This vintage advert from the 1960s portrays stereotypical gender roles and objectification of women. It shows a muscular male posing on the beach to attract the gaze of three women posing for attention. This objectifies the women and promotes unhealthy body image standards for both men and women. When a "geek" is bullied, the women turn their attention to a man smoking a cigar, portrayed as more masculine and cool. The advert promotes the idea that smoking Castella cigars will make men appear fashionable and attract female attention, using gender stereotypes to sell the product.
The group decided to base their horror trailer on typical genre conventions including a 'Final Girl' character named Charley who would be portrayed as virginal, masculine, and androgynous. They also included stereotypical character archetypes such as an athlete named Chad. Drawing from films like The Woman in Black, the group developed a revenge plot involving the ghost of a boy seeking vengeance. They used theories like Todorov's to structure the narrative and Propp's to define character roles, deciding Charley would serve as the hero who solves the mystery.
- Clover suggests that young males, either alone or in groups, make up the bulk of the horror film audience. She also notes there are some niche audiences like adolescent boys and girls and middle-aged women.
- The type of horror film genre/subgenre can attract certain audience groups. More generic films tend to draw a broader mass audience.
- Clover found parity between who watched horror films at cinemas versus home videos/rentals. The majority audience for both was young males under 25, as well as some middle-aged males.
The document summarizes Bethany Coxon's research on the representation of female protagonists in the romance films Beastly, The Lucky One, and Dear John. It finds that the main female characters, Lindy, Beth, and Savannah, challenge stereotypes by being independent, hard-working women rather than stereotypical romantic interests. While they conform to some stereotypes like hair color, their characterization and behaviors are portrayed positively. The document also analyzes how these films challenge Laura Mulvey's theory of the male gaze and Tessa Perkins' theory on stereotypes.
The document provides information about the 2015 films Cinderella and Chappie. It summarizes the plots of both films and includes the directors, producers, stars, budgets, and release dates. It also discusses the target audiences for each film, which were families for Cinderella and 15-30 year olds for Chappie. The document analyzes how each film was marketed using trailers, posters, and social media with links provided as examples. Anchorage and postmodern techniques used in the films' posters are described to engage and attract the intended audiences.
The document discusses how the media product represents particular social groups through its use of mise en scene, camerawork, and editing. It shows the main female character as a stereotypical teenage girl through her bedroom décor and clothing. The antagonist is portrayed as the stereotypical villain by wearing black and hiding in the shadows. While the characters' ages differ from typical psychological thrillers, other conventions like these are followed to represent the genre.
The document discusses how Michael Bay's Transformers films employ the male gaze. It analyzes a scene from the first Transformers film where Megan Fox, who plays Mikaela, fixes a car while wearing revealing clothing and from camera angles that sexualize her body. The document argues this scene was designed to appeal to the film's primarily male audience by allowing them to objectify Fox's body. It also notes controversies around Bay's alleged sexualization of Fox when she was 15 and working on one of his earlier films. Overall, the document uses this scene and Bay's history of employing overtly sexualized female characters as evidence that his work is aimed at satisfying the male gaze.
The document discusses how the filmmakers attracted and addressed their target audience for a zombie film opening. They conducted interviews with their primary target audience of males over 35 and secondary target audience of females under 35 to understand what elements each group wanted to see. They focused on including suspense, a variety of character types including strong female characters, and natural human survival instincts. Technically, they used music, lighting, camera angles, costumes, makeup and settings to create suspense and enigma for the audience about what would happen next.
The document analyzes two soap opera trailers using Propp's character roles and narrative functions. For EastEnders, Mick is identified as the hero who departs to confront villain Dean. In Coronation Street, an older man saves a distressed woman from a car, acting as the hero. Both trailers depict binaries of good vs. evil through the hero confronting threats posed by the villains.
The group decided to base their horror trailer on typical genre conventions including a 'Final Girl' character named Charley who would be portrayed as virginal, masculine, and androgynous. They also included stereotypical character archetypes such as an athlete named Chad. Drawing from films like The Woman in Black, the group developed a revenge plot involving the ghost of a boy seeking vengeance. They used theories like Todorov's to structure the narrative and Propp's to define character roles, deciding Charley would serve as the hero who solves the mystery.
- Clover suggests that young males, either alone or in groups, make up the bulk of the horror film audience. She also notes there are some niche audiences like adolescent boys and girls and middle-aged women.
- The type of horror film genre/subgenre can attract certain audience groups. More generic films tend to draw a broader mass audience.
- Clover found parity between who watched horror films at cinemas versus home videos/rentals. The majority audience for both was young males under 25, as well as some middle-aged males.
The document summarizes Bethany Coxon's research on the representation of female protagonists in the romance films Beastly, The Lucky One, and Dear John. It finds that the main female characters, Lindy, Beth, and Savannah, challenge stereotypes by being independent, hard-working women rather than stereotypical romantic interests. While they conform to some stereotypes like hair color, their characterization and behaviors are portrayed positively. The document also analyzes how these films challenge Laura Mulvey's theory of the male gaze and Tessa Perkins' theory on stereotypes.
The document provides information about the 2015 films Cinderella and Chappie. It summarizes the plots of both films and includes the directors, producers, stars, budgets, and release dates. It also discusses the target audiences for each film, which were families for Cinderella and 15-30 year olds for Chappie. The document analyzes how each film was marketed using trailers, posters, and social media with links provided as examples. Anchorage and postmodern techniques used in the films' posters are described to engage and attract the intended audiences.
The document discusses how the media product represents particular social groups through its use of mise en scene, camerawork, and editing. It shows the main female character as a stereotypical teenage girl through her bedroom décor and clothing. The antagonist is portrayed as the stereotypical villain by wearing black and hiding in the shadows. While the characters' ages differ from typical psychological thrillers, other conventions like these are followed to represent the genre.
The document discusses how Michael Bay's Transformers films employ the male gaze. It analyzes a scene from the first Transformers film where Megan Fox, who plays Mikaela, fixes a car while wearing revealing clothing and from camera angles that sexualize her body. The document argues this scene was designed to appeal to the film's primarily male audience by allowing them to objectify Fox's body. It also notes controversies around Bay's alleged sexualization of Fox when she was 15 and working on one of his earlier films. Overall, the document uses this scene and Bay's history of employing overtly sexualized female characters as evidence that his work is aimed at satisfying the male gaze.
The document discusses how the filmmakers attracted and addressed their target audience for a zombie film opening. They conducted interviews with their primary target audience of males over 35 and secondary target audience of females under 35 to understand what elements each group wanted to see. They focused on including suspense, a variety of character types including strong female characters, and natural human survival instincts. Technically, they used music, lighting, camera angles, costumes, makeup and settings to create suspense and enigma for the audience about what would happen next.
The document analyzes two soap opera trailers using Propp's character roles and narrative functions. For EastEnders, Mick is identified as the hero who departs to confront villain Dean. In Coronation Street, an older man saves a distressed woman from a car, acting as the hero. Both trailers depict binaries of good vs. evil through the hero confronting threats posed by the villains.
The document discusses how various social groups are represented in the filmmaker's media product. Male roles are typically portrayed as either heroes or villains, with the villain in this case portrayed as physically strong but emotionally detached to justify his crimes. The two female leads are presented as weaker and in need of rescue. All characters are young white British individuals to fit thriller film conventions. Ages are also used to stereotypical ends, with teenagers depicted as mischievous and the older villain as stronger.
The document analyzes eight film posters for supernatural horror movies. It finds that they all share common conventions - featuring a dominant image, usually of a tormented female protagonist, with horrific elements like evil children or supernatural forces threatening her. Many use cold colors like grey and blue. Titles are in uppercase fonts at the bottom, and most include additional text with information like taglines or production details to provide context and draw in audiences. Overall, the posters effectively promote their films and genre through their shared minimalistic and unsettling visual styles.
Textual analysis of 2 soap opera trailersPatrickColl99
The document provides an analysis of two soap opera promotional trailers from Hollyoaks and Eastenders. For the Hollyoaks trailer, the analysis notes the use of dialogue around a missing baby and an upcoming marriage to hint at plotlines. Facial expressions and lighting are used to characterize different characters. Fast cuts and a broken frame shot are used to convey the pace of the series. The Eastenders trailer features dialogue around a wedding and a troubled child. Costumes, lighting and a hockey stick are used to characterize relationships and foreshadow violence. Both trailers effectively engage audiences through their use of soundtracks, cliffhangers, and characterization.
The document provides a detailed analysis and summary of three short films: Slap, I Don't Care, and Operator. For Slap, it summarizes the use of shots, lighting, costumes, and dialogue to portray the main character's struggle with their identity as a transgender person hiding their true self. For I Don't Care, it summarizes how the relationship between a pregnant woman and a teenager with Down syndrome changes her views on disability. For Operator, it begins to analyze the opening shots of emergency operators but does not provide any further summary.
The document provides an overview of characteristics commonly found in horror film posters for supernatural genre films. It discusses six specific posters in detail. Some common elements identified include the prominent display of the film title, the use of disturbing and upsetting imagery typically featuring a distressed female protagonist, and pale cold colors used to set a sinister and dark mood. Additional patterns often seen involve references to children in distress or possession as well as taglines and text that further highlight the threatening narrative elements.
The document provides information for a media studies student's advanced portfolio project on producing a trailer for a new soap opera. It includes aims and objectives, research on soap opera codes and conventions using examples from EastEnders and Coronation Street, production deadlines, and notes on textual analysis of trailers and the roles of a director and producer. Research was also done on BBC Two as the channel the trailer will be exhibited on, including its target audience and programming goals.
This document provides an analysis of two soap opera trailers: Hollyoaks and EastEnders. For each trailer, the analysis examines the verbal codes of dialogue and soundtrack, non-verbal codes of setting, lighting, costumes and expressions, and technical codes of camera angles and shots. Strengths identified for exploitation include diegetic sounds in Hollyoaks that build intrigue, and upbeat soundtracks in EastEnders that emphasize drama. Repeated strengths would be quick cuts in Hollyoaks and happy music/end text in EastEnders that create interest and want to watch. Minimal locations, costumes/props and lack of voiceovers allow clear narratives for audiences to interpret.
This poster analyzes the poster for the psychological horror film "The Silence of the Lambs". It summarizes that the poster depicts Jodie Foster's character Clarice with a moth covering her mouth, suggesting she has a secret. Through the use of colors like red and black, as well as lighting and Clarice's eyes, the poster conveys a creepy and mysterious atmosphere. It also effectively draws in audiences by hinting at the deeper narrative without revealing too much, making viewers want to learn more by watching the film.
The poster for Carrie effectively conveys the film's horror elements and establishes intrigue. It prominently features a close-up of Carrie's pale, ghostly face with blood running down her forehead and red around her eyes, foreshadowing the violence while also eliciting sympathy through the implied tears. The tagline "You will know her name" and inclusion of actors like Chloe Grace Moretz and Julianne Moore attract curiosity about the story and roles. Released in October, the timing aimed to capitalize on the Halloween season interest in horror movies. The bloodstained font and contrasting red and white colors reference Carrie's corruption and downfall in a way that corresponds well to the film's title and story
The document discusses how the media product represents various social groups through its characters and story. The thriller represents teenage relationships through two 18-19 year old characters in a relationship that ends tragically. It aims to represent average teenage boys and girls through characters of different ethnicities to appeal to wider audiences. However, the dark and sinister text may appeal more to teenage males than females or other groups. It also breaks thriller conventions by having the female character survive while the male character is mysteriously killed.
This poster promotes the psychological horror film "The Silence of the Lambs". It depicts the main character Clarice with a moth covering her mouth, representing the film's title. The use of orange, black and white establishes it as a psychological horror. While it follows conventions like image dominance and institutional information placement, it breaks conventions by lacking a tagline. The poster attracts audiences through Clarice's mysterious expression and color scheme, enticing them to learn more about the deeper narrative hinted at but not fully revealed.
The document discusses how the media product represents various social groups through its characters. It focuses on age, gender, social class, and ethnicity. For age, most actors are teenagers or young adults to subvert expectations. Females outnumber males and are portrayed as innocent through white clothing. Social class is represented through the teenagers' working class clothing and behaviors in one scene. Ethnic diversity is limited, with only one black actor as a zombie to show that a pandemic can affect anyone. Locations and lighting are also used to convey meaning about characters and danger.
The document discusses how the media product represents various social groups through its characters. It focuses on age, gender, social class, and ethnicity. For age, most actors are teenagers or young adults to subvert expectations. Females outnumber males and are portrayed as innocent through white clothing. Social class is represented through the teenagers' working class clothing and behaviors in one scene. Ethnic diversity is limited, with only one black actor as a zombie to show that a pandemic can affect anyone. Locations and lighting are also used to convey meaning about the characters and social norms.
The document analyzes eight film posters for supernatural horror films. It finds that they share several common conventions, including featuring fearful female protagonists, sinister antagonists, and horrific imagery designed to attract audiences. The posters also typically use bold titling, catchy taglines, matching fonts, and institutional information to provide context and draw in viewers. Overall, the posters are effective because they are simple and image-focused while adhering to genre conventions.
The document analyzes seven film posters for supernatural horror movies. It finds that the posters all share common conventions - an eye-catching focal image related to the genre, prominent display of the title, and inclusion of a tagline or slogan. Specifically, five of the seven posters feature children as the antagonist, meant to shock audiences by subverting innocence. Additionally, several posters incorporate religious imagery or symbols to similarly disturb viewers. Overall, the posters are designed to scare audiences and pique their curiosity about the films through unsettling images and use of cold, ghostly color schemes.
This document provides an analysis of two soap opera trailers. For the first trailer, the student summarizes the effective use of changing soundtracks and dialogue to shift the tone from happy to tense. They also note the use of lighting and costumes. For the second trailer, they comment on the setting, costumes, and camera angles, but find it less compelling than the first. Areas they would repeat include the first trailer's soundtracks and final fight scene. They would exploit transitions in their own trailer.
The document outlines a proposed short film about a 17-year-old lesbian girl named Jade. The plot follows Jade as she struggles to come out to her family and deals with the death of her mother in a car accident. Key themes include homosexuality, adoption, bereavement, love, and friendship. The target audience is envisioned as teenagers who can relate to Jade's emotions, with the goal of increasing understanding of LGBT issues and social themes addressed in the film.
This document outlines a film idea combining the romance and thriller genres. It follows a female protagonist who witnesses a murder committed by the male antagonist in the woods. They later meet in school and fall in love. The antagonist later confesses to the murder, creating conflict. The trailer will feature the woods scene, their growing romance, and the confession to build intrigue. It discusses marketing the film through reviews, posters, and targeting both romance and thriller audiences aged 15-24 with a focus on the color red throughout.
When casting actors for their film, the filmmakers considered the demographics of their target audience, who were under 35, and cast actors of a similar social class. This included casting a 16-year-old to play the mother and a 5-year-old to play her child. Throughout the film opening, they use conventions like low-key lighting and a slow editing pace to attract audiences to the genre of psychological horror. They also included a role reversal with strong female characters and no male figures to appeal to audiences who wanted to see this. The plot of a child going missing in an abandoned house engages audiences through mystery while differing from other films through its lack of male characters.
This document discusses the classical Hollywood narrative structure and how it applies to the film "The Crazies." It begins by outlining the classical Hollywood narrative structure as an equilibrium being disrupted by an event, causing disequilibrium that must be resolved with a new equilibrium. It then analyzes whether "The Crazies" follows this structure. It determines that the film does not follow it because the disruption occurs at the beginning rather than the middle. However, it notes there appears to be a new equilibrium at the end, but this is undermined by a final scene showing further disruption has not ended.
Media Research- Types of Research
Descriptive vs. Analytical
Pure and Applied
Qualitative and Quantitative
Descriptive Research
Analytic Research
Fundamental or Pure Research
Quantitative vs. Qualitative
The document outlines various primary and secondary research methods used in a media coursework project. Primary methods included surveys distributed via Facebook and interviews with the target audience. Secondary research involved analyzing existing texts and conducting internet research using sources like Wikipedia and Google. The methods are evaluated in terms of their pros, like being cheap and easy, and cons, such as being time consuming or difficult to find participants.
The document discusses how various social groups are represented in the filmmaker's media product. Male roles are typically portrayed as either heroes or villains, with the villain in this case portrayed as physically strong but emotionally detached to justify his crimes. The two female leads are presented as weaker and in need of rescue. All characters are young white British individuals to fit thriller film conventions. Ages are also used to stereotypical ends, with teenagers depicted as mischievous and the older villain as stronger.
The document analyzes eight film posters for supernatural horror movies. It finds that they all share common conventions - featuring a dominant image, usually of a tormented female protagonist, with horrific elements like evil children or supernatural forces threatening her. Many use cold colors like grey and blue. Titles are in uppercase fonts at the bottom, and most include additional text with information like taglines or production details to provide context and draw in audiences. Overall, the posters effectively promote their films and genre through their shared minimalistic and unsettling visual styles.
Textual analysis of 2 soap opera trailersPatrickColl99
The document provides an analysis of two soap opera promotional trailers from Hollyoaks and Eastenders. For the Hollyoaks trailer, the analysis notes the use of dialogue around a missing baby and an upcoming marriage to hint at plotlines. Facial expressions and lighting are used to characterize different characters. Fast cuts and a broken frame shot are used to convey the pace of the series. The Eastenders trailer features dialogue around a wedding and a troubled child. Costumes, lighting and a hockey stick are used to characterize relationships and foreshadow violence. Both trailers effectively engage audiences through their use of soundtracks, cliffhangers, and characterization.
The document provides a detailed analysis and summary of three short films: Slap, I Don't Care, and Operator. For Slap, it summarizes the use of shots, lighting, costumes, and dialogue to portray the main character's struggle with their identity as a transgender person hiding their true self. For I Don't Care, it summarizes how the relationship between a pregnant woman and a teenager with Down syndrome changes her views on disability. For Operator, it begins to analyze the opening shots of emergency operators but does not provide any further summary.
The document provides an overview of characteristics commonly found in horror film posters for supernatural genre films. It discusses six specific posters in detail. Some common elements identified include the prominent display of the film title, the use of disturbing and upsetting imagery typically featuring a distressed female protagonist, and pale cold colors used to set a sinister and dark mood. Additional patterns often seen involve references to children in distress or possession as well as taglines and text that further highlight the threatening narrative elements.
The document provides information for a media studies student's advanced portfolio project on producing a trailer for a new soap opera. It includes aims and objectives, research on soap opera codes and conventions using examples from EastEnders and Coronation Street, production deadlines, and notes on textual analysis of trailers and the roles of a director and producer. Research was also done on BBC Two as the channel the trailer will be exhibited on, including its target audience and programming goals.
This document provides an analysis of two soap opera trailers: Hollyoaks and EastEnders. For each trailer, the analysis examines the verbal codes of dialogue and soundtrack, non-verbal codes of setting, lighting, costumes and expressions, and technical codes of camera angles and shots. Strengths identified for exploitation include diegetic sounds in Hollyoaks that build intrigue, and upbeat soundtracks in EastEnders that emphasize drama. Repeated strengths would be quick cuts in Hollyoaks and happy music/end text in EastEnders that create interest and want to watch. Minimal locations, costumes/props and lack of voiceovers allow clear narratives for audiences to interpret.
This poster analyzes the poster for the psychological horror film "The Silence of the Lambs". It summarizes that the poster depicts Jodie Foster's character Clarice with a moth covering her mouth, suggesting she has a secret. Through the use of colors like red and black, as well as lighting and Clarice's eyes, the poster conveys a creepy and mysterious atmosphere. It also effectively draws in audiences by hinting at the deeper narrative without revealing too much, making viewers want to learn more by watching the film.
The poster for Carrie effectively conveys the film's horror elements and establishes intrigue. It prominently features a close-up of Carrie's pale, ghostly face with blood running down her forehead and red around her eyes, foreshadowing the violence while also eliciting sympathy through the implied tears. The tagline "You will know her name" and inclusion of actors like Chloe Grace Moretz and Julianne Moore attract curiosity about the story and roles. Released in October, the timing aimed to capitalize on the Halloween season interest in horror movies. The bloodstained font and contrasting red and white colors reference Carrie's corruption and downfall in a way that corresponds well to the film's title and story
The document discusses how the media product represents various social groups through its characters and story. The thriller represents teenage relationships through two 18-19 year old characters in a relationship that ends tragically. It aims to represent average teenage boys and girls through characters of different ethnicities to appeal to wider audiences. However, the dark and sinister text may appeal more to teenage males than females or other groups. It also breaks thriller conventions by having the female character survive while the male character is mysteriously killed.
This poster promotes the psychological horror film "The Silence of the Lambs". It depicts the main character Clarice with a moth covering her mouth, representing the film's title. The use of orange, black and white establishes it as a psychological horror. While it follows conventions like image dominance and institutional information placement, it breaks conventions by lacking a tagline. The poster attracts audiences through Clarice's mysterious expression and color scheme, enticing them to learn more about the deeper narrative hinted at but not fully revealed.
The document discusses how the media product represents various social groups through its characters. It focuses on age, gender, social class, and ethnicity. For age, most actors are teenagers or young adults to subvert expectations. Females outnumber males and are portrayed as innocent through white clothing. Social class is represented through the teenagers' working class clothing and behaviors in one scene. Ethnic diversity is limited, with only one black actor as a zombie to show that a pandemic can affect anyone. Locations and lighting are also used to convey meaning about characters and danger.
The document discusses how the media product represents various social groups through its characters. It focuses on age, gender, social class, and ethnicity. For age, most actors are teenagers or young adults to subvert expectations. Females outnumber males and are portrayed as innocent through white clothing. Social class is represented through the teenagers' working class clothing and behaviors in one scene. Ethnic diversity is limited, with only one black actor as a zombie to show that a pandemic can affect anyone. Locations and lighting are also used to convey meaning about the characters and social norms.
The document analyzes eight film posters for supernatural horror films. It finds that they share several common conventions, including featuring fearful female protagonists, sinister antagonists, and horrific imagery designed to attract audiences. The posters also typically use bold titling, catchy taglines, matching fonts, and institutional information to provide context and draw in viewers. Overall, the posters are effective because they are simple and image-focused while adhering to genre conventions.
The document analyzes seven film posters for supernatural horror movies. It finds that the posters all share common conventions - an eye-catching focal image related to the genre, prominent display of the title, and inclusion of a tagline or slogan. Specifically, five of the seven posters feature children as the antagonist, meant to shock audiences by subverting innocence. Additionally, several posters incorporate religious imagery or symbols to similarly disturb viewers. Overall, the posters are designed to scare audiences and pique their curiosity about the films through unsettling images and use of cold, ghostly color schemes.
This document provides an analysis of two soap opera trailers. For the first trailer, the student summarizes the effective use of changing soundtracks and dialogue to shift the tone from happy to tense. They also note the use of lighting and costumes. For the second trailer, they comment on the setting, costumes, and camera angles, but find it less compelling than the first. Areas they would repeat include the first trailer's soundtracks and final fight scene. They would exploit transitions in their own trailer.
The document outlines a proposed short film about a 17-year-old lesbian girl named Jade. The plot follows Jade as she struggles to come out to her family and deals with the death of her mother in a car accident. Key themes include homosexuality, adoption, bereavement, love, and friendship. The target audience is envisioned as teenagers who can relate to Jade's emotions, with the goal of increasing understanding of LGBT issues and social themes addressed in the film.
This document outlines a film idea combining the romance and thriller genres. It follows a female protagonist who witnesses a murder committed by the male antagonist in the woods. They later meet in school and fall in love. The antagonist later confesses to the murder, creating conflict. The trailer will feature the woods scene, their growing romance, and the confession to build intrigue. It discusses marketing the film through reviews, posters, and targeting both romance and thriller audiences aged 15-24 with a focus on the color red throughout.
When casting actors for their film, the filmmakers considered the demographics of their target audience, who were under 35, and cast actors of a similar social class. This included casting a 16-year-old to play the mother and a 5-year-old to play her child. Throughout the film opening, they use conventions like low-key lighting and a slow editing pace to attract audiences to the genre of psychological horror. They also included a role reversal with strong female characters and no male figures to appeal to audiences who wanted to see this. The plot of a child going missing in an abandoned house engages audiences through mystery while differing from other films through its lack of male characters.
This document discusses the classical Hollywood narrative structure and how it applies to the film "The Crazies." It begins by outlining the classical Hollywood narrative structure as an equilibrium being disrupted by an event, causing disequilibrium that must be resolved with a new equilibrium. It then analyzes whether "The Crazies" follows this structure. It determines that the film does not follow it because the disruption occurs at the beginning rather than the middle. However, it notes there appears to be a new equilibrium at the end, but this is undermined by a final scene showing further disruption has not ended.
Media Research- Types of Research
Descriptive vs. Analytical
Pure and Applied
Qualitative and Quantitative
Descriptive Research
Analytic Research
Fundamental or Pure Research
Quantitative vs. Qualitative
The document outlines various primary and secondary research methods used in a media coursework project. Primary methods included surveys distributed via Facebook and interviews with the target audience. Secondary research involved analyzing existing texts and conducting internet research using sources like Wikipedia and Google. The methods are evaluated in terms of their pros, like being cheap and easy, and cons, such as being time consuming or difficult to find participants.
Vodafone is the most preferred cellular network according to a survey of 50 people ages 15-55. The survey examined network coverage, customer service, and billing charges of Vodafone, Airtel, Loop, and MTNL. Secondary data from 2005-2009 showed Vodafone growing the most in subscribers. According to the survey results, 44% of respondents use Vodafone and it received a very good network rating. While some users would switch for better plans, most Vodafone users wish to keep their number even with number portability.
The document discusses advertising campaigns and provides details on various aspects related to developing an effective advertising campaign. It defines an advertising campaign as a series of advertisement messages that share a single theme or idea. The critical part is determining the champion theme, which sets the tone for the individual ads. An advertising campaign is an organized series of ads with identical or similar messages over a period of time. The document also discusses types of advertising campaigns based on geographical spread, purpose, and media used. It provides examples of different campaign types like those using word hooks, character hooks, or repeatable themes. Finally, it discusses considerations for planning an advertising campaign like identifying the problem, selecting the target audience, budget, and post-testing.
The document is a PowerPoint presentation about the poem "Those Winter Sundays" by Robert Hayden. It includes analysis of poetic devices like metaphor and alliteration used in the poem. It also provides context about the poet, with biographical details and his notable works. Scaffolding questions are included to analyze themes of labor and contrast between Sundays and weekdays as depicted in the poem.
This poem describes a man reflecting on his childhood and relationship with his father. On Sundays, his father would wake up early to start fires and warm the house, despite his cracked and aching hands from hard labor. As a child, the narrator was indifferent to his father and unaware of his difficult work. Now as an adult, he realizes how much his father sacrificed and questions his own ignorance of his father's love through difficult tasks. The poem uses imagery of cold and warmth to represent the narrator's changing feelings over time.
Rural media can be defined as media outlets that primarily reach populations outside metropolitan areas. It includes conventional media like radio, television, print, and cinema as well as non-conventional media such as wall paintings, fairs, and personalized media. Effective rural communication is important for development and follows a two-step flow, first influencing opinion leaders who then guide rural masses. The ideal media model is to use both mass and personalized media to reach opinion leaders and the broader rural audience. Consumer behavior also influences appropriate communication strategies.
A media planner works within advertising agencies to develop strategies that maximize clients' advertising budgets and ensure campaigns reach target audiences effectively. They apply knowledge of media platforms to identify the most appropriate medium for each client and campaign. Media planners work on preparing proposals, researching audiences, analyzing data, and implementing campaigns through recommendations on timing, location, and media type. The role may also involve managing budgets, evaluating effectiveness, and maintaining client relationships.
The document provides guidance on analyzing diction and symbolism in literature. It explains that diction refers to word choice, and symbols represent larger ideas. Readers are instructed to identify emphasized words and ask why specific words were chosen, examine literal and implied meanings, and determine how word choices elaborate on themes.
Journalism and Mass Communication- Media research
1. systematic search
2. OBJECTIVES OF RESEARCH
4. hypothesis-testing research studies
3.exploratory or formulative research studies
Resume
Abid Zafar
PERSONAL DETAILS
DOB June 04, 1989
Email aabidzafarwarraich@gmail.com
Phone 0322 570 66 59
Address Chandni Chowk, Jalal Pur Jattan, Gujrat, Pakistan.
PROFILE
An enthusiastic individual I approach tasks with results in mind. I am well organized and I can work well as part of a team or on my own. I like completing things on time, and making sure that I keep learning how to do things well and quickly.
EDUCATION
M. Phil Media & Communication Studies Continues… (2014-2016)
International Islamic University Islamabad
MA Mass Communication & Media CGPA: 3.90/4.00 (2013)
University of Gujrat
Published Dissertation: “Comparative Analysis of Political Parties’ News and Advertisements Coverage of National Urdu Dailies Regarding Election 2013” ISBN 978-3-659-52287-1
B.ED Division 1st (2013-2014)
Alama Iqbal Open University, Islamabad
BA Political Science Division: 2nd (2011)
University of Gujrat
Diploma of Associate Engineering Division: 1st (2008)
(3-Year Diploma: Mechanical), Government Institute of Technology, Gujranwala.
Matriculation (Science) Division: 1st (2005)
Government Islamia High School, Jalal Pur Jattan, Gujrat
WORK EXPERIENCE
Worked as Reporter and Sub-editor in Online International Network from July 1, 2012 to August 31, 2012 Worked as Producer, Host and Reporter at FM- 106.6 from 21th November, 2012 to 25th May, 2013 I have great approach at Online Journalism, attended many seminars I have great experience of producing audio and video documentaries, news bulletins, features, Reports in two years Masters Degree Vast experience of writing, editing News stories, Columns, Features, Investigative reports I have great experience of Social Science Research where I got A+ in Final Thesis Regular Blogger
KEY STRENGTHS & SKILLS
I have great approach of Qualitative and Qualitative Research Methods I have great skills of writing Thesis and Research Papers I have great skills of Investigative Reporting I have skills about reporting and sub-editing in English journalism where I have reported number of seminars, National and International politicians, personalities and celebrities I have great skills of script writing, News stories, Investigative Reports, Online Journalism, Feature & columns writing I have multidimensional skills in the field of Mass Communication & Media where I got 3.90 CGPA out of 4.00, which presents my passions in this field Regular Bloggers I have great leadership abilities where I represent my class in two years Masters Degree President of Readers Club, which was about to improve reading and writing habits, conducted many seminar under my presidency
I am a great communicator, host many seminars, workshops and functions at university level I have great teaching skills where my teachers suggest me to join teaching as a profession I am a g
Visual literacy involves understanding visual forms of communication like photographs, television, and the internet. Students are exposed to many more visual messages than textual messages. Incorporating visual literacy instruction in the classroom can help students learn critical thinking skills to interpret visual data and messages. Some key aspects of visual literacy include understanding still images, moving images, audio codes, and reading and interpreting visual texts using various comprehension strategies.
Visual Literacy and Advertising Techniques Glossary of TermsRachel Witheridge
The document provides definitions for visual literacy terms and instructs the reader to complete a glossary table with the terms, definitions, and example images. It defines 13 visual literacy terms - gaze, demand, offer, vectors, salience, reading path, foreground/background, centrality, given/new, ideal/real, viewing angles and distance, symbols, and color associations. For each term, an example image is suggested to illustrate the visual technique being defined.
This document defines and discusses various visual techniques used in image analysis, including salience, reading paths, vectors, compositional axes, framing, gaze, viewpoint, social distance, lighting, color, and modality. Salience refers to the most attention-grabbing element of a composition. A reading path is the order in which the eye follows elements from most to least salient. Vectors are lines that guide the eye between elements. Compositional axes and framing influence how elements are arranged and connected. Gaze, viewpoint, and social distance impact viewer involvement and perspective. Lighting, color, and modality set mood and establish realism.
1) Media planning has become highly creative due to media fragmentation and new options, requiring creative solutions to develop effective plans.
2) A media plan is developed jointly by the agency's media, account, and creative teams along with the client and considers all marketing communication areas in an integrated campaign.
3) Developing a media plan requires extensive research from various sources to understand the target audience, competitors, each media channel's audience, and optimize reaching the right people.
This document discusses different types of media scheduling patterns for advertising campaigns. It describes continuous scheduling, which runs advertising steadily over the campaign period. Flighting involves intermittent periods of heavier advertising alternating with no advertising, targeting favorable selling periods. Pulsing combines continuous and flighting approaches by using low-level advertising year-round and heavier advertising during peak seasons. The document also outlines factors that influence scheduling patterns like marketing objectives, viewership trends, sales data, markets, competition and budget.
Rural communication has emerged as a key concern for both corporations and social institutions trying to reach rural audiences. There are many challenges to effective rural communication, including a scattered population, low literacy rates, and poor infrastructure. Mass media can reach large rural audiences, but traditional media like folk theater and wall paintings are often more effective. Effective rural communication requires understanding the audience, using their preferred languages and media, and involving them through participatory approaches.
Media - quantitative and qualitative research 2012David Engelby
This document discusses quantitative and qualitative research methods. Quantitative research aims to measure hard facts using closed questions and surveys. It seeks to find common patterns across many respondents. Qualitative research seeks in-depth understanding of meanings and attitudes through open-ended interviews and focus groups with fewer respondents. Both approaches have their place in research, and a mixed methods approach is often best. Primary research involves direct contact with informants, while secondary research uses existing sources.
The document outlines the major and minor objectives of research. The major objectives are to gain new insights into phenomena, accurately portray characteristics of individuals or groups, determine the frequency of occurrences, discover truths and facts, and test hypotheses of relationships between variables. The minor objectives are to seek knowledge, find solutions to problems through systematic methods, gain research degrees and benefits, face challenges, and be of service to society.
The article discusses the concept of the "female gaze" in film and compares it to the traditional "male gaze". It notes that the term "male gaze" was coined by film critic Laura Mulvey to refer to the perspective of sensually viewing and objectifying the female body. In contrast, the female gaze is proposed to be more emotional, intimate, empathetic rather than objectifying, and respectful. The article highlights a film festival featuring the works of female cinematographers to showcase alternative perspectives to the male gaze. It notes debate around defining and developing the concept of a "female gaze", with differing opinions among female filmmakers on its usefulness as a term and whether it simply reinforces a gender binary.
The article discusses the concept of the "female gaze" in film in response to Laura Mulvey's theory of the "male gaze". It introduces the Film Society at Lincoln Center's series on "The Female Gaze", which features 36 films shot by female cinematographers. These films range in style from raw to disorienting. The article explores different perspectives on what a "female gaze" might be, including that it sees people as people rather than objects, is emotional and intimate, and seeks to empathize rather than objectify. It notes that female cinematographers interviewed have varying opinions on the usefulness of the term and what it means given their technical skills and experiences that extend beyond gender.
The document discusses representation of women in the media according to Van Zoonen's theory of patriarchal representation. It provides examples of how women are often sexualized in films, magazines, and tabloids through images and articles that focus primarily on their bodies and roles as mothers. Men are typically portrayed as powerful, independent, and rational while women are shown as emotional, caring for others, and defined by their sexuality and relationships.
Laura Mulvey developed the male gaze theory, which argues that in film and media, the audience is positioned to view scenes from a heterosexual male perspective. This reinforces patriarchal ideals by portraying women as objects to be looked at. The male gaze reduces women's roles to supporting characters defined by their sexuality and relationships to men. While some criticism argues that the male gaze can empower women, Mulvey and others contend it reflects and perpetuates the subordination of women in society.
An Analysis Of Gender Stereotypes And Performativity In Brave Disney MovieLiz Adams
This document provides background information and context for analyzing gender stereotypes and performativity in the Pixar film Brave. It begins with an introduction to the topic and definitions of key terms like gender stereotypes and Judith Butler's theory of gender performativity. It then outlines the problem statements, scope, goals and functions of the study. The study aims to identify gender stereotypes in Brave and analyze the masculine performances of the main female character Merida through the lens of gender performativity theory. It concludes with an overview of the systematic presentation of the study across 5 chapters.
The document analyzes Melanie Martinez's music video "Mrs Potato Head" through several narrative and film theories. It summarizes the key plot points and symbolism in the video, then analyzes how the video represents concepts like gender roles, beauty standards, and media influence according to different theories. These include Todorov's theory of equilibrium, Propp's character archetypes, Levi-Strauss' concept of binary opposites, and theories around audience interpretation and the social context of genres. The overall analysis explores the video's message about not feeling pressured to conform to unrealistic beauty standards.
Lecture transcript The gaze in historical context All right, s.docxcroysierkathey
Lecture transcript :The gaze in historical context:
All right, so we're continuing our discussion of film noir, but we're really thinking about it in relation to Laura Mulvey's discussion of the gaze. So I've assigned this piece, "Visual Pleasure and Narrative Cinema," because it is probably the most influential work in critical cinema studies that's been published in an academic context. If you look up "Visual Pleasure and Narrative Cinema," you'll see that it was cited tens of thousands of times since it was first published in the journal Screen in 1975. So it's an older piece, but it's very representative of the ways that ideas in film theory that have a certain theoretical construct around them can sort of make their way into popular discourse. So we're going to think about whether we agree with her take on the gaze and whether it still applies to the ways that film form works today. And we'll also look at some examples of feminist filmmakers from the period that she was writing in who tried to really combat these ideas around the gaze and experiment with what feminist film form could really look like. So when the article had its 30th and 40th anniversaries, there were retrospectives which you can find online if you're interested. There were a lot of articles published in places like The Chronicle of Higher Education, as well as the Screen journal that it was originally published in, as well as in popular media commemorating the impact of "Visual Pleasure and Narrative Cinema." And even now the idea of the gaze has been a part of popular culture and discussions of film. So you can see here, it's been talked about in relation to Magic Mike, in relation to tropes of television. And if you look up male gaze in YouTube, you'll actually see hundreds and hundreds of compilations of clips that are organized around the male gaze, the idea of the male gaze in film. So it's had some staying power. As I mentioned, the article came out in a journal called Screen, which was a really influential journal in the 1970s when film studies as a discipline was really making its way into the Academy, and thinking about ways to unify analysis of film form with some of the more philosophical theoretical ideas that were coming out of critical theory, in particular in Europe. And so Mulvey published her piece in a journal called Screen. And she was very influenced by psychoanalytic theory, which was de rigueur at the time. So if you're a psychoanalytic theorist, you'll have to sort of stay with me, because I think these ideas are a little bit controversial now. And certainly a lot of people have published responses to this article that take issue with many aspects of it, but I still think it's useful, so we'll just move through it. So if you're a psychoanalytic theorist, you take as your starting point that the world is underlined with these deep psychological structures that were studied first by Freud and then revised by Lacan. These structures surface in liter ...
Lecture transcript The gaze in historical context All right, s.docxssuser47f0be
Lecture transcript :The gaze in historical context:
All right, so we're continuing our discussion of film noir, but we're really thinking about it in relation to Laura Mulvey's discussion of the gaze. So I've assigned this piece, "Visual Pleasure and Narrative Cinema," because it is probably the most influential work in critical cinema studies that's been published in an academic context. If you look up "Visual Pleasure and Narrative Cinema," you'll see that it was cited tens of thousands of times since it was first published in the journal Screen in 1975. So it's an older piece, but it's very representative of the ways that ideas in film theory that have a certain theoretical construct around them can sort of make their way into popular discourse. So we're going to think about whether we agree with her take on the gaze and whether it still applies to the ways that film form works today. And we'll also look at some examples of feminist filmmakers from the period that she was writing in who tried to really combat these ideas around the gaze and experiment with what feminist film form could really look like. So when the article had its 30th and 40th anniversaries, there were retrospectives which you can find online if you're interested. There were a lot of articles published in places like The Chronicle of Higher Education, as well as the Screen journal that it was originally published in, as well as in popular media commemorating the impact of "Visual Pleasure and Narrative Cinema." And even now the idea of the gaze has been a part of popular culture and discussions of film. So you can see here, it's been talked about in relation to Magic Mike, in relation to tropes of television. And if you look up male gaze in YouTube, you'll actually see hundreds and hundreds of compilations of clips that are organized around the male gaze, the idea of the male gaze in film. So it's had some staying power. As I mentioned, the article came out in a journal called Screen, which was a really influential journal in the 1970s when film studies as a discipline was really making its way into the Academy, and thinking about ways to unify analysis of film form with some of the more philosophical theoretical ideas that were coming out of critical theory, in particular in Europe. And so Mulvey published her piece in a journal called Screen. And she was very influenced by psychoanalytic theory, which was de rigueur at the time. So if you're a psychoanalytic theorist, you'll have to sort of stay with me, because I think these ideas are a little bit controversial now. And certainly a lot of people have published responses to this article that take issue with many aspects of it, but I still think it's useful, so we'll just move through it. So if you're a psychoanalytic theorist, you take as your starting point that the world is underlined with these deep psychological structures that were studied first by Freud and then revised by Lacan. These structures surface in liter ...
The document discusses how the male gaze was used in historical movie posters, particularly James Bond posters, to sexualize women and portray them as objects for male pleasure and rescue. It analyzes posters by Frank McCarthy for Thunderball and other Bond films that depicted half-naked women without agency. Other discussed posters, like for The Dirty Dozen and The Venetian Affair, similarly objectified and sexualized women. While less overt now, the male gaze still influences modern film marketing and contributes to stereotypical gender roles and assessment of films led by women. The lasting effects of its historical normalization continue to impact perceptions of women in society and the film industry.
The traditional representation of women (questions)ellen brown
The document discusses the traditional representation of women in media texts such as films and magazines. It provides details on tropes like the "final girl" in horror films and the four common roles of women in media identified in 1983: domestic, sexual, consumer, and marital. Research from 1992 found that men outnumbered women on screen by a ratio of 2 to 1, with the sole exception being primetime TV ads. The document also discusses how some characters like Lara Croft are seen as a step back from earlier stronger female protagonists like Ripley in Alien due to increased sexual objectification. Magazines are also noted to often portray women based on their domestic roles, sexuality, and through the "three C's"
The document analyzes and summarizes advertisements for several products:
1) Lynx advertisement uses dramatic imagery and music to portray men as attractive to "even angels" when wearing Lynx deodorant. It targets men aged teens to 40.
2) Maltesers advertisement shows friends laughing while sharing Maltesers, emphasizing the candy's low calorie count. It targets both women and a general audience.
3) Special K advertisement uses a woman's speech and repetition to promote Special K for weight loss. It targets women specifically.
4) Powerade advertisement dramatically depicts a man gaining energy to race a train from drinking Powerade. It targets athletic people aged 12 and up who need
Media negatively impacts girls' self-esteem and body image in several ways:
1) The use of photoshop and airbrushing creates unrealistic, "perfect" images that girls feel they must emulate through physical alteration or unhealthy behaviors.
2) Full-figured women are also photoshopped or their bodies covered up in media like magazine covers, implying that certain body types are not beautiful.
3) Music videos often portray women as sexual objects wearing revealing clothing who exist only to please men, reinforcing harmful stereotypes.
This document discusses theories of audience analysis that have been applied to a film production. It describes targeting an active A-B income bracket audience that will thoughtfully negotiate representations in the film rather than passively accepting them. The film is intended to provoke questions about how society portrays groups like women and those with mental disabilities. It aims to stimulate the audience intellectually by requiring their input to derive meaning from various elements and come to their own conclusions.
Believe in Yourself (300 Words) - PHDessay.com. Steps to Write an Essay about Yourself | Pro Essay Help. Believing in yourself - Zero Dean. Believe in yourself. This i believe essay ideas. This I Believe Essay | PDF | Essays | Science. This i Believe Essay. 003 Examples Of Essay About Myself Sample ~ Thatsnotus. This I Believe: Writing a Personal Essay. Essay on believe in yourself || Believe in yourself essay in English .... PPT - This I Believe Personal Essay PowerPoint Presentation, free .... This I Believe Essay Final Draft | Prayer | God. I believe in myself! | Affirmaties. Stupendous This I Believe Essay Examples ~ Thatsnotus. 10 Stunning This I Believe Essay Ideas 2024. This I Believe – Personal Essay. Phenomenal I Believe Essay Examples ~ Thatsnotus. This I Believe. This I Believe sample - 365 Words | Free Essay Example on GraduateWay. 015 Essay About Myself Example Essays Proud Of My Ideal Self Sample .... Always Believe in Yourself | Motivational quotes for life, Writing ....
An Analysis Of Feminism Perspectives Depicted In Mad Max Fury Road MovieJeff Brooks
This document provides background information on a study analyzing feminism perspectives depicted in the movie Mad Max: Fury Road. It discusses movies as a modern form of literature and how they can convey beliefs and messages. The study aims to identify how the female character displays new women's roles and evidence of gender equality in the movie, analyzing it through a feminist literary criticism lens. It establishes the scope, goals and importance of understanding evolving depictions of women's roles and gender relations in society and media.
The document discusses representation and stereotypes in media. It defines representation as how media constructs reality through selective presentation. Representations encode certain ideologies and paradigms while excluding others to shape a preferred view. Stereotypes are shortcuts used to understand media that define characters as either belonging or not belonging in a society. While stereotypes can enhance a text's realism, they also risk oversimplifying groups and misrepresenting reality. The document analyzes how various theories like the male gaze approach stereotypes and representation in media production and reception.
WCC COMM 101 Reflective project #2 DISCUSSION LUTHERprofluther
The document discusses several examples of mass media representation that were found dissatisfying or problematic. Specific issues raised include the sexualization of women, perpetuation of stereotypes, inappropriate glorification of harmful behaviors, and missed opportunities to showcase diversity. The responses generally advise media makers to avoid objectification, promote equality, consider the real-world impacts and implications of their messages, and accurately represent various groups.
The Little Mix "Little Me" video portrays women in a positive light by focusing on empowering children without sexualizing the band members. In contrast, the Pussycat Dolls "Buttons" video portrays women in a negative light through heavy sexualization that conforms to objectifying male gaze theory and portrays women as sexual objects for male pleasure through fetishistic dancing and revealing outfits. The video reinforces the dominant ideology of society by not providing a positive role model for young girls.
The document discusses several theories that are represented in Beyoncé's music video for "Run the World". It analyzes the video through the lenses of narrative theory, representation theory, audience theory, and genre function theory. Key points include: the video links to Propp's character types by portraying Beyoncé as a rebellious villain figure; it follows Todorov's narrative structure by establishing equilibrium, disrupting it, and then resolving it; and it plays with stereotypes of masculinity and femininity discussed by Levi-Strauss and Dyer. Theories of the gaze, semiotics, and challenging expectations are also addressed.
Similar to Ppt for media research advert analysis (20)
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
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Reimagining Your Library Space: How to Increase the Vibes in Your Library No ...Diana Rendina
Librarians are leading the way in creating future-ready citizens – now we need to update our spaces to match. In this session, attendees will get inspiration for transforming their library spaces. You’ll learn how to survey students and patrons, create a focus group, and use design thinking to brainstorm ideas for your space. We’ll discuss budget friendly ways to change your space as well as how to find funding. No matter where you’re at, you’ll find ideas for reimagining your space in this session.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
2. Lynx- vice
http://www.tellyads.com/show_movie.php?filename=TA3943
This advert was created in 2007. The advert
consists of 4 women standing as if criminals
posing for a photo-shoot in front of a detective,
in this case Morgan Freeman plays the role.
In the first shot, a long shot is used to set the
scene.
Upon this first viewing of the advert you can
recognize the classic female roles with one
female as a nurse, another as a librarian, a
pregnant female and a young school girl. The fact
that these roles have been used is ironic because
these females you would never expect to be the
stereotypical criminal. This represents that every
female, no matter their role or age, can still turn
naughty even if nice after smelling this deodorant
on a male.
3. Lynx- vice
With every cut a cross-fade is used. This confirms that the
women are being watched through the glass.
This links with the male gaze. The male gaze is a feminist
theory that was first developed by Laura Mulvey in 1975. The
male gaze occurs usually when the audience is put into the
perspective of a heterosexual male, in this case we are shown
the male and then what the male is looking at,this is a
cutaway edit. Mulvey believed that women should enjoy the
attention of attracting the gaze, and put themselves in
positions to be looked at. In filming, following the gaze of a
male character, the audience is directed to look at the female.
At which point, the woman is already in a position where
people can look at her. Usually the audience sees the camera
surveying women by panning their bodies before zooming in
to their faces; suggesting how women should be viewed. In
the feminist theory, the male gaze expresses an unequal
power relationship between the viewer and viewed, or the
gazer and the gazed. The woman is passive to the active gaze
from the man. This adds an element of ‘patriarchal’ order and
it is often seen in "illusionistic narrative film".Mulvey argues
that, in mainstream filming, the male gaze typically takes
precedence over the female gaze, reflecting an underlying
power asymmetry.
4. Lynx- vice
Another theorist John Berger says, “Men act and
women appear. Men look at women.”In both filming
and imagery, masculinity is connected with the
organizing logic of the gaze, whereas femininity is
associated with fragmentation, lack, and passion
associated with the object of the gaze.
Jacques Lacan was also one of the first people to study
the gaze, he discovered that In traditional
psychoanalytic theory, the gaze is linked to fantasy and
desire. The psychological effect, Lacan argues, is that
the subject loses some sense of autonomy upon
realizing that he or she is a visible object.
In another shot within the ad a pan is used of all the
women, this mid shot enables the audience to see the
emotions and the facial expressions of the women.
During the shot a blonde female is shown suggestively
biting her lip while the male is gazing at her.
This suggests according to Barky that women feel the
need to look sensually pleasing to men. Barky also says
that women in patriarchal societies feel constantly
watched by men, much like prisoners, which is well
represented in this lynx ad.
5. Lynx- vice
In the final shot of the advert the product Lynx Vice is show
with its own slogan, ‘turns nice girls naughty’. This advert is
effective because it gives the impression that if you wear lynx
you’ll have the nice girls turn naughty for you. This is an
ideology that men want women to love them and this product
will therefore help them to reach that outcome.
Also within this last shot the alliterative phrase “forbidden
fruits” is used. This is a biblical reference and refers to the
temptation of the forbidden fruit in the Adam and Eve creation
story. Using this concept within the ad suggests that the
deodorant is a temptation with consequences such as naughty
women, similarly just like in the garden of Eden, where Eve
gave into temptation and therefore there were consequences
to her actions also. For example after eating the fruit being
naked was seen as immodest and childbirth was painful.
It also could be argued that using this phrase in the ad where
women are the criminals could be reinforcing the idea that
problems are all originally from a female, Eve. And that all
other females do give into the temptation, in this instance the
deodorant.
6. BT- Vision for girls
http://www.tellyads.com/show_movie.php?filename=TA3468
This advert was created in 2007. The character within the advert is
in a series of BT commercials with other members of her family.
The first shot we see in the advert is setting the scene of the women
leaving the work place (shown right). As we come into another shot
of the women at mid view we then hear what I would call a first
person voice over.This voice over expresses her thoughts of all the
programmes she could possibly watch when she gets home, from
work. Programmes such as ten years younger to desperate
housewives are on the list. This shows she uses the things she
watches for specific gratifications in her spare time.
This links in with the uses and gratification theory. Theorists, Blumler
and Katz’s suggest that media users play an active role in using and
choosing the media.The theory discusses how users proactively
search for media that will not only meet a given need but enhance
knowledge, social interactions and diversion.
From the ad I think that two needs are being portrayed to be met
and the type of programmes that she thinks about reflect this. The
first need is the social integrative need. This need encompasses the
need to socialize with family, friends and relations in society.
Therefore you may watch the same things as other people so you
have common topics of discussion and the same interests. The next
need is the tension free need and for entertainment. Some people
use the media as a means of escapism and to relieve from tension, In
this case it is to relax after a day at work.
7. BT- Vision for girls
Throughout the whole of the women's journey home from work
there is a non-diegetic melody playing in the background. This
gradually creates a build up alongside the music for when she
gets to watch the TV, however when she gets back, she catches
Adam who she doesn’t think will be in watching TV.
Adam is watching football which is typically considered a male
programme.
In the ad gender roles are reinforced. The theorist Morley studies
this and found out that there was a strong male preference for
'factual' programmes such as news, current affairs
documentaries, and sports. Where as female preference was for
fictional programmes, soaps, melodrama and sitcoms. This
theory would link to the ad as the male and female both show or
state what programmes they like to watch which are directly
related to their gender roles.
As the advert draws to a close the voice over changes and leaves
the slogan ‘ For TV on your terms’
This advert is effective because it relates to everyday life and
shows how it can fit in with yours. Also Watching tv is what
people tend to do to relax which generates a realistic synario.The
concept that you can catch up on programmes you’ve missed is
channelled well in this ad as it shows how you have freedom of
choice with this technology and its on your terms.
8. Nokia- Forgive him
http://www.tellyads.com/show_movie.php?filename=TA1779
This advert was created in 2006. The
advert starts with a high shot looking
down on someone walking along the
beach, a shot like this sets the scene
of the advert. As this opening shot
changes to a mid shot a non- diegetic
melody plays in the background as if
you can hear what she’s listening to
through the headphones. The sound
relates back to the product that is
being advertised as it sounds like a
phone ring tone or jingle.
9. Nokia- Forgive him
A close up of her foot has been used to show her mood, that she
is comfortable and to walk on the waters edge is a natural thing
to do. The following shot is a track this has been used which
follows the main focus within the shot, in this case it’s the girl.
A voice over cuts in front of the music as she moves the phone
away from her ear saying ‘up 15,000 tracks, one will make you
want to forgive him.’ The products then appears and a slogan is
said, ‘ Nokia, music gets you talking.’
The concept of forgiveness used within this is ad could be
portrayed as the storyline or feminists could argue that it is
gendered. Kathryn Norlock a theorist wrote the book Forgiveness
from a feminist perspective. Norlock claims that forgiveness is
gendered. Her book raises the question of whether or not
forgiveness will be significantly different for women as opposed
to men. She believes that women are expected to forgive far
more than men are.
Also the fact that it says it will make the girl want to forgive him
implies that women would listen to emotional slow songs that
are reflective and therefore giving the stereotypical
characteristics of being vulnerable, innocent and forgiving.
10. Levi’s- Spaceman
http://www.tellyads.com/show_movie_vintage.php?
filename=VA0818
This advert starts with setting the scene of a space style world. Using this
theme within the advert links directly to the slogan at the end of the
advert, ‘The only jeans in the universe cut with 01 denim.’ From the
beginning and throughout the whole of the advert there is also a non-
diegetic sound of backing music that once again links with the space
theme.
As the spaceship comes into a more detailed view you can recognize that
it’s in the shape of an iron. This could have been used to reinforce gender
roles within the advert and also creates a stereotypical idea about
women, such as being domestic, hence the iron. Stereotypical roles are
highly generalized within the media and usually shows that, despite some
improvements over the years towards more divergent and realistic
portrayals, it still occurs . For example according to Eschholz et al 2002
although there are more female characters on television and women are
playing increasingly varied parts, they are still underrepresented in
relation to men and to their actual numbers in society just like within this
advert there are only 2 women shown in comparison to all the men. Also
most women who do appear are generally young and try and portray sex
appeal and attention. Griffin 1998 has also highlighted the fact that in
the US media, there are several common images of women that tend to
reinforce ideas of sex difference, including hetero-sexy beauty queens,
wholesome girls next door, cute pixies, and wives and mothers.
Furthermore according to Nelson & Paek 2005, in spite of social and
economic advances US women have made in recent years, the media
continue to portray them primarily as sex objects, reinforcing the “sex
kitten” stereotype.
11. Levi’s - Spaceman
Next in the ad what is commonly used and known in adverts is the
male gaze. When the young female comes into view of the
main male character he is shocked and looks bewildered by
her. The advert portrays this as him being shocked by her
coming from space, however feminists, especially during the
second wave movement would argue that the objectification of
her body is the main reason for his expression and him looking
at her up and down is shown as a pan shot within the ad.
Close ups of her body are also used within the ad which emphasis’
her skinny but curvaceous body. This refers to the concept of
sexual objectification ,the practice of regarding or treating
another person merely as an instrument towards one's sexual
pleasure, and a sex object is a person who is regarded simply as
an object of sexual gratification or who is sexually attractive.
Objectification more broadly is an attitude that regards a
person as a commodity or as an object for use, with little or no
regard for a person's personality or sentience. Many feminists
would also argue that women being portrayed in this way adds
to the gender inequality.
Pro-feminist cultural critics such as Robert Jenson and Sut Jhally
believe that adverts like this and many others within the mass
media promote the objectification of women in order to
promote products and services.
12. Levi’s - Spaceman
In the next shot the female aliens face is shown, this is
predictable within feminist theory because her body close
ups are used before and seen as more important within the
promotion of the product. The females expression is seems
to be very happy and she comes across as liking the
attention she receives from the men. In feminist terms it
could be considered to make her feel empowered and
independent, however critics would argue that its actually
making her oppressed within the patriarchal society that
we live in.
Overall I believe that this is a good advert and has been
promoted well in that men and women would both idolise
the female within the advert from space. Therefore
females would want to buy the product for two reasons,
one to look and feel like her and two so men can find them
attractive.
13. Castella – A little bit bigger
http://www.tellyads.com/show_movie_vintage.php?
filename=VA0563
The advert starts by setting the scene on a busy beach. Using this setting
directly establishes the British culture, as the sea side is considered a
British tradition within the summer.
The first character we meet in the advert is a muscular male. He stands
posing and flexing his muscles for the attraction of women.
This relates to the male body image and the concerns that usually result
from external pressures to conform to a specific "body-builder"
physique: broad shoulders, V-shaped back, and a muscular body. This
stereotypical idea of the male is represented in this advert. Males
receive these pressures from the media's definition of masculinity or
from teasing and expectations from family and friends. Comparing their
own bodies with the media ideal may cause many males to become
dissatisfied with their bodies. Men are bombarded with media images of
superheroes, action figures, and bodybuilders, all of which suggest that
they should work towards having dense and muscular bodies. Family
members and friends can also be the source of destructive information.
Teasing and unrealistic expectations often cause males to seek to
modify their bodies. This also links in with the recent research that has
only focused on he male body image. According to a BBC article the
researcher found that out of 161 men those who regularly read
magazines were more likely to be influenced by the imagery within also
more worryingly, the majority said they were also more likely to
consider using anabolic steroids to improve their appearance.
14. Castella– A little bit bigger
We then meet three women posing for the muscular males
attention. This also relates to stereotypical roles and how women
are objectified for the satisfaction for others.
There are theories of this and how women have been undermined
and treated, one theory is Feminist epistemology. Feminist
epistemology and philosophy of science studies the ways in which
gender influences our conceptions of knowledge, the knowing
subject and practices of inquiry and justification. It identifies ways
in which dominant conceptions and practices of knowledge
attribution, acquisition and justification systematically
disadvantage women and strives to reform these conceptions and
practices so that they serve the interests of other groups, in this
case it’s the male their posing for. Various theorists of feminist
epistemology argue that dominant knowledge practices
disadvantage women by excluding them from inquiry, denying
them epistemic authority,denigrating their “feminine” cognitive
styles and modes of knowledge. As well as producing theories of
women that represent them as inferior, deviant, or significant
only in the ways they serve male interests, producing theories of
social phenomena that render women's activities and interests
and gender power relations.
15. Castella – A little bit bigger
As the main male bullies the ‘geek’ he is
unfortunate to be landed in sand, on the left.
This provides the advert with a story and a
moral, for if you are mean to others the same
will happen to you. In this case the male
didn’t look so masculine anymore and the
girls turn their attention to the male who is
smoking a cigar. He is considered in there
eyes to be cool and a real man they idolize
him and then the voiceover appears ‘castella
classic’. This advert is affective because the
use of the cigar at the end shows that you will
be the one who gets the female attention, as
well as look fashionable and cool if you smoke
castella, which is what they thought back in
the time when this advert was made.