1. Trace the development of the early documentary film career o.docx
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1. Trace the development of the early documentary film career of Jean Rouch. What were his objectives as an ethnographic filmmaker during the 1950s? What formal techniques did he use to express these objectives? 2. How did Direct Cinema succeed in transforming documentary filmmaking during the late 1950s and early 1960s? Why did American documentary makers adopt this style, and in what ways did this choice influence their films? In what ways were their films also influenced by technological developments? 3. Compare and contrast two of the most prominent trends in avant-garde filmmaking from the 1940s to the 1960s: the experimental narrative and the lyrical film. How did both trends make use of abstract imagery and structure, and for what purposes? 4. What were the notable (and notorious) qualities that characterized the American underground film of the 1960s? 5. Analyze the important social, economic, and industrial factors leading up to the emergence of the New Hollywood in the early 1970s. What were the causes of the industry-wide recession of 1969 to 1970? What new audiences did the Majors subsequently attempt to target? 6. How did European art cinema conventions influence the filmmakers of the New Hollywood? In what ways did art cinema narrational and stylistic techniques infuse new life into standard Hollywood genres? 7. Trace the evolution of the Hollywood studio system's economic recovery in the middle and late 1970s. What were the important blockbusters of the period? 8. Compare and contrast the approaches of Steven Spielberg and Martin Scorsese to studio filmmaking. In what ways did each director "revise" genres from the classical Hollywood era? How did the personal style of each director reflect or deviate from the norms of classical Hollywood filmmaking? .
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Compare and contrast the "revolutionary" cinemas of Cuba and Argentina.
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How did eastern European filmmakers react to the conditions imposed by Socialist Realist doctrine—that is, to the idea that Soviet bloc artists were obliged to serve the objectives of the Communist Party?
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Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length.
Your responses should include examples from the reading assignments.
1. Trace the development of the early documentary film career of Jean Rouch. What were his objectives as an ethnographic filmmaker during the 1950s? What formal techniques did he use to express these objectives?
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3. Compare and contrast two of the most prominent trends in avant-garde filmmaking from the 1940s to the 1960s: the experimental narrative and the lyrical film. How did both trends make use of abstract imagery and structure, and for what purposes?
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Why did the United States, as represented by SCAP (Supreme Commander of the Armed Powers), take a keen interest in the postwar Japanese film industry?
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Directions:
Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length.
Your responses should include examples from the reading assignments.
1. Trace the development of the early documentary film career of Jean Rouch. What were his objectives as an ethnographic filmmaker during the 1950s? What formal techniques did he use to express these objectives?
2. How did Direct Cinema succeed in transforming documentary filmmaking during the late 1950s and early 1960s? Why did American documentary makers adopt this style, and in what ways did this choice influence their films? In what ways were their films also influenced by technological developments?
3. Compare and contrast two of the most prominent trends in avant-garde filmmaking from the 1940s to the 1960s: the experimental narrative and the lyrical film. How did both trends make use of abstract imagery and structure, and for what purposes?
4. What were the notable (and notorious) qualities that characterized the American underground film of the 1960s?
5. Analyze the important social, economic, and industrial factors leading up to the emergence of the New Hollywood in the early 1970s. What were the causes of the industry-wide recession of 1969 to 1970? What new audiences did the Majors subsequently attempt to target?
6. How did European art cinema conventions influence the filmmakers of the New Hollywood? In what ways did art cinema narrational and stylistic techniques infuse new life into standard Hollywood genres?
7. Trace the evolution of the Hollywood studio system's economic recovery in the middle and late 1970s. What were the important blockbusters of the period?
8. Compare and contrast the approaches of Steven Spielberg and Martin Scorsese to studio filmmaking. In what ways did each director "revise" genres from the classical Hollywood era? How did t.
[INSERT TITLE HERE] 11.How did the Paramount decision of 1948 c.docx
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1. How did the Paramount decision of 1948 change the U.S. film industry? To what degree did the decision alter the way the industry did business?
2. How did changes in postwar American lifestyles affect the domestic film market? Amidst a climate of more selective moviegoers, what type of film was judged to be capable of attracting audiences? How did the Hollywood Majors exploit technological advances to produce this type of film?
3. Identify the major segments of the U.S. filmgoing audience targeted by producers in the 1950s. What kinds of films were produced for each of these segments?
4. What factors lay behind the "upscaling" of Hollywood film genres during the 1950s? Identify the significant genres of the postwar period, and explain how each was affected by enhanced production values and increased thematic complexity.
5. Pick two of the following directors: Max Ophüls, Jean Renoir, Jean Cocteau. What were the particularly important or influential qualities of these directors' postwar French films? In what ways did each director use visual style to complement his characteristic thematic or narrative concerns?
6. Why did the United States, as represented by SCAP (Supreme Commander of the Armed Powers), take a keen interest in the postwar Japanese film industry? What steps did SCAP take to help rebuild the Japanese studio system? In what ways did SCAP both assist and hinder the efforts of the major postwar Japanese directors?
7. In what ways did film production in the Soviet bloc nations adhere to and depart from the Soviet industry structure and the Socialist Realist aesthetic? Specifically, how did "de-Stalinization" affect film practice?
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2. Identify the major technological and aesthetic factors that influenced Hollywood film form during the 1920s. How did the resulting changes enhance or complement the classical narrative style, which was by then the industry norm? How are these changes evident in the film screened in class?
3. What events or conditions motivated the calls for the moral reform of the American film industry in the early 1920s? How did the industry respond to these calls? Analyze how this response placated the reformers and at the same time protected the industry's own interests.
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7. What were the institutions that championed and promoted "art cinema" during the late silent period?
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FILM HISTORY
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1)Explain in your own words how Direct Cinema explores “truth.”
Directions:
Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length.
Your responses should include examples from the reading assignments.
1. Compare and contrast the "revolutionary" cinemas of Cuba and Argentina.
2. What factors influenced the development of militant black African cinema in the 1960s and 1970s?
3. How did eastern European filmmakers react to the conditions imposed by Socialist Realist doctrine—that is, to the idea that Soviet bloc artists were obliged to serve the objectives of the Communist Party?
4. How do the films of Rainer Werner Fassbinder exemplify, as suggested in the text, a general trend within contemporary European political cinema? Describe the two phases of his career.
5. How did Direct Cinema develop from the late 1960s onward?
6. In what ways have documentary films since the 1960s turned a critical eye on the documentary tradition itself? Identify and explain the formal strategies commonly pursued by filmmakers who have questioned the authority of documentary film's truth claims.
7. What are the basic differences between "underground" film and Structural film? Which kinds of formal principles are explored in the most representative works of the Structuralist tendency?
8. What were the ideas and influences behind the emergence of the New Narrative and the punk (and punk-influenced) experimental film trends of the 1970s and 1980s?
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1.
How did the Paramount decision of 1948 change the U.S. film industry?
To what degree did the decision alter the way the industry did business?
2.
How did changes in postwar American lifestyles affect the domestic film market?
Amidst a climate of more selective moviegoers, what type of film was judged to be capable of attracting audiences?
How did the Hollywood Majors exploit technological advances to produce this type of film?
3.
Identify the major segments of the U.S. filmgoing audience targeted by producers in the 1950s.
What kinds of films were produced for each of these segments?
4.
What factors lay behind the "upscaling" of Hollywood film genres during the 1950s?
Identify the significant genres of the postwar period, and explain how each was affected by enhanced production values and increased thematic complexity.
5.
Pick two of the following directors: Max Ophüls, Jean Renoir, Jean Cocteau.
What were the particularly important or influential qualities of these directors' postwar French films?
In what ways did each director use visual style to complement his characteristic thematic or narrative concerns?
6.
Why did the United States, as represented by SCAP (Supreme Commander of the Armed Powers), take a keen interest in the postwar Japanese film industry?
What steps did SCAP take to help rebuild the Japanese studio system?
In what ways did SCAP both assist and hinder the efforts of the major postwar Japanese directors?
7.
In what ways did film production in the Soviet bloc nations adhere to
and
depart from the Soviet industry structure and the Socialist Realist aesthetic?
Specifically, how did "de-Stalinization" affect film practice?
8.
What were the essential traits of the postwar Hindi film?
Identify its conventions using the films discussed in the text as examples.
.
. What factors lay behind the upscaling of Hollywood film g.docx
. What factors lay behind the "upscaling" of Hollywood film genres during the 1950s? Identify the significant genres of the postwar period, and explain how each was affected by enhanced production values and increased thematic complexity.
5. Pick two of the following directors: Max Ophüls, Jean Renoir, Jean Cocteau. What were the particularly important or influential qualities of these directors' postwar French films? In what ways did each director use visual style to complement his characteristic thematic or narrative concerns?
6. Why did the United States, as represented by SCAP (Supreme Commander of the Armed Powers), take a keen interest in the postwar Japanese film industry? What steps did SCAP take to help rebuild the Japanese studio system? In what ways did SCAP both assist and hinder the efforts of the major postwar Japanese directors?
7. In what ways did film production in the Soviet bloc nations adhere to
and
depart from the Soviet industry structure and the Socialist Realist aesthetic? Specifically, how did "de-Stalinization" affect film practice?
8. What were the essential traits of the postwar Hindi film? Identify its conventions using the films discussed in the text as examples.
.
DirectionsUsing word processing software to save and submit you.docx
Directions:
Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length.
Your responses should include examples from the reading assignments.
1. How did the Paramount decision of 1948 change the U.S. film industry? To what degree did the decision alter the way the industry did business?
2. How did changes in postwar American lifestyles affect the domestic film market? Amidst a climate of more selective moviegoers, what type of film was judged to be capable of attracting audiences? How did the Hollywood Majors exploit technological advances to produce this type of film?
3. Identify the major segments of the U.S. filmgoing audience targeted by producers in the 1950s. What kinds of films were produced for each of these segments?
4. What factors lay behind the "upscaling" of Hollywood film genres during the 1950s? Identify the significant genres of the postwar period, and explain how each was affected by enhanced production values and increased thematic complexity.
5. Pick two of the following directors: Max Ophüls, Jean Renoir, Jean Cocteau. What were the particularly important or influential qualities of these directors' postwar French films? In what ways did each director use visual style to complement his characteristic thematic or narrative concerns?
6. Why did the United States, as represented by SCAP (Supreme Commander of the Armed Powers), take a keen interest in the postwar Japanese film industry? What steps did SCAP take to help rebuild the Japanese studio system? In what ways did SCAP both assist and hinder the efforts of the major postwar Japanese directors?
7. In what ways did film production in the Soviet bloc nations adhere to
and
depart from the Soviet industry structure and the Socialist Realist aesthetic? Specifically, how did "de-Stalinization" affect film practice?
8. What were the essential traits of the postwar Hindi film? Identify its conventions using the films discussed in the text as examples.
.
Directions Using word processing software to save and submit yo.docx
Directions:
Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length. Your responses should include examples from the reading assignments.
1.Compare and contrast the "revolutionary" cinemas of Cuba and Argentina.
2.What factors influenced the development of militant black African cinema in the 1960s and 1970s?
3.How did eastern European filmmakers react to the conditions imposed by Socialist Realist doctrine—that is, to the idea that Soviet bloc artists were obliged to serve the objectives of the Communist Party?
4.How do the films of Rainer Werner Fassbinder exemplify, as suggested in the text, a general trend within contemporary European political cinema? Describe the two phases of his career.
5.How did Direct Cinema develop from the late 1960s onward?
6.In what ways have documentary films since the 1960s turned a critical eye on the documentary tradition itself? Identify and explain the formal strategies commonly pursued by filmmakers who have questioned the authority of documentary film's truth claims.
7.What are the basic differences between "underground" film and Structural film? Which kinds of formal principles are explored in the most representative works of the Structuralist tendency?
8.What were the ideas and influences behind the emergence of the New Narrative and the punk (and punk-influenced) experimental film trends of the 1970s and 1980s?
.
DirectionsUsing word processing software to save and submit.docx
Directions
:
Using word processing software to save and submit your work, please answer the following short answer questions.
All responses to questions should be one to two
paragraphs, composed of five to seven sentences, in length.
Your responses should include examples from the reading assignments.
1.
How did the major Hollywood firms respond to the challenge posed by First National Exhibitors' Circuit in 1917?
What kinds of benefits resulted from the industry's adoption of vertical integration?
Explain how this policy benefited both major and minor film companies.
2.
Identify the major technological and aesthetic factors that influenced Hollywood film form during the 1920s.
How did the resulting changes enhance or complement the classical narrative style, which was by then the industry norm?
How are these changes evident in the film screened in class?
3.
What events or conditions motivated the calls for the moral reform of the American film industry in the early 1920s?
How did the industry respond to these calls?
Analyze how this response placated the reformers and at the same time protected the industry's own interests.
4.
In what ways were the formal innovations of European cinemas assimilated by American filmmakers and integrated into the classical Hollywood cinema during the late silent era?
What kinds of contributions were made by European directors working in Hollywood?
5.
Under what conditions did African American audiences experience films during the silent era?
In what ways did individual filmmakers or companies tailor their films to appeal specifically to these audiences?
6.
Discuss the motives behind the emergence of "Film Europe."
How did the national film industries of Europe cooperate in combating the influence of American movies?
Why were these cooperative efforts halted at the end of the 1920s?
7.
What were the institutions that championed and promoted "art cinema" during the late silent period?
8.
What were the theoretical and aesthetic principles that characterized the Dada, Surrealist, and "cinema pur" movements?
Which formal and stylistic qualities did their films share, and in what ways did they differ?
.
Directions Using word processing software to save and submit yo.docx
Directions
:
Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length. Your responses should include examples from the reading assignments.
1. How did the major Hollywood firms respond to the challenge posed by First National Exhibitors' Circuit in 1917? What kinds of benefits resulted from the industry's adoption of vertical integration? Explain how this policy benefited both major and minor film companies.
2. Identify the major technological and aesthetic factors that influenced Hollywood film form during the 1920s. How did the resulting changes enhance or complement the classical narrative style, which was by then the industry norm? How are these changes evident in the film screened in class?
3. What events or conditions motivated the calls for the moral reform of the American film industry in the early 1920s? How did the industry respond to these calls? Analyze how this response placated the reformers and at the same time protected the industry's own interests.
4. In what ways were the formal innovations of European cinemas assimilated by American filmmakers and integrated into the classical Hollywood cinema during the late silent era? What kinds of contributions were made by European directors working in Hollywood?
5. Under what conditions did African American audiences experience films during the silent era? In what ways did individual filmmakers or companies tailor their films to appeal specifically to these audiences?
6. Discuss the motives behind the emergence of "Film Europe." How did the national film industries of Europe cooperate in combating the influence of American movies? Why were these cooperative efforts halted at the end of the 1920s?
7. What were the institutions that championed and promoted "art cinema" during the late silent period?
8. What were the theoretical and aesthetic principles that characterized the Dada, Surrealist, and "cinema pur" movements? Which formal and stylistic qualities did their films share, and in what ways did they differ?
.
1.How did the major Hollywood firms respond to the challenge pos.docx
1.
How did the major Hollywood firms respond to the challenge posed by First National Exhibitors' Circuit in 1917? What kinds of benefits resulted from the industry's adoption of vertical integration? Explain how this policy benefited both major and minor film companies.
2.
Identify the major technological and aesthetic factors that influenced Hollywood film form during the 1920s. How did the resulting changes enhance or complement the classical narrative style, which was by then the industry norm? How are these changes evident in the film screened in class?
3.
What events or conditions motivated the calls for the moral reform of the American film industry in the early 1920s? How did the industry respond to these calls? Analyze how this response placated the reformers and at the same time protected the industry's own interests.
4.
In what ways were the formal innovations of European cinemas assimilated by American filmmakers and integrated into the classical Hollywood cinema during the late silent era? What kinds of contributions were made by European directors working in Hollywood?
5.
Under what conditions did African American audiences experience films during the silent era? In what ways did individual filmmakers or companies tailor their films to appeal specifically to these audiences?
6.
Discuss the motives behind the emergence of "Film Europe." How did the national film industries of Europe cooperate in combating the influence of American movies? Why were these cooperative efforts halted at the end of the 1920s?
7.
What were the institutions that championed and promoted "art cinema" during the late silent period?
8.
What were the theoretical and aesthetic principles that characterized the Dada, Surrealist, and "cinema pur" movements? Which formal and stylistic qualities did their films share, and in what ways did they differ?
ALL NEED TO BE ONE PARAGRAPH!!!!!
.
1. Identify the Big Five Hollywood studios (or Majors) of the.docx
1. Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2. What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s? How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how Production Code regulations helped modify the content of Hollywood movies.
3. Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. Analyze how innovations within these categories influenced the development of the Hollywood style. In what ways did these innovations complement the aims of classical continuity filmmaking?
4. Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5. Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in? How did their individual expertise influence the style and makeup of the studios' signature characters?
6. Describe the immediate causes and effects of both of Britain's Quota Acts. In each case, how did these effects contribute to or hinder the consolidation of the British studio system? What kinds of films resulted from these acts?
7. Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
Directions Using word processing software to save and submit your.docx
Directions:
Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length. Your responses should include examples from the reading assignments.
1.Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2.What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s? How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how Production Code regulations helped modify the content of Hollywood movies.
3.Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. Analyze how innovations within these categories influenced the development of the Hollywood style. In what ways did these innovations complement the aims of classical continuity filmmaking?
4.Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5.Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in? How did their individual expertise influence the style and makeup of the studios' signature characters?
6.Describe the immediate causes and effects of both of Britain's Quota Acts. In each case, how did these effects contribute to or hinder the consolidation of the British studio system? What kinds of films resulted from these acts?
7.Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
DirectionsUsing word processing software to save and submit y.docx
Directions:
Using word processing software to save and submit your work, please answer the following short answer questions.
All responses to questions should be one to two
paragraphs, composed of five to seven sentences, in length.
Your responses should include examples from the reading assignments.
1.
Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2.
What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s?
How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry?
Explain how Production Code regulations helped modify the content of Hollywood movies.
3.
Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles.
Analyze how innovations within these categories influenced the development of the Hollywood style.
In what ways did these innovations complement the aims of classical continuity filmmaking?
4.
Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical.
Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5.
Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros.
What sorts of animation techniques did each specialize in?
How did their individual expertise influence the style and makeup of the studios' signature characters?
6.
Describe the immediate causes and effects of both of Britain's Quota Acts.
In each case, how did these effects contribute to or hinder the consolidation of the British studio system?
What kinds of films resulted from these acts?
7.
Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
Directions Using word processing software to save and submit your.docx
Directions: Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length. Your responses should include examples from the reading assignments.
1. Perhaps the most important artistic trend of the early twentieth century was labeled modernism. Summarize some of the principal tenets of modernism, and specify how these ideas influenced the development of the French Impressionism (or German Expressionist [Ch. 5] or Soviet Montage [Ch. 6]) movement in film.
2. What created the problems confronting French film production between 1918 and 1928? Identify the three primary factors as identified in the text, and summarize the effects of each of these causes.
3. The formal qualities of French Impressionism derived partly from the directors' beliefs about the cinema as an art form. What were these beliefs? Explain how the Impressionists' theories on the cinema translated to their films with regard to either cinematography or editing.
4. Why did French Impressionism decline as a unified filmmaking movement in the late 1920s? What was the role of pressures from both inside and outside the movement in this decline?
5. Compare the activities of the Soviet film industry during the War Communism period (1918-1920) and during the years of the New Economic Policy (1921-1924). What difficulties arose for the industry during War Communism, and how were these problems remedied or addressed by the New Economic Policy?
6. What were the objectives of Constructivism, and which of those aims were especially important to the development of the Montage movement in film?
7. How did the theories on filmmaking advanced by Lev Kuleshov, Dziga Vertov, and Sergei Eisenstein differ with regard to editing?
8. How was mise-en-scene used as an element of montage in the films of Soviet directors? Give examples of how mise-en-scene was typically employed in Montage films.
9. What is the difference between vertical integration and horizontal integration?
10. What were the factors behind the nickelodeon boom of the middle 1900s? What were the reasons for the nickelodeon's popularity—what advantages did this type of exhibition venue offer to both theater owner and patron?
11. In what ways did the motion picture industry in the late 1900s attempt to make films more prestigious and film going more respectable? What pressures were producers and exhibitors responding to?
12. How did the animated film develop during the early twentieth century? What types of animation techniques did the earliest animators use? Give examples of specific animators or from specific films.
Compare the film industries in France and the Soviet Union during the Late Silent Era. What economic, social, and political factors influenced film and cinema during this period in both countries?
.
[INSERT TITLE HERE] 11.Identify the Big Five Hollywood studios .docx
[INSERT TITLE HERE] 1
1. Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2. What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s? How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how Production Code regulations helped modify the content of Hollywood movies.
3. Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. Analyze how innovations within these categories influenced the development of the Hollywood style. In what ways did these innovations complement the aims of classical continuity filmmaking?
4. Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5. Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in? How did their individual expertise influence the style and makeup of the studios' signature characters?
6. Describe the immediate causes and effects of both of Britain's Quota Acts. In each case, how did these effects contribute to or hinder the consolidation of the British studio system? What kinds of films resulted from these acts?
7. Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
APP 315-42 Asian Pop Culture & Globalization (#4) Kathe.docx
APP 315-42
Asian Pop Culture &
Globalization (#4)
Katherine Chu
2018/02/13
1
Last time …
Lecture #3 Key Ideas
The Slanted Screen
Asian American History
Asian images in Hollywood (6 images)
The stereotypes of Asians in Hollywood
Case study: Breakfast at Tiffany’s (1961)
What is Yellowface?
How did Asian response (or “talk back”) to Hollywood?
Film: An Autumn’s Tale (1987)
Introduce you to some Asian Stars
TODAY !
The Global Impact of S. Korean Pop
Culture in Asia
On the syllabus
I required students to read from Chapter 1 to Chapter
4.
Feel free to pick one or more chapters to read.
Reasons to read:
Each chapter could be a sample to your FINAL
RESEARCH PAPER
Each chapter falls into one or two of popular culture
analysis (the 4 critical approaches) [NEXT SLIDE]
which I have introduced to you in Lecture #1
Four Critical Approaches
Production analysis
Textual analysis
Audience analysis
Historical Analysis
Critical Approaches
Production Analysis
Who owns the media? Who makes these texts? With
What intentions? Under what technical constraints?
How democratic or elitist is the production or popular
culture? Role of the state government? How much is
commerce? How much creative freedom?
Critical Approaches
Textual Analysis
How do specific works of popular culture make their
meanings? How do explicit meanings differ from
implied ones? How do texts consciously and
subconsciously shape those who hear, see, or touch
them?
Critical Approaches
Audience Analysis
How do different groups of popular culture consumers
or users, make similar or different sense of the same
texts?
Historical Analysis
How have these other three dimensions changed over
time? How does current popular culture differ from
that of 10, 20 or 30 years ago? What accounts for the
changes?
About the Book
Chapter 1 – overview the Korean Wave
Chapter 2 – Impact of Korean TV dramas
Chapter 3 – Impacts of Korean Wave in Indonesia
Chapter 4 – Impacts of Korean Wave in Japan
When you write your Readings Response Journal,
please provide me a summary of each chapter. Then
you can discuss some interesting points from the
chapters.
Key Ideas of Lecture #4
What is globalization?
Remember our course name? Asian Pop Culture &
Globalization.
About your Final Research Paper
What is Korean Wave?
Asian Pop Culture Development
Regionalism
US’s impact
What is Globalization?
Globalization
1. An outgrowth of cultural imperialism
US (“West”): Stronger àVS. Others (“East”/
“Oriental”): Weaker
One-way flow of western media
“One-way” means: flows from the West to the East ONLY,
not the opposite way
Globalization
1. An outgrowth of cultural imperialism
US (“West”)à Weaker
One-way flow of western.
World cinema
Cinema's shift from modernism to postmodernism based on Andrew's and Jameson's articles.
1000 words, 2 referencesBegin conducting research now on your .docx
1000 words, 2 references
Begin conducting research now on your company/client. After brainstorming on your company’s industry and after your preliminary research information-gathering techniques, create a research profile proposal to deliver to your company’s management that includes the following:
State the specific research goal for the proposal.
What is the company’s current business problem?
Who is the company’s competition?
Establish your population sample for researching customer attitudes and behaviors about the company and product.
Identify the steps in the research process.
.
1000 words only due by 5314 at 1200 estthis is a second part to.docx
1000 words only due by 5/3/14 at 12:00 est
this is a second part to this assignment due at a different time
Part 1
Your fast-food franchise has been cleared for business in all 4 countries (United Arab Emirates, Israel, Mexico, and China). You now have to start construction on your restaurants. The financing is coming from the United Arab Emirates, the materials are coming from Mexico and China, the engineering and technology are coming from Israel , and the labor will be hired locally within these countries by your management team from the United States. You invite all of the players to the headquarters in the United States for a big meeting to explain the project and get to know one another. The people seem to be staying with their own groups and not mingling.
What is the cultural phenomenon at play here (what is it called/ term)?
How do you explain the lack of intercultural communication and interaction?
What do you know about these cultures—specifically their economic, political, educational, and social systems—that could help you in getting them together?
What are some of the contrasting cultural values of these countries?
You are concerned about some of the language barriers as you start the meeting, particularly the fact that the United States is a low-context country, and some of the countries present are high-context countries. Furthermore, you only speak English, and you do not have an interpreter present.
How will this affect the presentation?
What are some of the issues you should be concerned about regarding verbal and nonverbal language for this group?
What strategy would you use to begin to have everyone develop a relationship with each other that will help ease future negotiations, development, and implementation?
.
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Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length.
Your responses should include examples from the reading assignments.
1. How did the Paramount decision of 1948 change the U.S. film industry? To what degree did the decision alter the way the industry did business?
2. How did changes in postwar American lifestyles affect the domestic film market? Amidst a climate of more selective moviegoers, what type of film was judged to be capable of attracting audiences? How did the Hollywood Majors exploit technological advances to produce this type of film?
3. Identify the major segments of the U.S. filmgoing audience targeted by producers in the 1950s. What kinds of films were produced for each of these segments?
4. What factors lay behind the "upscaling" of Hollywood film genres during the 1950s? Identify the significant genres of the postwar period, and explain how each was affected by enhanced production values and increased thematic complexity.
5. Pick two of the following directors: Max Ophüls, Jean Renoir, Jean Cocteau. What were the particularly important or influential qualities of these directors' postwar French films? In what ways did each director use visual style to complement his characteristic thematic or narrative concerns?
6. Why did the United States, as represented by SCAP (Supreme Commander of the Armed Powers), take a keen interest in the postwar Japanese film industry? What steps did SCAP take to help rebuild the Japanese studio system? In what ways did SCAP both assist and hinder the efforts of the major postwar Japanese directors?
7. In what ways did film production in the Soviet bloc nations adhere to
and
depart from the Soviet industry structure and the Socialist Realist aesthetic? Specifically, how did "de-Stalinization" affect film practice?
8. What were the essential traits of the postwar Hindi film? Identify its conventions using the films discussed in the text as examples.
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Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length. Your responses should include examples from the reading assignments.
1.Compare and contrast the "revolutionary" cinemas of Cuba and Argentina.
2.What factors influenced the development of militant black African cinema in the 1960s and 1970s?
3.How did eastern European filmmakers react to the conditions imposed by Socialist Realist doctrine—that is, to the idea that Soviet bloc artists were obliged to serve the objectives of the Communist Party?
4.How do the films of Rainer Werner Fassbinder exemplify, as suggested in the text, a general trend within contemporary European political cinema? Describe the two phases of his career.
5.How did Direct Cinema develop from the late 1960s onward?
6.In what ways have documentary films since the 1960s turned a critical eye on the documentary tradition itself? Identify and explain the formal strategies commonly pursued by filmmakers who have questioned the authority of documentary film's truth claims.
7.What are the basic differences between "underground" film and Structural film? Which kinds of formal principles are explored in the most representative works of the Structuralist tendency?
8.What were the ideas and influences behind the emergence of the New Narrative and the punk (and punk-influenced) experimental film trends of the 1970s and 1980s?
.
DirectionsUsing word processing software to save and submit.docx
Directions
:
Using word processing software to save and submit your work, please answer the following short answer questions.
All responses to questions should be one to two
paragraphs, composed of five to seven sentences, in length.
Your responses should include examples from the reading assignments.
1.
How did the major Hollywood firms respond to the challenge posed by First National Exhibitors' Circuit in 1917?
What kinds of benefits resulted from the industry's adoption of vertical integration?
Explain how this policy benefited both major and minor film companies.
2.
Identify the major technological and aesthetic factors that influenced Hollywood film form during the 1920s.
How did the resulting changes enhance or complement the classical narrative style, which was by then the industry norm?
How are these changes evident in the film screened in class?
3.
What events or conditions motivated the calls for the moral reform of the American film industry in the early 1920s?
How did the industry respond to these calls?
Analyze how this response placated the reformers and at the same time protected the industry's own interests.
4.
In what ways were the formal innovations of European cinemas assimilated by American filmmakers and integrated into the classical Hollywood cinema during the late silent era?
What kinds of contributions were made by European directors working in Hollywood?
5.
Under what conditions did African American audiences experience films during the silent era?
In what ways did individual filmmakers or companies tailor their films to appeal specifically to these audiences?
6.
Discuss the motives behind the emergence of "Film Europe."
How did the national film industries of Europe cooperate in combating the influence of American movies?
Why were these cooperative efforts halted at the end of the 1920s?
7.
What were the institutions that championed and promoted "art cinema" during the late silent period?
8.
What were the theoretical and aesthetic principles that characterized the Dada, Surrealist, and "cinema pur" movements?
Which formal and stylistic qualities did their films share, and in what ways did they differ?
.
Directions Using word processing software to save and submit yo.docx
Directions
:
Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length. Your responses should include examples from the reading assignments.
1. How did the major Hollywood firms respond to the challenge posed by First National Exhibitors' Circuit in 1917? What kinds of benefits resulted from the industry's adoption of vertical integration? Explain how this policy benefited both major and minor film companies.
2. Identify the major technological and aesthetic factors that influenced Hollywood film form during the 1920s. How did the resulting changes enhance or complement the classical narrative style, which was by then the industry norm? How are these changes evident in the film screened in class?
3. What events or conditions motivated the calls for the moral reform of the American film industry in the early 1920s? How did the industry respond to these calls? Analyze how this response placated the reformers and at the same time protected the industry's own interests.
4. In what ways were the formal innovations of European cinemas assimilated by American filmmakers and integrated into the classical Hollywood cinema during the late silent era? What kinds of contributions were made by European directors working in Hollywood?
5. Under what conditions did African American audiences experience films during the silent era? In what ways did individual filmmakers or companies tailor their films to appeal specifically to these audiences?
6. Discuss the motives behind the emergence of "Film Europe." How did the national film industries of Europe cooperate in combating the influence of American movies? Why were these cooperative efforts halted at the end of the 1920s?
7. What were the institutions that championed and promoted "art cinema" during the late silent period?
8. What were the theoretical and aesthetic principles that characterized the Dada, Surrealist, and "cinema pur" movements? Which formal and stylistic qualities did their films share, and in what ways did they differ?
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1.How did the major Hollywood firms respond to the challenge pos.docx
1.
How did the major Hollywood firms respond to the challenge posed by First National Exhibitors' Circuit in 1917? What kinds of benefits resulted from the industry's adoption of vertical integration? Explain how this policy benefited both major and minor film companies.
2.
Identify the major technological and aesthetic factors that influenced Hollywood film form during the 1920s. How did the resulting changes enhance or complement the classical narrative style, which was by then the industry norm? How are these changes evident in the film screened in class?
3.
What events or conditions motivated the calls for the moral reform of the American film industry in the early 1920s? How did the industry respond to these calls? Analyze how this response placated the reformers and at the same time protected the industry's own interests.
4.
In what ways were the formal innovations of European cinemas assimilated by American filmmakers and integrated into the classical Hollywood cinema during the late silent era? What kinds of contributions were made by European directors working in Hollywood?
5.
Under what conditions did African American audiences experience films during the silent era? In what ways did individual filmmakers or companies tailor their films to appeal specifically to these audiences?
6.
Discuss the motives behind the emergence of "Film Europe." How did the national film industries of Europe cooperate in combating the influence of American movies? Why were these cooperative efforts halted at the end of the 1920s?
7.
What were the institutions that championed and promoted "art cinema" during the late silent period?
8.
What were the theoretical and aesthetic principles that characterized the Dada, Surrealist, and "cinema pur" movements? Which formal and stylistic qualities did their films share, and in what ways did they differ?
ALL NEED TO BE ONE PARAGRAPH!!!!!
.
1. Identify the Big Five Hollywood studios (or Majors) of the.docx
1. Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2. What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s? How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how Production Code regulations helped modify the content of Hollywood movies.
3. Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. Analyze how innovations within these categories influenced the development of the Hollywood style. In what ways did these innovations complement the aims of classical continuity filmmaking?
4. Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5. Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in? How did their individual expertise influence the style and makeup of the studios' signature characters?
6. Describe the immediate causes and effects of both of Britain's Quota Acts. In each case, how did these effects contribute to or hinder the consolidation of the British studio system? What kinds of films resulted from these acts?
7. Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
Directions Using word processing software to save and submit your.docx
Directions:
Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length. Your responses should include examples from the reading assignments.
1.Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2.What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s? How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how Production Code regulations helped modify the content of Hollywood movies.
3.Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. Analyze how innovations within these categories influenced the development of the Hollywood style. In what ways did these innovations complement the aims of classical continuity filmmaking?
4.Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5.Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in? How did their individual expertise influence the style and makeup of the studios' signature characters?
6.Describe the immediate causes and effects of both of Britain's Quota Acts. In each case, how did these effects contribute to or hinder the consolidation of the British studio system? What kinds of films resulted from these acts?
7.Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
DirectionsUsing word processing software to save and submit y.docx
Directions:
Using word processing software to save and submit your work, please answer the following short answer questions.
All responses to questions should be one to two
paragraphs, composed of five to seven sentences, in length.
Your responses should include examples from the reading assignments.
1.
Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2.
What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s?
How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry?
Explain how Production Code regulations helped modify the content of Hollywood movies.
3.
Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles.
Analyze how innovations within these categories influenced the development of the Hollywood style.
In what ways did these innovations complement the aims of classical continuity filmmaking?
4.
Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical.
Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5.
Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros.
What sorts of animation techniques did each specialize in?
How did their individual expertise influence the style and makeup of the studios' signature characters?
6.
Describe the immediate causes and effects of both of Britain's Quota Acts.
In each case, how did these effects contribute to or hinder the consolidation of the British studio system?
What kinds of films resulted from these acts?
7.
Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
Directions Using word processing software to save and submit your.docx
Directions: Using word processing software to save and submit your work, please answer the following short answer questions. All responses to questions should be one to two paragraphs, composed of five to seven sentences, in length. Your responses should include examples from the reading assignments.
1. Perhaps the most important artistic trend of the early twentieth century was labeled modernism. Summarize some of the principal tenets of modernism, and specify how these ideas influenced the development of the French Impressionism (or German Expressionist [Ch. 5] or Soviet Montage [Ch. 6]) movement in film.
2. What created the problems confronting French film production between 1918 and 1928? Identify the three primary factors as identified in the text, and summarize the effects of each of these causes.
3. The formal qualities of French Impressionism derived partly from the directors' beliefs about the cinema as an art form. What were these beliefs? Explain how the Impressionists' theories on the cinema translated to their films with regard to either cinematography or editing.
4. Why did French Impressionism decline as a unified filmmaking movement in the late 1920s? What was the role of pressures from both inside and outside the movement in this decline?
5. Compare the activities of the Soviet film industry during the War Communism period (1918-1920) and during the years of the New Economic Policy (1921-1924). What difficulties arose for the industry during War Communism, and how were these problems remedied or addressed by the New Economic Policy?
6. What were the objectives of Constructivism, and which of those aims were especially important to the development of the Montage movement in film?
7. How did the theories on filmmaking advanced by Lev Kuleshov, Dziga Vertov, and Sergei Eisenstein differ with regard to editing?
8. How was mise-en-scene used as an element of montage in the films of Soviet directors? Give examples of how mise-en-scene was typically employed in Montage films.
9. What is the difference between vertical integration and horizontal integration?
10. What were the factors behind the nickelodeon boom of the middle 1900s? What were the reasons for the nickelodeon's popularity—what advantages did this type of exhibition venue offer to both theater owner and patron?
11. In what ways did the motion picture industry in the late 1900s attempt to make films more prestigious and film going more respectable? What pressures were producers and exhibitors responding to?
12. How did the animated film develop during the early twentieth century? What types of animation techniques did the earliest animators use? Give examples of specific animators or from specific films.
Compare the film industries in France and the Soviet Union during the Late Silent Era. What economic, social, and political factors influenced film and cinema during this period in both countries?
.
[INSERT TITLE HERE] 11.Identify the Big Five Hollywood studios .docx
[INSERT TITLE HERE] 1
1. Identify the Big Five Hollywood studios (or "Majors") of the 1930s and summarize their strategies for weathering the effects of the Great Depression.
2. What types of film content caused problems for the major Hollywood production companies during the late 1920s and early 1930s? How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how Production Code regulations helped modify the content of Hollywood movies.
3. Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. Analyze how innovations within these categories influenced the development of the Hollywood style. In what ways did these innovations complement the aims of classical continuity filmmaking?
4. Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945, and provide examples of representative films.
5. Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in? How did their individual expertise influence the style and makeup of the studios' signature characters?
6. Describe the immediate causes and effects of both of Britain's Quota Acts. In each case, how did these effects contribute to or hinder the consolidation of the British studio system? What kinds of films resulted from these acts?
7. Compare and contrast popular cinema in Japan during the early and middle 1930s to Japanese cinema during the years of World War II.
.
APP 315-42 Asian Pop Culture & Globalization (#4) Kathe.docx
APP 315-42
Asian Pop Culture &
Globalization (#4)
Katherine Chu
2018/02/13
1
Last time …
Lecture #3 Key Ideas
The Slanted Screen
Asian American History
Asian images in Hollywood (6 images)
The stereotypes of Asians in Hollywood
Case study: Breakfast at Tiffany’s (1961)
What is Yellowface?
How did Asian response (or “talk back”) to Hollywood?
Film: An Autumn’s Tale (1987)
Introduce you to some Asian Stars
TODAY !
The Global Impact of S. Korean Pop
Culture in Asia
On the syllabus
I required students to read from Chapter 1 to Chapter
4.
Feel free to pick one or more chapters to read.
Reasons to read:
Each chapter could be a sample to your FINAL
RESEARCH PAPER
Each chapter falls into one or two of popular culture
analysis (the 4 critical approaches) [NEXT SLIDE]
which I have introduced to you in Lecture #1
Four Critical Approaches
Production analysis
Textual analysis
Audience analysis
Historical Analysis
Critical Approaches
Production Analysis
Who owns the media? Who makes these texts? With
What intentions? Under what technical constraints?
How democratic or elitist is the production or popular
culture? Role of the state government? How much is
commerce? How much creative freedom?
Critical Approaches
Textual Analysis
How do specific works of popular culture make their
meanings? How do explicit meanings differ from
implied ones? How do texts consciously and
subconsciously shape those who hear, see, or touch
them?
Critical Approaches
Audience Analysis
How do different groups of popular culture consumers
or users, make similar or different sense of the same
texts?
Historical Analysis
How have these other three dimensions changed over
time? How does current popular culture differ from
that of 10, 20 or 30 years ago? What accounts for the
changes?
About the Book
Chapter 1 – overview the Korean Wave
Chapter 2 – Impact of Korean TV dramas
Chapter 3 – Impacts of Korean Wave in Indonesia
Chapter 4 – Impacts of Korean Wave in Japan
When you write your Readings Response Journal,
please provide me a summary of each chapter. Then
you can discuss some interesting points from the
chapters.
Key Ideas of Lecture #4
What is globalization?
Remember our course name? Asian Pop Culture &
Globalization.
About your Final Research Paper
What is Korean Wave?
Asian Pop Culture Development
Regionalism
US’s impact
What is Globalization?
Globalization
1. An outgrowth of cultural imperialism
US (“West”): Stronger àVS. Others (“East”/
“Oriental”): Weaker
One-way flow of western media
“One-way” means: flows from the West to the East ONLY,
not the opposite way
Globalization
1. An outgrowth of cultural imperialism
US (“West”)à Weaker
One-way flow of western.
World cinema
Cinema's shift from modernism to postmodernism based on Andrew's and Jameson's articles.
Similar to 1. Trace the development of the early documentary film career o.docx (20)
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1.How did the major Hollywood firms respond to the challenge pos.docx
1.How did the major Hollywood firms respond to the challenge pos.docx
1. Identify the Big Five Hollywood studios (or Majors) of the.docx
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italian & german Cinema, 2 different way to supply a movie
italian & german Cinema, 2 different way to supply a movie
[INSERT TITLE HERE] 11.Identify the Big Five Hollywood studios .docx
[INSERT TITLE HERE] 11.Identify the Big Five Hollywood studios .docx
APP 315-42 Asian Pop Culture & Globalization (#4) Kathe.docx
APP 315-42 Asian Pop Culture & Globalization (#4) Kathe.docx
Understanding cinema:french new wave,italian neorealism and indian parallel c...
Understanding cinema:french new wave,italian neorealism and indian parallel c...
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100 word responseChicago style citingLink to textbook httpbo.docx
100 word response
Chicago style citing
Link to textbook: http://books.google.com/books?id=zutRiJJMBQYC&printsec=frontcover#v=onepage&q&f=false
Article is attached
The overwhelming similarities between the articles are perception of identity through self-focus or self-identity through culture. Mulvaney tells us “truth is socially constructed through language and other symbol systems” (Mulvaney, 222). And as an example, it was just such self-focus that landed Galileo in jail by asserting that the universe was sun-centered as opposed to earth centered. The people of that time had socially constructed their own truths based on their perceptions of that time, although we now know that both were incorrect. It was from this perception of correctness that power was assumed and asserted by the majority, which in this case led to Galileo’s arrest (Mulvaney 2004).
Jandt touches on an interesting fact regarding existentialism, the idea of the “other” and the idea that both the observer and the observed are changed in the process. He states, “that the observer is not independent of the observed; the observed is in some sense “created” or changed or both by the act of observation” (Jandt, 212). It is from this dynamic that Jandt speaks of that we can see the formation of societal roles, i.e. the roles of those in positions of power and those in a subservient roles.
The interesting culmination of the information from all three articles is that the process is not a stagnant one, but rather one that can, and often times does change. Through introspective analysis, asking ourselves the question “Who am I?” we can embrace our cultural differences and through the acceptance of our individual qualities can take back some of the power that was perhaps lost (Jandt, 210). For example, take the labels “Feminist” and “Gay” along with “queer” and “Chicano,” which were certainly negative when created, have been transformed into positive labels embraced by those within each perspective community (Jandt 2004).
Works Cited
Jandt, Fred E., Dolores V. Tanno. "Decoding Domination, Encoding Self-Determination - Intercultural Comminication Research Process." In Intercultural Communication: A Global Reader, by Fred E. Jandt, 205 - 221. Thousand Oaks, CA: Sage Publications, Inc., 2004.
Mulvaney, Becky Michelle. "Gender Differences in Communication - An Intercultural Experience." In Intercultural Communication - A Global Reader, by Fred E. Jandt, 221 - 229. Thousand Oaks, CA: Sage Publications, Inc., 2004.
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100 word response to the followingBoth perspectives that we rea.docx
100 word response to the following:
Both perspectives that we read referenced Hofstede’s work. Merrit and Helmreich focused closely on Hofstede’s principles of individualism and power distance. They studied how American flight crews differed in these areas from Asian flight crews. The American flight crews proved to have much more individualism than the Asian, although power distance perceptions were mixed between pilots and flight attendants, with the flight attendants perceiving more power distance than the pilots (in Jandt, 2004). Aldridge also focused on individualism and power distance, with regards to the American culture. It is Aldridge’s thesis that it is the idea of the “natural rights of man” that underpins American culture (in Jandt, 2004, p.94). The natural rights of man are a value that is espoused by a culture with high individuality and low power distance. If man has natural rights, then he is an independent being, and in order to value all men, we must have a lower perception of the distance between those of high status and those with lower status.
I enjoyed both perspectives. I felt that the aviation study was very strong, as they were careful to make sure that they accounted for cultural differences in their measurements. I agree with the authors that although they confirmed some sociological theories and demonstrated that flight crews tend to follow their cultural norms, the study is likely skewed. In order to understand how different flight crews behave from standard Asian social norms, the surveys would have to be done from an Asian perspective and even then, there is not just one Asian culture, so that should be taken into account. We likely miss many of the subtle differences between Asian flight crews and their home culture, by not having a sensitive test to that culture.
My main complaint about Aldridge’s perspective is a lack of strong comparison to other cultures. I felt that the argument that American culture is strong based on our belief in natural human rights would have been better served by showing more comparison to other cultures that also espouse this value and/or to cultures that clearly do not. The comparison to Nazi culture was a start, but one that gets kind of old after a while, and is not a culture that is as current as I would prefer in a comparison.
Readings:
Texbook: Jandt, Fred E. (editor) Intercultural Communication: A Global Reader. Thousand Oaks, CA: Sage. 2004
“Human Factors on the Flight Deck: The Influence of National Culture,” Merritt and Helmreich, Jandt pages 13-27
“What is the Basis of American Culture,” Aldridge, Jandt pages 84-98
100 word response to the following
The perspectives learned this week relate to the evolution of human beings and their ability to evolve and survive. As it was state in Aldridge’s readings human beings have the capability to communicate and this ability makes them superior, than animals. All human beings came from the same land and eventually with th.
100 word response to the followingThe point that Penetito is tr.docx
100 word response to the following:
The point that Penetito is trying to make is that it is important for indigenous cultures to survive. He uses the case of the education of the Maori in New Zealand as an example to exhibit the declining influence of the culture because of the influence of the more dominant British culture. Penetito strengthens his argument by referencing problems that come with colonization and the negative on natives, most notably, the educational system. By attacking this one issue and using facts about the culture to enrich the discussion helps to focus his message that cultures being dominated is a bad thing. The Maori educational system has been moulded to fit the mainstream framework rather than a Maori one (Jandt, 2004, p. 173) and this creates many of the problems and contributes to the extinction of culture. He could use other examples of how colonizing countries leads to the destruction of less important areas of indigiounous cultures such as dress, language, or food in order to strengthen his arguments about the educational systems. The lack of attention in the educational field is having lasting effects on Maoris living in New Zealand and any more information he could use to support this would be important to know. Also examples of educational systems in other colonized countries, to compare and contrast them to New Zealand's would also help to influence readers. He references a report done by the Ministry of Maori Development which states that, "disparities between Maori and non-Maori in a variety of economic sectors such as employment and income" (Jandt, 2004, p. 181). The Maori are just an example of one culture that is fighting for survival out of many. The problem is that through colonization, diversity dwindles. Penetito's writing is valid for all endangered languages because all cultures can use it as a template and useful knowledge for preserving their cultures before they are completely gone.
Textbook: Jandt, F. (2004). Intercultural Communication:A Global Reader. Thousand Oaks, CA: Sage Publications Inc.
---------------------------------------------------------------------------------------------------------------------------
100 word response to the following:
I would like to ask a provocative question, or two.
Given that all of the indigenous languages in the USA are on the brink of extinction, should there be federal funding to protect these languages and these cultures?
Along the same lines, what do you think of English-only initiatives? Do these aid or hurt American culture?
http://www.endangeredlanguages.com/
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100 word response to the folowingMust use Chicago style citing an.docx
100 word response to the folowing:
Must use Chicago style citing and the textbook: Jandt, Fred E. (editor) Intercultural Communication: A Global Reader. Thousand Oaks, CA: Sage. 2004. Part I Cultural Values
Culture has many different meanings anywhere from historical perspectives to behavioral perspectives to different traditions that have been passed down from generations to generations.
Levi Strauss was interested in structuralism which he defined as “the search for unusual harmonies” (pg 1 Jandt). “There are many more human cultures than human races”, human cultures are counted by the thousands and human races are divided up by units.
The collaboration between cultures is trying to compare the old world with the new world. “No society is intrinsically cumulative. Cumulative history is the way of life of cultures and how they get a long together. All cultural contributions are divided into two groups; isolated acquisitions or features, the features are important but at the same time they are limited. The second group is systemized contributions which is how each society has chosen to express human aspirations. According to Strauss the true contribution of a culture is its difference from others.
Geert Hostede looks at business cultures and states that culture may be divided into four categories symbols, heroes, rituals and values. “Understanding people means understanding their background from which their present and future behavior can be predicted”. There are also four national cultural differences: 1.power distance-the population from equal to extremely unequal 2. Individualism -people have learned to act as individuals rather than in a group 3.masculinity- assertiveness or masculine values prevail over the feminine ones 4.uncertainty avoidance- people in a country prefer structured over unstructured situations.
References:
Jandt, E. Fred. Intercultural Communications. Thousand Oaks; Sage Publications. 2004. Print.
100 word response to the folowing:
Must use Chicago style citing and the textbook: Jandt, Fred E. (editor) Intercultural Communication: A Global Reader. Thousand Oaks, CA: Sage. 2004 Part I Cultural Values
Our culture is something that has been ingrained in us from an early age, and is largely unconscious. Levi-Strauss says that while certain biological traits were selected for us in the beginning of evolution, as soon as culture came into being, those biological traits were influenced by the dynamics of culture (Jandt, p. 6). Essentially, we are not able to separate ourselves from culture, and to do so would be to ruin what is wonderful and unique about each culture. According to Hofstede, all cultures have their processes, and their values. While things like symbols and rituals in a culture vary greatly, he says; “Values represent the deepest level of culture. (Jandt, p. 9)”
Because culture is deeply ingrained in us, all of the variants that Levi-Strauss and Hofstede discussed must be taken in account when dealing wit.
100 word response using textbook Getlein, Mark. Living with Art, 9t.docx
100 word response using textbook: Getlein, Mark. Living with Art, 9th Ed., New York: McGraw-Hill, 2010. Citing in MLA Format:
Between the Baroque and Rococo era, according to Getlein in Living with Art 2010, Rococo is a development and extension of the baroque style. Rococo is not only a play on the word baroque, but also French for rocks and shells. Rococo is known for its ornate style and several points of contrast. Baroque on the other hand was an art of cathedrals and palaces (Getlein p. 397). The Mirror Room of the Amailienburg in Nymphenburg is a great example of the Rococo style of art with its gentle pastels, overall intimacy, multiple mirrors and its illusion of the sky and with that baroque is large in scale and rococo is lighter. According to Getlein p. 398, Rococo architecture first originated in France but was soon exported, some examples of this type of art are found in Germany. Hall of mirrors on page 392 by Charles Le Brun is an example of baroque art, it is a more intense piece of work that is more vibrant and energetic vice the lighter decoration s used in The Mirror Room.
100 word response using textbook: Getlein, Mark. Living with Art, 9th Ed., New York: McGraw-Hill, 2010. Citing in MLA Format:
The Renaissance covered the period from 1400 to 1600, which brought numerous changes that included new techniques in art, the way art was viewed, and how people viewed themselves. The term renaissance means "rebirth" and it refers to the renewal of interest in Roman and Greek cultures. During the period scholars who called themselves humanists believed in the pursuit of knowledge and striving to reach their full creative and intellectual potential. This new way of thinking had many impacts for art during this period. Artists became interested in observing the natural world and studied new techniques on how to accurately depict it. Various techniques were developed such as the effect of light known as chiaroscuro; noting that distant objects appeared smaller than nearer ones they developed linear perspective; seeing how detail and colored blurred with distance, they developed atmospheric perspective. (Getlein page 361) The nude also reappeared in art, for the body was one of God's most noble creations; an example of this can be seen in figure 16.8 the statue of David, by the artist Michelangelo. (Getlein page 368) The primary difference between the Renaissance and the prior period of time was that artists were no longer viewed craftsmen, they were now recognized as intellectuals. (Getlein page 362)
The Northern Renaissance developed more gradually than in Italy. Northern artists did not live among the ruins of Rome nor did they share the Italians’ sense of a personal link to the creators of the Classical past; thus affecting the focus and characteristics between the two cultures. (Getlein page 374) Renaissance artists in northern Europe focused more on small details of the visible world, such as decoration or the outer appearanc.
100 word response to the following. Must cite properly in MLA.Un.docx
100 word response to the following. Must cite properly in MLA.
Unlike the Egyptian culture that created statues of themselves as gods and pharaohs. Muslims did not worship false idols or statues so no pictures or statues or gods are present in their mosques. According to Geitlein (2010), “The Qur’an contains a stern warning against the worship of idols, and in time this led to a doctrine forbidding images of animate beings in religious contexts” (p. 410). Instead the Muslims of the Islam culture used geometry and plants to design buildings, like the Egyptian pyramids, Muslims built beautiful mosques with grand designs. Islam became a world religion, like Christians, they needed a place of worship and prayer. They also used fine textiles, sun dried brick, and ceramics to create their designs. An example would be the popular Cordoba mosque of Spain. A lot of mosques use the arch and dome technique like that of the Romans and Byzantine architecture. Arabic script also became popular and appeared inside the mosque temples. Islam used calligraphy as art and to illustrate writing. Egyptians were also big on scripting but theirs was called hieroglyphics, which not only had letters, but pictures were a big part of their writing system as well. The Egyptians didn’t technically worship false idols at all times, at some times they had statues created of themselves but there wasn’t really a religion in Egypt until the one god religion began there. Egypt gave you a visual of the life and world of Egypt, Islam leaves it more up to the imagination with no pictures of what any of the past history looked like.
References
Getlein, Mark. Living With Art. 9th ed. New York: McGraw-Hill, 2010. Print.
100 word response to the following. Must cite properly in MLA:
Realism was a mid to late 19th century movement in which artist should represent the world at it is regardless of artistic and social understandings. Realist were seeking to free art from social regulation and depicting how society shapes the lives of people (Little, page 80).
In his Fur Traders Descending the Missouri, American-born George Caleb Bingham a self taught artist and the first major painter to live and work west of the Mississippi River illustrates the realism of life for a French trapper and his son on the Missouri River hunting from a dugout canoe. The painting is simple to understand, it represents the calmness of a time to me when life was simple.
Abstract Expressionism was a movement that got its start following World War TWO. Developed in New York and often referred to as the New York School or Action Painting it is characterized to depict universal emotions. Additionally this was the first American movement to gain international recognition (Little, page 122).
Jackson Pollock’s perfected Abstract Expressionism through his “drip technique”, a technique in which you apply paint to a canvas on the floor indirectly from a brush. Pollock the youngest of five boys in a family that moved a.
100 original, rubric, word count and required readings must be incl.docx
100% original, rubric, word count and required readings must be included
This is 3 assignments in one. The final is all the assignments from M1A2- M5A2
The assignments are highlighted in yellow and the rubics are in red and attached for M3A2 and M5A2
Assignment 2: LASA 1—Preliminary Strategy Audit
The end result of this course is developing a strategy audit. In this module, you will outline and draft a preliminary framework for your final product. This provides you with the opportunity to get feedback before a final submission.
In
Module 1
, you reviewed the instructions for the capstone strategy audit assignment and grading rubric due in
Module 5
. By now, you have completed the following steps:
Identified the organization for your report
Interviewed at least one key mid-level or senior-level manager
Created a market position analysis
Conducted an external environmental scan in preparation of your final report and presentation
In this assignment, you will generate a preliminary strategy audit in preparation for your final course project.
Prepare a report that includes the following:
In preparation for your course project, prepare the preliminary strategy audit using the tools and framework you have focused on so far including the following:
Analysis of the company value proposition, market position, and competitive advantage
External environmental scan/five forces analysis
Identify the most important (5–7) strategic issues facing the organization or business unit.
You may modify the strategic issues in your final report based on the additional analysis you will conduct in the next module as well as the feedback you receive on this paper from your instructor.
Keep in mind that it is important to look at the strategic issue(s) from more than just one perspective in the business unit or company—speak to or research the issue from more than one angle to offer a 360-degree approach that does not cause more problems or issues.
Strategic issues arise from a mismatch between internal capabilities and external trends such that important opportunities are not being pursued or significant external threats are not being addressed under the current strategy.
Include a preliminary set of recommended tactics for improving your company’s strategic alignment and operating performance.
You may modify these recommendations in your final report based on the additional analysis you will conduct in the next module as well as the feedback you receive on this paper from your instructor.
Keep in mind that recommendations can include, but are not limited to, tactics in marketing, branding, alliances, mergers and acquisitions, integration, product development, diversification or divestiture, and globalization. If you recommend your company to go global, you must include a supply chain analysis and an analysis of your firm’s global capabilities.
Write your report as though you are a consultant to your company and are addressing the executive officers of this comp.
100 or more wordsFor this Discussion imagine that you are speaki.docx
100 or more words
For this Discussion imagine that you are speaking to a group of parents or early childcare professionals. Identify the characteristics of the group so that your readers know who is being addressed. Explain to the group why play is so important to children, including:
How and what children learn through play
Give examples of how they can encourage and support play for children
.
10. (TCOs 1 and 10) Apple, Inc. a cash basis S corporation in Or.docx
10.
(TCOs 1 and 10) Apple, Inc. a cash basis S corporation in Orange, Texas, formerly was a C corporation. Apple has the following assets and liabilities on January 1, 2010, the date the S election is made:
Adjusted Basis
Fair Market Value
Cash
$200,000
$200,000
Accounts receivable
-0-
$105,000
Equipment
$110,000
$100,000
Land
$1,800,000
$2,500,000
Accounts payable
-0-
$110,000
During 2010, Apple collects the accounts receivable and pays the accounts payable. The land is sold for $3 million, and taxable income for the year is $590,000. What is Apple's built-in gains tax?
(Points : 5)
.
10-12 slides with Notes APA Style ReferecesThe prosecutor is getti.docx
10-12 slides with Notes APA Style Refereces
The prosecutor is getting feedback from local law enforcement officers explaining that they are discouraged from making arrests in cases of domestic violence and child abuse. They claim that they have been either not making arrests in domestic violence situations or arresting both parties when they go out on a call. It seems that abused women often go back to the abusers, and children who get removed from the homes where they have been abused often return after removal. These occurrences have been especially demoralizing to law enforcement.
One of your jobs in working as a victim witness assistant is to help educate law enforcement on the nature and behaviors involved in domestic violence and child abuse. The prosecutor’s office has decided that you should present each of these topics for the next training session:
Topic 1: Domestic violence:
Your goal is to educate law enforcement to use best practices in the investigation of domestic abuse cases. Include the following topics:
How to approach a domestic violence situation when responding to an emergency call
when the parties should be separated
how to interview parties
what information needs to be in the report and why
how best to help a victim
what laws protect victims, including the use of protection orders
why victims return to abusers
length of time it may take to stay away from their abusers
Arrests
the legal standard needed to make an arrest in a domestic violence case
What evidence should be collected at the arrest?
Are dual arrests effective law enforcement?
how to assist domestic violence victims
reluctant victims
help for victims
Topic 2: Child Abuse:
Your goal will be to educate law enforcement about the dynamics of abuse and neglect cases. Include the following topics:
signs of child abuse and categories (physical, sexual, emotional)
difference between abuse and neglect
legal description of neglect
use of guardian
ad litems
the legal standards that must be met in removal from the home
termination of parental rights
requirements of Indian Child Welfare Act (ICWA)
role of court-appointed special advocates (CASA) in child abuse and neglect cases
role of social services in abuse and neglect cases
For more information on creating PowerPoint Presentations, please visit the Microsoft Office Applications Lab.
.
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10-12 page paer on
Discuss the advantages and problems with trailers for temporary housing, the issues for FEMA, and recommendations for improvements to the housing program. Discuss how Public Assistance was used in New York for Hurricane Sandy recovery, and why this was so different than previous housing policies.
.
10. Assume that you are responsible for decontaminating materials in.docx
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How would you sterilize each of the following? Briefly justify your answers.
a. A mattress used by a patient with bubonic plague
b. Intravenous glucose-saline solutions
c. Used disposable syringe
d. Tissues taken from patients
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1. Trace the development of the early documentary film career o.docx
- 1. 1. Trace the development of the early documentary film career of Jean Rouch. What were his objectives as an ethnographic filmmaker during the 1950s? What formal techniques did he use to express these objectives? 2. How did Direct Cinema succeed in transforming documentary filmmaking during the late 1950s and early 1960s? Why did American documentary makers adopt this style, and in what ways did this choice influence their films? In what ways were their films also influenced by technological developments? 3. Compare and contrast two of the most prominent trends in avant-garde filmmaking from the 1940s to the 1960s: the experimental narrative and the lyrical film. How did both trends make use of abstract imagery and structure, and for what purposes? 4. What were the notable (and notorious) qualities that characterized the American underground film of the 1960s? 5. Analyze the important social, economic, and industrial factors leading up to the emergence of the New Hollywood in the early 1970s. What were the causes of the industry-wide recession of 1969 to 1970? What new audiences did the Majors subsequently attempt to target? 6. How did European art cinema conventions influence the filmmakers of the New Hollywood? In what ways did art cinema narrational and stylistic techniques infuse new life into standard Hollywood genres? 7. Trace the evolution of the Hollywood studio system's economic recovery in the middle and late 1970s. What were the important blockbusters of the period?
- 2. 8. Compare and contrast the approaches of Steven Spielberg and Martin Scorsese to studio filmmaking. In what ways did each director "revise" genres from the classical Hollywood era? How did the personal style of each director reflect or deviate from the norms of classical Hollywood filmmaking?