The document discusses plans for a documentary investigating censorship of music videos and the objectification of women. It will examine how far censorship can go in controlling published content and explore both negative and positive impacts of objectification. Interviews will seek polarized opinions on these issues. The documentary will also analyze how objectification most commonly occurs in genres like R&B, rap and hip hop. It aims to shed light on debates around censorship and understand different perspectives regarding the portrayal of women in music videos.
The document discusses plans for a documentary investigating censorship of music videos and the objectification of women. It will examine the impacts of censorship and obtain diverse opinions on these issues. The documentary will explore how the objectification of women commonly occurs in genres like R&B, rap, and hip hop. It will also consider when and how censorship of sexualized music videos became a public issue. The documentary aims to shed light on these topics through interviews in various locations with relevant groups like artists, producers, and censorship authorities.
The document discusses the regulation of music videos in the UK. It explains that Ofcom regulates communications, including television, radio, video on demand, and music videos. Ofcom ensures young people under 18 are protected from explicit content like profanity, sexual content, drug/alcohol abuse, suicide, and violence. Music videos shown on TV must consider their content and be appropriate for under-18 audiences. Regulations aim to prevent the exploitation of audiences, especially young viewers.
The document discusses the regulation of music videos in the UK. It explains that Ofcom regulates communications, including television, radio, video on demand, and music videos. Ofcom ensures young people under 18 are protected from explicit content like profanity, sexual content, drug/alcohol abuse, suicide, and violence. Music videos shown on TV must consider their content and be appropriate for under-18 audiences. Regulations aim to prevent the exploitation of audiences, especially young viewers, from inappropriate or offensive material.
The British Board of Film Classification (BBFC) regulates music videos in the UK by assigning age ratings of 12, 15, or 18 based on content involving drugs, dangerous behavior, bad language, sexuality, and violence. Major record labels submit UK videos to the BBFC for classification. While Ofcom oversees communications, the BBFC has the power to restrict videos. Music videos are regulated to protect children from inappropriate influences on behaviors and attitudes.
The survey results showed that Emma Jane Laffoley's target audience for her new music video would primarily consist of men between the ages of 16-25 who enjoy watching music videos more than once a week. Most respondents preferred rock music and narrative-based music videos. The majority access music videos online, especially through YouTube, rather than television.
The document discusses proposed age restrictions on music videos by major platforms like YouTube due to concerns that explicit content can negatively influence younger viewers. It proposes setting ratings to block youth from sexual, violent or drug-related imagery. This aims to help parents control what children see while still allowing artist expression. However, critics argue it may backfire by prompting more provocative videos or cause viewers to find content on less restricted sites. The effect will likely be mixed, protecting some from extreme influences but not solving the issue of explicit content accessibility overall.
The document discusses ethical issues in the media industry, focusing on film classification by the British Board of Film Classification (BBFC). It provides background on the BBFC and describes debates around whether and how it should regulate content to protect children from potential influences. Both pros and cons of the BBFC are outlined, and examples like the Bobo doll experiment are presented to argue that media can influence child behavior. Specific films banned by the BBFC like The Human Centipede 2 are also examined, as well as the history of "Video Nasties" in the UK. The conclusion weighs both sides of whether film classification is still needed.
Regulations- Standards of Taste and Decencylexibenson123
- Ofcom regulates broadcasting standards in the UK and oversees the watershed at 9pm, before which content should be suitable for those under 15.
- There is debate around the level of violence, sexual content, language, and imitative behavior shown on TV, with many arguing certain content should be restricted before 9pm to protect children.
- Audience research found the greatest concerns were around realistic portrayals of violence, drug/alcohol abuse, and the influence of inappropriate role models on reality shows and soaps.
The document discusses plans for a documentary investigating censorship of music videos and the objectification of women. It will examine the impacts of censorship and obtain diverse opinions on these issues. The documentary will explore how the objectification of women commonly occurs in genres like R&B, rap, and hip hop. It will also consider when and how censorship of sexualized music videos became a public issue. The documentary aims to shed light on these topics through interviews in various locations with relevant groups like artists, producers, and censorship authorities.
The document discusses the regulation of music videos in the UK. It explains that Ofcom regulates communications, including television, radio, video on demand, and music videos. Ofcom ensures young people under 18 are protected from explicit content like profanity, sexual content, drug/alcohol abuse, suicide, and violence. Music videos shown on TV must consider their content and be appropriate for under-18 audiences. Regulations aim to prevent the exploitation of audiences, especially young viewers.
The document discusses the regulation of music videos in the UK. It explains that Ofcom regulates communications, including television, radio, video on demand, and music videos. Ofcom ensures young people under 18 are protected from explicit content like profanity, sexual content, drug/alcohol abuse, suicide, and violence. Music videos shown on TV must consider their content and be appropriate for under-18 audiences. Regulations aim to prevent the exploitation of audiences, especially young viewers, from inappropriate or offensive material.
The British Board of Film Classification (BBFC) regulates music videos in the UK by assigning age ratings of 12, 15, or 18 based on content involving drugs, dangerous behavior, bad language, sexuality, and violence. Major record labels submit UK videos to the BBFC for classification. While Ofcom oversees communications, the BBFC has the power to restrict videos. Music videos are regulated to protect children from inappropriate influences on behaviors and attitudes.
The survey results showed that Emma Jane Laffoley's target audience for her new music video would primarily consist of men between the ages of 16-25 who enjoy watching music videos more than once a week. Most respondents preferred rock music and narrative-based music videos. The majority access music videos online, especially through YouTube, rather than television.
The document discusses proposed age restrictions on music videos by major platforms like YouTube due to concerns that explicit content can negatively influence younger viewers. It proposes setting ratings to block youth from sexual, violent or drug-related imagery. This aims to help parents control what children see while still allowing artist expression. However, critics argue it may backfire by prompting more provocative videos or cause viewers to find content on less restricted sites. The effect will likely be mixed, protecting some from extreme influences but not solving the issue of explicit content accessibility overall.
The document discusses ethical issues in the media industry, focusing on film classification by the British Board of Film Classification (BBFC). It provides background on the BBFC and describes debates around whether and how it should regulate content to protect children from potential influences. Both pros and cons of the BBFC are outlined, and examples like the Bobo doll experiment are presented to argue that media can influence child behavior. Specific films banned by the BBFC like The Human Centipede 2 are also examined, as well as the history of "Video Nasties" in the UK. The conclusion weighs both sides of whether film classification is still needed.
Regulations- Standards of Taste and Decencylexibenson123
- Ofcom regulates broadcasting standards in the UK and oversees the watershed at 9pm, before which content should be suitable for those under 15.
- There is debate around the level of violence, sexual content, language, and imitative behavior shown on TV, with many arguing certain content should be restricted before 9pm to protect children.
- Audience research found the greatest concerns were around realistic portrayals of violence, drug/alcohol abuse, and the influence of inappropriate role models on reality shows and soaps.
The document discusses targeting a 15+ age rating for a media product and the ideal target audience. A 15+ rating allows some violent content but restricts strong language, sexual content, and drug use. The target audience is described as middle-class 15-17 year olds interested in crime/action genres. An example target viewer named Tom, age 19, is provided who enjoys crime TV shows and films from the genre. The document suggests an urban audience may also be interested due to the crime genre relating to inner city influences.
The document profiles two potential audience members for a film project. The first is a 17-year-old male who enjoys football, hanging out with friends, and watching films with friends. He is chosen because he would likely bring friends to see the film and find it more relatable and interactive due to his age matching the characters. The second is a 17-year-old female who enjoys dance and hanging out with friends. She is selected because she frequently watches films with friends and enjoys the horror genre, meaning she would provide accurate feedback on how the film is received.
This document discusses three examples of radio broadcasts that breached advertising and broadcasting codes in the UK.
In the first example, a radio presenter inappropriately promoted a local event during his show by failing to separate the advertising from the program content. The second example discusses two radio hosts that were fired for urging listeners to vote for a specific political candidate during an election period, showing bias.
The third and most severe example outlines how a radio DJ on Kiss FM breached broadcasting codes protecting children on eight separate occasions over six months through inappropriate sexual discussions, pranks, and pre-recorded content that was not properly edited. The station was later sued for a large sum of money due to these breaches.
The BBFC is a non-governmental organization that is responsible for classifying films in the UK based on their content. It was established over 100 years ago and considers factors like violence, language, sexual content and more when rating films. The BBFC aims to restrict children from viewing inappropriate content and ensure they only watch age-appropriate movies. One film that was heavily cut by the BBFC was The Human Centipede 2, which they wanted to remove over 2 minutes of footage from due to its graphic and violent nature. If the filmmakers did not agree to these edits, the film would not have received a classification to be released in the UK.
The document discusses conducting a survey to determine the target audience for a media product. The survey found that both male and female respondents between the ages of 15-25 enjoy watching thriller films, especially horror thrillers, because they like the suspense and feeling of being scared but conquering their fears. Based on the survey results, the media product will be a horror thriller aimed at appealing to those in the 15-25 age range.
- The document discusses market research conducted by Abbey Moss to help decide factors for a music video they plan to produce. A survey of 10 college students provided results about preferences for genres, concepts, and willingness to pay.
- Based on the results, the music video will be aimed at males ages 17-19 and feature rock music and performance concepts. Over half of respondents said they would pay between £1-5 for a music video.
- Abbey Moss will use the results to decide how to theme, style, and potentially monetize the music video to best appeal to the target demographic identified in the market research.
The Beastie Boys sued Monster Energy for copyright infringement over Monster's use of the band's music in a promotional video without permission. The video featured a DJ performance that included songs and a mix of Beastie Boys music. While Monster claimed they believed they had approval from the DJ to use the music, the court ruled in favor of the Beastie Boys and awarded them $1.7 million in damages, finding Monster had infringed on their copyrights. The court also dismissed Monster's lawsuit against the DJ that had performed, determining his response of "Dope!" did not constitute a valid approval or contract to use the music.
1) The filmmaker will own the copyright to their original filmed footage and studio title logos to prevent others from using it without permission.
2) Permission must be obtained from any actors under 18 years of age, as well as from any companies if their logos are included.
3) Additional video footage, sound effects, music or songs found online require permission from the original owner to avoid copyright issues, unless they are royalty/stock free.
Gender and oppression: A Detailed DisussionHathib KK
Gender and Oppression.what is oppression? what is gender base d oppression? what is sexual harassment? different kinds of sexual harassment. Is gazing at a woman sexual harassment? Sexual harassment at work place. Different causes behind sexual harassment. Precautions to prevent sexual harassment.
The document outlines the British Board of Film Classification (BBFC) rating system for films in the UK. It describes the content restrictions and guidelines for each rating level:
- U films should be suitable for ages 4+ and contain no more than mild violence, threat or horror. Discriminatory language must be disapproved of.
- PG films should not unsettle children aged around 8+, but may contain mild language, violence, and implications of sexual activity or drug use.
- 12A/12 films may have stronger language, violence, and sexual references but they must be brief and discreet. Moderate violence is permitted.
- 15 films are restricted to ages 15+ and can contain stronger language
Kehlani is a 21-year-old American R&B singer originally from Oakland, California. She gained initial fame as a member of the pop group PopLyfe, which was an America's Got Talent finalist. Kehlani's 2015 mixtape You Should Be Here debuted at number 5 on the R&B/Hip-Hop chart and led to a sold-out North American tour. In 2016, she was nominated for a Best Urban Contemporary Album Grammy. The lyrics of her song "Gangsta" represent an abusive relationship between a highly devoted woman and her partner, similar to the characters of Harley Quinn and the Joker in Suicide Squad, which the music video
The BBFC (British Board of Film Classification) is a non-governmental organization founded in 1912 that is responsible for classifying films, videos, DVDs, and some video games in the UK. It gets funding from film producers who must pay the BBFC to review and classify their films. There are seven different age ratings that can be given to films, ranging from universal to restricted 18 ratings. Legal acts like the Obscene Publications Act and Video Recordings Act give the BBFC powers to restrict films that breach laws around issues like pornography and violence.
This document summarizes several organizations related to the music industry and intellectual property rights:
- BASCA, MPA, PRS, OFCOM, PPL, BPI, Songrite UK, and UK Music collect royalties and protect songwriters' and artists' copyrights whenever music is publicly performed or used.
- Copyright/intellectual property rights will protect the album from being illegally copied or distributed without consent, which could significantly impact profits.
- Issues like slander, violence, offensive content, or lack of public interest could harm the artist's reputation or appeal and decrease profits from album sales.
The document discusses film ratings by the British Board of Film Classification (BBFC) and what types of content are acceptable for different age ratings. A 15 rating means no one under 15 can watch and content is restricted in terms of violence, language, nudity, and more. An 18 rating means adults can choose their entertainment but some content is banned if it is illegal or can cause harm. The document then provides an example of a film that would likely receive a 15 rating due to its plot involving torture, ghosts, and revenge. It analyzes why this film would appeal to the target 15 year old audience. Finally, it introduces a target audience member, Sophie, a 16 year old art student who enjoys horror films for
1) Music videos have become increasingly sexual and revealing over time, from the 1990s to 2010s. Videos now often feature scantily clad or naked women dancing provocatively.
2) 'Video girls' are sometimes taken advantage of, promised money or fame but not receiving it. Some feel pressure to engage in sexual behavior or plastic surgery to appear 'perfect.'
3) While some video girls enjoy the attention and validation, experts argue it promotes the objectification and treatment of women as disposable objects. Younger viewers may see these portrayals as the norm.
This document provides an overview of different types of polygamous and polyamorous relationships, including polygyny, polyandry, polygamy, and polyamory. It discusses the historical and cultural contexts of these relationships, controversies surrounding them, and examples of individuals who openly practice or support these lifestyles. The document also notes how the internet and media like television shows and music have influenced greater awareness and discussion of non-monogamous relationships in recent years.
The BBFC is the independent British regulatory body that classifies films, trailers, and advertisements shown in the UK. Their main goal is to protect children and vulnerable groups by advising age ratings and content descriptors. Films are rated U, PG, 12/12A, 15, or 18 based on factors like language, violence, sex, nudity, and more. The higher ratings have more restrictions and mean the content is only suitable for older audiences.
The document discusses plans for a documentary investigating censorship of music videos and the objectification of women. It will examine the extent that censorship can control what is published on TV and look at the negative and positive impacts of objectifying women. The documentary aims to obtain polarized opinions on these issues. It will focus on how objectification occurs more in genres like R&B, rap, and hip hop. The document outlines questions for experts and the public to include in the documentary.
Fairness and providing balanced perspectives were important ethical considerations in producing the documentary. To ensure fairness, the filmmaker selected interviewees with a variety of relevant opinions, asked open-ended questions, and showed interviewees the questions beforehand. Diverse opinions from individuals of all backgrounds were included. Both positive and negative perspectives on censoring sexually explicit music videos were represented. A balance of male and female voices from different ethnicities and ages were featured to provide multiple views. The filmmaker aimed to accurately represent interviewees' statements without bias or manipulation.
1) The document discusses several legal and ethical constraints that affected the production of a documentary, including copyright, consent, privacy, libel, trespassing.
2) To avoid copyright issues, the producer filmed their own cutaways and music videos rather than using content from YouTube. They also included copyright notices for any archived footage.
3) Consent forms were used for interviews and permission was obtained before filming anyone. Questions were reviewed to avoid privacy or comfort issues.
4) Care was taken to avoid libelous claims or inappropriate use of people's images.
5) Permission was obtained to film at locations and the producer did not trespass anywhere without consent.
Maryam Latifi conducted audience research for her documentary on government censorship of sexually explicit music videos. She found that her initial target audience of 16-17 year olds was not appropriate, as they lacked knowledge of the topic. She also found that her title was too long. Based on the research, she revised her target audience to be older and more educated individuals familiar with issues of censorship. She also shortened the title. The research showed preferences for an investigative documentary using factual information and opinions, distributed online for viewing on laptops.
The document proposes an idea for an environmental advertisement targeting teenagers. The ad would show characters turning off lights and electrical appliances to create a soundtrack, with voiceovers about reducing energy use to address global warming. Humor and appealing rhythms would engage the target audience. Research found teenagers don't always unplug devices but prefer humorous campaigns. The ad would be filmed on a college campus and use iMovie to edit soundtrack elements and convey the message of finding easy ways to reduce energy consumption through lifestyle changes.
The document discusses targeting a 15+ age rating for a media product and the ideal target audience. A 15+ rating allows some violent content but restricts strong language, sexual content, and drug use. The target audience is described as middle-class 15-17 year olds interested in crime/action genres. An example target viewer named Tom, age 19, is provided who enjoys crime TV shows and films from the genre. The document suggests an urban audience may also be interested due to the crime genre relating to inner city influences.
The document profiles two potential audience members for a film project. The first is a 17-year-old male who enjoys football, hanging out with friends, and watching films with friends. He is chosen because he would likely bring friends to see the film and find it more relatable and interactive due to his age matching the characters. The second is a 17-year-old female who enjoys dance and hanging out with friends. She is selected because she frequently watches films with friends and enjoys the horror genre, meaning she would provide accurate feedback on how the film is received.
This document discusses three examples of radio broadcasts that breached advertising and broadcasting codes in the UK.
In the first example, a radio presenter inappropriately promoted a local event during his show by failing to separate the advertising from the program content. The second example discusses two radio hosts that were fired for urging listeners to vote for a specific political candidate during an election period, showing bias.
The third and most severe example outlines how a radio DJ on Kiss FM breached broadcasting codes protecting children on eight separate occasions over six months through inappropriate sexual discussions, pranks, and pre-recorded content that was not properly edited. The station was later sued for a large sum of money due to these breaches.
The BBFC is a non-governmental organization that is responsible for classifying films in the UK based on their content. It was established over 100 years ago and considers factors like violence, language, sexual content and more when rating films. The BBFC aims to restrict children from viewing inappropriate content and ensure they only watch age-appropriate movies. One film that was heavily cut by the BBFC was The Human Centipede 2, which they wanted to remove over 2 minutes of footage from due to its graphic and violent nature. If the filmmakers did not agree to these edits, the film would not have received a classification to be released in the UK.
The document discusses conducting a survey to determine the target audience for a media product. The survey found that both male and female respondents between the ages of 15-25 enjoy watching thriller films, especially horror thrillers, because they like the suspense and feeling of being scared but conquering their fears. Based on the survey results, the media product will be a horror thriller aimed at appealing to those in the 15-25 age range.
- The document discusses market research conducted by Abbey Moss to help decide factors for a music video they plan to produce. A survey of 10 college students provided results about preferences for genres, concepts, and willingness to pay.
- Based on the results, the music video will be aimed at males ages 17-19 and feature rock music and performance concepts. Over half of respondents said they would pay between £1-5 for a music video.
- Abbey Moss will use the results to decide how to theme, style, and potentially monetize the music video to best appeal to the target demographic identified in the market research.
The Beastie Boys sued Monster Energy for copyright infringement over Monster's use of the band's music in a promotional video without permission. The video featured a DJ performance that included songs and a mix of Beastie Boys music. While Monster claimed they believed they had approval from the DJ to use the music, the court ruled in favor of the Beastie Boys and awarded them $1.7 million in damages, finding Monster had infringed on their copyrights. The court also dismissed Monster's lawsuit against the DJ that had performed, determining his response of "Dope!" did not constitute a valid approval or contract to use the music.
1) The filmmaker will own the copyright to their original filmed footage and studio title logos to prevent others from using it without permission.
2) Permission must be obtained from any actors under 18 years of age, as well as from any companies if their logos are included.
3) Additional video footage, sound effects, music or songs found online require permission from the original owner to avoid copyright issues, unless they are royalty/stock free.
Gender and oppression: A Detailed DisussionHathib KK
Gender and Oppression.what is oppression? what is gender base d oppression? what is sexual harassment? different kinds of sexual harassment. Is gazing at a woman sexual harassment? Sexual harassment at work place. Different causes behind sexual harassment. Precautions to prevent sexual harassment.
The document outlines the British Board of Film Classification (BBFC) rating system for films in the UK. It describes the content restrictions and guidelines for each rating level:
- U films should be suitable for ages 4+ and contain no more than mild violence, threat or horror. Discriminatory language must be disapproved of.
- PG films should not unsettle children aged around 8+, but may contain mild language, violence, and implications of sexual activity or drug use.
- 12A/12 films may have stronger language, violence, and sexual references but they must be brief and discreet. Moderate violence is permitted.
- 15 films are restricted to ages 15+ and can contain stronger language
Kehlani is a 21-year-old American R&B singer originally from Oakland, California. She gained initial fame as a member of the pop group PopLyfe, which was an America's Got Talent finalist. Kehlani's 2015 mixtape You Should Be Here debuted at number 5 on the R&B/Hip-Hop chart and led to a sold-out North American tour. In 2016, she was nominated for a Best Urban Contemporary Album Grammy. The lyrics of her song "Gangsta" represent an abusive relationship between a highly devoted woman and her partner, similar to the characters of Harley Quinn and the Joker in Suicide Squad, which the music video
The BBFC (British Board of Film Classification) is a non-governmental organization founded in 1912 that is responsible for classifying films, videos, DVDs, and some video games in the UK. It gets funding from film producers who must pay the BBFC to review and classify their films. There are seven different age ratings that can be given to films, ranging from universal to restricted 18 ratings. Legal acts like the Obscene Publications Act and Video Recordings Act give the BBFC powers to restrict films that breach laws around issues like pornography and violence.
This document summarizes several organizations related to the music industry and intellectual property rights:
- BASCA, MPA, PRS, OFCOM, PPL, BPI, Songrite UK, and UK Music collect royalties and protect songwriters' and artists' copyrights whenever music is publicly performed or used.
- Copyright/intellectual property rights will protect the album from being illegally copied or distributed without consent, which could significantly impact profits.
- Issues like slander, violence, offensive content, or lack of public interest could harm the artist's reputation or appeal and decrease profits from album sales.
The document discusses film ratings by the British Board of Film Classification (BBFC) and what types of content are acceptable for different age ratings. A 15 rating means no one under 15 can watch and content is restricted in terms of violence, language, nudity, and more. An 18 rating means adults can choose their entertainment but some content is banned if it is illegal or can cause harm. The document then provides an example of a film that would likely receive a 15 rating due to its plot involving torture, ghosts, and revenge. It analyzes why this film would appeal to the target 15 year old audience. Finally, it introduces a target audience member, Sophie, a 16 year old art student who enjoys horror films for
1) Music videos have become increasingly sexual and revealing over time, from the 1990s to 2010s. Videos now often feature scantily clad or naked women dancing provocatively.
2) 'Video girls' are sometimes taken advantage of, promised money or fame but not receiving it. Some feel pressure to engage in sexual behavior or plastic surgery to appear 'perfect.'
3) While some video girls enjoy the attention and validation, experts argue it promotes the objectification and treatment of women as disposable objects. Younger viewers may see these portrayals as the norm.
This document provides an overview of different types of polygamous and polyamorous relationships, including polygyny, polyandry, polygamy, and polyamory. It discusses the historical and cultural contexts of these relationships, controversies surrounding them, and examples of individuals who openly practice or support these lifestyles. The document also notes how the internet and media like television shows and music have influenced greater awareness and discussion of non-monogamous relationships in recent years.
The BBFC is the independent British regulatory body that classifies films, trailers, and advertisements shown in the UK. Their main goal is to protect children and vulnerable groups by advising age ratings and content descriptors. Films are rated U, PG, 12/12A, 15, or 18 based on factors like language, violence, sex, nudity, and more. The higher ratings have more restrictions and mean the content is only suitable for older audiences.
The document discusses plans for a documentary investigating censorship of music videos and the objectification of women. It will examine the extent that censorship can control what is published on TV and look at the negative and positive impacts of objectifying women. The documentary aims to obtain polarized opinions on these issues. It will focus on how objectification occurs more in genres like R&B, rap, and hip hop. The document outlines questions for experts and the public to include in the documentary.
Fairness and providing balanced perspectives were important ethical considerations in producing the documentary. To ensure fairness, the filmmaker selected interviewees with a variety of relevant opinions, asked open-ended questions, and showed interviewees the questions beforehand. Diverse opinions from individuals of all backgrounds were included. Both positive and negative perspectives on censoring sexually explicit music videos were represented. A balance of male and female voices from different ethnicities and ages were featured to provide multiple views. The filmmaker aimed to accurately represent interviewees' statements without bias or manipulation.
1) The document discusses several legal and ethical constraints that affected the production of a documentary, including copyright, consent, privacy, libel, trespassing.
2) To avoid copyright issues, the producer filmed their own cutaways and music videos rather than using content from YouTube. They also included copyright notices for any archived footage.
3) Consent forms were used for interviews and permission was obtained before filming anyone. Questions were reviewed to avoid privacy or comfort issues.
4) Care was taken to avoid libelous claims or inappropriate use of people's images.
5) Permission was obtained to film at locations and the producer did not trespass anywhere without consent.
Maryam Latifi conducted audience research for her documentary on government censorship of sexually explicit music videos. She found that her initial target audience of 16-17 year olds was not appropriate, as they lacked knowledge of the topic. She also found that her title was too long. Based on the research, she revised her target audience to be older and more educated individuals familiar with issues of censorship. She also shortened the title. The research showed preferences for an investigative documentary using factual information and opinions, distributed online for viewing on laptops.
The document proposes an idea for an environmental advertisement targeting teenagers. The ad would show characters turning off lights and electrical appliances to create a soundtrack, with voiceovers about reducing energy use to address global warming. Humor and appealing rhythms would engage the target audience. Research found teenagers don't always unplug devices but prefer humorous campaigns. The ad would be filmed on a college campus and use iMovie to edit soundtrack elements and convey the message of finding easy ways to reduce energy consumption through lifestyle changes.
This document discusses audience research methods used by media companies. It explains that qualitative research uses small sample sizes and focuses on interviews and observations, while quantitative research uses larger sample sizes and surveys to collect hard data. The document also categorizes audiences into social groups ranging from highly paid professionals to students and unemployed people. It concludes that media companies are most interested in young adults and students as their target audience since this group has more free time to consume media like films.
This document discusses target audiences for different film genres. It provides details on how genres like horror, comedy, action, romance, and adventure appeal to specific demographic groups based on attributes such as age, gender, income level. Horror targets older viewers seeking tension, while comedy aims for a wide range due to varied senses of humor. The document then discusses plans for a film focused on social realism for ages 16-25, exploring themes like drugs, money issues, and sex that many teenagers can relate to. It cites The Inbetweeners TV show as an inspiration for capturing the lives of socially awkward suburban youth.
This document discusses theories of audiences for media producers. It describes theories of passive audiences that are directly influenced by media versus active audiences that interpret media through their own experiences. It also discusses targeting mass audiences versus niche audiences and gaining feedback from the intended audience. Common audience motivations like diversion, social interaction, and information are examined.
Companies and advertising agencies try to ensure consumers buy their products by understanding audience characteristics and targeting their advertising appropriately. They gather data on audiences through measurement panels, surveys, and research agencies to classify audiences based on demographics like age, socioeconomic status, and location. This information is used to highlight relevant product benefits, advantages over competitors, brand identity, and lifestyle appeal. Television advertising in the UK is regulated by organizations like Ofcom and the ASA to ensure advertising content and placement is appropriate.
The document discusses several theories about the relationship between media and audiences:
- The hypodermic needle/effects model views audiences as passive, directly influenced by media messages.
- Cultivation analysis sees media shaping audiences' worldviews over time through repeated exposure.
- Uses and gratifications theory argues audiences actively use media to fulfill needs like diversion, social interaction, identity, and surveillance.
- Encoding/decoding theory holds that media texts contain encoded meanings which audiences can read in dominant, negotiated, or oppositional ways depending on their perspectives.
The document evaluates whether these models fully account for modern media landscapes and active audiences using an increasing variety of platforms. It explores how new technologies may require updating or replacing existing
Jisc MediaHub presentation, part of the Jisc Collections session for the College Development Network’s Getting Best Value from College Licences event, 26 February 2015
The document discusses managing research data and digital repositories in difficult economic times. It provides an overview of policies, strategies, technologies and infrastructure used to manage research and teaching materials. It also discusses funding from JISC and other organizations for repository services and projects in the UK.
This document summarizes the AddressingHistory project, which created an online crowdsourcing tool combining digitized historical Scottish Post Office Directories (PODs) with historical maps. The project had two phases: the first created the initial tool using three POD volumes from 1784-1805, 1865, and 1905-1906. The second phase expanded coverage to additional years and locations, improved parsing of names and occupations, and added new search and visualization features. Lessons learned included the need for ongoing refinement, sustainability planning, and engagement of relevant communities.
Emanuele Serrelli - Structures and functions in the evolution of moralityEmanuele Serrelli
Serrelli E (2012). Structures and functions in the evolution of morality. The Evolution of Morality: The Biology and Philosophy of Human Conscience, Erice, Sicily, IT, 17-22 June 2012.
http://www.evolutionofmorality.it/
http://www.epistemologia.eu
This document discusses geospatial APIs and mapping libraries. It introduces some major geospatial APIs from Google, Bing, and Here that provide map data and services. It also describes two popular mapping libraries - Leaflet and OpenLayers. Leaflet is easy to use but less flexible, while OpenLayers is more powerful but more complex. The document also discusses how geospatial data isn't limited to maps and can include data that references locations, and describes technologies for extracting location references from text.
1) The University of Edinburgh drafted an 18-month Research Data Management Roadmap in August 2012 to address institutional research data management and comply with their RDM policy.
2) The Roadmap outlines governance, data management planning support, development of an active data infrastructure including a data store, and data stewardship services such as a data repository and registry.
3) Services under the Roadmap include tailored data management plan assistance, customizing an online DMP tool, infrastructure for storing and accessing research data, and a data repository for depositing and long-term management of completed research outputs.
Presentation given by Stuart Macdonald on Addressing History at RunCoCo workshop: Community Collection Online - sustainability and business models, University of Leeds, 3 November 2010
Audience & regulations of music videosEmmaJaneSixx
The document discusses several theories related to how audiences interact with and interpret media content, including the uses and gratifications theory, hypodermic needle theory, and Hall's encoding/decoding model. It also addresses factors to consider when creating a music video for teenagers, such as providing escapism and information without being too formal. Additionally, it notes research finding high levels of violence in rap and rock music videos and the need to regulate music video content and classifications.
Troye Sivan released his first studio album Blue Neighbourhood in 2015. The album explores themes of heartbreak and affirmation relating to Sivan's sexuality through its lyrics and music videos. While some critics praised Sivan's vulnerable voice and exploration of LGBT themes, the explicit portrayal of a gay relationship faced homophobia from some audiences. Overall, the album was a commercial and critical success that resonated most with progressive young adults open to its themes of self-acceptance.
This document discusses the regulation of music videos in the UK by OFCOM. OFCOM creates laws around protecting those under 18, including observing the watershed hours of 9pm-5:30am. Music video channels like MTV edit videos to make them suitable for TV, banning or censoring videos with inappropriate content like sex, drugs, or violence. Certain popular music videos have been banned for their explicit lyrics or sexual imagery.
The document discusses research conducted to understand the target audience for a music video about women's and transgender issues and empowerment. A survey was administered on social media to determine the audience was mostly female aged 15-25 from South Asian culture interested in social issues. The target audience prefers hybrid music videos that blend genres and tell stories. The research informed how to engage the target audience through an artist website, social media promotion, and selling music.
The document analyzes survey responses from an audience about their music video preferences. It finds that most respondents are female aged 11-24 who watch music videos daily on YouTube. They prefer rock music and want music videos to be comical without serious plots. Most think music videos are important for promoting artists. The document concludes it will make a punk rock music video for YouTube that is comical without deep meaning to appeal to its target audience based on these findings.
This documentary will explore the connection between rap music and violence. The filmmaker was inspired to make this documentary because, while they enjoy rap music, they do not engage in violent acts themselves. This contradicts claims that rap directly causes violence. The documentary will investigate public opinions on this topic, showing perspectives that rap does not necessarily promote violence and can have anti-violence messages. Interviews will feature both rap fans and non-fans. The purpose is to raise questions about whether rap truly causes violence or if this is a scapegoat.
The document discusses representation in a music video. It summarizes that the music video portrays women in a voyeuristic way through revealing outfits and surrounding the all-male band, while the men are fully covered. The cast is all white and would appeal most to a middle-class British audience aged 16-30. Overall, the music video reinforces traditional stereotypes of gender, sexuality, ethnicity and social class that are commonly found in media and popular music videos. The student aimed to avoid these stereotypes in their own music video production by not sexualizing women and portraying youth as feeling isolated rather than part of a group.
The document discusses the results of a questionnaire given to a target audience of 18-24 year olds about their music video preferences. Most respondents preferred rock and house music, genres typically associated with males. They also preferred narrative-based music videos over performance videos. Most had watched controversial videos by Miley Cyrus, Rihanna, and Nicki Minaj due to media hype. Common favorites included styles that were narrative-based with bold colors and extreme camera angles. The document discusses incorporating these elements into a new music video to appeal to the target audience.
The document discusses UK regulation of content on television by Ofcom. It describes the watershed at 9pm, before which content is restricted and not suitable for children under 15. Ofcom gathers public opinions to review and analyze broadcasting standards. Violence, sexual content, language, and imitative behaviors are debated, with most agreeing some restrictions should apply before 9pm to protect children. Reasons for regulation include not wanting children negatively influenced or exposed to inappropriate material. However, some content can also be educational for children.
The document summarizes the results of a questionnaire about music video preferences. It finds that most respondents were female aged 16-20 who prefer pop and rock music. Respondents said they watch music videos primarily to be entertained but also to identify with artists. They indicated the artist's performance was the most important element and they prefer performance-based over narrative-based videos. Common favorite artists named were Taylor Swift, Jason Mraz, and Katy Perry. The document concludes narrative and strong performances should be included to make the target music video appealing.
This document summarizes the key insights gained from a questionnaire about the target audience for a music video. It indicates that the target audience is split evenly between genders and aged 16-20 primarily. It notes that YouTube is the primary platform and that the audience prefers conceptual and narrative aspects in music videos. Rock music is the preferred genre. The summary emphasizes that the video should have substance over style with an underlying message but still be pleasurable and not overly long so the target audience can view it conveniently.
The document summarizes the results of a music-based questionnaire given to 10 people between the ages of 5-22. Key findings include:
- Equal numbers of males and females took the survey, allowing comparisons between genders.
- Most respondents were between ages 11-16 and 17-22, indicating the target audience for a music video should be teenagers.
- Pop and R&B were the most popular genres, so the author chose to create a pop music video.
- Respondents reported listening to and watching music videos multiple times per day via apps and social media.
- Artists and word-of-mouth most encouraged watching music videos.
The document discusses the target demographic for a music video production. It describes the target audience as predominantly female, aged 17-21, who are white British, middle/lower class, and interested in social media, indie music, and LGBTQ+ representation. Feedback was collected from 16 people within this demographic through anonymous questionnaires. Their feedback helped improve the music video by highlighting specific elements to refine.
The document discusses the positive and negative aspects of censorship. On the positive side, censorship can prevent children from being exposed to inappropriate content like bad language, violence, and bad manners. However, censorship can also limit freedom of speech and control what people think. While some regulation of media content may be good, absolute censorship infringes on personal freedom.
Question three target audience finished 2ndemmacalder123
The document discusses gathering audience feedback for music products targeted at males and females aged 16-25. Feedback was collected through surveys on social media, interviews, and focus groups to understand how to improve products and ensure they appealed to the target demographic. Collecting qualitative feedback through face-to-face interviews proved most useful, as it allowed for elaboration and clarification. Audience feedback was vital to creating high quality, visually pleasing products that the target audience wanted.
The document discusses planning for a music video for an indie/pop song aimed at a target audience of 16-25 year olds. Research found this age group prefers indie/pop music and engages strongly with it. The music video will feature both male and female artists to appeal to both genders equally within the target demographic. It will use themes of freedom and childhood innocence to transport viewers and draw on theories of utopianism through its bright colors and actors' happy facial expressions.
The document summarizes the results of a survey of 20 people about their media consumption habits and preferences. It found that the target audience is mostly white, aged 18-28, and straight. Most popular genres are action, comedy, and drama. Most respondents go to the cinema at least once a month. The main draw of a film is the actors, followed by plot. Respondents find out about new films mostly on social media and television. Their favorite music genres are R&B, hip hop, rock, and house. Facebook is the most popular social media platform. Respondents prefer to socialize with friends or watch TV for free time. Most are students or working students.
The document discusses research conducted to identify the target audience for an R&B song called "If You Wanna Leave" by Tyler Noel. Initially, the target audience was thought to be mainly females, as R&B songs often focus on love and relationships, which females tend to relate to more than males. However, further research found that the target audience was narrower - specifically black females over 25 interested in soul and pop music. Feedback from this audience helped improve the music video by providing more characterization of the male antagonist and correcting technical issues.
The document provides a target audience profile for a music video to the song "Power" by Little Mix. It outlines the following key points:
- The target audience is young individuals ages 13-20, especially focusing on females, as they often relate to girl bands and see them as inspirational.
- The video aims to appeal to those living in central London through its depiction of busy city streets and nightlife atmosphere.
- It will feature characters of various races/ethnicities to promote diversity and allow people of different backgrounds to connect with the video.
- The psychographics of the target audience indicate they enjoy dance, trends like ripped jeans, and tend to have natural hair styles and colors
Similar to The first Pitch Presentation prior any Audience Research (20)
This document provides an audit of video, audio, photography, and web-based skills across multiple categories. It rates the skill level as red, amber, or green and provides evidence and targets for development. The goal is to improve skills in areas rated amber or red such as sound layering, recording voiceovers, creating original music, and externally lighting scenes. Overall it aims to advance technical, creative, and online skills through practical experience and setting goals.
This document contains a skills audit assessing proficiency in various research skills. It rates the individual's skills in areas like interviews, questionnaires, focus groups, identifying and following up leads, qualitative and quantitative research as either red, amber, or green. For each skill rated amber or green, it provides links to blogs or documents as evidence of experience or proficiency in that area. The skills audit covers both primary research skills like interviews and questionnaires, as well as secondary research skills such as identifying information sources, understanding target audiences and markets, and storing information.
Sony BMG is the record label. The record label produces genres such as R&B, hip-hop, and classical. Some artists signed to Sony BMG include R. Kelly, Kesha, and JLS. Cameron Strang is the CEO and is responsible for worldwide operations. Michael Nash is the Executive Vice President of Digital Strategy and reports to the CEO. Kelly Milson is a producer who works with artists and reports to the A&R and Manager departments.
Tempa Records is a small, East London-based record label that specializes in dubstep music. They target young teenagers and adults between 13-25, as dubstep's loud bass is popular at clubs and parties. The label promotes its artists mainly through social media and performances on BBC Radio 1. It distributes music through iTunes and its website. Notable artists on Tempa Records include Allstars, Cosmin TRG, Benga, and Skream.
The document contains an assessment of a student's advertising project. It evaluates the student's understanding of advertising conventions, ability to work as part of a team, planning and meeting deadlines, camera skills using various shot types, editing to create meaning, and creative use of mise-en-scene. The student received marks ranging from 2 to 5 out of 5 and provided targets for improvement on future projects such as using more advanced camera shots, less transitions in editing, and improved planning.
The NUJ codes of conduct require journalists to report information honestly, accurately, and fairly. This document discusses how the codes affected the student's documentary project. To comply with the codes, the student had to obtain interviews from people with different backgrounds to provide varied opinions. The interviews were conducted openly with permission. Facts were differentiated from opinions to ensure balanced and truthful reporting. The codes prevented covert filming that could be unethical or illegal for the student's topic of exploring views on portrayals of women in music videos.
First Pitch presentation for my documentaryMaro Lafif
The document discusses plans for a documentary investigating censorship of music videos and the objectification of women. It will examine the impacts of censorship and objectification, and obtain diverse opinions on these issues. Interviews will be conducted with artists, producers, directors, teachers, and officials who classify music videos. The goal is to understand how and why music video content has become an issue, and the potential effects on young people and society if inappropriate content continues without restriction.
This document outlines several legal, ethical and health and safety issues to consider for a media production project. It discusses requirements around copyright and permissions for locations and talent. Ethical issues that could impact the work include handling sensitive information, maintaining balance and avoiding bias, and properly representing subjects. Health and safety risks involve carrying equipment, interacting with strangers, exposed wires and weather conditions. The document provides suggestions for managing these risks, such as using release forms and considering subject matter and representation carefully.
This document outlines several legal, ethical, and health and safety issues to consider for a documentary production. Legally, permissions are required for use of copyrighted music, videos, and locations. Ethically, sensitive topics require handling with care, and balance/lack of bias are important. Health and safety risks include carrying heavy equipment, exposed wires, weather conditions, and working with strangers. Managing risks involves following ethical standards, obtaining releases, addressing safety with equipment, and avoiding unsafe situations.
The document provides details about the target audience for a documentary about government censorship of sexy music videos. The primary target audience is 16-18 year olds from a mixed ethnic background living in London. They come from working to middle class families and have interests in music, sports, books and other typical teenage hobbies. The documentary aims to appeal to both female and male teenagers.
Altered target audience profile for my documentary 2Maro Lafif
The document summarizes the target audience for a documentary about government censorship of sexually explicit music videos. The primary target audience is 18-20 year old males and females from a mixed ethnic background who are well-educated, hard-working, and either in college, employment or training. They live in London and engage in activities like music, sports, reading and shopping. The target audience aims to appeal to young people and generate discussion around the debate of government censorship.
The document proposes an idea for an environmental advertisement targeting teenagers. The ad would show characters turning off lights and electrical appliances to create a soundtrack, with voiceovers about reducing energy use to address global warming. Humor and appealing rhythms would engage the target audience. Research found most teenagers do not always unplug devices but prefer humorous campaigns. The ad would be filmed on a college campus and use iMovie to edit soundtrack elements and convey the message of finding easy ways to reduce energy consumption through lifestyle changes.
EMI stands for Electric & Musical Industries. It began in 1931 when the Gramophone Company merged with Columbia Graphophone to form EMI. EMI is now one of the world's leading music companies and has represented many successful artists over the years such as The Beatles, Pink Floyd, and Robbie Williams. However, EMI has also struggled financially in recent years, requiring cash injections to avoid bankruptcy.
EMI stands for Electric & Musical Industries. It began in 1887 when inventor Emile Berliner demonstrated the first gramophone. In 1931, the Gramophone Company merged with Columbia Graphophone to form EMI. EMI is located at the famous Abbey Road Studios in London and has signed many successful artists over the years such as The Beatles, Pink Floyd, and David Bowie.
The document outlines plans for a short film to raise awareness of climate change among teenagers. It aims to encourage small lifestyle changes to reduce energy use and environmental impact. The film will use humor and surreal elements to depict a careless teenager faced with electrical devices suddenly shutting off due to energy shortage, representing future effects of climate change. Research including a questionnaire of teenagers informed the messaging and comedic approach to appeal to and persuade the target audience.
The document outlines plans for a short film to raise awareness of climate change among teenagers and encourage them to make lifestyle changes to reduce their environmental impact. The main goals are to inform teens how their current habits affect global warming, encourage examination of lifestyle choices, and persuade teens to save energy. Humor and surrealism will be used to make an engaging PSA that appeals to teens through relatable characters, settings, and messaging about small actions everyone can take to help the planet. Data from a student survey about transportation, energy use, and effective messaging strategies will help craft the film's strategy.
The document outlines plans for a short film to raise awareness of climate change among teenagers and encourage them to make lifestyle changes to reduce their environmental impact. The main goals are to inform teens how their current habits affect global warming, encourage examination of lifestyle choices, and persuade teens to save energy. Humor and surrealism will be used to make an engaging PSA that appeals to teens through relatable characters, settings, and messaging about small actions everyone can take to help the planet. Key facts from a survey of teens will also be incorporated to emphasize the issue scientifically.
The document discusses a marketing campaign for Ferrero Rocher chocolate targeting teenagers aged 17-19 from multicultural backgrounds. It will create a 3 second ad, logo, and slogan. Teenagers' opinions will be considered to make the ad and product appealing. The ad will feature attractive young characters introducing the rebranded Ferrero Rocher. Work will be published on individual blogs. The target audience comes from working or middle class families and enjoys various leisure activities. As teenagers care about their image, the ad will minimize chocolate quantity but still indulge them after a stressful day. Analysis of other ads, TV programs, and spare time activities of this target audience will also be considered.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
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.
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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The first Pitch Presentation prior any Audience Research
1. Maryam Latifi
It is important to make it clear that my documentary will mainly be about
investigating the extend to how far censorships or the classification of music
video can go to control what is being published on TV? In addition, I will also
look at the severe negative or perhaps positive impacts on the objectification
of women. This will enable me to obtain polarized opinions.
The objectification of women are more likely to occur particularly in R&B, Rap
or Hip Hop music videos.
The gab in the market for my documentary is big as it has become less of an
issue in reality where men loves to see it more and more and a majority of
women aren’t really bother about the fact that their bodies are seen as sex
objects. For example, a man can used a woman’s body and when he is done
with her he throws her body away in the recycle bin for other men to use her,
metaphorically speaking. In reality, prostitutes loses their person and is made
‘into a thing’ for other men to easily use it. In a way objectification of women
in music videos is like a prostitution business.
2. When did it become an issue in the eyes of the public?
It all became an issue days back in the history of censorship of music videos, where a vast
majority of music videos were inappropriately and unacceptably used by artists or
musician to express their feelings, messages, thoughts, ideas and what they belief or
think about certain things through the use of music videos
Since then, that has lead to many controversy and the viewers started to complain more
to the British Board of Film Classification.
Therefore, the government stepped in officially announced on news programs that there
is going to be censorships on sexually explicit music videos.
This has started another generation where music videos must be censored to protect
younger listeners particularly sexualised music videos. This is how the issue discussed in
my documentary was introduced to the wider public by the highly qualified
professionals who know and are aware of the serious consequences of sexualised music
videos.
At last, this is also how I got introduced to the proposed treatment of my documentary.
3. British Board of Film Classification
This means that any music videos or film is suitable for
12 years and over.
To be shown only in specially
Parental Guidance –
licensed cinemas, or
General viewing but some
supplied only in licensed sex
scenes may be unsuitable
shops, and to adults of not
for younger children.
less than 18 years
This means Universal as in This means that any media
it is suitable for all. texts are suitable for 15 years
or over.
Suitable only for adults
aged 18 and over.
4. Music videos being classified by the British Board of
Film Classification.
http://www.bbfc.co.uk/search/?searchwhere=db&q=m
usic+videos
http://www.bbfc.co.uk/AVV173232/
This shows the amount of music videos being
censored and the specific details of the music videos
being censored (e.g. Mariah Carey/Lover boy).
5. I have decided for my documentary to take place in
multiple locations. That is:
- on the street for my Vox Pops asking questions to
teenagers, parents and the members of the wider public.
- In an office for my interviews with teachers
- In a studio or music company where I can interview artists
particularly women who are paid to reveal their clothing in
music videos mainly for men. Yet also, I will also interview
producers or directors who are in charge of producing such
music videos where women are objectified and men are
used to feed their appetite through the objectification of
women’s bodies.
- At last, I will also go to an institute that deals with the
classification or censorship of music videos.
- I will be using a range of locations to produce a good
documentary and meet my purposes effectively by being
able to visit the locations that I have chosen for my
documentary. For example, I have to visit one of the major
recording companies such as EMI to interview an expert in
producing music videos including R&B, Hip Hop or Rap
videos.
6. My characters
For my characters bit I will have to first make sure who is available and who isn’t. For
example, if I want to choose a teenager as my character but I have to make sure that
I record the scenes whenever or wherever the character can talk to me for Vox Pops.
In total I might use approx. 7 characters.
1- director
2- female artist
3- parents
4- teenagers
5- teacher
6- psychologist interviewing him/her on the effects of Mass Media on teenagers
physically, intellectually, emotionally and socially.
7- doctor
- The presenters is going to be myself as I want to do a participatory and investigative
documentary.
- Some of the characters are teenagers, parents, teachers, artists in a record
label, British Board of Film Classification staff in charge, where they also censor
music videos.
- The experts are artists from a record company, teachers in how it impact the
educational attainment of boys and girls, academically, a member of the industries
that censor or classify music videos.
7. Why do people care about this subject matter?
The reason why people should care or do care about what music videos actually
publish, how it has got a negative influence in young girls and boys and how censorships
or classifications can go to extreme messages to ban videos that objectifies women is
because sexualization has negative consequences for girls and for the rest of society where
women will start to see themselves as sex objects , spend lots of time and emphasis on
their appearance and men can see themselves as sex machines who will believe that they
are allowed to be violent, aggressive, disrespectful and promiscuous towards women.
Violence in Mass Media will mean the use of common props such as guns, machine
guns, knives or other sharp objects, gang culture and symbols and illegal drugs will be
shown in music videos that lead to serious causes of offense, violence, threats, murders
and many other obstacles in real life as many people can feel offended or discriminated
against by certain things or certain individuals in the music videos. Therefore, it is very
crucial to be aware what is acceptable or unacceptable to be aired on TV.
Most importantly, what children or young people see on TV can have a negative or positive
impact on them in reality. They are more likely to believe in what they see on TV and start
to imitate the actions or activities that they see or hear on TV. For example, teenagers are
more likely to start wear what they see as appropriate or stylish on TV from music videos
that is worn by singers or celebrities such as mini skirts, shorts or more revealing clothing.
8. Why are you doing it?
The reason why I have decided to make a documentary about the government censoring
music videos that particularly objectifies women is because I believe that a vast majority
of music videos are going beyond the limit with what they think it is appropriate to
publish on TV in their music videos. Their music videos are almost becoming so
pornographic, inappropriate and unacceptable to watch for most of the viewers who are
sensitive with certain inappropriate props or scenes in the music videos.
But the government has got the authorization to do something about the dehumanization
of women and exceeds the aggressiveness of men as it brings negative influence on our
younger generation of teenagers who , instead, should be more
positive, optimistic, respectful, mannered and know what is morally good or wrong
rather than seeing women as sex objects and engaging in illegal or inappropriate
activities through what they believe from the music videos is right and doable.
Secondly, I want to also find out and know more about why music videos produce such
videos where they intentionally convey the wrong message and confirm to their
stereotypes. For example, a lot of Black singers recite in their music videos their own
people ‘Niger’ such as Chris Brown. This is basically connoting to the viewers that it is
acceptable to call people from Black backgrounds ‘Niger’.
At last, I want to find out what possible impact it can have on our future generation if we
continue to allow such music videos to be produced and published. How will the futures
of these young people look like if we don’t stop this now. For example, will there be a
higher rates of prostitutes as women may start to believe it is actually a good that and
that they see nothing wrong with it. Yet also, we might have higher rates of gang voilence
and gang culture within our societies.
9. Is it an issue that links to the target audience?
My documentary definitely links to my target audience because censorship
companies are mainly protecting young people particularly teenagers who could be
at risk of being persuaded or encouraged to do immoral, illegal or unacceptable
activities that is often shown on music videos by their idols, favourite
singers, celebrities, artists or role models. For example, a majority of R&B music
videos encourage violence, inappropriate language or objectifies women more or
less in a pornographic way. For example, the song of Neyo ft. Trey Songz and T-
pain/ The way you move. Source: http://www.youtube.com/watch?v=_b2NqV5v87U
My documentary will mainly look at the impacts of the objectification of women, it
has on teenagers and how censorships will not mean that it will stop teenagers from
not hearing or seeing inappropriate scenes in music videos as they can always see it
on Internet where a majority of music videos that has particularly women revealing
their clothing on Youtube or other websites.
I will be also looking at how such music video has an impact on
teenagers, physically, emotionally, intellectually and socially.
10. Target Audience
My target audience are going
to be teenagers (boys and
girls) who likes listening
music and be free.
My primary target audience
are girls from any ethnic
background and class
aged 16- 19.
Whereas, my secondary
target audience are boys
aged 16-19 from any ethnic
background or class. This
is mainly because any
genre of music can
objectify women so the
target audience range is
broad.
11. Questions for the experts
What are the impacts on record labels or artists when
their music videos are censored or classified?
Why are directors producing music videos
that, intentionally, objectifies women and satisfy men
what they want to see?
Isn’t there any other way to reach a wider target audience
than to use women’s body to appeal to men or women?
Why?
What is the directors view about music videos being
banned, censored or classified by regulatory institutes?
What do female artists think about portraying a highly
negative role model for the younger females and greatens
male sex drives by using their bodies?
Do you think that in a way you are disrespecting females
as a whole within our society? Why?
How do you feel about being objectified or rather
disrespected by men in music videos?
Do you think you are being used? Why?
To what extend are institutes like the British Board of
Film Classification going to censor music videos?
12. Questions for the Vox Pops
The following questions are open qualitative questions
only:
What are your views about the objectification of
women in music videos?
Do you think it is right for women do use their bodies
as sex objects in music videos and entertain
particularly men?
Do you belief women are dehumanizing themselves
allowing objectification in the music videos to take
place?
Do you think it is right or wrong for a young female to
be obsessed about her body and appearance so that she
get enough attention from men based upon her
appearance and body shape? Why?
What do you think should happen or could be done for
music videos to stop objectifying women and start
respecting their dignity and status within the society?
What do you think we as viewers could do to protect
our younger generation in many ways from Internet or
TV?
13. Censorship in music videos are the acts of adjusting, editing, banning, or
altering products, expressions, or items considered to be
elicit, unlawful, lewd, or objectionable in nature with regard to the setting in
which they exist. I believe that censorships are mainly done to protect
people against any inappropriate elements that could be offensive in the
media texts.
14. Examples of music videos being censored.
Rihanna's 'S&M' video banned in 11
countries.
Robbie Williams/ Rock DJ - The video’s
ending (beginning with Williams taking off his
skin) was cut by most music channels around
Europe, including VIVA, MCM, MTV, The
Box and VH1 Europe.
Ciara- Ride - The accompanying music video
features sexually-charged, provocative
choreography, and therefore was not aired on
BET, and banned from UK music channels.
15.
16. Two more new idea that goes with
your main idea.
1) I could make another relevant documentary
about the impact it can have on the viewers about
the censorship of the objectification of women in
music videos to girls and boys in reality.
2) My other idea is more about the reasons, purpose
or aims that the music videos want to achieve by
having lots of naked women in their music
videos. What are they trying to express or convey
to us , as viewers.
17. Conclusion to my documentary
The conclusion to my documentary will be mainly focused on
summarizing my overall findings and meeting my objectives to
what I wanted to find out by producing this documentary.
I will include what have I investigated about the censorships of
music videos where it objectifies women.
Have I found out to what extend the government or the censorship
organizations have to go to control what is being published on
television?
In my conclusion I will also include what I have found out from
experts or personal opinions of the negative or positive impacts
the objectification of women in music videos has on teenagers in
many forms such as physically, intellectually, emotionally and
socially. I will be emphasising on polarised opinions.
Basically, in the conclusion bit I will just end the documentary by
gathering all the information that I have obtained through
researching and investigating.