Representation of Black Women in Vogue UK: Is Fashion Racist?
Representation of Black Women in Vogue UK: 'Is Fashion Racist?' Tania Claudia Varga MD3248 Special Study: Explorations in 'Otherness' Abstract '"Racism and the Media" touches directly the problem of ideology, since the media's main sphere of operations is the production and transformation of ideologies. An intervention in the media's construction of race is an intervention in the ideological terrain of struggle' (Hall, 2003). This extended researched essay focalises on the representation of black women in the media, especially in issues of the Vogue UK Magazine. The hypothesis is that black women are underrepresented in the pages of Vogue UK and where they are represented their image still suffers from stereotypical constructions and politics of representation. I will aim to prove my hypothesis by looking at examples from various Vogue UK magazines and critically analyse them in relation to the images they portray and the representations they construct for contemporary black women. CONTENTS Abstract 2 Introduction 4 Vogue 5 Black Women as Metaphors for Africa 12 Erykah Badu's Representation in Tom Ford's Perfume Advert 14 The Assigned Place of Black Women in Fashion 15 'Blackface' 19 What kind of pretty are you? 21 Successful Black Women 23 The Age of the Cupcake - Lorraine Pascale 23 First Wives Club - Michelle Obama 24 Conclusions 25 Bibliography 26
History of the Internet.
Internet Introduction Developed in North America, the Internet has rapidly spread around the world in the past decade. A high percentage of the content on the Internet still resides inside the USA, as much as 80 percent by some estimates (Liebowitz, 1998). Access to this content for international users suffers from the characteristics of the long Network path between these users and the remote server. Lack of capacity and long delays effectively render Network delivery of media-rich information and advanced digital libraries impracticable for many countries. Thus, while Internet connectivity to virtually every country on the globe has brought the promise of an information-rich world for all, that reality often falls short in the face of limited and unpredictable access to network information resources. This article seeks to inform the information professional on dramatic enhancements to current Internet services that are being enabled by technology trends and new methods of Network engineering. While a user's local environment (computer, access lines, etc.) ultimately shapes the range of applications available to them, the trends we discuss address improvements in the fundamental service of improving the speed and availability of information for users spread across the global Internet. Such dramatic improvements in the quality of access and the range of data sets available
The Third Man - Morality
The Third Man Morality The Third Man raises some serious moral issues but at it's heart lies the central conflict, is it better to remain steadfast and loyal as a personal value or is ones, "duty to humanity" and overriding consideration?" Throughout the "The Third Man" we find ourselves questioning whether it is morally righteous to take precedence the personal over the social good. Camera As the camera swings from close-ups to long shots, there is a suggestion by Reed of a tension between distance and proximity that may speak of principles that involve the public and private realms. Thus, in the cinematography, morality is perhaps alluded to. The ambiguity that is given to us visually and through the presentation of character translates into the ambiguity of moral questions. Frontier Values The film embodies a critique of cowboy culture. Carol reed extols (praises) subtler means to address that virtue does not embrace Holly's brash intrusion into the sophisticated war-wearied landscapes of Vienna. Accumulated wrong is adroitly (skilfully) expressed in a crumbling landscape that offers its own statement of moral violation. When Holly castigates Calloway, "I'm gunning just the same way for your Major Callaghan," he reveals innocence in a setting that embodies complexities far beyond his simplistic mind. Harry Lime presents a character that Holly needs to repudiate
"Titanic"- A film review.
James Fletcher "Titanic" Coursework Assignment Today most people would rather watch a film than read a book. A film is a much more relaxing and, for some, enjoyable way of knowing a story, event, novel or play. Unlike a book, where you have to interpret the story and characters yourself, a film portrays the characters and scenery for you. The director is the person that makes sure the actors are portraying their part correctly and to their full potential, another main concern of the director is to make enough money from the film to pay for it, and still make a profit. For the film to make money it needs to be successful, and to be successful it needs promotion, good clarification of the story and of the characters, and to continue to be successful it needs to be passed on by word of mouth. The way in which the camera is used is very important to the whole film because it can destroy the film or make it a success. It is vital that the cameraman uses the camera to its full capacity to get the expressions of the characters and the scenery around them. The advantage that cinema has over video or DVD is that the cinema can create a much better atmosphere with its surround sound and special effects, and the fact that the screen is a lot bigger can add to the effect that the film has on the audience. Going to the cinema is also much more enjoyable because you get the chance to
Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films, rather than as products of individual directors?
Is it more useful to analyse Scarface (1932), Scarface (1983) and Goodfellas (1990) as genre films, rather than as products of individual directors? "The gangster is the 'no' to that great American 'yes' which is stamped so big over our official culture and yet has so little to do with the way we really feel about our lives" Robert Warshow in his essay, The Gangster as Tragic Hero "As far back as I can remember, I always wanted to be a gangster. To me, being a gangster was better than being President of the United States." Henry Hill (Ray Liotta) in Goodfellas "He [the director] would not be worth bothering with if he were not capable now and then of a sublimity of expression almost miraculously extracted from his money-oriented environment." Andrew Sarris' introduction to his study, The American Cinema: Directors and Directions, 1929 - 1968 The Gangster film has always struggled to maintain a precarious balance; to portray the Gangster as a charismatic and crowd-pleasing character, at the expense of his eventual demise for the social good. The Gangster, as Robert Warshow puts it, is a quintessential 'tragic hero', a character whose very nature and deeds ultimately condemn them to a short and fruitless existence, outside of the boundaries of normal society. The Gangster's place within cinema is an important one, and the genre has now developed to a point of
The Three-Tiered Racial Hierarchy and its Import to Asian (American) Representation as the "Model Minority" in The Island of Dr. Moreau
David S. Neale Lewis Gordon AA 10 August 25, 1999 The Three-Tiered Racial Hierarchy and its Import to Asian (American) Representation as the "Model Minority" in The Island of Dr. Moreau As Naomi Zack details in "The Island of Dr. Moreau: Confused Images of Race and Specie," there is a racial subtext to all three film versions of H. G. Wells' novel, The Island of Dr. Moreau. After analyzing and comparing these three versions, Zack details the various ways that the characters in the story are consistently racialized, concluding that "[i]n all of its forms, the story enforces the transcendant superiority of white European man" (52). When I viewed the most recent film version of the story-the one produced in 1996- I, too, noticed the racial subtext in the film, which Zack believes asserts white European dominance. What I also noticed, however, was the way the racial subtext hierarchically structures the races beyond the two tier racial paradigm that Zack implies in her essay, in which white=dominant, and thereby "first tier," while all "others" fall to a lower "second tier." Instead, there is a stark three-tiered racial hierarchy that further delineates the status of the "others" composing Zack's second tier. That is, the racial hierarchy presented in the film, from top-down, is white, Asian, and then black. This further delineation of the "others," which newly
The Changing Face of James Bond - Compare and Contrast the opening scenes of three James Bond films - Goldeneye, Live and Let Die and Dr. No & Analyse how effectively they target their audience.
GCSE MEDIA COURSEWORK The Changing Face of James Bond Compare and Contrast the opening scenes of three James Bond films - Goldeneye, Live and Let Die and Dr. No & Analyse how effectively they target their audience. The "License to Kill" character James Bond was only limited in the pages of Ian Fleming's thriller "Casino Royale" until the 1960s when Sean Connery played the dynamic character in the Terence Young directed film "Dr. No" in 1962 which flavoured the audiences world wide in the charm and professionalism of the detective hero. It is estimated that over fifty per cent of the world's population has heard of James Bond and the main features that makes his majestic character such a hit is that there is an awesome mixture of mystery, cunningness, luck and the widely known of all . . . the Bond women. He has been thrilling, shocking and entertaining us for more than three decades and the characteristic in his personality has changed to a dramatic extent over that period. James Bond remains a recognisable character by his wit and charm as well as by his flirtatious attitude towards women and his professional attitude towards his investigations. However, the style of language he uses has interestingly changed between the 1960s and the 1990s. When the Bond series started, he had characteristics of an ideal British gentleman who has a civilised and professional attitude
'In attempting to understand the making of meanings in contemporary media cultures, should our focus be on forms of representation in media output or on practices of media use in day-to-day life?'
'In attempting to understand the making of meanings in contemporary media cultures, should our focus be on forms of representation in media output or on practices of media use in day-to-day life?' The understanding of the makers of meanings in contemporary media cultures is a common, albeit complex and omnipresent key debate in contemporary media studies. The areas for concern in addressing this question are firstly the media industries and their forms of representation and output, and secondly how people use those forms of output in everyday social situations. The focus on these two key sites works to discover which area is primarily, and to what extent, responsible for making meaning in media cultures. The answer however is not so clear cut. The concern based around understanding the processes of encoding and decoding media messages is crucial, as echoed by authors such as Eldridge (1993) and Hesmondhalgh (2006). Early work forged a casual link between mass communication and mass behaviour whereby the stimuli of media depictions invoked mass responses. However, research has since shifted its focus to counter-research in which audiences are viewed as active consumers, using the media to fulfil their interests and pleasures instead of being viewed as cultural dupes whose behaviour was tainted or determined by the so-called 'magic bullet' effect of the media (Davis, 2005).
Comparing and contrasting the two filmversions of ‘Lord of the Flies’.
Comparing and contrasting the two film versions of 'Lord of the Flies' William Goldings chilling 1954 novel 'Lord of the Flies' has become a literary classic, exploring the human condition. It deals with complex and abstract ideas examining the balance of good and evil in mankind, the power of instinct and social conditioning and the nature of leadership. Translating these concerns into a visual medium is an extremely difficult task, and it is this challenge that two different film directors Peter Brook in 1961, and Harry Hook in 1981 took on board. In addition to the challenge of conveying these abstractions, the filmmakers who adapt the novels have other potential obstacles to overcome. A novel almost becomes the readers own creation as they can let their imagine run free, creating vivid mental images and choosing the appearance of the cast, helping them to relate to, and understand the character. The film medium however overrides this, and the viewer is subjected to the director's opinion of how things should be and how things should look, which often conflicts with both the viewer's ideals and the original texts. Novels also allow the readers to dictate the pace, so that they can experience, understand and appreciate the messages and events involved, in their own time. A film on the other hand is of fixed length, which the viewer cannot control, meaning that
Building Brands without Mass Media
Building Brands without Mass Media Executive Summary COSTS, MARKET FRAGMENTATION, and new media channels that let customers bypass advertisements seem to be in league against the old ways of marketing. Relying on mass media campaigns to build strong brands may be a thing of the past. Several companies , making a virtue of necessity, have come up with alternative brand-building approaches and are blazing a trail in the post-mass-media age. The Body Shop garnered loyalty with its support of environmental and social causes. Cadbury funded a theme park tied to its history in the chocolate business. Haagen-Dazs opened posh ice-cream parlors and got itself featured by name on the menus of fine restaurants. Hugo Boss and Swatch backed athletic or cultural events that became associated with their brand. The various campaigns shared characteristics hoping they could serve as guidelines for any company hoping to build a successful brand: senior managers were closely involved with brand-building efforts; the companies recognized the importance of clarifying their core brand identity; and they made sure that all their efforts to gain visibility were tied to that core identity. Studying the methods of companies outside one's own industry and country can be instructive for managers. Pilot testing and the use of a single continuous measure of brand equity also help managers get the most
