The document discusses representations of ethnic minorities in the media. It argues that media portrayals are shaped by dominant ideological perspectives that serve to control identities. Stuart Hall proposes that the media produces representations of social worlds through images and portrayals that disseminate ideology. Identity should be seen as fluid and constantly evolving rather than fixed. Research shows ethnic minorities tend to be underrepresented or stereotypically portrayed in the media, subordinating them to white ideological hegemony. The repetitive framing of particular images leads audiences to see them as definitive of certain groups.
This document summarizes key points from a presentation on race and cultural representation. It discusses the historical development of racialization in the 19th century when races were seen as distinct species. It also notes how globalization has been used to argue that racial opposition would still exist based on other attributes like color, culture and religion. Additionally, it examines how institutions both construct and deconstruct race through government policies and media. The document concludes by reviewing how different groups like Jews, asylum seekers, and Europeans have been racialized in Britain at different time periods.
This document discusses colonialism, post-colonialism, and representations of minorities in media. It addresses how colonial powers exploited resources and presented racist images of colonized peoples. Post-colonial theorists argue that Western media still lacks representation of black people and models colonialist views of depicting black women as over-sexualized. The document also examines theorists like Edward Said who discussed how the West constructs an "oriental other" and how diaspora identities have formed. It analyzes stereotypes of minorities in media and their portrayals as humorous, exotic, pitied or dangerous.
The document discusses media representation of black British collective identity. It begins by outlining key questions around how different media represent social groups. It then describes black British collective identity as a postmodern subcultural youth movement comprising young people of various ethnicities united by shared black cultural symbols. The document introduces film and music as two media forms, noting how films often portray negative stereotypes of "urban youth" while grime music allows them to reclaim voice. It provides examples of films and artists to support the points, and suggests media industry involvement sometimes shifts the representation in music.
This document discusses British national identity and cultural diversity through examining British cinema from the 1940s to 2000s. It explores how nationality is constructed through geography, biology, race, ethnicity, institutions, shared values, and culture. Key periods of British cinema discussed include the Free Cinema movement of the 1950s, British New Wave of the 1960s, and social realist films that focused on working class lives. Contemporary representations of masculinity and the impacts of Thatcherism on British society in the 1980s are also summarized.
This document discusses several ideologies that have been influential in the Caribbean, including Pan-Africanism, Negritude, Capitalism, Marxism, and Feminism. It provides background on the origins and objectives of the Pan-African movement in the 18th century, spearheaded by figures like Henry Sylvester Williams. It also discusses how these ideologies were taken up and advanced by various Caribbean thinkers and activists in the 19th-20th centuries, including Marcus Garvey, Cyril Briggs, and Malcolm Nurse in the case of Pan-Africanism, and the celebration of black identity and culture through Negritude. The document further examines the adoption of Marxist and capitalist frameworks to analyze and guide Caribbean economic
Race is a social construct used to categorize and distinguish groups, often based on physical attributes like skin color. An ethnic group shares cultural traditions rather than physical attributes. Both race and ethnicity strongly impact people's lives and opportunities through discrimination and unequal treatment. While discrimination exists in many areas like sports, the U.S. population is becoming more racially and ethnically diverse with increasing populations of racial minorities. This demographic shift may impact future racial and ethnic relations.
This document provides an overview of key concepts in the sociological study of race and ethnicity. It begins with definitions of race as a social construct rather than biological reality. Prejudice is defined as negative attitudes based on stereotypes while discrimination involves actions that harm subordinate groups. Theories of how race has been conceptualized historically and sociological perspectives on the study of race relations are also summarized.
Colourism refers to discrimination against individuals based on the lightness or darkness of their skin, particularly within their own racial or ethnic group. It has roots in slavery, when house slaves with lighter skin were given better treatment than field slaves with darker skin. Today, colourism persists through preferential treatment of lighter skin in media representation, advertising, and cultural standards of beauty. This discrimination negatively impacts self-esteem and life opportunities for those with darker complexions. While more inclusive representations are increasing, colourism remains embedded in societal biases that associate lighter skin with higher status and attractiveness.
This document summarizes key points from a presentation on race and cultural representation. It discusses the historical development of racialization in the 19th century when races were seen as distinct species. It also notes how globalization has been used to argue that racial opposition would still exist based on other attributes like color, culture and religion. Additionally, it examines how institutions both construct and deconstruct race through government policies and media. The document concludes by reviewing how different groups like Jews, asylum seekers, and Europeans have been racialized in Britain at different time periods.
This document discusses colonialism, post-colonialism, and representations of minorities in media. It addresses how colonial powers exploited resources and presented racist images of colonized peoples. Post-colonial theorists argue that Western media still lacks representation of black people and models colonialist views of depicting black women as over-sexualized. The document also examines theorists like Edward Said who discussed how the West constructs an "oriental other" and how diaspora identities have formed. It analyzes stereotypes of minorities in media and their portrayals as humorous, exotic, pitied or dangerous.
The document discusses media representation of black British collective identity. It begins by outlining key questions around how different media represent social groups. It then describes black British collective identity as a postmodern subcultural youth movement comprising young people of various ethnicities united by shared black cultural symbols. The document introduces film and music as two media forms, noting how films often portray negative stereotypes of "urban youth" while grime music allows them to reclaim voice. It provides examples of films and artists to support the points, and suggests media industry involvement sometimes shifts the representation in music.
This document discusses British national identity and cultural diversity through examining British cinema from the 1940s to 2000s. It explores how nationality is constructed through geography, biology, race, ethnicity, institutions, shared values, and culture. Key periods of British cinema discussed include the Free Cinema movement of the 1950s, British New Wave of the 1960s, and social realist films that focused on working class lives. Contemporary representations of masculinity and the impacts of Thatcherism on British society in the 1980s are also summarized.
This document discusses several ideologies that have been influential in the Caribbean, including Pan-Africanism, Negritude, Capitalism, Marxism, and Feminism. It provides background on the origins and objectives of the Pan-African movement in the 18th century, spearheaded by figures like Henry Sylvester Williams. It also discusses how these ideologies were taken up and advanced by various Caribbean thinkers and activists in the 19th-20th centuries, including Marcus Garvey, Cyril Briggs, and Malcolm Nurse in the case of Pan-Africanism, and the celebration of black identity and culture through Negritude. The document further examines the adoption of Marxist and capitalist frameworks to analyze and guide Caribbean economic
Race is a social construct used to categorize and distinguish groups, often based on physical attributes like skin color. An ethnic group shares cultural traditions rather than physical attributes. Both race and ethnicity strongly impact people's lives and opportunities through discrimination and unequal treatment. While discrimination exists in many areas like sports, the U.S. population is becoming more racially and ethnically diverse with increasing populations of racial minorities. This demographic shift may impact future racial and ethnic relations.
This document provides an overview of key concepts in the sociological study of race and ethnicity. It begins with definitions of race as a social construct rather than biological reality. Prejudice is defined as negative attitudes based on stereotypes while discrimination involves actions that harm subordinate groups. Theories of how race has been conceptualized historically and sociological perspectives on the study of race relations are also summarized.
Colourism refers to discrimination against individuals based on the lightness or darkness of their skin, particularly within their own racial or ethnic group. It has roots in slavery, when house slaves with lighter skin were given better treatment than field slaves with darker skin. Today, colourism persists through preferential treatment of lighter skin in media representation, advertising, and cultural standards of beauty. This discrimination negatively impacts self-esteem and life opportunities for those with darker complexions. While more inclusive representations are increasing, colourism remains embedded in societal biases that associate lighter skin with higher status and attractiveness.
PLEASE NOTE TO ALL EDUCATORS:
Download slide and read notes as they are vital to presenting.
Canadian Cultural Mosaic Foundation is a Millennial and Gen Z volunteer-led nonprofit working to improve race relations in Canada. We have created a simple presentation to share with students grade 7 - 12 on race and racism in Canada.
More information at http://www.canadianculturalmosaicfoundation.com/
1. Sociology has made several contributions to the study of race, including approaches that examine racial formation, identification, politics, conflict, culture, boundaries, resistance, disadvantage, privilege, and intersections of race with other identities.
2. Key questions addressed by different sociological approaches to race include how racial hierarchies are organized and reproduced, who is considered "other", and how marginalized groups find and exercise power.
3. Approaches like racial conflict theory and intersectional theory examine how race interacts with other social divisions like class, gender, and sexuality to shape oppression and privilege.
Wealth and race/ethnicity are two major determinants of social stratification in the Caribbean. Wealth determines one's social class, with those who own the means of production dominating the upper class and those with little wealth in the lower class. Race/ethnicity also structures stratification, as seen during periods of slavery and indentureship, with different ethnic groups like whites, Africans, Indians, and Chinese maintaining distinct social patterns and values. While some argue class has become more important, others believe race/ethnicity continues to influence social status and mobility in Caribbean societies.
CAPE Sociology Social stratification in_caribbeancapesociology
Social stratification in the Caribbean has traditionally been defined along lines of class, status, power, race, ethnicity, color, gender, and education. Systems varied between countries but generally involved upper, middle, and lower classes divided along racial lines. Over time, factors like industrialization, increased opportunities, and expanded education and political systems weakened old social orders defined by race and allowed for more mobility between classes. While mobility increased for some groups, inconsistencies remained for those from poorer backgrounds. Gender also emerged as an increasingly important factor in social stratification.
This document discusses several key theoretical approaches to understanding concepts of race and ethnicity, including primordialism, instrumentalism, plural society theories, and Marxist approaches. It also critiques sociobiological explanations of race and analyzes how racism has been used to divide and exploit the working class. Racism and racial divisions are seen as developing out of and being used strategically under capitalism to prevent worker solidarity and maximize profit through greater exploitation of labor. Race and class are viewed as inextricably linked in structuring social relations and experiences.
For use by CAPE students pursuing the Sociology Program. This would give them a synopsis of social stratification and give them the launching pad to delve deeper into the topic.
This document discusses theories of subcultures from various thinkers from the 1950s to the 1980s. It outlines how subcultures form in reaction to feelings of alienation from mainstream society due to factors like class, age, or ethnicity. Members of subcultures try to resist the dominant culture through distinctive styles of dress, music, art, and rituals. However, capitalism can commodify the symbolic styles of subcultures and mass produce them, absorbing the subculture into mainstream culture and undermining its message of resistance.
Between 1948-1962:
- Large numbers of migrants from West Indies and Asia arrived in Britain to fill labor shortages.
- Racial tensions rose as attacks against black people occurred.
- Politicians and white Britons grew concerned about issues like housing shortages and job availability due to immigration.
- Laws were passed in 1962 that introduced immigration restrictions targeting non-white Commonwealth citizens, marking the beginning of explicitly racist immigration policies in Britain.
The document discusses several key themes related to race and ethnicity including:
1. Structural inequalities exist for some minority ethnic groups in areas like education, employment, housing that see them experience disadvantages even when well qualified.
2. Race and ethnicity are socially constructed concepts, with race based on physical criteria and ethnicity based on cultural criteria.
3. Theories around the instrumental vs. primordial nature of ethnicity and how it relates to concepts like class, capital, and power dynamics in society.
4. The representation of race in media often falls into exotic, dangerous, humorous or pitied tropes.
Stuart Hall was a Jamaican-born cultural theorist known as the "godfather of multiculturalism." In this document, Hall discusses two ways of thinking about cultural identity. First, as a shared culture, which was important for negritude movements. However, Hall believes cultural identity is better understood as unstable and contradictory, with similarities and differences. He argues cultural identities are formed from histories but are constantly transforming, shaped by memory, fantasy, and narrative. Hall also examines how Caribbean cultural identities relate to African, European, and American influences in the context of colonialism.
The document discusses the key ideas and figures of the Enlightenment period in the 18th century. It explains how the Enlightenment built upon the Scientific Revolution by applying rational thinking to understand human society and governance. It outlines philosophers like Voltaire, Rousseau, and Montesquieu and their criticisms of religious institutions and absolutist rule. It also highlights the importance of Diderot's Encyclopedia in disseminating knowledge widely and fueling public debate during the Enlightenment.
Pressure notes and screening questionsBelinda Raji
1) Racial tensions erupted across British cities in the 1970s and 1980s, as seen in events like the Brixton Riots.
2) Pressure was made to represent the experiences of black British youth coming of age during this time of social and political change.
3) Pressure represents examples of racism like police harassment and discrimination in the job market experienced by black British people.
Since the end of the Civil Rights Movement, large numbers of black people have made their way into
settings previously occupied only by whites, though their reception has been mixed. Overwhelmingly white
neighborhoods, schools, workplaces, restaurants, and other public spaces remain. Blacks perceive such
settings as “the white space,” which they often consider to be informally “off limits” for people like them.
Meanwhile, despite the growth of an enormous black middle class, many whites assume that the natural
black space is that destitute and fearsome locality so commonly featured in the public media, including
popular books, music and videos, and the TV news—the iconic ghetto. White people typically avoid black
space, but black people are required to navigate the white space as a condition of their existence.
This document contains notes on various topics related to diversity and ethnicity including:
1) Workplaces do not reflect the diverse nature of society and ethnic minorities are underrepresented in better paid jobs.
2) Stereotypes that are associated with different ethnic groups such as family bonds and strong values for Asians but crime for Black British.
3) The 1970s sitcom "Love Thy Neighbour" portrayed offensive stereotypes of Black British people and reinforced racial divides and ideologies through jokes and laughter tracks.
4) Black ethnic minority writers are underrepresented and stereotypical dramas can give damaging portrayals of Black people and reinforce prejudices. More positive representations are needed.
This document discusses the history of black British collective identity through music. It explores the role of reggae in the 1970s, expressing the struggles of black communities in Britain and Jamaica. British reggae bands in the late 1970s voiced the experiences of growing up black in Britain. The 2 Tone ska movement of the late 1970s allowed blacks and whites to share experiences through a fusion of Jamaican and British music. The legacy of 2 Tone relates to the multicultural landscape today, as cultures evolve and combine over time through processes of cultural syncretism.
This document summarizes key concepts from Chapter 10 of Essentials of Sociology regarding ethnicity and race. It defines ethnicity as referring to the distinct cultural norms of a social group, including shared history, religion, ancestry, language, and sense of destiny. Race is defined as an externally imposed system of social categorization based on physical characteristics. Racialization is the actual imposition of a racial schema on a society. Racism involves prejudice and discrimination based on physical differences. The document then discusses models of ethnic coexistence in the US, global migration trends, and how to see racial and ethnic inequality in areas like education, income, and wealth.
This document discusses multiculturalist aesthetics and criticism in art. It argues that Western European male artists, while skilled, are not the apex of all creativity as commonly presented. Art from other cultures has been systematically framed as "diverse" or "folk" to reserve the highest positions in museums for the dominant culture. It encourages questioning the placement of art beyond just aesthetic value. It also discusses how implicit biases propagated by those in power have developed stereotypes that position Western European art as the epitome of creativity over all "other" art. Multicultural art aims to bring these subconscious biases into view so that a work's value is no longer tainted by stereotypes.
This document discusses the concepts of ethnicity and race. It defines ethnicity as being based on cultural similarities and differences within a society, and ethnic groups as sharing certain beliefs, values, customs, and origins. Race is defined as an ethnic group assumed to have a biological basis. The document examines how ethnicity and race are socially constructed, and explores related concepts like status, nation, nationality, assimilation, plural societies, multiculturalism, and the roots of ethnic conflict.
The document discusses key concepts related to the film industry, including production, distribution, marketing, and exhibition. It provides examples of different types of film production models, from large Hollywood studio productions to independent films. It also defines important terms like cross-media convergence, synergy, technological convergence, and new media technologies. The document appears to be teaching materials that provide background information on the film industry and media institutions for an exam.
This section of the exam assesses students' ability to compare and contrast two American films from the same genre or dealing with a specific theme. Students must demonstrate knowledge of film as an audio-visual medium, understand how films communicate messages and contexts of production, and apply different critical approaches to analyzing narrative, style, and ideological messages. The question will require comparing and contrasting aspects of the two films' narratives in relation to their genres or themes, with one question focusing on narrative and the other on historical context. Issues of representation must be discussed.
This document provides an overview and study guide for an exam on superhero films. It outlines that question one will focus on film language techniques like cinematography, editing, mise-en-scene, and special effects. Question two and three will apply knowledge of codes and conventions or characters to a film clip and another superhero film of the student's choice. Students are advised to complete specific revision materials. Question four may involve a creative task like designing a new superhero film. Key sound and mise-en-scene terminology are defined to aid understanding and analysis of superhero films.
PLEASE NOTE TO ALL EDUCATORS:
Download slide and read notes as they are vital to presenting.
Canadian Cultural Mosaic Foundation is a Millennial and Gen Z volunteer-led nonprofit working to improve race relations in Canada. We have created a simple presentation to share with students grade 7 - 12 on race and racism in Canada.
More information at http://www.canadianculturalmosaicfoundation.com/
1. Sociology has made several contributions to the study of race, including approaches that examine racial formation, identification, politics, conflict, culture, boundaries, resistance, disadvantage, privilege, and intersections of race with other identities.
2. Key questions addressed by different sociological approaches to race include how racial hierarchies are organized and reproduced, who is considered "other", and how marginalized groups find and exercise power.
3. Approaches like racial conflict theory and intersectional theory examine how race interacts with other social divisions like class, gender, and sexuality to shape oppression and privilege.
Wealth and race/ethnicity are two major determinants of social stratification in the Caribbean. Wealth determines one's social class, with those who own the means of production dominating the upper class and those with little wealth in the lower class. Race/ethnicity also structures stratification, as seen during periods of slavery and indentureship, with different ethnic groups like whites, Africans, Indians, and Chinese maintaining distinct social patterns and values. While some argue class has become more important, others believe race/ethnicity continues to influence social status and mobility in Caribbean societies.
CAPE Sociology Social stratification in_caribbeancapesociology
Social stratification in the Caribbean has traditionally been defined along lines of class, status, power, race, ethnicity, color, gender, and education. Systems varied between countries but generally involved upper, middle, and lower classes divided along racial lines. Over time, factors like industrialization, increased opportunities, and expanded education and political systems weakened old social orders defined by race and allowed for more mobility between classes. While mobility increased for some groups, inconsistencies remained for those from poorer backgrounds. Gender also emerged as an increasingly important factor in social stratification.
This document discusses several key theoretical approaches to understanding concepts of race and ethnicity, including primordialism, instrumentalism, plural society theories, and Marxist approaches. It also critiques sociobiological explanations of race and analyzes how racism has been used to divide and exploit the working class. Racism and racial divisions are seen as developing out of and being used strategically under capitalism to prevent worker solidarity and maximize profit through greater exploitation of labor. Race and class are viewed as inextricably linked in structuring social relations and experiences.
For use by CAPE students pursuing the Sociology Program. This would give them a synopsis of social stratification and give them the launching pad to delve deeper into the topic.
This document discusses theories of subcultures from various thinkers from the 1950s to the 1980s. It outlines how subcultures form in reaction to feelings of alienation from mainstream society due to factors like class, age, or ethnicity. Members of subcultures try to resist the dominant culture through distinctive styles of dress, music, art, and rituals. However, capitalism can commodify the symbolic styles of subcultures and mass produce them, absorbing the subculture into mainstream culture and undermining its message of resistance.
Between 1948-1962:
- Large numbers of migrants from West Indies and Asia arrived in Britain to fill labor shortages.
- Racial tensions rose as attacks against black people occurred.
- Politicians and white Britons grew concerned about issues like housing shortages and job availability due to immigration.
- Laws were passed in 1962 that introduced immigration restrictions targeting non-white Commonwealth citizens, marking the beginning of explicitly racist immigration policies in Britain.
The document discusses several key themes related to race and ethnicity including:
1. Structural inequalities exist for some minority ethnic groups in areas like education, employment, housing that see them experience disadvantages even when well qualified.
2. Race and ethnicity are socially constructed concepts, with race based on physical criteria and ethnicity based on cultural criteria.
3. Theories around the instrumental vs. primordial nature of ethnicity and how it relates to concepts like class, capital, and power dynamics in society.
4. The representation of race in media often falls into exotic, dangerous, humorous or pitied tropes.
Stuart Hall was a Jamaican-born cultural theorist known as the "godfather of multiculturalism." In this document, Hall discusses two ways of thinking about cultural identity. First, as a shared culture, which was important for negritude movements. However, Hall believes cultural identity is better understood as unstable and contradictory, with similarities and differences. He argues cultural identities are formed from histories but are constantly transforming, shaped by memory, fantasy, and narrative. Hall also examines how Caribbean cultural identities relate to African, European, and American influences in the context of colonialism.
The document discusses the key ideas and figures of the Enlightenment period in the 18th century. It explains how the Enlightenment built upon the Scientific Revolution by applying rational thinking to understand human society and governance. It outlines philosophers like Voltaire, Rousseau, and Montesquieu and their criticisms of religious institutions and absolutist rule. It also highlights the importance of Diderot's Encyclopedia in disseminating knowledge widely and fueling public debate during the Enlightenment.
Pressure notes and screening questionsBelinda Raji
1) Racial tensions erupted across British cities in the 1970s and 1980s, as seen in events like the Brixton Riots.
2) Pressure was made to represent the experiences of black British youth coming of age during this time of social and political change.
3) Pressure represents examples of racism like police harassment and discrimination in the job market experienced by black British people.
Since the end of the Civil Rights Movement, large numbers of black people have made their way into
settings previously occupied only by whites, though their reception has been mixed. Overwhelmingly white
neighborhoods, schools, workplaces, restaurants, and other public spaces remain. Blacks perceive such
settings as “the white space,” which they often consider to be informally “off limits” for people like them.
Meanwhile, despite the growth of an enormous black middle class, many whites assume that the natural
black space is that destitute and fearsome locality so commonly featured in the public media, including
popular books, music and videos, and the TV news—the iconic ghetto. White people typically avoid black
space, but black people are required to navigate the white space as a condition of their existence.
This document contains notes on various topics related to diversity and ethnicity including:
1) Workplaces do not reflect the diverse nature of society and ethnic minorities are underrepresented in better paid jobs.
2) Stereotypes that are associated with different ethnic groups such as family bonds and strong values for Asians but crime for Black British.
3) The 1970s sitcom "Love Thy Neighbour" portrayed offensive stereotypes of Black British people and reinforced racial divides and ideologies through jokes and laughter tracks.
4) Black ethnic minority writers are underrepresented and stereotypical dramas can give damaging portrayals of Black people and reinforce prejudices. More positive representations are needed.
This document discusses the history of black British collective identity through music. It explores the role of reggae in the 1970s, expressing the struggles of black communities in Britain and Jamaica. British reggae bands in the late 1970s voiced the experiences of growing up black in Britain. The 2 Tone ska movement of the late 1970s allowed blacks and whites to share experiences through a fusion of Jamaican and British music. The legacy of 2 Tone relates to the multicultural landscape today, as cultures evolve and combine over time through processes of cultural syncretism.
This document summarizes key concepts from Chapter 10 of Essentials of Sociology regarding ethnicity and race. It defines ethnicity as referring to the distinct cultural norms of a social group, including shared history, religion, ancestry, language, and sense of destiny. Race is defined as an externally imposed system of social categorization based on physical characteristics. Racialization is the actual imposition of a racial schema on a society. Racism involves prejudice and discrimination based on physical differences. The document then discusses models of ethnic coexistence in the US, global migration trends, and how to see racial and ethnic inequality in areas like education, income, and wealth.
This document discusses multiculturalist aesthetics and criticism in art. It argues that Western European male artists, while skilled, are not the apex of all creativity as commonly presented. Art from other cultures has been systematically framed as "diverse" or "folk" to reserve the highest positions in museums for the dominant culture. It encourages questioning the placement of art beyond just aesthetic value. It also discusses how implicit biases propagated by those in power have developed stereotypes that position Western European art as the epitome of creativity over all "other" art. Multicultural art aims to bring these subconscious biases into view so that a work's value is no longer tainted by stereotypes.
This document discusses the concepts of ethnicity and race. It defines ethnicity as being based on cultural similarities and differences within a society, and ethnic groups as sharing certain beliefs, values, customs, and origins. Race is defined as an ethnic group assumed to have a biological basis. The document examines how ethnicity and race are socially constructed, and explores related concepts like status, nation, nationality, assimilation, plural societies, multiculturalism, and the roots of ethnic conflict.
The document discusses key concepts related to the film industry, including production, distribution, marketing, and exhibition. It provides examples of different types of film production models, from large Hollywood studio productions to independent films. It also defines important terms like cross-media convergence, synergy, technological convergence, and new media technologies. The document appears to be teaching materials that provide background information on the film industry and media institutions for an exam.
This section of the exam assesses students' ability to compare and contrast two American films from the same genre or dealing with a specific theme. Students must demonstrate knowledge of film as an audio-visual medium, understand how films communicate messages and contexts of production, and apply different critical approaches to analyzing narrative, style, and ideological messages. The question will require comparing and contrasting aspects of the two films' narratives in relation to their genres or themes, with one question focusing on narrative and the other on historical context. Issues of representation must be discussed.
This document provides an overview and study guide for an exam on superhero films. It outlines that question one will focus on film language techniques like cinematography, editing, mise-en-scene, and special effects. Question two and three will apply knowledge of codes and conventions or characters to a film clip and another superhero film of the student's choice. Students are advised to complete specific revision materials. Question four may involve a creative task like designing a new superhero film. Key sound and mise-en-scene terminology are defined to aid understanding and analysis of superhero films.
Horror Films: Creating and Reflecting FearBelinda Raji
This document provides an overview of the horror genre in film. It discusses how horror is not a single genre but contains many subgenres. While horror films share the goal of scaring audiences, they utilize different iconographies and settings depending on the subgenre. Examples include the gothic mansion, suburban home, and isolated rural locations. The document also explores how horror films employ techniques like music, editing, lighting and camerawork to elicit fear in viewers. Additionally, it notes that to remain interesting to audiences, the genre must find a balance between familiar conventions and innovative elements. Horror is also analyzed as reflecting the cultural fears of different time periods.
Submarine - Audiences and InstitutionsBelinda Raji
This document provides production details and box office figures for the 2010 British film Submarine. It was directed by Richard Ayoade and produced by Warp Films with a budget of £1.2 million. Through collaboration between several production companies and distribution by The Weinstein Company in the US and Optimum Releasing in the UK, the film was able to reach a wider audience and earned £2.03 million at the box office.
A2 G325: Critical Perspectives in the Media (Section A)Belinda Raji
This document provides guidance for students preparing for Section A of the A2 G325 Critical Perspectives in Media exam. Section A consists of two compulsory questions assessing students' theoretical evaluation of their practical production work. Question 1a requires students to reflect on the development of their skills over all their production work from AS to A2 levels. Question 1b requires analysis of one selected production in relation to a key theoretical concept. The document offers advice on preparing responses, including creating a timeline of all work and focusing answers on areas of the mark scheme. It also provides prompts for students to reflect on their creativity and use of digital technology in their practical work.
This document discusses the importance of defining a target audience for media producers. It explains that every media text is created with the goal of appealing to and attracting an audience. There are two main types of audiences: a mass/mainstream audience, which is very large and lucrative but difficult to please entirely; and niche audiences, which are smaller but can still be profitable if the media text successfully appeals to their specific interests. Determining the target audience helps media producers make choices about content and presentation to maximize their appeal. However, the actual audience that consumes a media text may differ from the intended target audience.
Adorno and Horkheimer - The Culture IndustryBelinda Raji
Adorno and Horkheimer argue that cultural production has become standardized and industrialized like other manufacturing industries. They call this the "culture industry" which treats creative works as mass-produced commodities. It produces homogeneous, undemanding content through organized procedures aimed solely at profit. This standardized cultural output in turn creates passive, uniform consumption that is easily manipulated for commercial or political ends.
Here is a timeline of key stages in the development of the American film industry:
1895 - The first public film screening takes place in New York City, marking the beginnings of the American film industry.
1900s-1910s - The industry grows rapidly as new studios are established in Hollywood and films become a popular form of entertainment. Silent films dominate this era.
1920s - The Golden Age of Silent Films occurs. Hollywood establishes itself as the center of global film production.
1927 - The first talking picture, The Jazz Singer, is released, marking the transition to sound films.
1930s - The Studio System era begins, with the "Big Five" major studios dominating production, distribution,
The Dark Knight was produced by Warner Brothers and Legendary Pictures with a budget of $185 million. Christopher Nolan returned as director, working with writers Jonathan and Christopher Nolan. Filming took place in several locations from March to July 2007. Warner Brothers implemented an elaborate viral marketing campaign utilizing websites and real-world activities to generate hype and interest among fans leading up to the film's release.
The document discusses various theories about the effects of media on audiences. It describes direct effect theories like the hypodermic syringe theory which argues media directly influences behavior, and cultivation theory which says repeated exposure shapes attitudes. Diffusion theories like two-step flow argue media's effects depend on social discussion. Indirect effect and pluralist theories view audiences as active interpreters influenced by many individual factors rather than just media exposure. The document aims to raise awareness of these debates and support critical analysis of media effects theories.
This document provides tips for creating a music video project that requires producing a music video, website, and album packaging. It outlines the key steps of planning, shooting, and editing the music video. Tips include storyboarding shots, rehearsing with performers, shooting extra footage, and editing the final product together. Additional guidance is given for setting up the required blog, gathering evidence of the process, and designing the album packaging and website in parallel with the video production rather than as an afterthought.
The document discusses different types of music videos: performance-based, narrative-based, and concept-based. It provides examples of each type and characteristics that define them. Performance videos focus on footage of the artist(s) performing. Narrative videos tell a story through video. Concept videos are based around a single idea, often unusual or surreal. The document aims to help identify and understand the key ingredients of each music video type.
The document discusses several technical codes and elements used in popular music videos, including camerawork, editing, visual effects, and how they construct representations and meanings. It also covers how music videos contribute to constructing and maintaining artists' star images through narrative, voyeurism, and intertextuality. Music videos frequently reference cinema, television, art, fashion and more to spark recognition and pleasure in audiences through familiar visual references.
This document discusses various photography and composition techniques for improving photos. It explains the rule of thirds for placing subjects along the thirds lines or intersections for visual appeal. Different angles, depths of field, and types of shots are explored, along with considering the mise-en-scene of props, costumes, backgrounds, lighting, and colors. Guidance is provided on positioning people, including using triangles, rows, perspective, and direction to limit empty space. Key techniques highlighted are the rule of thirds, leadroom/noseroom, avoiding distracting backgrounds, proper positioning, and allowing headroom.
The document summarizes the results of a survey about audience preferences for pop music videos. 20 people aged 12-25 were asked questions about what they look for in pop music videos featuring female artists. Key findings include that sexy imagery and dance routines are common expectations, and that performance-style videos without storylines are generally preferred. YouTube is the primary platform for watching music videos. Upbeat, fast songs tend to be favored over slower songs. The survey provides guidance for creating an effective pop music video.
The document discusses collective identity and how media representations can influence people's sense of belonging and identity. It explores different views on whether audiences are passive or active in how they consume and make meaning from media. While some argue media influences identity formation, others believe audiences play an active role in interpreting representations and constructing their own identities through social interactions and everyday experiences. Collective identity is formed not just through mainstream media but also through self-construction and communities that share interests, backgrounds, or values.
This document provides guidance for answering Section B of a media exam on the topic of media and collective identity. It outlines the assessment criteria and structure expected for the essay response. Students should choose two historical and two contemporary media texts to analyze how youth are represented and how those representations may influence understanding of collective identity. While media generally aims to encourage conformity, identities are complex and audience responses vary, from accepting to rejecting media portrayals. A successful essay will develop a balanced argument weighing different views on the relationship between media and collective identity.
MEDIA & COLLECTIVE IDENTITY: How do the contemporary media represent collecti...Belinda Raji
The document discusses how black British people have been represented in media over time. Historically, films portrayed them as problems or threats to society, but music allowed both black and white people to find shared meaning. In the 1960s-70s, black culture had a large influence and created a youth subculture where race was less defined. Today, films like Adulthood and Shank and genres like UK hip hop and grime still reflect this shared culture between black and white Britons.
Media and Collective Identity: Useful quotesBelinda Raji
The documents discuss how media representations of ethnic and racial groups are shaped by dominant ideologies to control identities. Stuart Hall argued that media produces naturalized representations that construct identities like race as innate rather than politically motivated. Representations in media have power to shape popular attitudes. Research found ethnic minorities often underrepresented or stereotyped in media. Younger black respondents rejected a British identity due to feeling marginalized in society. Mixed race youth assumed a black identity due to appearance and upbringing. Accurate portrayals of communities are needed to avoid wrong impressions.
How does contemporary representation compare to previous time periodsBelinda Raji
Contemporary representations of black British people in media have changed from previous eras in three key ways:
1) Earlier films from the 1950s-60s portrayed black immigrants as a "social problem" and threat to British society, seen through a white directorial lens, whereas now black British people are no longer solely represented as such.
2) Representations in the 1970s, like in Horace Ove's "Pressure", shifted to a black perspective showing issues like racism and discrimination, rather than a migrant perspective.
3) More recent films and TV shows like "Adulthood" and "Day 1" focus on disaffected youth across London influenced by black culture, moving
The document discusses how media shapes identities and how hegemonic discourses promote dominant identities over others. It provides definitions for key terms like mediation, hegemony, and collective identity. It also examines how media representations have historically framed black Britons as problems or threats by focusing on issues like immigration, employment, and housing in a way that positioned them against white Britons. Research studies discussed found media representations influence public attitudes and how minority groups see themselves.
Black british collective identity pt1 v2Belinda Raji
This document provides an overview of the course material on Black British collective identity that will be taught. It will examine how Black British identity is represented in film and music from the past to present. Students will analyze historical texts to understand early representations that positioned Black people as outsiders, and compare this to contemporary media like films and genres that show the identity evolving among multiethnic youth subcultures. The instructor hypothesizes that Black British identity now refers not exclusively to people of African/Caribbean heritage, but to any youth who identify with Black cultural influences through media like music.
European journal of American studies 14-1 2019Specia.docxpauline234567
European journal of American studies
14-1 | 2019
Special Issue: Race Matters: 1968 as Living History in
the Black Freedom Struggle
The Black Arts Movement Reprise: Television and
Black Art in the 21st Century
Jeffrey O.G. Ogbar
Electronic version
URL: http://journals.openedition.org/ejas/14366
DOI: 10.4000/ejas.14366
ISSN: 1991-9336
Publisher
European Association for American Studies
Electronic reference
Jeffrey O.G. Ogbar, « The Black Arts Movement Reprise: Television and Black Art in the 21st Century »,
European journal of American studies [Online], 14-1 | 2019, Online since 05 April 2019, connection on 12
July 2019. URL : http://journals.openedition.org/ejas/14366 ; DOI : 10.4000/ejas.14366
This text was automatically generated on 12 July 2019.
Creative Commons License
The Black Arts Movement Reprise:
Television and Black Art in the 21st
Century
Jeffrey O.G. Ogbar
“How much longer are they gonna treat us like animals? The American correctional
system is built on the backs of our brothers, our fathers and our sons. How much
longer? It's a system that must be dismantled piece by piece if we are to live up to
those words that we recite with our hands on our hearts. Justice for all. Not justice
for some, but justice for all. How much longer?”—Cookie Lyons, “Empire” (2015)
“[The] artist’s role is to raise the consciousness of the people….Otherwise I don’t
know why you do it.”—Amiri Baraka1
1 In 1969, Larry Neal, one of the most visible black writers of his generation, emerged as a
chief exponent of a new artistic movement that was unfolding alongside the Black Power
Movement. For those curious about it, he explained that art had a critical role in the
Black Freedom Movement2 as a force to complement grassroots activism and political
struggle. Black artists were intimately connected to, and profoundly aware of, the black
freedom struggle; and their work reflected this familiarity. “The Black Arts Movement,”
Neal noted,
is radically opposed to any concept of the artist that alienates him from his
community. The movement…speaks directly to the needs and aspirations of black
America. In order to perform the task, the Black Arts Movement proposes a radical
reordering of the Western cultural aesthetic. It proposes a separate symbolism,
mythology, critique, and iconography.3
2 Throughout the United States a new black mood coalesced around aesthetes who
formulated new and audacious articulations of identity and politics that resonated with
wider black America. The Black Arts Movement (BAM) would have an indelible impact on
the cultural landscape of the country. It transformed the arts and literature in
innumerable ways from theatre, to murals, fashion, and more.
3 A half-century after Neal’s decree, there has been an unprecedented explosion of black
arts in the United States, exceeding the depth, scope, reach and influence of the BAM,
The Black Arts Movement Repr.
Stuart Hall was a British cultural theorist influential in racial thinking in the UK. He argued that black representation has gone through two phases - challenging racist stereotypes and asserting a positive identity, and then considering the black subject as produced within regimes of representation. Hall was concerned with media power and how it propagates social values. He criticized media portrayals of black immigrants as often relying on racial stereotypes. Hall studied identity in detail to create a cohesive understanding of how cultures intersect and identities are constructed.
Stuart Hall was a British cultural theorist influential in racial thinking in the UK. He argued that black representation has gone through two phases - challenging racist stereotypes and asserting a positive identity through history, and then being considered as produced within systems of representation. Hall was concerned with media power in propagating social values and stereotypical portrayals of minorities. He criticized the media's tendency to only portray black people in relation to issues or as stereotypes, rather than exploring their full experiences.
A2 Media Studies: Post colonialist Theory (2020)KBucket
The document discusses the different treatment of Meghan Markle and Kate Middleton in the British press and whether race plays a factor. It notes that Meghan faced more hostile coverage from newspapers, which some critics believe was racially motivated. Harry and Meghan have sued some newspapers and cited the press treatment as one reason they stepped back from royal duties. The document also discusses the legacy of colonialism and how representations of race in media today can still reflect beliefs from the colonial era when Europeans asserted their superiority over non-white populations.
The document discusses marketing communication strategies for reaching young people in Europe. It notes that young people have become more demanding consumers and value individualism. Marketers must carefully craft their messages to appeal to the unique sensibilities of younger generations. Specifically, ads should emphasize themes of freedom of choice and being unique rather than conforming to norms. As young people are sensitive to failure, marketing should make them feel fearless in being themselves. Overall, the document argues that marketers need nuanced strategies that align with the changing internal values of young consumers.
Multicultural Studies: 100 Assignment
Lecture: Review of keywords in Cultural Theory. View the Film “The Stuart Hall Project John
Akomfrah.”1 Links of videos and readings are hyperlinked in modules.
Part I:
1. Who was Stuart Hall? And how do you think the field of Cultural Studies & Ethnic Studies
relates to the field of Chicano Studies, for example?
Stuart Hall is a Jamaican-born British sociologist, cultural theorist and political activist.
Born in Kingston in 1932, he came to the UK in the 1950s and later became known as the
"godfather of multiculturalism" for his contributions to sociology.Ethnic Studies is an
interdisciplinary course. The program aims to develop basic skills in critical and global
thinking and comparative analysis, and to understand the interplay of race, class, gender and
sexuality in the experiences of a range of social groups. Ethnic studies are important not only
for the people of the particular race who are taking classes, but also for everyone. For
non-ethnic students, these courses provide a greater understanding of global experience and
encourage students to critically consider the experiences of those around them.The Chicano
study is important because it is a study of the Mexican experience. Specifically, it addresses
the social, political, cultural, and economic conditions of the people of Chicano/Mexicano.
2. How is the Caribbean a place of identity according to Stuart Hall?
The Caribbean Identity is defined as the cultures (which includes ethnicity), beliefs,
qualities and religions of the geographical region of the Carib.Across the Caribbean,
fire-line orators such as Marcus Garvey, the political activist known as "Moses,"
unsettled the poor men known as the "Oxtail and Broomstick Brigade." A few months
ago, Garvey, harassed by the British authorities who feared a black nationalist agenda,
gave his deepest and most urgent speech to his followers, concluding with an
admonishing: "We will free ourselves from spiritual slavery, for others may free the
body; only we can free the mind."
3. Within the context of the film, what does it mean to be of ‘hybrid’ cultures?
When two cultures are combined, new and different forms of culture emerge. These are
called cultural bastards.
4. How does the concept of colonialism relate to the concept of cultural hybridity?
I think the colonists had very limited influence on the development of the colonized
areas.Referred to India, the British laid railways, built telegrams and built ports here
long ago, but their purpose was for the convenience of their own colonization, and the
most important thing for the development of a region was to enlighten the people's
wisdom, but the system of construction was still not well received.If the colonized
regions really want to develop, they should send their own people to the West to seek
ways to enlighten the people and improve th ...
The document discusses issues of identity, representation, and culture through multiple perspectives and sources. It explores how identity is shaped by collective identities and media representations that are ideologically constructed. Several theorists are cited discussing how the media has power to influence attitudes and beliefs through the representations it transmits. The document also examines youth subcultures, music genres like grime, and the evolution of black British culture over time. It suggests identities are fluid and continually shaped by external influences like the mass media.
This study analyzes how college-aged women of color perceive and reflect on the representation of prominent female artists of color (Beyoncé, Jennifer Lopez, Shakira, Rihanna) in popular music videos. Through interviews and a content analysis of 3 music videos, the study examines how the women construct their own identities in relation to these artists, and how they see the media as an avenue for empowerment or misrepresentation. The study is situated within the historical context of the sexualization and objectification of women of color in American culture and media.
This document discusses several key themes related to subcultures. It first examines how subcultures are connected to issues of power and resistance to dominant culture. It then explores how the concept of subculture allows for analysis of cultural divisions and fragmentation. Third, it addresses how subcultures can be interpreted and stereotyped in media. Finally, it questions whether the concept of subculture remains useful given changing societies and cultures. The document also provides examples of several historical youth subcultures in the UK like mods, rockers, skinheads and teddy boys.
Racism involves believing some races are superior to others. It can take direct forms through unfair treatment based on ethnicity, or indirect forms through discrimination within institutions. Throughout history, racism has justified practices like slavery and led to atrocities like the Holocaust. The civil rights movement in the 1950s-60s promoted equality and challenged racism through nonviolent protests.
The document discusses cultural changes that occurred in the United States during the 1960s. During this decade, families began adapting to new technologies while outside, political unrest grew. People began rebelling against social norms and embracing individualism, civil rights, and feminism. One perspective discussed is that these cultural shifts weakened society, while others saw them as important changes. The document then explores some of the key social movements and protests of the 1960s that drove cultural change in the US.
This document discusses subcultures and countercultures and their relationship to mainstream culture. It defines mainstream culture as forms of culture that are widely accessible and intended for mass consumption, while subcultures and countercultures consciously challenge the values, ideas, and structures of mainstream culture through their actions and practices. Subcultures tend to be youth-oriented groups that exist outside of the mainstream, while countercultures have the explicit goal of changing the world through their cultural objects and political views. The document also examines how popular representations influence perceptions of subcultures and how subcultures articulate complex politics through demanding attention, connecting to other modes of politics, and engaging with social spaces.
World War 2 Essay | Essay on World War 2 for Students and Children in .... WWII Essay work November 13th. Beautiful Ww2 Essay ~ Thatsnotus. Post-World War II America - Free Essay Example | PapersOwl.com. Women world war ii essay - pdfeports867.web.fc2.com. World War II Issues Essay Example | Topics and Well Written Essays .... World War 2 Essay Example for Free - 1041 Words | EssayPay. Warfare During World War Ii Essay. Sample History Research Paper Summary on The World War II. World War II Essay - Essay Introduction: Hook: "God and history will .... World War 2 - GCSE History - Marked by Teachers.com. Ww2 Essays Topics. Essays about the causes of world war 2. Second World War essay - A-Level History - Marked by Teachers.com. World War II Paper - Free Essay Example | PapersOwl.com. World war 2 research essay. essay assistance. World War II | The Blog Of Dreams. Online Essay Help | amazonia.fiocruz.br. Wwii Essay Topics0 | World War II | Violent Conflict. The Consequences of World War II: Example of Couse and Effect Essay .... Causes of World War II Essay Example | Topics and Well Written Essays .... Essay World WAR II - ESSAY: WORLD WAR II War is one of the most tragic .... Ww2 Essays Free. History world war 2 essays. Germany, Hitler, and World War II Essays in .... Short essay on world war 2 - laboratorymanagement.web.fc2.com. World War II and Advancing Technology Essay Example | Topics and Well .... Narrative essay: Essay about world war 2. About World War II - Free Essay Example | PapersOwl.com. World War II Essay - WWII Essay Political economic and social reasons .... Comparing World War I and World War II - Free Essay Example | PapersOwl.com. Essays on world war ii - essayuniversity.web.fc2.com. World War 2 Essay Questions Essay About World War 2
World War 2 Essay | Essay on World War 2 for Students and Children in .... WWII Essay work November 13th. Beautiful Ww2 Essay ~ Thatsnotus. Post-World War II America - Free Essay Example | PapersOwl.com. Women world war ii essay - pdfeports867.web.fc2.com. World War II Issues Essay Example | Topics and Well Written Essays .... World War 2 Essay Example for Free - 10
This document discusses representation and gender theory. It provides background on theorists Judith Butler, Stuart Hall, and Paul Gilroy. Judith Butler is discussed in depth, with explanations of her theories of gender performativity and "gender trouble." Gender, according to Butler, is constructed through performances and repetitions of gender roles, rather than being based on inherent or biological traits. The document also discusses debates around representation of feminism in the media.
The document analyzes Michael Jackson's 1991 music video for "Black or White" and discusses how it conveyed deeper messages about race in America at the time. It notes that the video was released during debates around the Civil Rights Act of 1991 and the Rodney King beating. While portraying a message of racial unity on the surface, an analysis of the lyrics and imagery suggests Jackson intended to pass commentary on ongoing social and political issues regarding race. Certain scenes and symbols, like the appearance of black panthers, represented resistance and empowerment for black communities. The video demonstrated that artistic works could communicate an artist's views on important social and political issues of the day.
Michael Jackson - Black or White analysisBelinda Raji
Michael Jackson's "Black or White" music video from 1991 was groundbreaking for its special effects and simultaneous global premiere across 28 countries reaching an audience of 500 million people. The video begins by transporting a white father through his suburban home and across the globe as Jackson dances with various ethnic groups, representing his message of unity across racial and cultural divides. While celebrating diversity, the video also deconstructs racial stereotypes by revealing the constructed nature of the multicultural scenes.
Vladimir Propp studied hundreds of Russian folktales and identified common narrative structures and character types that appear across stories. He observed that narratives are shaped by specific character functions and actions, and identified 31 possible stages or "functions" that stories may include in a fixed sequence, such as a hero, villain, dispatcher, donor, and helper. Todorov also analyzed narrative structure and proposed stories begin with an equilibrium, experience a disruption, and conclude with the restoration of a new equilibrium.
This document provides discussion questions about the films To Kill a Mockingbird (1962) and A Time to Kill (1996), both of which are lawyer films based on novels. Students are asked to compare the main protagonists Atticus Finch and Jake Brigance, other important characters, and key themes between the two films. They are also prompted to research the historical contexts of 1930s America during TKAM and 1960s America when it was filmed. Finally, students are given conventions of lawyer films and asked how each film fulfills or does not fulfill these conventions through slides and their own analysis.
The document provides details for a proposed action film called "The Heist". It summarizes the genre as action and lists common elements like danger, revenge, and urban settings. It then describes the narrative structure with the beginning introducing two cops, the middle involving a terrorist plot they must stop, and the end resolving the plot and revealing corruption. It recommends Samuel L. Jackson and Will Smith as protagonists, Alan Rickman as the antagonist, and others for supporting roles. John McTiernan is proposed as director due to his experience. The film is pitched as comparable to "Bad Boys" and "Die Hard" but with its own twists. A 200-word pitch is provided that covers all elements.
The document discusses elements that define film genres, including iconography, setting, characters, narrative, style, theme, and audience response. Iconography refers to recurring images that identify a genre, like machine guns in gangster films. Settings are also important, as genres are associated with distinct time periods and locations. Different genres feature characteristic hero and villain characters. Narrative refers to a genre's story structure and devices. Style considers camera work, lighting, color, and tone. Themes often involve binary oppositions. Audience response associates some genres with targeted demographics.
The document lists examples of binary opposites, including good vs evil, black vs white, peace vs war, democracy vs dictatorship, conqueror vs conquered, domestic vs foreign, young vs old, man vs nature, protagonist vs antagonist, motivated vs observer, empowered vs victim, man vs woman, strong vs weak, decisive vs indecisive, east vs west, humanity vs technology, and ignorance vs wisdom.
The document discusses key concepts related to media ownership and distribution, including:
- Monopolies exist when a single firm dominates a market, allowing it to control prices. Oligopolies involve a small number of firms having significant influence over an industry.
- Vertical integration refers to one firm controlling different stages of production, while horizontal integration involves consolidation across different but related industries.
- Major media companies have grown into multinational conglomerates through horizontal and vertical integration, owning properties across film, television, publishing and more.
- Franchises allow original creative works to expand across multiple forms of media through licensing, while globalization and concerns over cultural imperialism reflect conglomerates' international reach
The Walt Disney Company is an American mass media and entertainment conglomerate founded in 1923 and headquartered in Burbank, California. It is the world's second largest media conglomerate in terms of revenue. The company's mission is to be a leading producer and provider of entertainment and information worldwide. Walt Disney Company is publicly owned by millions of shareholders and generates revenue through its assets and products. Robert Iger has served as CEO since 2005 and focuses on generating creative content, innovation, and expanding into new markets. The company has cross-media ownership of assets across film, television, music, publishing, and parks and resorts.
The document discusses key concepts related to media ownership structures and distribution, including:
- Monopoly and oligopoly market structures, with examples of companies dominating certain markets.
- Vertical and horizontal integration, where companies consolidate operations across different parts of the production or distribution process, or across different types of media.
- Multi-national media conglomerates that own multiple companies across different media segments in a vertically integrated structure to control large portions of the entertainment industry.
- Franchises that expand original creative works across multiple forms of media through licensing agreements.
- The role of globalization and concerns about cultural imperialism as media ownership becomes concentrated worldwide.
The document discusses the 1975 British film Pressure, which portrayed racial tensions in Britain during the 1970s and 1980s. It addressed issues like police harassment, racism in employment, and the experiences of second-generation black British youth. The film conveyed a sense of collective black identity through themes like its portrayal of food, fashion, language, and the urban environment. It presented a more militant perspective that differed from mainstream representations of black Britons at the time.
Exam lessons 3 (audiences) Section A A2 Media Exam Belinda Raji
The document discusses media audience theory, focusing on concepts like the hypodermic needle model, uses and gratifications theory, and reception theory. It provides details on each concept, including critiques of the hypodermic needle model which sees audiences as passive, and examples of how uses and gratifications theory and reception theory see audiences as more active in making meaning. It also discusses audience segmentation models and provides quotes related to understanding audiences and conducting audience research.
Exam lessons 3 (representation) - Section A A2 Media ExamBelinda Raji
The document provides guidance on analyzing representations in media productions using the concept of representation and related theories. It discusses how representations construct versions of reality and ideology. It encourages focusing an analysis of a soap opera trailer on how gender, social groups and places are represented through media language tools and what ideological messages are communicated. Key theories discussed include those relating to cultural hegemony, stereotypes, feminism and the male gaze. The document suggests deconstructing the various production stages and choosing elements to focus on how representations were constructed and their intended effects.
The document defines representation as the mediated presentation of people, things, ideas, places, etc. by the media. It discusses how representation involves describing or depicting something to call it up in the mind. Representation is a constructed process that involves selection, organization, and focusing of content by the media to direct the audience's attention in a certain way. This process of mediation is how representations are formed to present a version of reality rather than reality itself.
This document provides information about Section B of the G325: Critical Perspectives in Media examination. Section B focuses on contemporary media issues and will require candidates to answer one question from a choice of six topic areas. For each topic area, candidates must demonstrate understanding of the historical, contemporary, and future aspects as they relate to at least two media forms and include references to relevant media theories and critics. The document provides examples of topic areas such as representations of Black Britain, prompts questions for each area, and suggests texts and theorists candidates could draw from to demonstrate their knowledge in the exam.
This document contains past exam questions for the G325 Section A exam from 2010 to 2014. The questions generally ask students to describe and analyze how their media production skills, such as research, planning, use of technology, understanding of conventions and genres, developed over time through their coursework. Students are asked to refer to examples from their past productions and apply concepts like representation, narrative, audience and genre to one of their courseworks. The questions also ask students to evaluate how their skills contributed to creative decision making in their media productions.
The document provides guidance for group pitches on developing a soap opera idea. It includes instructions to: 1) describe the soap opera by defining the genre and how the idea fits conventions; 2) create a mood board with a visual representation of ideas; and 3) provide a synopsis of a trailer with details of the narrative, type of trailer, locations, costumes, and how it references or subverts conventions. The group must also include a storyboard for a 30-60 second trailer with the appropriate number of shots, and a target audience profile with demographic and psychographic information about how the trailer will appeal to viewers.
Soap opera trailers typically feature brief snippets of multiple storylines in a dramatic manner while maintaining an abstract presentation style. They range in length from 30 seconds to 2 minutes on average but depend on the type of trailer. Key characters are identified quickly in relation to the featured storyline. Trailers usually have a voiceover with the title and broadcast date at the end. They tend to include non-diegetic music to set the tone and may use the show's jingle as a transition to the title screen. Shot timing and edits are short to avoid revealing too much of the storyline.
This section of an exam paper assesses students' knowledge and understanding of film as an audio-visual form of creative expression and its contexts of production and reception. Students must demonstrate their ability to analyze and compare films in terms of narrative, genre, representation, themes and how films reflect the times in which they were produced. The question will require students to compare and contrast two American films from the same genre or dealing with a specific theme in relation to narrative, context and representation. Past exam questions have focused on key themes, genre conventions, contextual knowledge and place.
The document provides instructions for students to create and pitch music video concepts for their bands or artists over the coming weeks. Students must include in their pitches details about the band, a mood board, synopsis of the video including locations and costumes, a storyboard, animatic, explanation of how they used or subverted Goodwin's elements, and why their concept will appeal to the target audience. Students will receive feedback and must adapt their ideas, recording their progress in an ongoing journal on their blog.
From Teacher to OnlyFans: Brianna Coppage's Story at 28get joys
At 28, Brianna Coppage left her teaching career to become an OnlyFans content creator. This bold move into digital entrepreneurship allowed her to harness her creativity and build a new identity. Brianna's experience highlights the intersection of technology and personal branding in today's economy.
The Evolution of the Leonardo DiCaprio Haircut: A Journey Through Style and C...greendigital
Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
Everything You Need to Know About IPTV Ireland.pdfXtreame HDTV
The way we consume television has evolved dramatically over the past decade. Internet Protocol Television (IPTV) has emerged as a popular alternative to traditional cable and satellite TV, offering a wide range of channels and on-demand content via the internet. In Ireland, IPTV is rapidly gaining traction, with Xtreame HDTV being one of the prominent providers in the market. This comprehensive guide will delve into everything you need to know about IPTV Ireland, focusing on Xtreame HDTV, its features, benefits, and how it is revolutionizing TV viewing for Irish audiences.
The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
Follow us on: Pinterest
The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
Christian Louboutin: Innovating with Red Solesget joys
Christian Louboutin is celebrated for his innovative approach to footwear design, marked by his trademark red soles. This in-depth look at his life and career explores the origins of his creativity, the milestones in his journey, and the impact of his work on the fashion industry. Learn how Louboutin's bold vision and dedication to excellence have made his brand synonymous with luxury and style.
Top IPTV UK Providers of A Comprehensive Review.pdfXtreame HDTV
The television landscape in the UK has evolved significantly with the rise of Internet Protocol Television (IPTV). IPTV offers a modern alternative to traditional cable and satellite TV, allowing viewers to stream live TV, on-demand videos, and other multimedia content directly to their devices over the internet. This review provides an in-depth look at the top IPTV UK providers, their features, pricing, and what sets them apart.
At Digidev, we are working to be the leader in interactive streaming platforms of choice by smart device users worldwide.
Our goal is to become the ultimate distribution service of entertainment content. The Digidev application will offer the next generation television highway for users to discover and engage in a variety of content. While also providing a fresh and
innovative approach towards advertainment with vast revenue opportunities. Designed and developed by Joe Q. Bretz
The Future of Independent Filmmaking Trends and Job OpportunitiesLetsFAME
The landscape of independent filmmaking is evolving at an unprecedented pace. Technological advancements, changing consumer preferences, and new distribution models are reshaping the industry, creating new opportunities and challenges for filmmakers and film industry jobs. This article explores the future of independent filmmaking, highlighting key trends and emerging job opportunities.
Barbie Movie Review - The Astras.pdffffftheastras43
Barbie Movie Review has gotten brilliant surveys for its fun and creative story. Coordinated by Greta Gerwig, it stars Margot Robbie as Barbie and Ryan Gosling as Insight. Critics adore its perky humor, dynamic visuals, and intelligent take on the notorious doll's world. It's lauded for being engaging for both kids and grown-ups. The Astras profoundly prescribes observing the Barbie Review for a delightful and colorful cinematic involvement.https://theastras.com/hca-member-gradebooks/hca-gradebook-barbie/
Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfoliogreendigital
Introduction
Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
Follow us on: Pinterest
Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfolio
Collective Identity - Music
1. What’s this got to do with media?
“…media representations of ‘race’
and ethnicity are constructed in
accordance with dominant
ideological positionings which
serve to shape and control how
individuals understand others’, and
their own, identities.”
Fatimah Awan
Stuart Hall proposes that
the media, as a principal
form of ideological
dissemination, produces
representations of the
social world via images and
portrayals.
Fatimah Awan
We must also consider Hall’s (1990)
notion that identity is not necessarily
‘fixed’, but a fluid phenomena; ‘Perhaps
instead of thinking of identity as an
already accomplished historical fact …
we should think, instead, of identity as
a “production”, which is never
complete, always in process…
Fatimah Awan
Establishing that the media have the
power to dictate which representations of
ethnic minorities are chosen and
circulated in the public arena, research
into minority representation has revealed
two fundamental issues underlying the
area: underrepresentation and
stereotypical representation. It is
suggested that through such
representations, ethnic minorities
continue to be subordinated in
accordance with white ideological
hegemony
Fatimah Awan
1
2. Ethnic minority viewers commented that
an ethnic individual alone (for example, a
solitary black character in a soap) cannot
represent the richness of an entire
community.
Channel 4, Race, Representation and the
Media 2007, Research Report
The repetitive framing of particular images in certain
ways eventually leads to those images being seen as
the definitive statement on ‘those’ people and the
groups to which ‘they’ belong .
http://www.newinfluencer.com/mediapedia/black-and-
white-media/
Various characters within “Kidulthood” are
shown to be involved in criminal activities such
as drug dealing and gun making. It can be said
that “black people, particularly Afro-
Caribbeans are portrayed in the media as
criminals” as “the media are highly selective in
the way in which they construct and represent
the world back to us” Kruger, Stephen. Rayner,
Philip. & Wall, Peter. (2004). Media Studies:
The Essential Resource
Joseph Harker wrote that “when it comes to
imagery surrounding black people; I’m used to
relentlessly negative - knife crime,
underachievement representations”
http://www.guardian.co.uk/commentisfree/2009
/oct/05/london-black-children-awards
What’s this got to do with media?
2
3. “The hegemonic model acknowledges that much
of the media is controlled by a relatively small
group of people (who are generally male, middle
class and white) and that the viewpoints
associated with these groups inevitably become
embedded in the products themselves.” This
suggests that these small groups of people use
their own views of ethnic minorities in order to
represent them, due to the fact that they may not
know how to represent them if they are not part
of that social group themselves. This shows that
audiences are being provided with already
established views on a social group thus
reiterating the hypodermic needle theory.
http://jaleesadenton-mest4.blogspot.com/ &
Baker, James. Clark, Vivienne. & Lewis, Eileen.
(2003). Key Concepts & Skills for Media Studies
It can be said that the media choose to represent
ethnic minorities in ways which reinforce
stereotypes in order to maintain a hegemonic
society relating to how “a dominant class or group
maintains power by making everyone accept their
ideology as normal or neutral, through cultural
influence rather than force.”
http://jaleesadenton-mest4.blogspot.com/ &
Williams, Kevin. (2003). Understanding Media
Theory
What’s this got to do with media?
3
4. • Define the social category Black British
• In the past what did it mean to be Black British?
• Hypothesise what it means to be part of the collective
group ‘Black British’ in contemporary Britain
• How do the media represent contemporary ‘Black
Britain’?
• How can music artists be seen as anti-hegemonic in
their representation of ‘Black Britain’?
• How can the music industry been seen as hegemonic?
• How do people use the media to help form an sense of
collective identity?
Get thinking?
4
5. Black British collective identity
• “The creation of a supposedly multicultural society has created a
situation where it’s increasingly difficult to define what it means to be
British. There is no longer any clear distinctive about being British…”
http://www.bbc.co.uk/dna/h2g2/A809895
• Why is this quote useful to explain contemporary ‘Black British’
collective identity?
• Black Britain defines itself crucially as part of a diaspora. Its unique
cultures draw inspiration from those developed by black populations
else-where. In particular, the culture and politics of black America and
the Caribbean have become raw materials for creative processes which
redefine what it means to be black, adapting it to distinctively British
experiences and meanings. Black culture is actively made and re-made.
(Paul Gilroy ‘Ain’t No Black in the Union Jack’ )
Black British Collective Identity
5
9. MUSIC – Historical - Reggae
Music was seen not merely as a form of
entertainment, but it also functioned as a vehicle
for social and political aspirations. Reggae music,
which originated among the working classes in
Jamaica in the late 1960’s, was a mode of
expressing the collective struggles of the black
poor.
In its initial stages the British reggae market was
dependent on the Jamaican one. The political
situation in Jamaica, which was reflected in the
reggae tradition, had special significance for the
black community in Britain.
Simon Jones wrote that 'the
1970’s as a whole were
characterised by an
extraordinary degree of
synchronisation between the
political ideologies expounded
in Jamaican popular music and
the conditions of race and
class oppression experienced
by Blacks in Britain'. 9
10. MUSIC – Historical - Reggae
Music by the Wailers affected the black
British community, especially with their first
two albums, Catch a Fire (1973) and Burnin'
(1973). In them subjects concerning anti -
imperialism and racial solidarity were raised,
thereby creating a sense of race and class
consciousness.
http://www.lyricsfreak.com/b/bob+marley/concrete+jungle_20021669.
html
http://www.shmoop.com/concrete-jungle/lyrics.html
10
‘Marley combined social comment on the life and conditions of the
dispossessed classes in the Kingston ghettoes and political
commentary on Jamaican society with invocation of Rasta philosophy’
Public Lecture on Popular Culture as a Factor of Intercultural
Understanding: The Case of Reggae
By Professor Stuart Hall
11. MUSIC – Historical - Reggae
11
‘That music, and wider message which it bears, has
nowhere taken such profound roots as amongst
the alienated black youth in English cities – the
children of those of Jamaican unemployed who
came to Britain as immigrant labour in the 1950s
and 1960s, who have become in their turn
alienated from white society and from the racism
of the ‘home country’*
In the late 1970s Black British reggae
groups such as Aswad, Steel Pulse and
Matumbi, emerged, and Britain
developed its own unique brand of
reggae, characterized by a merging of
soft soul and reggae.
‘the formation of a black counter-
culture of resistance among second
and third generation blacks in Britain…
An additional irony is the degree to
which this specifically black counter-
culture has influenced and inter-
penetrated the sub-cultures of white-
youth’*
12. MUSIC – Historical - Reggae
These bands connected with disenchanted
youth all over Britain. They sang about
isolation and rejection from a society that
didn’t understand them.
http://www.lyrics007.com/Steel%20Pulse%20Lyrics/Drug%20Squad%20Lyrics.html
These bands were formed by first generation,
British-born blacks who eloquently voiced the
fear and anguish of growing up in a
predominantly white society. Brought up on
British pop and their parent’s records, they
combined a punk attitude with a Jamaican
reggae sound.
Their efforts to become successful mirrored thousands of young black kids across the
UK who were coping with right-wing backlash to the influx of Caribbean immigrants.
The National Front were stirring up racial hatred and he governments SUS law
resulted in hundreds of black people stopped and searched on the mere suspicion of
committing a crime. It wasn't long before there was rioting in the streets. The British
reggae bands provided the soundtrack to that struggle. 12
13. • The assimilation of blacks is not a
process of acculturation but of cultural
syncretism (Bastide, 1978).
• The Specials can be used as a symbol
of this process
• It is impossible to theorize black
culture in Britain without developing a
new perspective on British culture as a
whole.
• (Paul Gilroy ‘Ain’t No Black in the
Union Jack’ )
• Assimilation - the social process of
absorbing one cultural group into
harmony with another
MUSIC – Historical – 2Tone
13
14. • Smiley Culture - what
was he representative
of?
14
MUSIC – Historical – Smiley Culture
15. • Acculturation = modification of
the culture of a group as a result
of contact with a different culture
• Syncretism = fusion of differing
belief systems - the result is
heterogeneous.
• Fusion = style of cooking that
combines ingredients and
techniques from very different
cultures or countries.
• Heterogeneous = consisting of
elements that are not of the same
kind or nature
MUSIC – Historical – 2Tone
15
How does this relate to our hypothetical collective identity?
16. • In the period leading up to his death
[Marley], it was a space filled primarily
by the ‘two-tone’ cult. In this
movement, earlier Caribbean form,
particularly ska, which had been
exposed by the serious reggae fans’
search for musical authenticity behind
Marley’s obvious comprises, were
captured and rearticulated into
distinctively British styles and
concerns
• (Paul Gilroy ‘Ain’t No Black in the
Union Jack’ )
MUSIC – Historical – 2Tone
16
17. Mix of British and
Jamaican music
Combined white
and black styles
First multicultural
racial music
Fusion of Ska and
Punk
The coming
together of
politics and youth
1979
The Specials,
Madness, The
Selector, The
Beat, The
Bodysnatchers
First time blacks
and whites played
together in the
same band
Had it’s own style
– Pork pie hat,
black and white
dress code
The Rude Boy
character exuded
cool, more
appealing to
British working
class audience
Lyrics reflected
contemporary Britain –
and young people’s lives
irrespective of colour
The movement
allowed blacks
and whites to
share experiences
17
18. • …the cultural institutions of
the white working class were
hosting an historic encounter
between young black and
white people. This meeting
precipitated not only fear of
the degeneration of the white
'race' in general… but also the
creation of a youth sub-culture
in which black style and
expertise were absolutely
central. (Paul Gilroy ‘Ain’t No
Black in the Union Jack’ )
MUSIC – Historical – 2Tone
18
Music rooted in black culture was a distinct vehicle through which
black and white youth were able to have a voice and be heard
19. MUSIC – Historical – 2Tone
19
Consider the differences between the collective identity represented through
Reggae and the collective identity represented through 2Tone
20. • In his egalitarianism Ethiopianism and anti-imperialism, his critique of
law and of the types of work which were on offer, these young people
found meanings with which to make sense of their lives in post-
imperial Britain.
• The two-tone bands appreciated this and isolated the elements in
Marley's appeal that were most appropriate to the experiences of
young, urban Britons on the threshold of the 1980s.
• They pushed the inner logic of his project to its conclusion by fusing
pop forms rooted in the Caribbean with a populist politics. Marley's
populism had been focused by die imperatives of black liberation and
overdetermined by the language of Rastafarianism.
• Theirs was centred instead on pointing to the possibility that black
and white young people might discover common or parallel meanings
in their blighted, post-industrial predicament.
• (Paul Gilroy ‘Ain’t No Black in the Union Jack’ )
MUSIC – Historical – 2Tone
20
21. • The experience of living side by side
in a ‘ghost town' had begun to raise
this question. The Specials' song,
which topped the chart as the
rioting of 1981 was at its peak,
asked, 'Why must the youth fight
against themselves?' and cleverly
entangled its pleas against both
racism and youth-cultural
sectarianism. The two-tone
operation depended on being seen
to transcend the various prescriptive
definitions of 'race' which faced
each other across the hinterland of
youth culture.
• (Paul Gilroy ‘Ain’t No Black in the
Union Jack’ )
MUSIC – Historical – 2Tone
21
22. • How does the legacy of 2 Tone relate to the multicultural landscape of today
and contemporary Black Britain?
• Culture is not a fixed and impermeable feature of social relations. Its forms
change, develop, combine and are dispersed in historical processes. The
syncretic cultures of black Britain exemplify this. They have been able to detach
cultural practices from their origins and use them to found and extend the new
patterns of metacommunication which give their community substance and
collective identity.
• The defensive walls around each sub-culture gradually crumble and new
forms with even more complex genealogies are created in the synthesis and
transcendence of previous styles. The effects of this can be seen not only
where the cultural resources of the Afro-Caribbean communities provide a
space in which whites are able to discover meaning in black histories, style and
language, but also where a shared culture, overdetermined by its context of
the urban crisis, mediates the relationship between the different ethnic groups
that together comprise black Britian.
• (Paul Gilroy ‘Ain’t No Black in the Union Jack’ )
‘RACE’ ETHNICITY, SYNCRETISM
AND MODERNITY
22
24. MUSIC – Grime and UK Rap
• Discuss how Grime and UK
rap artists are continuing
where 2 tone left off
• Think about who they’re
talking to and who they
ultimately represent
• Think about the roots of the
music
• Think about why this music
comes under the genre
‘urban’ and also how it can
be seen as anti-hegemonic
24
Editor's Notes
Photocopy song lyrics!!!Start with the ‘Don’t Talk Black!’ articleDoc Brown clipNothing to do with the lesson but a good resource I found that can link in with our collective identityhttp://www.youtube.com/watch?v=ympI2mdABUM
Homework – read Keeping it reel: urban film and the riots – leads on from last week when we did the mind map – watch an episode of Top Boy
The quote above is useful to explain contemporary Black British collective identity because in the same way that Britain can be described as multi cultural, Black British identity can be said to have a different layers to it. Black British collective identity is the only identity that comes from the black diaspora that is able to mix the cultures and practices of Black Caribbean, Black Americans and Black British and then be inclusive of others races sharing in their experiences and identity.
It’s important in the exam that you keep focused on the here and now the contemporary but to be able to talk with some relevance about the contemporary texts you need to sometimes draw comparisons to the past and see how things have changed and how representations have changed and whyComment on the 5 year rule Kidulthood is getting old focus on the other films
You will need to do the same thing with music texts
Get them to read how black music became urban - discussBrown Sugar with lyrics http://www.youtube.com/watch?v=oOBP7QMuHHs Roy Brown – Good Rocking Tonight - http://www.youtube.com/watch?v=cgdzS4OSQ1M (1947)Elvis – Good Rocking Tonight - http://www.youtube.com/watch?v=6FeWJHUB8aU
Important to note that Reggae was used as a vehicle to communicate collective struggles of the black poor. The working classes were feeling a certain way and the way that they ALL felt came out in the lyrics of the songsThe blacks in Britain in the 1970s felt a similar oppression as the Jamaicans in Jamaica (think about how Black British were treated in the 1970s – ‘Pressure’) – so the lyrics spoke to them too – there was a sense of a collective identity across the waters
The Wailers picture is a hyperlink to a song/videoClick on the first link and read the lyrics to Concrete Jungle – what do you think the song is talking about?Now click on the second link and read the analysis of the song lyricsBlack British artist were using the essence of the genre to speak of their own socio-political circumstances/ predicament*United Nations Educational Scientific and Cultural OrganizationOn the occasion of the international day for the elimination of racial discrimination21 March 1985Public Lecture on Popular Culture as a Factor of Intercultural Understanding: The Case of ReggaeBy Professor Stuart Hall
Black British artist were using the essence of the genre to speak of their own socio-political circumstances/ predicament*United Nations Educational Scientific and Cultural OrganizationOn the occasion of the international day for the elimination of racial discrimination21 March 1985Public Lecture on Popular Culture as a Factor of Intercultural Understanding: The Case of ReggaeBy Professor Stuart Hall
Back To Africa Lyrics - http://www.elyrics.net/read/a/aswad-lyrics/back-to-africa-lyrics.htmlThese Black British bands were able to vocalise how the young Black youth in the 1970s and early 1980s were feeling, not accepted as British because of their Afro-Caribbean heritage and not able to ‘go back home’ because they were in fact British, their collective identity and how there positioned socially was communicated in the music of these bands.Click on the Aswad and Steel Pulse pictures to listen to the music, there is also a link for the lyrics of the Steel Pulse songwww.bbc.co.uk/programmes/b00wr7rw
Acculturation = modification of the culture of a group as a result of contact with a different cultureSyncretism = fusion of differing belief systems - the result is heterogeneous.Heterogeneous = consisting of elements that are not of the same kind or natureAlong with The Specials there was Smiley Culture see these links (what is he representative of?)http://www.youtube.com/watch?v=y_ZDPMwrPDM http://www.justsomelyrics.com/1072239/Smiley-Culture-Cockney-Translation-Lyricshttp://www.youtube.com/watch?v=9jOjZKDoo08&feature=relatedhttp://www.lyricsmx.com/lyrics.php?mode=song&song=5610
Acculturation = modification of the culture of a group as a result of contact with a different cultureSyncretism = fusion of differing belief systems - the result is heterogeneous.Heterogeneous = consisting of elements that are not of the same kind or nature
Consider the differences between the collective identity represented through Reggae and the collective identity represented through 2ToneDiaspora
HomeworkWhy can 2Tone music and bands like The Specials be seen as representation of syncretic processes that are at the root of contemporary black British collective identity?You’ll need to think aboutWhat 2Tone represented/ symbolisedHow bands like The Specials communicated collective identity at the timeAnd how what they represented is still communicated through music today (see slide 23)It will also help if you have watched the 2Tone documentary http://www.youtube.com/view_play_list?p=E465C60BA830AC92
Watch life of rhymehttp://www.channel4.com/programmes/life-of-rhyme/4odFOR NEXT WEEK: Note to self go back over music reading to add to knowledge about grime