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Influence on media in society
Influence on media in society
Influence of mass media in society
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Many books, magazines, newspapers and so on influence the way people think and alter reality in either a negative or a positive way. The New York Times is one of the many newspapers that make people think in a different way than what reality really is or make things seem like something that it really isn’t. In Taking the Train by Joe Austin, the New York Times helped to produce the framing story of “the war on graffiti”. They did this by publishing stories about graffiti and writers that were not what it seemed to be and using these stories to make New Yorkers think that graffiti was the cause of many of the city’s problems. The New York Times published articles blaming writers and graffiti for the subway “crisis” and making out the writers …show more content…
However, according to Joe Austin in Taking the Train, they are making this accusation in a city where unemployment for youths between the ages of 16 and 19 was very high, about 33 buildings were burning a day in the Bronx, poverty levels were high, dropout rates for colored youths was over 75 percent and many other problems was going on in the city. So, how could the appearance and young vandals doing graffiti be the primary cause of the city’s sadness? According to Joe Austin, on page 44 of Taking the Train “the Times encouraged its readers to ignore the more glaring (and more frightening) causes of the structural and political fault lines in the city’s social order.” This shows that the Times didn’t focus on the bigger issues in the city that were really the cause of the city’s sadness and hopelessness, rather they focused on the young vandals and graffiti. This caused many New Yorkers to also focus on the same thing and not the bigger issues that were causing the city’s
When people think of Bedford Stuyvesant, Brooklyn, they think of crime and violence within the neighborhood. I myself have thought this about Bedford Stuyvesant before I did research and actually visited the neighborhood for myself. Bedford Stuyvesant in my opinion, has two different sides. The side the media portrays to us, the people, and the side people who actually visit/live in the neighborhood see for themselves. My visual representation above shows the two different sides of Bedford Stuyvesant. The first image shows the typical view of what people think of when they think of Bedford Stuyvesant, the projects. When people think of this neighborhood, they think of project buildings housing low income black families. The media portrays Bedford Stuyvesant as a
Chang, Jeff. "The Writing on the Wall: Why are graffiti and vandalism bad words in the left? " Colorlines 31 Jul 2002: ProQuest Social Science Journals, ProQuest. Web. 22 Apr. 2011.
“It was if there was a social moat that divided these two New Yorks.” This quote from the movie The Central Park Five, explains the divide between the poor part of New York, such as Harlem, and the upper class areas. This divide was caused by an economic crisis that changed the social dynamics of the city. This change allowed for consequences such as the injustice of the Central Park Five and the causes of this injustice can be explained by three different theoretical perspectives: the Structural Functionalist Perspective, the Symbolic Interactionist Perspective, and the Conflict Perspective.
I say this because there were points in which I personally could not really understand what was going on due to my lack of exposure to this problem that American journalism is facing. More specifically, terminology that was used, especially from business standpoints, and the different companies that were involved made it harder to keep up with the issue at hand. However, with a little editing and better explanation of terminology, I think that this film could extend to a wide audience that would include both digital natives and digital immigrants that are experiencing this transition within American news reporting. This paper will examine the difference between old and new journalism and its new standards, “The New York Times Effect” and its 21st century challenges, important qualifications to be a successful journalist, and the future role of journalism within American society.
In Style Wars, one sees how social marginalization affected graffiti writers in 1970s and 1980s New York. Firstly, Style Wars chronicles how the city government employed racist policing and propaganda to criminalize writers of color. Secondly, the documentary shows that newspapers and TV networks unequally privileged writers of higher socioeconomic status through front-page and prime-time coverage. Thirdly, the film depicts graffiti writers who conformed to masculine norms as disproportionately visible throughout the city. Although many writers featured in Style Wars minimized barriers against making art, legal racism, classist media coverage, and interpersonal masculinity limited recognition for certain writers.
“This world is but a canvas to our imagination” (Thoreau). The world is quite literally a canvas for graffiti artists, and these two opinion editorials cover the desire for this medium of art to be appreciated and showcased. Eric Felisbret wrote “Legal Venues Celebrate Graffiti as an Art Form” which was published on July 16, 2014 in the New York Times. Felisbret’s article was about creating more legal venues to showcase graffiti. Kathy Grayson wrote “L.A. Graffiti Exhibition, ‘Art in the Streets,’ belongs in N.Y.C.,” which was published on June 26, 2011 in the New York Daily News. Grayson wrote her article to persuade readers that “Art in the Streets” belongs in New York. The articles were simultaneously the same and very different in their content. Even though the specific messages were diverse the purpose was to persuade the discourse community, who value law, education, and their community, into having graffiti displayed as art. These two
The consequences of not thinking for themselves is grave, as not only are citizens directly harmed, for example, two ballerinas fall to their knees in reaction to the noise, but people are also unable to revolt against the government, allowing the abuse of power to continue. In parallel, Vonnegut uses symbolism to show American’s failure to speak for themselves. Demonstrated in the story by the announcers on television who all have a significant presence in the media, this idea further represents the government’s manipulative power over the civilization. The media acts a voice for the people, and in this story, all the announcers have speech impediments, affecting the media’s ability to effectively communicate ideas, as “it [is not] clear at first as to what the bulletin[s are] about” (3). This fact demonstrates the disconnect between the truth and society, as citizens are unable to provide fellow Americans with the necessary information to speak up against the government. Once again, the effect is detrimental to society, considering the abuse of power does not cease. Vonnegut’s message relevant in many situations including the civil rights movement of the 1960s, and the protests against
The identity of a graffiti artist is hardly ever known unless they want to tag their art with their name or a nickname. Graffiti writers as a subculture are trying to express their political views through civil disobedience by painting pictures that speak out against the government. This subculture developed because they were tired of being oppressed by the government. Graffiti is one of the most enduring acts of protest. It is an important tool for the resistance movement as a way to publicize their protest. It is a visible and powerful form of protest that is going to promote change in the social justice by allowing oppressed groups of people express their viewpoints without being penalized by the
Ellis, Edward Robb., and Jeanyee Wong. The Epic of New York City. New York, NY: Carroll & Graf, 2005. Print.
In a person’s life span there are and will be many moments of struggle. And often when people are at their lowest point in their lives they seek to blame the struggle on the first person or thing that is the easiest to point the finger at. Like, In such a case as Gentrification. Individuals that have experienced displacement because of Gentrification commonly turn their anger towards the individuals occupying their neighborhood. This process alone can cause an excessive level of racial tension, typically because the deteriorated areas are populated with African Americans and the people moving into the community are usually White. The obvious objective would be to blame the individuals moving in and occupying
The Mayor’s audience, a restless crowd consisting mostly of blacks, is depicted spewing slews of racially offensive insults towards him. They accuse the mayor of racism, but ironically, they are the ones shouting the racial abuse at him. This scene is mostly one of obvious confusion, contradictions and racial hatred, however amidst the chaos are a distinct few that are thoroughly enjoying what they are witnessing. As Lynn’s observes, “The TV crews in attendance, their cameras coming out of their heads like horns, are diabolically delighted by the spectacle, “They’re eating it up! They’re here for the brawl!…They’re cowards! Parasites! The lice of public life!”(Lynn, Wolfe. prologue) The media is truly exposed for all their grotesque ways and untalented cheats as they watch in pride as their monstrous creation finally splinters. They have successfully pinned black against white, poor against rich, the Bronx against
Graffiti has been on the rise in popularity since its beginnings fifty years ago. Danielle Crinnion provides a brief history of graffiti arguing that “Philadelphia
He starts with a vivid sketch illustrating a subway shooting by Bernhard Goetz. The author emphasizes the fact that Goetz was viewed as a hero and “subway vigilante, despite having shot four African-American youths. Furthermore, Gladwell continues with the terrifying descriptions of the state of New York underground in the 1980s. He is attempting to convey that, one of the most effective strategies for fighting subway crime in New York is by keeping the cars and walls free of graffiti and cracking down on minor offenses such as skipping on fares, this which he later labels the Broken Window Theory.
Not many people would even dare to blink past these filthy areas as they were either completely oblivious and unaware or chose to ignore it. This wasn't until Jacob Riis, photographer, journalist, and social reformer used his talent and expertise to bring attention to the lack of viability in tenement housing with his book, How The Other Half Lives. Riis himself experienced a difficult journey through jobs that led to his later success, this allowed him a closer look at how the poor lived. He used his privilege as a successful photojournalist and police reporter to create the disheartening eye opening experience into a world that was incapable of helping itself. At this time many of the upper class citizen of New York City were blind to the horrific conditions immigrants were forced to live into, which gave Riis’ book the audience he needed to not only state the gruesome truth of living in the slums, but also present photographic evidence of inhuman living and working situations of that
“Page One” Analysis Andrew Rossi’s documentary, “Page One” addresses a slew of issues, controversies, and challenges that the news industry has faced, and continues to face today. The de facto poster child for the current transition in the world of Journalism is The New York Times, one of the most recognized newspapers in the country, and perhaps even the world. By the late 2000’s, the internet had surpassed print media in terms of viewership. The Times, along with many other newspapers, faced staff cuts, a massive decline in advertising revenue, and a dwindling readership that increasingly used the internet as a primary source for news. Each of these issues had to be tackled for the paper to survive; however, that does not mean no one suffered.