the public. Primarily, they were interested in classical music that could be recognized and 'enjoyed' by the masses, which ensured