Global
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This document discusses several aspects of globalization and Latin music. It addresses how Latin music became more influential in the late 1990s due to artists like Jennifer Lopez and Ricky Martin. It also discusses how salsa music negotiates issues of identity and how media can help preserve traditions but also lead to innovation and formation of new identities. The document provides context on the French rap group NTM and how rap was adapted in France to address issues of inequality, racism, and imperialism through rebellious discourses.
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This document discusses questions about the relationship between globalization, neoliberal capitalism, and the development and global spread of hip-hop music and culture. It explores how hip-hop emerged from 1970s/80s American inner cities as a form of resistance to poverty and oppression under neoliberal capitalism. The document examines how hip-hop then spread globally and was perceived as resistance music in other countries facing inequality and oppression. It considers whether hip-hop has become commodified and appropriated, losing its ability to promote resistance, or whether it can still function as a form of resistance against capitalism and other issues.
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Global media products like films, music, and television shows are spread globally but locally re-expressed through processes of hybridization. While symbols and ideologies from global media are interpreted locally, this does not produce a standardized global culture. Examples discussed include the appropriation of Rambo and hip hop in local cultures, and the hybrid identity construction through the global diffusion and local reception of Dallas, Brazilian telenovelas, and Mexican telenovelas. The author argues that the current global media culture is dynamic, differentiated, and pluralized through consumer practices and reception, challenging views of negative cultural consequences of globalization.
Final voices of immigration in usa
This document summarizes a workshop about voices of Latino immigrants in the USA based on two New York Times articles. The workshop aims to rethink metaphors and hybrid identities through these immigrant perspectives. It provides background on The New York Times as an influential American newspaper and discusses key topics like immigration statistics, challenges immigrants face, and conceptual metaphors revealed through language. Participants will analyze the newspaper articles using guiding questions and discuss how identity and immigration relate to teaching practice.
Essay On Harlem Renaissance
The Harlem Renaissance was an important cultural movement in the 1920s-1930s that allowed African American art, music, and literature to flourish. It gave black artists and intellectuals an opportunity to express themselves and be heard by both black and white audiences. Key figures like W.E.B. Du Bois and Marcus Garvey helped establish organizations that advocated for civil rights and black empowerment. The Harlem Renaissance inspired pride in African American culture and helped legitimize black artistic expression through mediums such as jazz, poetry, novels, and visual art.
P moder contemplit
This document provides an overview of postmodernism and contemporary literature from the 1950s to present. It discusses that postmodernism began after World War II and overlaps with modernism, celebrating a lack of universal truths. Some key characteristics include fragmentation, ambiguous endings, and questioning of authority figures. Influential postmodern works include Catch-22, Slaughterhouse Five, and White Noise. Contemporary literature embraces both traditional and postmodern styles, featuring cultural diversity and crossing boundaries between fiction and nonfiction.
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History of camera tech week two
The document provides a history of early camera technology, beginning with toys and magic in the pre-history era. It then discusses the concept of persistence of vision and revisits the myth of how it relates to motion pictures. The document also references Marcel Duchamp's 1912 painting "Nude Descending a Staircase, No. 2" as part of the history.
Camera history week one
This document outlines the content and assessments for a course on the history of camera technologies. The course will cover the development of still and moving image cameras from early toys and magic lanterns to modern electronic cameras. Students will work in groups to produce a short film using a vintage 35mm camera and give a presentation reflecting on the technical and creative aspects. Assessments include an individual or paired flip book exercise in the first week and the group film production and presentations in later weeks.
Med ins week 8
The document provides potential topics and ideas for presentations on media and broadcasting. Some suggested topics include the history of institutions like the BBC and their modern importance; the impact of technologies like Sky+ on audiences and industries; regulation of broadcasting and whether bodies like Ofcom are effective; scandals in broadcasting and lessons that can be learned; and the role and funding of public service broadcasting. For each topic, the document emphasizes analyzing meanings, impacts and implications rather than just listing facts or events. Presentations should consider topics in-depth rather than being superficial summaries.
Audio culture week 1 without sound
This document provides information about an "Audio Culture" module taken over two semesters. It outlines the learning outcomes, which involve skills in digital audio production and dissemination as well as understanding debates around audio's role in culture. There are two assessments: a portfolio of audio analyses worth 50% and an audio production project worth 50%. The portfolio involves analyzing four audio pieces in terms of production, audience and context. The production project involves creating a significant audio work negotiated with tutors. The module will examine sound in the contexts of radio, music, film/TV and new media.
PowerPoint - Genre Theory to Genre Practice
The document discusses genre theory and its application to media production. It explains that genre helps describe, produce, and sell media products by forming contracts with audiences. It then lists and provides examples of various elements that comprise genres, including characters, tone, locations, sound, editing, framing/shots, and others. These elements help shape audience expectations for different types of media.
History of camera tech week 5
The document discusses the history of sound in film from the 1890s experiments linking sound and image to the introduction of talking pictures in the late 1920s. It addresses some myths, noting that while silent films did not have synchronized sound, they were often accompanied by live music or lectures. Early sound-film experiments had issues with synchronization and amplification. The Jazz Singer in 1927, which featured both silent and spoken sequences, is considered the first "talkie." Warner Brothers helped drive the transition to sound by partnering with Western Electric on the Vitaphone sound-on-disc system due to losing small town audiences to automobiles. Technical challenges included noisy cameras, insensitive microphones, and ensuring smooth 24 fps projection without jerkiness.
Preparing your pitch
This document provides guidance on pitching documentary ideas. It emphasizes that a pitch must grab the commissioning editor's attention with a great story and succinct presentation. Developing a strong pitch takes research on the audience, style, subject matter, and institution. The pitch should be tailored to the expected audience and genre conventions. Thorough research is important to justify creative and production decisions. A good pitch concludes with an elevator pitch that summarizes what the viewer will get from the documentary in 30 seconds or less. Practice pitching and receiving feedback are important skills. The document then lists groups and tutorial timeslots for providing pitch feedback.
History of Camera Technologies - Week One
The document outlines the content and assessments for a course on the history of camera technologies. Students will learn about the development of still and movie cameras from early toys and magic lanterns to modern electronic cameras. They will demonstrate their understanding by producing a short film using a vintage 35mm film camera and presenting critically on the film. The course will cover topics like fixing and moving images as well as hearing and color images over time. It discusses approaches to studying history and assessing inventions, and that the first session will be at 9:30am starting next week. Students are asked to produce a basic flip book as an introductory exercise.
Theory and practice week 11
This document provides a history of broadcasting in the UK from the early 1900s to present day. It discusses the development of radio broadcasting by the Marconi Company and the BBC in the 1920s. The BBC was established to provide programming to serve all audiences. In the 1950s, commercial television was introduced in the UK, led by ITV, which was primarily advertiser funded. Today, both the BBC and ITV have public service broadcasting remits but utilize different funding models, with the BBC receiving funds from television licenses and ITV generating revenue from advertising.
Regulation
This document discusses different forms of regulation for media including legal, official, cultural, self, and economic regulation. It provides examples of media regulatory bodies in the UK such as Ofcom, ASA, BBC Trust, BBFC, and PCC. It also summarizes a case study about a Heinz deli meat advertisement that received complaints but was never officially banned or pulled in the UK.
Media Institutions week 2 2011
- The BBC had a monopoly on broadcasting in the UK pre-WW2 and through most of the 1940s, focusing mainly on radio. Commercial television was introduced in the 1950s through the new Independent Television Authority (ITA) to provide competition to the BBC and allow advertising-funded broadcasts.
- The Pilkington Committee in the 1960s recommended that ITV should be reorganized and the BBC given a third channel, leading to the launch of BBC 2 in 1964. Further reports looked at introducing more channels, resulting in the launch of Channel 4 in 1982 and satellite broadcasting by BSB and Sky in the late 1980s/early 1990s.
Theory & Practice Week Three - Genre 2011
This document discusses genre theory and how genres are used to classify and analyze media texts. Some key points:
- Genre refers to types or categories of media texts that share common conventions, themes, and patterns.
- Genres act as signifying systems that provide paradigms or templates that media texts can draw from. This allows for a "contract" between producers and audiences about what to expect.
- Individual texts may demonstrate generic elements while also differing from other texts in that genre through hybridity or innovation.
- Genres are not static but rather develop and change over time through combinations with other genres or becoming obsolete. They frame audience understanding and require cultural knowledge to recognize.
Media Institutions week 1 2011
The document outlines the learning outcomes and assessments for a module on media institutions, which will use lectures and seminars to explore issues affecting the contemporary media landscape such as ownership, globalization, and technological changes, assessing students through group presentations and individual podcast/video productions.
T & p week 1 upload version
This document outlines an introductory lecture for a media production course. It introduces the instructors and has the students do a quick icebreaker exercise. It then discusses the learning outcomes, which focus on developing critical analysis skills and understanding the relationship between theory and practice. It emphasizes that theory is important for production work and should not be seen as just reading. It explores what constitutes media texts and the importance of analysis. It also discusses aesthetics, media literacy, and where producers draw their influences from such as literature, art, and other media. It stresses the importance of having breadth beyond just technology.
Pp1 11 week 1
- This document outlines the goals and requirements for the first part of a two-part production project module, which focuses on planning a major creative project.
- The aims are to develop research, time management, and self-assessment skills through practical work and to produce an individual work.
- Assessments include a 25% pitch due November 1st describing the project plan, and a 75% treatment due December 13th providing details of the planned production. The treatment must also include a sample of the planned work.
Assessment Drama Production A
The document outlines the requirements and assessment criteria for two assignments for a drama production module. The first assignment involves producing a production schedule with evidence of planning and collaboration from group members. The second assignment requires an individual analysis of suitability for different drama production roles and consideration of strengths and weaknesses. Both assignments are due in December 2009 and January 2010 respectively and make up 50% of the module grade.
Drama1
This document outlines the assessments for a drama production module. It includes:
1. Students will be formed into production groups and choose a weekend session to work on developing a production schedule pitch that demonstrates planning and input from each group member.
2. The production schedule is the first assessment, worth 50% of the module grade, and is due on December 16th.
3. The second assessment is an individual role analysis worth 50% where students analyze their suitability for different drama production roles and consider at least three roles in detail. This is due on January 20th.
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Global
- 2. Globalisation • Global Interconnectedness • Flows of commerce • Flows of communication • Exchanges of symbolic capital
- 3. Globalisation • Equality of traffic? • Cultural Imperialism • Americanisation as syn. of Globalisation? • Assumption that globalised (US/UK) industries ‘exploit’
- 4. Problematising Globalisation • Latin music is a meta-generic term which encompasses and extremely wide range of music styles and cultures from Latin America • In the late 1990s, Latin music became an important influence on chart music, largely because of the influence of artists like, Jennifer Lopez and Ricky Martin • More recently renewed interest in latin music for dance has raised its profile
- 5. Contested Identities • Salsa as symbolic site for negotiation of issues of race, class, gender and national identity • Plurality – as national discourse, transnational pan- Latino genre and culturally appropriated international mass music • Meaning constructed within post-colonial context of Latino Diaspora
- 6. The Other Side • However – media can act as vehicle for preservation & transmission of memory and tradition • Influence generic innovation • Contributing to formation of national identities . . .
- 7. . . . Or New Identities
- 8. NTM (Nique Ta Mere) • Bruno Lopez (Kool Shen) • Didier Morville (Joey Starr) • http://www.supreme-ntm.com/
- 9. • French context: • Social Inequality • Racism • Post-colonialism • American Imperialism
- 10. Francophone Rap • American form ‘de-americanised’ • Discourses of rebellion & opposition • But also defense of language • Sampling (Miles Davis & Public Enemy) • Dialogues of cultural exchange(Blake, 2007)