1) The film The Big Short breaks the fourth wall and uses episodic sequences to tell the story of the 2008 financial crisis in a way that viewers can relate to as lived experience rather than just history.
2) It uses techniques like voiceovers, stock footage from the mid-2000s, and celebrity explanations to educate viewers about complicated economic concepts in an accessible way.
3) The film invites viewers to participate in constructing a public memory and understanding of the crisis through the narration of Ryan Gosling, who directly addresses the audience and acknowledges fictional elements.
An old-media kind of guy, I still keep file folders of stories, blog entries, clippings, messages and reports printed out and more or less sorted. Back in early 2009, I started a file labeled “Hysteria’’to hold the physical evidence of what I thought the most unusual and even outlandish claims being leveled against an asset class I have spent 33 years writing about —municipal bonds. - Joe Mysak, Bloomberg Brief Editor
This document provides a summary of the historical context surrounding F. Scott Fitzgerald's novel The Great Gatsby. It discusses several key aspects of the 1920s era in the United States, known as the "Jazz Age" or "Roaring Twenties", including:
- The postwar economic boom and rise of consumerism/conspicuous consumption.
- Urbanization and abandonment of small towns as Americans' standard of living increased.
- Prohibition and the rise of organized crime/bootlegging.
- The "Lost Generation" disillusioned by WWI and seeking pleasure/hedonism through activities like drinking and partying.
- Changes in advertising and mass production
This document discusses role models and provides examples from media sources of people described as role models. It identifies six types of role models: 1) straightforward success, 2) triumph over difficult circumstances, 3) challenging stereotypes, 4) outsider status, 5) personal qualities, and 6) cautionary tales. The document analyzes examples of public figures described as role models and the qualities they are said to embody, such as athletes, celebrities, scientists, and politicians.
This document discusses how the singular event of 9/11 is no longer sufficient to capture the complexity of the United States' relationship with terror over the past decade. Two books, Firestorm and Reframing 9/11, demonstrate this by examining not just 9/11 but its broader legacy and the "War on Terror". The relationship between real-world events and their cultural representations is complex, with narratives both reflecting and shaping audience views. This introduction examines case studies from science fiction and thriller films and TV shows that engage with post-9/11 ethical dilemmas through allegory and temporal complexity.
This document discusses how popular culture, such as films, television shows, music, and video games, have helped shape the national narrative around the 9/11 terrorist attacks and subsequent "War on Terror". It examines how these mediums have depicted American patriotism, fear, victimization, and the emergence of a collective national identity in response to the events. The essays in this book analyze popular culture works to better understand how 9/11 has been memorialized and how it permanently altered American national mythology. It argues that analyzing popular culture can provide insight into both the meaning and lasting impacts of 9/11 beyond just the official political rhetoric.
The document discusses the development of the concept of the "teenager" in the 1950s and 1960s. It provides historical context on the roles and expectations of youth prior to World War II. It then explains how greater economic prosperity in the postwar period allowed for longer periods of leisure and education for youth. This led to tensions between generations as teenagers gained independence. The media often portrayed teenagers negatively and fueled moral panics around new youth cultures. Iconic films from this era like Rebel Without a Cause helped shape perceptions of rebellious teenagers.
Contexts ()understanding people in their social worldsHom.docxdickonsondorris
Contexts (/)understanding people in their social worlds
Home (/) Departments (/departments/) Blog (/blog/) About (/about/) Search (/search/)
guest posts (https://contexts.org/category/guest-posts/)
more oscars diversity won’t solve hollywood’s whiteness
problem
by Rachel King | February 25, 2016
(https://flic.kr/p/8NyHL6)
Photo via Craig Piersma, Flickr CC.
For the second year in a row, the Academy of Motion Picture Arts and Sciences released a
disappointing list of Oscar nominees that is, like its members, overwhelmingly White,
heterosexual, and male. As bad as that is, the biggest problem with #OscarsSoWhite isn’t
just that neither Ryan Coogler nor Will Smith will be taking home a statue on February 28 .
It’s that Hollywood remains inside a bubble of privilege, and that precious little emanating
from it reflects what’s actually happening in this country. For many Americans, everyday
existence has taken on a greyish, dystopian cast; nearly a decade after the collapse of the
economy, we’re still living with depressed wages and lost jobs and homes, as well as
rampant gun violence, and more mental illness
(http://www.theatlantic.com/health/archive/2011/10/why-more-americans-suffer-from-
mental-disorders-than-anyone-else/246035/#slide3) than just about any other country in the
world. And driven by high levels of substance abuse and suicide, mortality is on the rise for
young (http://www.nytimes.com/2016/01/17/science/drug-overdoses-propel-rise-in-
mortality-rates-of-young-whites.html) and middle-aged
(http://www.nytimes.com/2015/11/03/health/death-rates-rising-for-middle-aged-white-
americans-study-finds.html?_r=0) Whites.
th
https://contexts.org/
https://contexts.org/
https://contexts.org/departments/
https://contexts.org/blog/
https://contexts.org/about/
https://contexts.org/search/
https://contexts.org/category/guest-posts/
https://flic.kr/p/8NyHL6
http://www.theatlantic.com/health/archive/2011/10/why-more-americans-suffer-from-mental-disorders-than-anyone-else/246035/#slide3
http://www.nytimes.com/2016/01/17/science/drug-overdoses-propel-rise-in-mortality-rates-of-young-whites.html
http://www.nytimes.com/2015/11/03/health/death-rates-rising-for-middle-aged-white-americans-study-finds.html?_r=0
The Depression did call forth escapist fare, but it also elicited a great deal of
biting social critique. Back then, Hollywood made big-budget movies with
major stars that were designed to appeal to a nation of people who, like
today, were both terrified and angry. But for all their rabble-rousing, the
studios of that era weren’t brave.
And yet, of the eight Best Picture nominees, only one (the surprise indie nominee Room) is a
contemporary domestic drama. All the rest are historical or speculative, taking place
anywhere from a decade to a century in the past or off in some distant future. In fact, the
most overtly socially conscious of the Best Picture nominees may be the film about the
financial crisis of a decade ago, .
9 Film and Its Impact on SocietyI believe it’s through f.docxevonnehoggarth79783
9 Film and Its Impact
on Society
I believe it’s through film that our culture
and values are passed along.
Who’s the good guy, who’s the bad guy,
what’s right, what’s wrong.
—Peter Lalonde
Co
ur
te
sy
E
ve
re
tt
Co
lle
ct
io
n
goo66081_09_c09_229-254.indd 229 1/5/11 1:15 PM
CHAPTER 9Section 9.1 Film: Beyond Entertainment
Chapter Objectives
After reading this chapter, students should:
• Be able to discuss how film can impact
society and how society may impact film
• Understand the influence of regulation and
censorship in Hollywood
• Be familiar with the Hollywood Production
Code of 1930 and its replacement by the
MPAA ratings system
• Understand some of the ways that films are
edited for television broadcast
• Be familiar with the Hollywood blacklist
and the extent of its impact
• Understand the impact of social media,
such as Facebook and Twitter, on film
today
9.1 Film: Beyond Entertainment
Since their inception, movies have provided inexpensive mass entertainment; cinema is an incredibly popular medium. As we have already seen, audiences spent more than $10 billion on movie tickets in 2009. People definitely enjoy going to the movies;
that much is obvious. It is clear that movies have had a profound impact on society. And
not only are audiences influenced by what they see at the movies; audiences influence
what is shown in theaters as well.
Whether it is in appearance, fashion, or behavior, films romanticize a certain lifestyle
that is eagerly imitated by audiences. Fashion magazines promise that we can “Get
Angelina’s Look” if we follow the tips inside. Celebrity gossip publications keep readers
up-to-date on the comings and goings of seemingly everyone who has appeared in a
movie. The Internet and social media are practically choked with chatter about film—
box-office results, reviews, gossip, and more. Beyond such obviously shallower aspects,
film can influence how we live, our morality, and our behavior. What is open to discus-
sion, however, is the direction of the influence—do films influence culture or do they
reflect it? Or is it both?
Howard Beale’s mad rant
in Network was given
new currency in the 2010
electoral campaign when
a gubernatorial candidate
uttered part of a line from
the film: “I’m as mad as hell
and I’m not going to take
this anymore.”
Courtesy Everett Collection
goo66081_09_c09_229-254.indd 230 1/5/11 1:15 PM
CHAPTER 9Section 9.1 Film: Beyond Entertainment
Yes, we go to the movies to be entertained; as Steven J. Ross says in Movies and American
Society, we go “to laugh, cry, boo, cheer, be scared, thrilled, or simply to be amused for a few
hours. But movies are something more than just an evening’s entertainment. They are also
historical documents that help us see—and perhaps more fully understand—the world in
which they were made” (Ross, 2002). Movies, in other words, have something to say, often
beyond their literal meaning. Even b.
An old-media kind of guy, I still keep file folders of stories, blog entries, clippings, messages and reports printed out and more or less sorted. Back in early 2009, I started a file labeled “Hysteria’’to hold the physical evidence of what I thought the most unusual and even outlandish claims being leveled against an asset class I have spent 33 years writing about —municipal bonds. - Joe Mysak, Bloomberg Brief Editor
This document provides a summary of the historical context surrounding F. Scott Fitzgerald's novel The Great Gatsby. It discusses several key aspects of the 1920s era in the United States, known as the "Jazz Age" or "Roaring Twenties", including:
- The postwar economic boom and rise of consumerism/conspicuous consumption.
- Urbanization and abandonment of small towns as Americans' standard of living increased.
- Prohibition and the rise of organized crime/bootlegging.
- The "Lost Generation" disillusioned by WWI and seeking pleasure/hedonism through activities like drinking and partying.
- Changes in advertising and mass production
This document discusses role models and provides examples from media sources of people described as role models. It identifies six types of role models: 1) straightforward success, 2) triumph over difficult circumstances, 3) challenging stereotypes, 4) outsider status, 5) personal qualities, and 6) cautionary tales. The document analyzes examples of public figures described as role models and the qualities they are said to embody, such as athletes, celebrities, scientists, and politicians.
This document discusses how the singular event of 9/11 is no longer sufficient to capture the complexity of the United States' relationship with terror over the past decade. Two books, Firestorm and Reframing 9/11, demonstrate this by examining not just 9/11 but its broader legacy and the "War on Terror". The relationship between real-world events and their cultural representations is complex, with narratives both reflecting and shaping audience views. This introduction examines case studies from science fiction and thriller films and TV shows that engage with post-9/11 ethical dilemmas through allegory and temporal complexity.
This document discusses how popular culture, such as films, television shows, music, and video games, have helped shape the national narrative around the 9/11 terrorist attacks and subsequent "War on Terror". It examines how these mediums have depicted American patriotism, fear, victimization, and the emergence of a collective national identity in response to the events. The essays in this book analyze popular culture works to better understand how 9/11 has been memorialized and how it permanently altered American national mythology. It argues that analyzing popular culture can provide insight into both the meaning and lasting impacts of 9/11 beyond just the official political rhetoric.
The document discusses the development of the concept of the "teenager" in the 1950s and 1960s. It provides historical context on the roles and expectations of youth prior to World War II. It then explains how greater economic prosperity in the postwar period allowed for longer periods of leisure and education for youth. This led to tensions between generations as teenagers gained independence. The media often portrayed teenagers negatively and fueled moral panics around new youth cultures. Iconic films from this era like Rebel Without a Cause helped shape perceptions of rebellious teenagers.
Contexts ()understanding people in their social worldsHom.docxdickonsondorris
Contexts (/)understanding people in their social worlds
Home (/) Departments (/departments/) Blog (/blog/) About (/about/) Search (/search/)
guest posts (https://contexts.org/category/guest-posts/)
more oscars diversity won’t solve hollywood’s whiteness
problem
by Rachel King | February 25, 2016
(https://flic.kr/p/8NyHL6)
Photo via Craig Piersma, Flickr CC.
For the second year in a row, the Academy of Motion Picture Arts and Sciences released a
disappointing list of Oscar nominees that is, like its members, overwhelmingly White,
heterosexual, and male. As bad as that is, the biggest problem with #OscarsSoWhite isn’t
just that neither Ryan Coogler nor Will Smith will be taking home a statue on February 28 .
It’s that Hollywood remains inside a bubble of privilege, and that precious little emanating
from it reflects what’s actually happening in this country. For many Americans, everyday
existence has taken on a greyish, dystopian cast; nearly a decade after the collapse of the
economy, we’re still living with depressed wages and lost jobs and homes, as well as
rampant gun violence, and more mental illness
(http://www.theatlantic.com/health/archive/2011/10/why-more-americans-suffer-from-
mental-disorders-than-anyone-else/246035/#slide3) than just about any other country in the
world. And driven by high levels of substance abuse and suicide, mortality is on the rise for
young (http://www.nytimes.com/2016/01/17/science/drug-overdoses-propel-rise-in-
mortality-rates-of-young-whites.html) and middle-aged
(http://www.nytimes.com/2015/11/03/health/death-rates-rising-for-middle-aged-white-
americans-study-finds.html?_r=0) Whites.
th
https://contexts.org/
https://contexts.org/
https://contexts.org/departments/
https://contexts.org/blog/
https://contexts.org/about/
https://contexts.org/search/
https://contexts.org/category/guest-posts/
https://flic.kr/p/8NyHL6
http://www.theatlantic.com/health/archive/2011/10/why-more-americans-suffer-from-mental-disorders-than-anyone-else/246035/#slide3
http://www.nytimes.com/2016/01/17/science/drug-overdoses-propel-rise-in-mortality-rates-of-young-whites.html
http://www.nytimes.com/2015/11/03/health/death-rates-rising-for-middle-aged-white-americans-study-finds.html?_r=0
The Depression did call forth escapist fare, but it also elicited a great deal of
biting social critique. Back then, Hollywood made big-budget movies with
major stars that were designed to appeal to a nation of people who, like
today, were both terrified and angry. But for all their rabble-rousing, the
studios of that era weren’t brave.
And yet, of the eight Best Picture nominees, only one (the surprise indie nominee Room) is a
contemporary domestic drama. All the rest are historical or speculative, taking place
anywhere from a decade to a century in the past or off in some distant future. In fact, the
most overtly socially conscious of the Best Picture nominees may be the film about the
financial crisis of a decade ago, .
9 Film and Its Impact on SocietyI believe it’s through f.docxevonnehoggarth79783
9 Film and Its Impact
on Society
I believe it’s through film that our culture
and values are passed along.
Who’s the good guy, who’s the bad guy,
what’s right, what’s wrong.
—Peter Lalonde
Co
ur
te
sy
E
ve
re
tt
Co
lle
ct
io
n
goo66081_09_c09_229-254.indd 229 1/5/11 1:15 PM
CHAPTER 9Section 9.1 Film: Beyond Entertainment
Chapter Objectives
After reading this chapter, students should:
• Be able to discuss how film can impact
society and how society may impact film
• Understand the influence of regulation and
censorship in Hollywood
• Be familiar with the Hollywood Production
Code of 1930 and its replacement by the
MPAA ratings system
• Understand some of the ways that films are
edited for television broadcast
• Be familiar with the Hollywood blacklist
and the extent of its impact
• Understand the impact of social media,
such as Facebook and Twitter, on film
today
9.1 Film: Beyond Entertainment
Since their inception, movies have provided inexpensive mass entertainment; cinema is an incredibly popular medium. As we have already seen, audiences spent more than $10 billion on movie tickets in 2009. People definitely enjoy going to the movies;
that much is obvious. It is clear that movies have had a profound impact on society. And
not only are audiences influenced by what they see at the movies; audiences influence
what is shown in theaters as well.
Whether it is in appearance, fashion, or behavior, films romanticize a certain lifestyle
that is eagerly imitated by audiences. Fashion magazines promise that we can “Get
Angelina’s Look” if we follow the tips inside. Celebrity gossip publications keep readers
up-to-date on the comings and goings of seemingly everyone who has appeared in a
movie. The Internet and social media are practically choked with chatter about film—
box-office results, reviews, gossip, and more. Beyond such obviously shallower aspects,
film can influence how we live, our morality, and our behavior. What is open to discus-
sion, however, is the direction of the influence—do films influence culture or do they
reflect it? Or is it both?
Howard Beale’s mad rant
in Network was given
new currency in the 2010
electoral campaign when
a gubernatorial candidate
uttered part of a line from
the film: “I’m as mad as hell
and I’m not going to take
this anymore.”
Courtesy Everett Collection
goo66081_09_c09_229-254.indd 230 1/5/11 1:15 PM
CHAPTER 9Section 9.1 Film: Beyond Entertainment
Yes, we go to the movies to be entertained; as Steven J. Ross says in Movies and American
Society, we go “to laugh, cry, boo, cheer, be scared, thrilled, or simply to be amused for a few
hours. But movies are something more than just an evening’s entertainment. They are also
historical documents that help us see—and perhaps more fully understand—the world in
which they were made” (Ross, 2002). Movies, in other words, have something to say, often
beyond their literal meaning. Even b.
The document summarizes an essay analyzing how Michel Vinaver's play 11 September 2001 uses verbatim theatre techniques to comment on differing perceptions of truth regarding the 9/11 attacks. The essay argues that Vinaver aims to show that media outlets only present partial truths to maximize profits. He does this by juxtaposing speeches from George W. Bush and Osama bin Laden, highlighting their similarities. The play also uses a chorus to interrupt emotional testimony with news headlines, encouraging audiences to consider political causes beyond personal impacts. Overall, the essay analyzes how Vinaver manipulates verbatim elements to craft a work that challenges audiences' preconceived notions of truth around this pivotal event.
The document discusses how the boundaries between news and entertainment have blurred over time. It examines how Jon Stewart's The Daily Show uses satire and comedy to comment on and critique mainstream news, challenging conventions. While still providing political and current event information, the show is not bound by standards of objectivity that traditional journalism aims for. Younger audiences seem to prefer this more irreverent approach to news over straightforward reporting. The blending of humor and news reflects broader changes in media and how information is consumed.
The document discusses how the boundaries between news and entertainment have blurred over time. It examines how Jon Stewart's The Daily Show uses satire and comedy to comment on and critique mainstream news, challenging conventions. While still providing political and current event information, the show is not bound by standards of objectivity that traditional journalism aims for. Younger audiences seem to prefer this style over straightforward news and appreciate being both informed and entertained. The blending of these genres reflects changes in media and how audiences consume information.
Abstract
The history of every art form has critical periods when that form strives towards effects that can easily achieved if the technical norm is changed, that is to say, in a new art form (Enzenberger, 1970). This paper examines the dynamics of news presented in a satirical comedic frame and considers if this new form of fictive entertainment is shaped by our postmodern world. Network news is not the only network program to conceal its symbolic fabrications in naturalistic film. Most movies, television series, and even advertisements present themselves as an unmediated reality. Network news programs are constructed not only from shared ―referential frames‖ and their common symbiotic relationship to established power, but also from the paradigmatic and syntagmatic operations that manufacture the news as narrative discourse (Stam, 2000). The focus of this paper considers Jon Stewart‘s, The Daily Show impact on blurring the boundaries between news and entertainment shaped by societal forces.
The document discusses how the boundaries between news and entertainment have blurred over time. It examines how news programs have incorporated more dramatization and emotional elements to engage audiences, particularly younger audiences. It also explores how shows like The Daily Show challenge conventional notions of objective news reporting by using satire and parody. While The Daily Show presents news information, its host Jon Stewart argues viewers cannot actually get their news from the show on its own due to the comedic framing and selective coverage. Overall, the document analyzes societal forces that have contributed to a blurring of the lines between news and entertainment formats.
The document provides instructions for using the HelpWriting.net service to request assignment writing help. It outlines a 5-step process: 1) Create an account with a password and email. 2) Complete a 10-minute order form providing instructions, sources, and deadline. 3) Review bids from writers and choose one based on qualifications. 4) Review the completed paper and authorize payment if satisfied. 5) Request revisions to ensure needs are fully met, with a refund offered for plagiarized work.
The New York Times: Coverage of the Financial CrisisArielle
The New York Times provided adequate coverage of the financial crisis through extensive reporting both leading up to and during the crisis. Articles used clear language and visualizations to explain the formation of the housing bubble and subsequent bursting of the bubble. The coverage included warnings of the crisis, perspectives from experts, and explanations of government responses as the crisis unfolded. However, some articles were lengthy and dense, potentially overwhelming readers with information.
The New York Times provided adequate coverage of the financial crisis through extensive reporting both leading up to and during the crisis. Articles used clear language and visualizations to explain the formation of the housing bubble and subsequent bursting of the bubble. The coverage included warnings of the crisis, perspectives from experts, and explanations of government responses as the crisis unfolded. However, some articles were lengthy and dense, potentially overwhelming readers with information.
What we are not considering opposing views final v3Louis Wischnewsky
I uploaded a final draft of this last night after I finished it. However, I woke up early enough this morning to look over the paper once more and I'm glad I did - I found some minor errors that I fixed. So here is the final copy that I will be turning in. This is the last written paper for my English 100 class this semester. I think it turned out pretty good. Just prior to peer review of rough drafts two days ago, classmates felt this was a tough assignment but the rough drafts I looked at were pretty good. We'll see. I'm sure it'll get a perfect score.
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Dịch vụ viết thuê luận án tiến sĩ, luận văn thạc sĩ,báo cáo thực tập, khóa luận
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https://lamluanvan.net/dich-vu-2-viet-thue-luan-van-thac-si-kem-bao-gia/
Gender role in Titanic film
The author describes an event where a patient was found unconscious with a DNAR order in place and died. They use Gibbs Reflective Cycle to analyze what happened, their feelings, evaluation of good and bad points, conclusions on how the patient's dignity was maintained, an action plan for similar future situations. The analysis focuses on maintaining the patient's dignity by respecting their wishes outlined in the DNAR order.
The document discusses different approaches to representing reality in media, including psychological realism, naturalism, and documentary conventions. Psychological realism aims to portray individual experiences as universal, but often reflects the views of privileged groups. Naturalism focuses on depicting typical social experiences rather than claiming psychological universality. Documentaries rely on images, testimony, and documentation to substantiate their representations of reality, but any curation of evidence inherently makes an argument. The lines between different genres are blurred, and all representations of reality carry ideological assumptions.
More Related Content
Similar to SWright - I Lived It - Big Short paper sample
The document summarizes an essay analyzing how Michel Vinaver's play 11 September 2001 uses verbatim theatre techniques to comment on differing perceptions of truth regarding the 9/11 attacks. The essay argues that Vinaver aims to show that media outlets only present partial truths to maximize profits. He does this by juxtaposing speeches from George W. Bush and Osama bin Laden, highlighting their similarities. The play also uses a chorus to interrupt emotional testimony with news headlines, encouraging audiences to consider political causes beyond personal impacts. Overall, the essay analyzes how Vinaver manipulates verbatim elements to craft a work that challenges audiences' preconceived notions of truth around this pivotal event.
The document discusses how the boundaries between news and entertainment have blurred over time. It examines how Jon Stewart's The Daily Show uses satire and comedy to comment on and critique mainstream news, challenging conventions. While still providing political and current event information, the show is not bound by standards of objectivity that traditional journalism aims for. Younger audiences seem to prefer this more irreverent approach to news over straightforward reporting. The blending of humor and news reflects broader changes in media and how information is consumed.
The document discusses how the boundaries between news and entertainment have blurred over time. It examines how Jon Stewart's The Daily Show uses satire and comedy to comment on and critique mainstream news, challenging conventions. While still providing political and current event information, the show is not bound by standards of objectivity that traditional journalism aims for. Younger audiences seem to prefer this style over straightforward news and appreciate being both informed and entertained. The blending of these genres reflects changes in media and how audiences consume information.
Abstract
The history of every art form has critical periods when that form strives towards effects that can easily achieved if the technical norm is changed, that is to say, in a new art form (Enzenberger, 1970). This paper examines the dynamics of news presented in a satirical comedic frame and considers if this new form of fictive entertainment is shaped by our postmodern world. Network news is not the only network program to conceal its symbolic fabrications in naturalistic film. Most movies, television series, and even advertisements present themselves as an unmediated reality. Network news programs are constructed not only from shared ―referential frames‖ and their common symbiotic relationship to established power, but also from the paradigmatic and syntagmatic operations that manufacture the news as narrative discourse (Stam, 2000). The focus of this paper considers Jon Stewart‘s, The Daily Show impact on blurring the boundaries between news and entertainment shaped by societal forces.
The document discusses how the boundaries between news and entertainment have blurred over time. It examines how news programs have incorporated more dramatization and emotional elements to engage audiences, particularly younger audiences. It also explores how shows like The Daily Show challenge conventional notions of objective news reporting by using satire and parody. While The Daily Show presents news information, its host Jon Stewart argues viewers cannot actually get their news from the show on its own due to the comedic framing and selective coverage. Overall, the document analyzes societal forces that have contributed to a blurring of the lines between news and entertainment formats.
The document provides instructions for using the HelpWriting.net service to request assignment writing help. It outlines a 5-step process: 1) Create an account with a password and email. 2) Complete a 10-minute order form providing instructions, sources, and deadline. 3) Review bids from writers and choose one based on qualifications. 4) Review the completed paper and authorize payment if satisfied. 5) Request revisions to ensure needs are fully met, with a refund offered for plagiarized work.
The New York Times: Coverage of the Financial CrisisArielle
The New York Times provided adequate coverage of the financial crisis through extensive reporting both leading up to and during the crisis. Articles used clear language and visualizations to explain the formation of the housing bubble and subsequent bursting of the bubble. The coverage included warnings of the crisis, perspectives from experts, and explanations of government responses as the crisis unfolded. However, some articles were lengthy and dense, potentially overwhelming readers with information.
The New York Times provided adequate coverage of the financial crisis through extensive reporting both leading up to and during the crisis. Articles used clear language and visualizations to explain the formation of the housing bubble and subsequent bursting of the bubble. The coverage included warnings of the crisis, perspectives from experts, and explanations of government responses as the crisis unfolded. However, some articles were lengthy and dense, potentially overwhelming readers with information.
What we are not considering opposing views final v3Louis Wischnewsky
I uploaded a final draft of this last night after I finished it. However, I woke up early enough this morning to look over the paper once more and I'm glad I did - I found some minor errors that I fixed. So here is the final copy that I will be turning in. This is the last written paper for my English 100 class this semester. I think it turned out pretty good. Just prior to peer review of rough drafts two days ago, classmates felt this was a tough assignment but the rough drafts I looked at were pretty good. We'll see. I'm sure it'll get a perfect score.
DOWNLOAD MIỄN PHÍ 30000 TÀI LIỆU https://s.pro.vn/Z3UW
Dịch vụ viết thuê luận án tiến sĩ, luận văn thạc sĩ,báo cáo thực tập, khóa luận
Sdt/zalo 0967 538 624/0886 091 915
https://lamluanvan.net/dich-vu-2-viet-thue-luan-van-thac-si-kem-bao-gia/
Gender role in Titanic film
The author describes an event where a patient was found unconscious with a DNAR order in place and died. They use Gibbs Reflective Cycle to analyze what happened, their feelings, evaluation of good and bad points, conclusions on how the patient's dignity was maintained, an action plan for similar future situations. The analysis focuses on maintaining the patient's dignity by respecting their wishes outlined in the DNAR order.
The document discusses different approaches to representing reality in media, including psychological realism, naturalism, and documentary conventions. Psychological realism aims to portray individual experiences as universal, but often reflects the views of privileged groups. Naturalism focuses on depicting typical social experiences rather than claiming psychological universality. Documentaries rely on images, testimony, and documentation to substantiate their representations of reality, but any curation of evidence inherently makes an argument. The lines between different genres are blurred, and all representations of reality carry ideological assumptions.
Similar to SWright - I Lived It - Big Short paper sample (12)
1. Wright 1
“I Lived It”: Fourth-Wall Breaking and Episodic Sequences in The Big Short
In a review of Adam McKay’s 2015 film, The Big Short, Gwen Moritz illustrates the
unique challenge of creating an appealing and lucrative film about the 2008 financial crisis:
“As I walked out of the theater, I overheard two men who had just watched the same movie. ‘Did you read
the book?’ one asked. ‘Didn't have to,’ his friend responded.‘I lived it.’”
In 2008, the American economy crashed in unexpectedly violent and sudden fashion. I
vaguely recall blips in my Facebook newsfeed about Wall Street while killing time during a ten-
minute break as a barista. ‘How does this concern me?’ I remember musing. Having graduated
from a top-tier private research university two years prior, still struggling with
underemployment, working two part-time jobs just to make ends meet (while not making rent)
and pay the monthly premiums on my student loans, Wall Street felt like twenty-five worlds
away. But, then, again, I was struggling with underemployment just to make ends meet after
having graduated from a top-tier research university. I came into adulthood as the housing crisis
was beginning to coalesce, unbeknownst to me and just about every other American. Wrapped
up in relationship drama, figuring out T9 texting, obsessively curating my mp3 collection, and
running amok with fellow camp counselors, I failed to see the writing on the wall of the
impending bank collapse. I just surmised that I had chosen a useless undergraduate major, and
nobody wanted to hire me, fancy pedigree or not. I lived through the economic downturn
waiting, paying dues, biding my time for a well-paying full-time job in my field...which did not
come until 2012. Meanwhile, I watched family friends lose their small businesses, their jobs,
their houses. I, too, opted not to read Michael Lewis’ bestselling book, The Big Short, before
viewing the 2015 film adaptation because, like the two men overheard in the theater, I lived it. I
lived during that time, and really had no idea what happened and why it happened. I went to the
movies in hopes of reaching an understanding of why I was so poor for years, why I couldn’t get
a job, and why my friends’ parents suffered financial ruin. I wanted a visual depiction of an
invisible disaster.
Unlike most historical films, The Big Short narrativizes a disaster that the majority of its
viewers understand as lived experience, not just as public memory. This complicates the
principle of identification that Blakesley names as a crucial element of the movie-going
experience. He writes: “We desire to become the other, to inhabit that psychological and physical
space, to take ownership of some kind, to walk in someone else’s shoes for awhile” (Blakesley
117). With The Big Short, however, viewers walk in their own shoes, returning to potentially
painful memories of ten years past. In order to navigate this tenuous situation, director McKay
intentionally breaks the fourth wall, unsuturing viewers from his cinematic reality when it comes
too close to their reality. In an interview for the New York Times, he quips: “You have to feel
the world. . . . What were we thinking about? I didn’t see the collapse coming. What was I busy
with? What were we all busy with?” (Ryzik AR18). Rather than feeling-with a particular
character in the film, McKay creates a film in which viewers feel the whole world (or rather, the
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American ‘world’) at the time of the biggest financial crisis since 1929. Using dizzying episodic
sequences of stock photos, news footage, sound bites, and time-lapse photography of
construction, director McKay and editor Hank Corwin call upon the seemingly endless vault of
Americans’ public memory of mass culture—largely comprised of technology, entertainment,
and advertising—an assertion that the material of late capitalism has unseated politics and
finance from its privileged place in public memory. Images send the viewer hurtling back in time
and compel the viewer to both recall personal experiences and participate in a project of public
memory. Consubstantiality, a term that Blakesley utilizes from Kenneth Burke’s A Rhetoric of
Motives, is actually familiar to me by way of theological studies. An ancient and common creed
of belief states that Jesus is “consubstantial with the Father.” To put it less metaphysically,
Jonathan Cohen writes: “Identification means that the knowledge of the audience members is
processed from the character’s perspective and is transformed into empathic emotions” (Cohen
251). McKay takes a different tack, inviting viewers to retain their own stories, their own
identities as Americans wounded by Wall Street, watching a film that answers the frequently-
asked question: ‘What the hell happened to the economy in 2008? He creates a unique history of
the collapse of the housing market through direct narration, episodic sequences and non-diegetic
pop music from the mid-00s, and by completely breaking the film’s narrative with celebrity
economics lessons as a palliative against the pain of remembering a past that viewers at once
don’t understand and can’t seem to forget.
Ryan Gosling’s Double-Duty as Both Actor and Tour Guide
McKay invites viewers to see and be seen by using Ryan Gosling as an on-screen
narrator, as well as an active participant in the film’s narrative. Viewers are invited to engage in
a conversation about the financial crisis. As Kendall Phillips posits, “It is to speak of a
remembrance together, indeed, of remembrance together as a crucial aspect of our togetherness,
our existence as a public”(4). In other words, participating in a collective remembrance of the
events of the mid-00s financial crisis not only educates, but functions as an opportunity for the
shaping of one’s identity as an American. The Big Short is a complicated historical narrative
object of public memory insofar as it recounts and interprets events that the vast majority of
Americans were unaware of, both as they were taking place and also after the fact. Due to the
cavalier mentality of the immortality of the American economy, we did not see the writing on the
wall, blindsided by financial ruin. McKay’s extensive use of voice-over—a filmic technique
more common to documentary, provides much-needed guidance through the jungle of Wall
Street, mortgage-backed securities, CDOs, tranches, investment banking. The narration in The
Big Short is rendered more effective due to its colloquial, confessional tone. Ryan Gosling
comments: “In the late 80s, banking wasn’t a job you went into to make large sums of money. It
was a fucking snooze. Filled with losers, like selling insurance or accounting. And if banking
was boring, then the bond department at the bank was straight-up comatose.” The use of
expletives—vernacular language, rather than academic discourse—compels us to treat the
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narrator as a friend, rather than an instructor. This builds rapport. As a rather unkempt,
overweight Italian man with mustard on his shirt enters the frame, the narrator introduces him:
Lewis Ranieri, the man behind mortage-backed securities. Gosling explains: “You might not
know who he is, but he changed your life, more than Michael Jordan, the iPod, and YouTube put
together.” The narration sets up the presentation of a coherent narrative in place of the average
viewer’s jumble of memories of the mid 00s: a disorganized mess of sound bites, news coverage,
personal memories of lost savings or disappeared investments, with the promise that the film will
make sense of it all, if we—the viewers—place our trust in Gosling, and in The Big Short.
Hayden White asserts: “narrative might well be considered a solution to a problem of general
human concern, namely, the problem of how to translate knowing into telling” (1). In the case of
the financial collapse of 2008, only a few experts KNEW what was going on, and even fewer of
those keepers-of-knowledge TOLD anything about what was about to happen. The use of direct
narration—breaking the fourth wall, directly addressing the viewer, and interrupting the
traditional filmic narrative, serves to directly tell the story. While this technique is necessary with
other objects of public memory, such as 9/11 and the Vietnam War, the smoke and mirrors and
willful denial of the power-players on Wall Street render Ryan Gosling’s narration thoroughly
necessary. Given the topic, I cannot imagine The Big Short as a successful film without
Gosling’s narration. While other historical topics may allow for what White refers to as “the
artificiality of the notion that real events could ‘speak themselves or be represented as ‘telling
their own story,’” the confusing nature of the banking and housing industries renders the direct
historiography absolutely necessary (3).
After an episodic sequence that visually assaults viewers with images and video of
objects of mass culture, housing Gosling then directs his commentary straight at the viewer as
they presumably sit sobered by the images of foreclosed-upon houses and homeless shelter lines:
“I’m guessing most of you still don’t really know what happened.” This highlights the
heightened importance and impact of The Big Short: namely, that the public be educated on
precisely what happened, and to invite conversation and remembrance on the topic. This
elevates the discourse from recollection of personal memories to the construction of a public
memory of the financial crisis. As Phillips writes, the distinction between the former and the
latter are that “these public memories are those about which we can interact, deliberate, share”
(4). Ryan Gosling’s dual function as both essential character in the narrative, as Jared Vennett,
and as the film’s narrator, actively invite viewers to interact and deliberate on the topic at hand.
McKay also uses the breaking-the-fourth wall moments to openly acknowledge elements
that are technically inaccurate, having been modified for the sake of smoothness of narrative.
The viewer is not stupid, so the movie affirms that self-confidence by explicitly stating when the
film has breached that trust. At the end of the Jenga illustration of the shoddy, unstable nature of
many Mortgage securities, “the math guy” turns to the audience. “Actually, my name is Jung,
and I do speak English. Jarred likes to say I don’t because he thinks it makes me seem more
authentic. And actually, I got second in that national math competition.” The use of humor serves
as a palliative against the residual pain from the largest financial crisis since the Great
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Depression. This acknowledgement of dishonesty in the name of the construction of a coherent
narrative also maintains trust between the filmmaker and the viewer. By breaking the narrative in
order to explicitly admit the artificiality of the historical reconstruction of the financial crisis,
viewers are lulled into the suspension of disbelief on other matters. Do I know for sure whether
the other events preceding and following Jung’s interruption are historically accurate? No. But
do I care to expend energy on fact-checking? Also, no: because I trust that the film tells the truth
about its lies, and otherwise, it tells the truth of the events it chronicles and interprets.