a.)
Throughout the film, there are two primary subjects through which we observe using the subjective perspective. The first is established early into the film, once Kael is on house arrest and confined to the loneliness of his room. The objective perspective initially centers on his new infatuation, the new girl next door Ashley Carlson (Medjuck, 17:30). Further into the movie, and once we establish a connection between them, the subject of perspective immediately changes to the mysterious neighbor Mr. Turner (Medjuck, 24:27), who we then follow consistently throughout the remainder of the film. When observing Ashley, we get mostly medium and close-up shots (Medjuck, 25:06). These shots are used to enhance the idea that Kael is using
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I think this is, again, due in part to the fact that Kael is much more involved in the mystery. He and his friends plan out several plans for action in order to catch Mr. Turner “in the act” (or at least somewhere close(Medjuck, 1:02:20; 1:09:50)). In addition, there really are only four or five main characters throughout the majority of Disturbia, in comparison to the several more supporting characters in Rear Window that can sometimes take away the attention and focus from Jeff Jeffries himself.
d.)
In Disturbia, the use of a Walkie-Talkie, as well as additional monitors and camera equipment lend a hand to preserving that subjective perspective. We are able to keep an eye (and ear) on those close to Kael as they do surveillance of their own (Medjuck, 1:03:00-1:10:00). These technologies are crucial in maintaining a connection between our protagonist and his friends.
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McLuhan goes on to say “A cool or low literacy culture cannot accept hot media like movies or radio as entertainment. They are, at least, as radically upsetting for them as the cool TV medium has proved to be for our high literacy world” (McLuhan, 49). By this, McLuhan proposes the notion that cool media, in a society that wants little or nothing to do with audience participation and interaction, is disappointing. These medias cannot hold well with audiences versus hot media that is in high resolution, does not frustrate or disappoint the audience, and is easier to interpret without much thought. This represents a huge variation in how audiences depict and interpret different media. Being able to view something in the highest quality and in its best capacity is more likely to receive positive notes, compared to a media viewed as we viewed
Not only educational shows accomplish these goals, but fictional television programs can often incorporate information that requires viewers to grapple with a topic using logical reasoning and a global consciousness. In addition, not to diminish the importance of reading, television reaches those who may never pick up a book or who might struggle with reading problems, enabling a broader spectrum of people to interact with cognitive topics. Veith has committed the error of making generalizations about two forms of media when, in truth, the situation varies depending on quality and content. However, what follows these statements is not just fallacious, but
Film critic, Michael Medved is aware that by publishing his book, "Hollywood verses America," he will not only enrage mostly everyone in the show business industry, but he will also loose some of his friends because of what he wrote. His strongly opinionated critique of popular culture examines the recent shift in the content of today's television, films, music and art. He has gathered statistics and opinions as well as shared personal experiences, all to illustrate one major point; popular culture has taken a turn for the worst.
Neil Postman is deeply worried about what technology can do to a culture or, more importantly, what technology can undo in a culture. In the case of television, Postman believes that, by happily surrendering ourselves to it, Americans are losing the ability to conduct and participate in meaningful, rational public discourse and public affairs. Or, to put it another way, TV is undoing public discourse and, as the title of his book Amusing Ourselves to Death suggests, we are willing accomplices.
In Amusing Ourselves to Death, Neil Postman alerts us to the dangers brought about by the way television conditions us to tolerate the brevity of visual entertainment. His message is that with each new technological medium introduced, there is a significant trade-off. His primary example was the medium of television. TV is structured to provide information to the viewer on a platform which is both quick and entertaining. This discourages any viewer subjectivity, allowing television to shape and dictate [politics, education, religion, and journalism] the essence of our discourse. Except for a few pages of "enlightenment", the entire book was a conglomerated resource of evidence to support his hypothesis. Important facts underlined generalizations to present logical and agreeable viewpoints.(e.g. "Television is our culture's principle mode of knowing about itself. Therefore... how television stages the world becomes the model for how the world is properly to be staged..."( Postman 92) In other words, how life is depicted on television is how we expect life to be.) And in most cases some truth could be found in Postman's statements (e.g. "For no medium is excessively dangerous if its users understand what its dangers are.") (Postman161) Postman's final critical point was not merely enlightenment, but was a message to his reader and a solution aimed at educators: "the point I am trying to make is that only through a deep and unfailing awareness of the structure and effects of information, through a Bibbs 2 demystification of media, is there any hope of our gaining some measure of control over television , or the computer, or any other medium." (Postman 161) I agree. Until we begin to quest...
Sparking debate over the nature of its viewing, film is now being questioned in social, political, and moral arenas for its potential impact on an audience. Critics claim that watching films is a passive activity in which the viewer becomes subconsciously absorbed, and creates a reliance or "addiction" to the medium, and thus can be influenced by any perpetual concepts or images. Advocates, however, argue that viewing such programs is an active process in which audience members are able to choose to what they are exposed to, and interpret messages based on their individual needs and background. Perhaps both views are too extreme? Film from the 1950s to present, as will be explored in this essay, is an extremely useful medium, often underestimated within the label of "entertainment".
In assessing the impact and effect of popular cultural forms like MTV, it is important to acknowledge the extent to which, rather than having them imposed upon us, we may instead appropriate or assimilate parts, whilst choosing to reject or ignore the rest. This, of course, has the consumer or viewer acting (or perhaps more accurately interacting) as opposed to simply passively receiving (Philo par 16).Even though critics of MTV stand strongly against the passive consumer, th...
Rather than walking, we have cars to help us get to places quicker. Rather than talking with people face-to-face, we call on a telephone. New technology places value on doing things quicker and easier. McLuhan also believed that what changes people is the technology itself, not the content. In Understanding Media: The Extensions of Man, he proposed that we focus on the way each medium changes cultures and traditions and reshapes social life, rather than the content. He describes the content of the medium as a “juicy piece of meat carried by the burglar to distract the watchdog of the mind.” (McLuhan 32). To him, focusing on the medium was important because he believed that different types of media changes the balance of our sense. We start isolating and highlighting different senses. For example, print technology highlights the visual aspect of the media, but isolates sound. However, electronic media, such as television, allows us to see and hear, and therefore, reconnects senses that have been isolated by previous media (e.g., print and radio). McLuhan expands on the effects of electronic media in War and Peach in the Global Village, arguing that electronic creates a “global village.” Because electronic media allows people
One standout scene involves a dinner party hosted by the newlyweds, where Jeff's observations reveal the complex dynamics at play within the community. Through Jeff's lens, viewers witness the intricacies of human behavior, from love and jealousy to suspicion and betrayal. This diverse range of characters keeps the audience engaged and invested in the unfolding mystery, transforming the film into a microcosm of societal dynamics. The development of these characters adds layers of complexity to the story, making it more than just a simple
Today movies and television are rapidly consumed by the public. With resources like Netflix and Hulu, binge watching can draw a viewer in and entice them to forget about reality for a little bit of time. Or as binge watching goes, more than a little bit of time. One of the other differences of today’s entertainment versus entertainment of the past seems to be that people want to be entertained more on their own. Rather than a crowd excitedly cheering for an execution, one person may cheer at a fictional character getting graphically killed.
Entertainment dates back as far as the nineteenth century and will exist throughout society everyday. In modern society, avoiding entertainment becomes inevitable due to the many forms of entertainment. The different forms of entertainment create diverse outcomes in people’s lives and Neal Gabler, author of Life the Movie: How Entertainment Conquered Reality, claims that entertainment generates a negative impact on society. Many people disagree with Gabler and do not believe that the root of a ruined society stems from entertainment. On the other hand, Gabler’s theory, entertainment having the capacity to ruin society, can be proven by modern-day society and disastrous historic events.
Another example that reflects the first-person point of view is “I’m clueless on how to be cool.” “I’ve always told my friends that I like my grandmother.”
We become mere consumers of the capitalist system, without the ability to exercise our critical thinking. Accordingly, McLuhan also highlights the danger of an overly consumerist society, contending that the media industry creates a society of “mass man”, referring to man as the masses because there is a loss of private identity or autonomy (McLuhan 2001). When individuals lose the ability to understand the text critically and reflect on it, there is a loss of private identity because we cannot re-appropriate the text to our preferences and instead just consume what has been placed on the plate for
How media literacy is defined is important for it exerts influence on the framing of the debate, the research agenda and policy initiatives (Livingstone, 2004). However, its concept has always been controversial (Luke, 1989). The definition of media literacy first appear in the 1992 National Leadership Conference on Media Literacy, which described it as: “The ability to access, analyze, evaluate, and communicate messages” (Rubin, 1998, p.3). Based on this definition, many researchers are putting efforts to redefine it from different aspects. Some definitions of the last decade involved the understanding of how media functioned in society (Messaris, 1998). Others pointed out that media literacy instead depended on the understanding of the technological, political, economic constraints affecting the transmission of mediated messages (Lewis and Jhally, 1998). According to Tyner (1998, p17), definitions range from the tautological (computer literacy is the ability to use computers) to the hugely idealistic: “The term literacy is shorthand for cultural ideals as eclectic as economic development, personal fulfillment, and individual moral fortitude”. One of the definition that is more related to daily practice puts emphasis on critical thinking and the ability to distinguish media content form social reality, as Potter (2001, pp4-5) put it: “Media literacy is a perspective that we actively use when exposing ourselves to the media in order to interpret the meaning of the messages we encounter.” While popular US textbooks on media literacy have an interesting description, which says, “we build our perspectives from knowledge structures; to build our knowledge structures, we need tools and raw materials-the...
Watkins, Craig. “Fast Entertainment and Multitasking in an Always-On World.” Signs of Life in the USA: Readings on Popular Culture for Writers. Ed. Sonia Maasik and Jack Solomon. Seventh ed. Boston: Bedford/St. Martin’s, 2012. 97-103. Print.
Pop culture is a reflection of social change, not a cause of social change” (John Podhoretz). It encompasses the advertisements we see on T.V, the clothes we wear, the music we listen too, and it’s the reason Leonardo DiCaprio has not won an Oscar yet. It defines and dictates the desires and fears of the mainstream members of society; and it is so ingrained into our lives that it has become as natural as breathing. Moreover, adults never even bat an eyelash at all the pop culture and advertising that surrounds them since it has become just another part of everyday life. Pop culture is still somewhat seen as entertainment enjoyed by the lower class members of society; but pop culture standards change over time. A notable example of this is the sixteenth century author, William Shakespeare, since his works were considered pop culture, entertainment that could be enjoyed by everyone, but now they are considered literary classics. While pop culture encompasses most aspects of our lives, its influence is most obvious through each generations reaction to media,