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      <title>Year 12 Media Studies Reading List by Catherine Chowdhary</title>
      <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82</link>
      <description>Flipped Learning and keynotes</description>
      <language>en-us</language>
      <pubDate>2021-08-14 13:31:21 UTC</pubDate>
      <lastBuildDate>2024-03-04 07:03:03 UTC</lastBuildDate>
      <webMaster>hello@padlet.com</webMaster>
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         <title>Instructions</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1679012297</link>
         <description><![CDATA[<div>I will post a number of articles on here each week and I will expect you to read and make notes under your name.&nbsp;<br><br>Make sure you are not copying and pasting sections of the article, but summarising the text in your own words.&nbsp;<br><br>The text I want you to read will be linked to our lessons, so you need to make sure you complete the reading so that you are prepared for our class discussions. </div>]]></description>
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         <pubDate>2021-08-14 13:31:21 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1679012297</guid>
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         <title>Reading Week 1 - Semiotics</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1698987049</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/613221235/56e00e52cb3c8e011c63d91a8c71bf7a/MM68_Semiotics.pdf" />
         <pubDate>2021-08-26 17:50:33 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1698987049</guid>
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         <title>Tue 7 Sep - Semiotics</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1721236477</link>
         <description><![CDATA[<div>Semiotics are meanings - why things are where they are<br>When you write a word like "bed" there is nothing implying the reasoning behind it but we still associate it with what we sleep in every night - this is a semiotic<br>Connotations have an importance in Media<br>Anything that someone can interpret as a sign IS a sign<br>Meanings can change over time - ("Brexit" could sound like a breakfast years ago but now is the movement of GB out of EU)<br>Ideas are created collectively as a society<br>There are different "codes" that help viewers understand narratives<br>Russian Dolls - on Netflix - acts as a code as it foreshadows things in the show<br>Semiotics can be things you've already done or things you are doing.<br>Inside Jokes can count as semiotics</div>]]></description>
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         <pubDate>2021-09-07 07:51:44 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1721236477</guid>
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         <title>Semiotics </title>
         <author>ummehanigh</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1721265283</link>
         <description><![CDATA[<div>Semiotics is a fancy way of describing daily activities. It is about making meanings through things like words.&nbsp;<br><br>Words alone cannot be understood, it is the meaning that we assign to them that allows us to recognise what the word actually means.&nbsp;<br><br>Ferdinand Saussure suggests that meaning is given by having the signifier and the signified. This creates a sign which people can interpret and later analyse.&nbsp;<br><br>Roland Barthes's theory suggests that meanings and ideas are created collectively; a word/phrase/image/ concept is brought about in society and assigned a meaning. This meaning is 'naturalised' and accepted by everyone.<br><br></div>]]></description>
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         <pubDate>2021-09-07 08:03:20 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1721265283</guid>
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         <title></title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1721306717</link>
         <description><![CDATA[<div><strong>Semiotics</strong><br>The deeper meaning behind and what is associated with certain words.<br>An example could be an inside joke between a group of friends and how they've taken something and created and agreed upon a new meaning that only that group understands.<br><br>Roland Barthes- Myths:</div><div>Ideas are created/introduced and ‘naturalised’ before finally being widely accepted.&nbsp;</div><div><br></div><div>A signifier is the word/object that we see directly while the signifier is what we usually associate with that word/object<br><br><strong>Barthes' 5 Narrative Codes:</strong><br>-Hermeneutic/'enigma' code: a mysterious/unexplained occurrence in a text that leaves the viewer/reader with questions that need to be answered.<br>-Proairetic/'action' code: something happening which suggests what will happen next,&nbsp; sequential elements in a text that create meaning behind the actions.<br>-Semantic code: How certain elements of a text can carry deeper meaning<br>-Symbolic code: Describes anything that has a symbolic meaning<br>-Cultural Code: Referring to how something could mean one thing in one particular setting and something else in another depending on the context.<br><br></div>]]></description>
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         <pubDate>2021-09-07 08:25:41 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1721306717</guid>
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         <title>Reading Week 2:</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1724071564</link>
         <description><![CDATA[<div>Reading 1: Cinematographic Expression<br><br>Reading 2: Psychology of Colour - https://www.verywellmind.com/color-psychology-2795824 </div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/613221235/a272154701719130c0657b6b8cd69e1a/Cinematographic_expression.pdf" />
         <pubDate>2021-09-08 06:44:47 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1724071564</guid>
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         <title>Tue 14 Sep</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1738737404</link>
         <description><![CDATA[<div>Framing eliminates things without importance<br><br>If framed wrong tension can be lost<br>Since scale in the cinema constantly changes from shot to shot, viewers can<br>easily be deceived about the size of objects<br>In the distance an actor may seem<br>lonely, remote, helpless, pathetic; close up the performer may appear powerful<br><br>Different scales are occasionally juxtaposed in a single shot to produce an<br>unmistakable dramatic or rhetorical effect.<br><br>In one sense or another, children, dogs, and beggars are often looked<br>down upon, while the preacher in a pulpit, the judge on the bench, and the police<br>officer on a horse are looked up to.<br>Framing, scale, and shooting angle are all greatly modified by the use of camera<br>movement, the effect of camera movement<br>depends on the context and the pace of movement.<br><br>Very rapid camera movements may express a sudden surge of emotion or a<br>contemplated action, like the suicide scene in Sherlock.<br><br>A practical, accurate commercial system of colour cinematography was not<br>perfected until Technicolor was introduced in Walt Disney’s animated<br>short Flowers and Trees.<br><br><strong><em>Colour Psychology<br></em></strong>Red is used to stimulate the body and mind and to increase circulation while yellow is thought to stimulate the nerves and purify the body, orange is used to heal the lungs and to increase energy levels, blue is believed to soothe illnesses and treat pain, indigo shades are thought to alleviate skin problems.&nbsp;<br><br>Existing research has found that color can impact people in a variety of surprising ways:<br><br></div><ul><li><strong>Warm-colored</strong> placebo pills were reported as more effective than cool-colored placebo pills in one study.3<br><br></li><li><strong>Blue-colored</strong> streetlights can lead to reduced crime according to anecdotal evidence.</li></ul><div>Studies have also shown that certain colors can have an impact on performance. For example, one study found that seeing the color red before taking an exam actually hurt test performance.<br><br>Color can play an important role in conveying information, creating certain moods, and even influencing the decisions people make. Color preferences also exert an influence on the objects people choose to purchase, the clothes they wear, and the way they adorn their environments.</div>]]></description>
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         <pubDate>2021-09-14 07:59:02 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1738737404</guid>
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         <title>Reading Week 3:</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1749391699</link>
         <description><![CDATA[<div>Reading 1: Silence Analysis<br><br>Reading 2: The importance of film editing - https://www.openculture.com/2019/08/the-importance-of-film-editing-demonstrated-by-the-bad-editing-of-major-films.html<br><br>Reading 3: Narrative through sound - https://narrativethroughsound.wordpress.com/</div>]]></description>
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         <pubDate>2021-09-17 18:22:19 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1749391699</guid>
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         <title>Editing + Sound 21/09/21</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1756425164</link>
         <description><![CDATA[<div>It often requires a lot of skill and patience to create audio in a scene that is consistent and doesn’t draw attention to itself. When done well, the effect should be almost invisible. When done well, the effect should be almost invisible. The opening scene of A Quiet Place manages to use room tone and diegetic sound in a remarkably innovative way. <br><br>Editing<br>It’s one of cinema’s greatest ironies that editing can make or break a film, but few moviegoers understand what an editor actually does. Editing involves taking shots and assembling them in the right order. Even if we can’t explain good editing, we know bad editing when we see it, and even more so when we feel it.&nbsp; In Suicide Squad “many of the cuts are unmotivated,” which mean that the editor made them for no apparent reason, at least none serving story or the drama. <br><br>Narrative through Sound<br>Narratology refers to both the theory and the study of narrative and narrative structure and the ways that these affect our perception. When exploring some of the main theorists for Media there is a large emphasis on structural elements allowing the audiences to follow the pattern of a story. This was first explored by ancient Greek philosophers Aristotle and Plato. </div>]]></description>
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         <pubDate>2021-09-21 07:58:39 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1756425164</guid>
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         <title>Reading Week 4: Genre</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1768161722</link>
         <description><![CDATA[<div>Reading 1 - An Introduction to Genre Theory </div>]]></description>
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         <pubDate>2021-09-26 06:31:49 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1768161722</guid>
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         <title>semiotics </title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1773848923</link>
         <description><![CDATA[<div>Semiotics is the practice of making/reading meanings. It is what we associate with certain words/concepts/ideas. Making meaning is an active process. Society collectively accepts newly constructed meanings of a phrase or an idea which then becomes naturalized.&nbsp;<br><br>naturalization: the process of establishing myths<br><br>myths: widely accepted meaning of a sign.<br><br>According to Ferdinand de Saussure, anything can be interpreted as a sign. This can be separated into 2 concepts:<br>- the signified<br>- the signifier&nbsp;<br><br>Signs are polysemic, they can have different connotations&nbsp;<br><br>Roland Barthes built on this theory and developed the idea of "narrative codes" which can be identified through 5 different ways:<br><br>- symbolic:<br><br>- enigma: anything in text that is mysterious or unexplained&nbsp;<br><br>- cultural: refers to an external body of knowledge thats scientific, historical, or cultural.<br><br>- action: how sequential actions can create meaning (predictive sequence of actions) e.g picking up car keys--&gt; driving.<br><br>semantic: refers to elements of text that carry deeper meaning (connotations) </div>]]></description>
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         <pubDate>2021-09-28 08:02:48 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1773848923</guid>
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         <title>cinematographic expression </title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1773849932</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-09-28 08:03:20 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1773849932</guid>
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         <title>psychology of color</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1773850251</link>
         <description><![CDATA[<div>&nbsp;Perceptions of color are somewhat subjective however there are some color effects that have universal meaning. Some emotions that evoke are often deeply rooted in a persons' background and cultural experiences. Research has demonstrated in many cases that the mood-altering effects of color may only be temporary. This suggests that there are different connotations to color. Color is polysemic in meaning.<br><br>Colors in the red area of the color spectrum are known as warm colors and include red, orange, and yellow. These warm colors evoke emotions ranging from feelings of warmth and comfort to feelings of anger and hostility.</div><div><br>Colors on the blue side of the spectrum are known as cool colors and include blue, purple, and green. These colors are often described as calm, but can also call to mind feelings of sadness or indifference.<br><br></div>]]></description>
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         <pubDate>2021-09-28 08:03:30 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1773850251</guid>
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         <title>importance of silence in film/narrative through sound</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1773851668</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-09-28 08:04:12 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1773851668</guid>
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         <title>importance of film editing</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1773852386</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-09-28 08:04:33 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1773852386</guid>
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         <title>genre</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1773852697</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-09-28 08:04:42 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1773852697</guid>
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         <title>Tue 28 Sep (hoping this posts)</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1777268752</link>
         <description><![CDATA[<div><strong><em>Genre<br></em></strong>The word genre comes from the French (and originally Latin) word for 'kind' or 'class'. The term is widely used in rhetoric, literary theory, media theory to refer to a distinctive type of 'text'&nbsp;<br>Another film theorist, Robert Stam, also refers to common ways of categorising films:</div><div>While some genres are based on story content (the war film), other are borrowed from literature (comedy, melodrama) or from other media (the musical). Some are performer-based (the Astaire-Rogers films) or budget-based (blockbusters), while others are based on artistic status (the art film), racial identity (Black cinema), location] (the Western)&nbsp;<br>Specific genres tend to be easy to recognise intuitively but difficult (if not impossible) to define. Particular features which are characteristic of a genre are not normally unique to it; it is their relative prominence, combination and functions which are distinctive.<br>&nbsp;There is a particularly important feature which tends not to figure in traditional accounts and which is often assigned to text-reader relationships rather than to textual features in contemporary accounts. This is mode of address, which involves inbuilt assumptions about the audience, such as that the 'ideal' viewer is male; as Sonia Livingstone puts it, 'texts attempt to position readers as particular kinds of subjects through particular modes of address'.</div>]]></description>
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         <pubDate>2021-09-29 07:57:29 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1777268752</guid>
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         <title>Week 5 - Narrative </title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1785795116</link>
         <description><![CDATA[<div>Reading 2: https://journal.trunojoyo.ac.id/prosodi/issue/viewFile/449/19#:~:text=Yet%2C%20none%20of%20these%20studies,%2C%20connotative%2C%20and%20symbolic%20code. </div>]]></description>
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         <pubDate>2021-10-02 12:00:20 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1785795116</guid>
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         <title>5 Oct 21</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1792251550</link>
         <description><![CDATA[<div>The Five Narrative Codes of Roland Barthes<br>The hermeneutic code is the code of puzzles which the “questions are raised”<br>The proairetic code is also called as code of action&nbsp; and each action of the major character can be compiled into five sequences of the plot in flashback and flash forward structure.<br>Connotative code is hint and flickers based on Barthes’s explanation. Besides, this code is also known as code of themes or thematic code that the theme of the story is developed by this code. Furthermore, the connotation can be sticking on the characters, and places.<br>The symbolic code is the code of ‘theme’. Symbolic code discusses the theme based on something that have contrary thing.&nbsp;<br>Although many movies use linear narratives to tell their stories, Citizen Kane most certainly does not. To begin with, this non-linear narrative starts at the end, with the death of Charles Foster Kane, media mogul and multi-millionaire.<br>By presenting Kane from these different perspectives, the film enables its audience to gain a very rounded picture of a very complex man, but those perspectives also allow the audience to make up its own mind about Kane.</div>]]></description>
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         <pubDate>2021-10-05 08:18:31 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1792251550</guid>
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         <title>Week 6 - Posters</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1807251490</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-10-11 10:35:14 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1807251490</guid>
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         <title>Semiotics</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1809984840</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-10-12 07:43:05 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1809984840</guid>
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         <title>Cinematographic Expression</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1809986740</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-10-12 07:44:01 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1809986740</guid>
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         <title>Psychology of Color</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1809987684</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-10-12 07:44:30 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1809987684</guid>
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         <title>Importance of Silence in film/narrative through sound</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1809989150</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-10-12 07:45:17 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1809989150</guid>
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         <title>Importance of film editing</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1809989810</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-10-12 07:45:35 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1809989810</guid>
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         <title>Genre</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1809990073</link>
         <description><![CDATA[]]></description>
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         <pubDate>2021-10-12 07:45:43 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1809990073</guid>
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         <title>12 Oct 21</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1810018989</link>
         <description><![CDATA[<div>In the early days of Hollywood, every film was a possible liability for its producers and distributors. Most films were stand-alone; a one-off enterprise that had to capture the audience’s imagination or risk becoming a rotten tomato. The successful ones took audiences on a rollercoaster of emotion, had mesmerising narratives or followed the arcs of compelling characters, such as Rick Blaine in Casablanca or Forrest Gump in the eponymous film.<br>The international film market is a market that continues to grow, particularly in China and Russia, and as a result, the films we watch today are developed particularly for these markets. China is now considered the world’s second-largest theatrical release market with the expectation that it will soon become the largest. China now has more cinema screens than the US; an average of 27 new cinema screens was built per day in 2016 alone.&nbsp;<br>The Chinese audience want familiar brands, 3D and Special FX. They want the spectacle that only the American film studio can deliver with its big budgets and investment in post-production CGI. A good example is Transformers: Age of Extinction. This is a film that was co-produced by Paramount Pictures and China Movie Channel, making it the most high-profile example of Hollywood’s developing relationship with China to date. The film was criticised by reviewers for its weak plotline; however, it was the only film in 2014 to make over 1 billion dollars worldwide at the box office and this was the result of its popularity in China. If you’ve watched the film, you may have noticed that scenes were littered with Chinese product placement; the mise-en-scène was narratives or followed the arcs of compelling characters.<br>When the digital technology boom occurred, the DVD – died a quick death. Film studios all over Hollywood saw their profits fall and all looked desperately for new ways to be financially viable. Chinese cinemas will only screen 34 imported films each year so competition for the market is tough&nbsp;<br><br></div>]]></description>
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         <pubDate>2021-10-12 08:01:09 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1810018989</guid>
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      <item>
         <title>Reading Week 1 - Representation</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1838812531</link>
         <description><![CDATA[<div>Reading 2: https://aldaracademies-my.sharepoint.com/:b:/g/personal/cchowdhary_alyasminaacademy_sch_ae/ES0L3diFUiRLp549dWRRXr0Bmqe78Xtn44cG7E4GiZKP7g?e=D9qMTS&nbsp;<br><br>Reading 3: https://aldaracademies-my.sharepoint.com/:b:/g/personal/cchowdhary_alyasminaacademy_sch_ae/EevoI9Rk33tFuGWMx_LlM50Bgo3yQdPuyrTCsyJXjA9_ow?e=YYLSgB</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/613221235/6da802dc57409f8e7c7b60b27f41ac4a/Furiosa_and_the__Male_Gaze_.pdf" />
         <pubDate>2021-10-24 06:23:52 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1838812531</guid>
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         <title>Reading Week 2 - Identity</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1838880491</link>
         <description><![CDATA[<div>Reading 1: David Gauntlett's Theory on Identity - https://media-studies.com/david-gauntlett/ </div>]]></description>
         <enclosure url="https://media-studies.com/david-gauntlett/" />
         <pubDate>2021-10-24 07:44:31 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1838880491</guid>
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      <item>
         <title>Reading Week 3 - Media Effects Theory</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1840784086</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/613221235/3c98cbd16ef15ee77e3c2d27aabb2ddb/Media_Effects_Theory.pdf" />
         <pubDate>2021-10-25 06:17:28 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1840784086</guid>
      </item>
      <item>
         <title>Reading Week 4 - Fake News</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1841400046</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/613221235/82e43984113d2a2c3899bb9d996a4bc6/Fake_News_Article.pdf" />
         <pubDate>2021-10-25 12:04:45 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1841400046</guid>
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         <title>Reading Week 5: Ownership and Technology</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1841432496</link>
         <description><![CDATA[<div>Reading 2:<br><br>https://www.wsj.com/articles/scarlett-johansson-sues-disney-over-black-widow-streaming-release-11627579278<br><br>Reading 3:&nbsp;<br><br>https://www.etonline.com/disney-ceo-defends-disney-releases-following-scarlett-johanssons-black-widow-lawsuit-170433<br><br><br></div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/613221235/dc8e0458dab5598f5f30cf2ddc7231d1/Disney_Global_Media_Ownership.pdf" />
         <pubDate>2021-10-25 12:18:22 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1841432496</guid>
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         <title>26 Oct 21</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1844282084</link>
         <description><![CDATA[<div>Laura Mulvey suggests patriarchy is inscribed in mainstream cinema by ensuring that men are the ‘bearer of the look’ whilst women exist ‘to be looked at’, primarily as sex objects for both the male protagonist and the spectator in the audience. Hence ‘who is looking at whom?’ is an important question; do we, as a spectator, see women through the male gaze? Mulvey also suggested that women’s bodies are often represented as fragmented, through the use of close-ups, giving women ‘the quality of an icon’ rather than an active agent in three-dimensional space. Applying Mulvey’s theories suggests that Fury Road can be seen as progressive in its representation of women. Through the institutional patriarchy that dominates the production of art, literature and cinema, audiences perceive culture through the male perspective and as such adopt a masculine world view. Some of you might have studied Laura Mulvey’s Male Gaze theory which suggests that the camera, and therefore the audience, is positioned as male. Women become passive objects to this gaze, to be seen without being able to identify the looker. "I’m not obsessed with sex. Just can’t stop thinking about it. The performance of it, the awkwardness of it, the drama of it. The moment you realise that someone wants your body." Not so much the feeling of it. Fleabag’s problematic approach to sexuality reflects Waller-Bridge’s frustration about the objectification of women, as she told the Evening Standard.</div>]]></description>
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         <pubDate>2021-10-26 08:03:59 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1844282084</guid>
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      <item>
         <title>Gender and Identity</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1860885366</link>
         <description><![CDATA[<div>David Gauntlett argued our heavy exposure to the media could “hardly fail to affect our own way of conducting ourselves and our expectations of other people’s behaviour"<br>Gauntlett commented on the changing representation of men and women in mainstream media.&nbsp;<br>The depiction of the passive housewife throughout the twentieth century was being increasingly replaced by images of assertive women taking control of their lives, epitomised by the “girl power” endorsed by the Spice Girls.<br>The representation of men being active and confident was giving way to a more introspective and emotionally-aware version of masculinity.&nbsp;<br>The narrative begins with the boy meets girl trope but ends with the girl taking control of the relationship, suggesting a shift in the balance of power. There is also a break from the heteronormative ideology with the representation of the two boys at the bus shelter.<br>collective identity refers to our sense of belonging to group,<br>Gauntlett offered a list of conclusions in “Media, Gender and Identity” that are worth pointing out. He assumed there was a generational divide in attitudes towards gender roles, but older people were less likely to be exposed to the new liberal representations of masculinity and femininity. He also wondered if this younger demographic would “grow up to be the narrow-minded traditionalists of the future”.<br><br></div><div>He argued that role models served as “navigation points” that guide the audience through their own choices in life.<br><br><br></div>]]></description>
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         <pubDate>2021-11-02 07:06:59 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1860885366</guid>
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      <item>
         <title>Media Effects Theory</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1877526432</link>
         <description><![CDATA[<div>Historically, media effects had tended to emphasise a three- or four-phase model with each phase characterised by either “significant” or “minimal” media effects. The first phase—a significant effects phase — begins in the 1920s and 1930s and often incorporates “magic bullet” or “hypodermic needle” metaphors, as if messengers shoot messages and effects into receivers. In this initial stage, as the enormous popularity of press, film, and radio intruded into everyday life. The next and third phase coincided with the rise of television in the period after World War II. While it was no longer feasible to return to the theories of Lasswell and his contemporaries, it was again possible to explore the long-term effects of media as significant. The focus was on cumulative change, and media effects theory emphasized direct effects models . Noelle-Neumann, who later developed the spiral of silence theory, was one of the phase’s researchers who called for a “return to powerful mass media.”</div>]]></description>
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         <pubDate>2021-11-09 07:36:15 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1877526432</guid>
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         <title>Fake News</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1893496282</link>
         <description><![CDATA[<div>Working out who to trust and who not to believe has been a facet of human life since<br>our ancestors began living in complex societies. Politics has always bred those who<br>will mislead to get ahead.<br>But the difference today is how we get our information. The internet has made it<br>possible for many voices to be heard that could not make it through the bottleneck<br>that controlled what would be distributed before. There is great concern about how we control the dissemination of things that seem to be untrue – Paul Resnick, University of Michigan We need a new way to decide what is trustworthy. “I think it is going to be not figuring out what to believe but who to believe,” says Resnick. “It is going to come down to the reputations of the sources of the information. They don’t have to be the ones we had in the past.”<br>Ultimately, however, there’s an uncomfortable truth we all need to address. “When<br>people say they are worried about people being misled, what they are really worried<br>about is other people being misled,” says Resnick. “Very rarely do they worry that<br>fundamental things they believe themselves may be wrong.” Technology may help to<br>solve this grand challenge of our age, but it is time for a little more self-awareness<br>too.</div>]]></description>
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         <pubDate>2021-11-16 07:58:37 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1893496282</guid>
      </item>
      <item>
         <title>Ownership and Technology</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1907805193</link>
         <description><![CDATA[<div>The Walt Disney Company exemplifies how global media ownership debate is not as 'black and white' as film theorists would have us believe. Disney's production of local and politically conservative content for foreign markets, as well as its encouragement of aboriginal independence over production content, appear to contradict a clear one-way imperialist flow of media content.<br>An example of this was in recent events.<br>Scarlert Johansson, who plays Natasha Romanoff in Marvel's Black Widow, is suing Disney for intentional interference with contractual relations and inducing breach of contract. She&nbsp; inquired for a jury trial. In the documents, which were filed in Los Angeles Superior Court late, Johansson claimed that the simultaneous release of Black Widow in theaters and on Disney+ was a breach of contract. According to the documents, the actress agreed that her pay for starring in Black Widow would be largely based on box office receipts, and she agreed to a theatrical release exclusive to movie theaters in order to maximize her pay. "There is absolutely no merit to this filing," a Walt Disney Company spokeswoman told ET. "The case is especially sad and upsetting because of its callous disdain for the catastrophic and long-lasting worldwide impacts of the COVID-19 pandemic."<br><br><br></div>]]></description>
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         <pubDate>2021-11-23 07:37:19 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1907805193</guid>
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         <title>Reading Week 6: Independent Movies</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1917443075</link>
         <description><![CDATA[<div>Reading 1: https://www2.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi-uk-films-and-british-talent-worldwide-2019-07-25.pdf&nbsp;<br><br>Reading 2: https://www2.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi-commission-on-uk-independent-film-2018-07-18.pdf&nbsp;<br><br>Reading 3: (From page 10) https://publications.parliament.uk/pa/cm200203/cmselect/cmcumeds/667/667.pdf</div>]]></description>
         <enclosure url="https://www2.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi-uk-films-and-british-talent-worldwide-2019-07-25.pdf" />
         <pubDate>2021-11-29 09:12:59 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1917443075</guid>
      </item>
      <item>
         <title>Independent Movies</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1919860540</link>
         <description><![CDATA[<div>Most people would define a ‘British’ film with reference to obvious cultural elements such as: a setting in the UK or a focus on British people abroad; a predominantly British cast; a storyline about some aspect of British life — past, present or future — or notably by, or based on a work by a British author.<br>One clear distinction that might be put forward is the language that the film is originally made in. But with both the Oscars and BAFTAs distinguishing only between ‘films’, i.e. English-speaking films, and&nbsp;<br>‘foreign language films’ this does little to solve the transatlantic difficulty and nothing to cater for culturally-British films made in other languages<br>UK independent film matters: it has the power to promote a diverse and vibrant way of life, influence how the world sees the UK with stories that<br>celebrate UK culture and ideas and drive the exports of UK plc. All increasingly&nbsp; important as it left the EU and shape their new place in the world.<br>UK DIRECTORS HELMED 25 OF THE 200&nbsp; HIGHEST EARNING FILMS WORLDWIDE SINCE 2001<br>UK qualifying films earned a combined worldwide gross of $9.4 billion in 2018, a 23% share of the global box office,<br>which broke the $40 billion barrier for the first time. Earnings for UK films equalled the record set in 2015 but represented a smaller proportion of global box office receipts compared with the 25% share achieved in 2015.<br>There has been a notable increase in the market share for UK films from 2015 onwards (2009-2014 average total share:<br>12.9%, 2015-2018 average total share: 21.3%).</div>]]></description>
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         <pubDate>2021-11-30 08:24:25 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1919860540</guid>
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         <title>Reading Week 1 - Gender Identity Theory</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1970739764</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/613221235/46260bce94fc56c92e893d5b6eeca395/Judith_Butler_Gender_Theory.pdf" />
         <pubDate>2022-01-02 13:45:08 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1970739764</guid>
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      <item>
         <title>term 2 gender identity theory </title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1971804430</link>
         <description><![CDATA[<div>Gender is a social construct designed to categorise men and women by certain traits that are usually sexist and stereotypical.<br><br>The prolonged practice of gendering children makes us believe that our definition of what a man/woman should be is based off of nature and not nurture.&nbsp;<br><br>girls are expected to cater to everyone’s needs and prioritise them in order to appear feminine, nurturing, caring and sensitive&nbsp;<br><br>boys are expected to be “boys”; reckless, aggressive, nonchalant/blunt and overly resilient to appear masculine, strong and brave.&nbsp;<br><br>Multiple studies have shown that gender is not fixed or binary. It is a fluid concept that sometimes can’t be simply labelled as male/female.&nbsp; It’s a spectrum that more and more people are willing to explore the more they are educated. And with this knowledge we can dilute the reinforcement of typical gender roles in media and in our daily lives to ensure all sorts of people get the right representation they deserve, while breaking harmful habits and cycles that come with “being a man/woman.”&nbsp;<br><br>Gender representation is crucial when it comes to media especially when the target audience consist of minors. Young people are usually more impressionable since they’re passive, and can absorb harmful ideologies through cartoons/heroes/characters they look upto.&nbsp; The repeated messages producers send through their content and films can shape a persons character all the way into adulthood.</div>]]></description>
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         <pubDate>2022-01-03 08:57:10 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1971804430</guid>
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      <item>
         <title>Reading Week 2 - The Changing Faces of Masculinity </title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1972544865</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/613221235/7adbaebcc812ca0a3bdb56d6400effb6/The_Changing_Face_of_Masculinity.pdf" />
         <pubDate>2022-01-03 16:49:28 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1972544865</guid>
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         <title>Monday 3 Jan (HNY)</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1973688959</link>
         <description><![CDATA[<div>Gender is a social construction, it is taught to us by external influences and it is ingrained at such a young age that we often mistake it as ‘nature’ rather than ‘nurture’.</div><div>&nbsp;Gender Trouble was written in 1990 and at the time it was a criticism of the current wave of feminism that saw ‘men’ as the oppressive enemy to ‘women’. Butler would argue that this particular feminist perspective perpetuates the idea that masculinity and femininity are binary states (at opposite ends of a scale) which reinforces ideas of patriarchal control. The gender ‘trouble’ she describes is when identities are formed that mess with the two binary states of femininity and masculinity. When Butler wrote Gender Trouble in 1990, she used transvestism as an example of an identity that upsets the status quo of manly men and ladylike women. But in the 30 years since, society has come a long way and there is significantly more ‘trouble’ when it comes to binary notions of gender. The phrase ‘non-binary’, referring to someone who doesn’t define themselves as either wholly male or female, is increasingly in common usage</div><div>Audiences are more likely to be drawn to things that they recognise, that chime with their reality, even though those ‘realities’ are – as Butler would argue – false, socially constructed and mediated.</div>]]></description>
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         <pubDate>2022-01-04 07:39:52 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1973688959</guid>
      </item>
      <item>
         <title>The changing faces of masculinity</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1985444247</link>
         <description><![CDATA[<div>score:&nbsp;<br>- the advert uses female sexuality to show men they can have power.<br>- the narrative of the strapline: 'get what you've always wanted' implies that the consumer can attain everything they desire if they buy the hair product.&nbsp;<br>- the tone of the copywrite targets overtly masculine qualities describing its 'masculine scent' and that it is 'produced by men'. This emphasizes that the product is solely for men and that it will in no way feminise any male using it.<br>- the brand reinforces masculine supremacy and stereotypes of a patriarchal society.&nbsp;<br>- a dominant reading of the score advert would be that as a heterosexual male, one can achieve anything presented before them in the picture: power, control and sex appeal with better hair.&nbsp;<br>- an oppositional reading would be that the macho-laden ideas presented in the image are damaging to male self-esteem and present women as passive and decorative.&nbsp;<br><br>Maybelline:&nbsp;<br>- Maybelline is working with their first male brand ambassador, Manny Guiterrez (Mexican-Spanish-American).&nbsp;<br>- they touch on issues of gender representation, ethnicity and lifestyle.&nbsp;<br>- the ad narrates that by applying the mascara, the wearer- female or male- is instantly transported to a more sophisticated cosmopolitan life surrounded by luxurious things.&nbsp;<br>- the ad uses an aspirational image showing 2 friends who do not conform to masculine and feminine ideals but are nonetheless powerful. (they are happy in their own skin, confident in their bodies and sexuality).&nbsp;<br>- 'live like a boss' is a positive mantra that is well used and common with the younger generations (their target audience).<br>- the mode of address of the whole campaign is youthful and empowering.&nbsp;<br>- the slogan 'lets get bossed out' suggest a positive and powerful mindset that can be achieved with just a flick of the mascara brush.&nbsp;<br>- Maybelline is challenging societal expectations of those who wear their product by adopting diversity in their advertising.<br>- they are showing support for everyone who wants to use their mascara.&nbsp;<br>- some audiences still believe that strong masculine role models can steer young males away from damaging and emasculating interests in beauty and makeup.&nbsp;<br>- society's ideologies of masculinity today are that men do not always have to be 'tough and strong'. It encourages the breakdown of a hyper masculine culture. &nbsp;<br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-01-11 07:17:48 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1985444247</guid>
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         <title>Changing faces of Masculinity - Jan 11 22</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1985596206</link>
         <description><![CDATA[<div>Today's masculinity tropes are almost unrecognizable from those experienced by 1960s viewers across all media platforms. The 1960s advertising creative teams would have some intriguing discussions with today's media lovers working in agencies.<br>'Get what you've always desired' is a strong statement of aspiration. The story is simple: if the customer buys the hair product, they can have everything they want. The copywriting's tone continues to emphasize Score Hair Groom's manly traits, highlighting its "masculine aroma" and assuring the target demographic that it's "made by men." This may alleviate any apprehensions a typical man may have about purchasing grooming products: no women were involved in the development of this product; it is purely for males; it smells manly; and using it will not feminize you in any manner. The brand's personality and language are all about macho dominance and self-confidence, and it's heavily reinforcing patriarchal tropes.<br>Manny Gutierrez, dubbed 'Beauty Boy' by the media, admits to wearing make-up as a man and claims that he is not acting as a woman. 'For me, make-up is an art form,' he told Marie Claire. As a boy, I'm still confident, and I'll always be a guy. With exposed skin and a full face, I can be confident.' The Twitter trolls, on the other hand, have been expressing their opinions. 'Dads, this is why you need to be there to raise your sons,' said blogger Matt Walsh, meaning that strong masculine role models, such as the guy in the 'Score' commercial, may guide their sons away from a destructive and emasculating obsession in beauty and make-up. 'Being a man isn't just about how tough or masculine you are, it's about caring for the ones you love,' Manny retorted. 'My father actually works for me and is SO PROUD of me,' he added.<br>The brand's attitude and language are all about masculine domination and self-confidence, and they are heavily reinforcing patriarchal tropes.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-01-11 08:52:04 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1985596206</guid>
      </item>
      <item>
         <title>the changing face of masculinity </title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1985614608</link>
         <description><![CDATA[<div>1960s vs modern advertising: there’s a large contrast between both because society has developed new cultural, societal and historical standards.<br><br>Stereotypical gender roles are less encouraged through media nowadays however some aspects of masculinity and femininity are still deeply rooted into advertisements, songs and films we consume. Patriarchy still influences the way we define ourselves and label others.&nbsp;<br><br>the preferred reading of most advertisements in the 1960’s would be to resonate with a certain message the product delivers like having confidence (the score ad) or being a good father figure (the watch ad). But the way women were presented in posters made people who weren’t the target audience uncomfortable: They started to question the ethics behind promoting materialism and excessive voyeurism in the media. The lack of representation, diversity in race and roles lead people to think that feeling sexualised/objectified is normal. And that white people being superior to others is normal.<br><br>&nbsp;Everything was designed to cater to the male gaze even when it came to presenting men but in recent years, brands have started to challenge these societal expectations and standards by starring all kinds of people in their ads. <br><br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-01-11 09:04:18 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1985614608</guid>
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         <title>Reading Week 3 - Gendered Media/Intertextuality</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1993439793</link>
         <description><![CDATA[<div>Reading 2: Intertextuality in the Marvel Universe<br><br>https://aldaracademies-my.sharepoint.com/:b:/g/personal/cchowdhary_alyasminaacademy_sch_ae/EUesN3akI8JBgsqzhQKftc8BuWoWVd3EMumqDRlW3yQPvQ?e=ZY2kWz&nbsp;</div>]]></description>
         <enclosure url="https://www1.udel.edu/comm245/readings/GenderedMedia.pdf" />
         <pubDate>2022-01-15 10:45:56 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1993439793</guid>
      </item>
      <item>
         <title>Gendered Media/Intertextuality</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1997301444</link>
         <description><![CDATA[<div><strong><em>Gendered Media</em></strong><br>One of the most harmful effects of media portrayals of women and men is that they push us to consider normal bodies and normal bodily functioning as disorders. It's natural to wish we weighed a little more or less, had stronger muscles, and never got acne or cramps. It is, therefore, neither fair nor healthy to see healthy, functional bodies as deviant and undesirable. However, this is precisely the negative self-image fostered by media depictions of both men and women. Sexual and erotic pictures are the single most prominent feature of advertising (Courtney &amp; Whipple, 1983) because sex sells items (Muro, 1989). Furthermore, advertising is progressively objectifying males, which likely explains the growth in men's weight training and cosmetic surgery.&nbsp;PMS has not been a concern in the past, but it has recently been classified as a disease. When women were no longer needed in the workforce after WWII, attitudes shifted, and the term premenstrual tension was established to describe women as second-class workers. In 1964, there was only one article about PMS; in 1988-1989, there were a total of 425.&nbsp;Since selling PMS meant marketing their cures for the newly invented condition, drug corporations supported research and publicity. However, there was and continues to be no evidence to support the widely held belief that PMS is a serious problem affecting a considerable proportion of the female population. Regardless of the facts, the myth has spread, leaving many women and men believing that regular monthly changes are abnormal and that women are unfit for positions of leadership and control. Another effect of describing PMS as a serious illness that affects the majority of women is that it leads to the generalization of women as deviant and untrustworthy (Unger &amp; Crawford, 1992), an image that reinforces long-held biases against women.<br><br><strong><em>Intertextuality</em></strong><br>The MCU films' billion-dollar success has proven that Feige and his partners are pleased the audience, and the outcome has been Marvel's growth into a Multimedia Universe. To acquire maximum geek-cred and to grasp all of the intertextual references given in all mediums, new and old fans must now keep up with TV series, short films, videogames, and movies. Agents of S.H.I.E.L.D. was carefully linked in with Thor: The Dark World, while Daredevil, the first of Marvel's four new Netflix exclusive shows, will share at least one character with Agents of S.H.I.E.L.D. Part-time viewers are finding it increasingly difficult to keep up with the complicated interaction between formats, characters, and continuous plots. It will be fascinating to see whether this begins to alienate consumers who feel left out, or if casual fans can stay up without viewing everything Marvel produces.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-01-18 07:56:06 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1997301444</guid>
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         <title>Gendered Media </title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1997448312</link>
         <description><![CDATA[<div>Gendered Media&nbsp;<br><br>3 main themes:&nbsp;<br>1) women are underrepresented which falsely implies that men are the cultural standard and that women are unimportant and invisible.<br>2)men and women are portrayed in stereotypical ways that reflect and sustain socially endorsed views of gender.&nbsp;<br>3) depictions of relationships between men and women emphasize traditional roles and normalize violence against women.<br><br>1) Underrepresentation of women&nbsp;<br>- 3x as many white men as women in tv&nbsp;<br>- males outnumber females&nbsp;<br>- 10x more stories about men on the news, tempts us to believe that there are more men than women, men are the cultural standard<br>- minorities are less visible than women&nbsp;<br>- African Americans appear only as supporting roles in kids tv&nbsp;<br>- minorities features in stereotypes: black men are lazy, women are domineering and sex objects&nbsp;<br>- older people are underrepresented&nbsp;<br>- older women are less represented than men&nbsp; because being young and beautiful is the standard for women.&nbsp;<br>- women make up only 5% of the media industry&nbsp;<br><br>2. Stereotypes&nbsp;<br>- men are active, adventurous, sexually aggressive etc.<br>- men are not gentle, in no way feminine, shown to be incompetent at housework&nbsp;<br>- women are sex objects, young, thin, beautiful, passive etc.<br>- women may be strong and successful only if they display common stereotypes as well, if they identity is linked to a man<br>- there is the 'bad' women and the 'good' women<br><br>3. relationship stereotypes:<br>- female dependence on males&nbsp;<br>- male dominance, female subservience&nbsp;<br>- the 1970's had a brief departure from this pattern as women were shown as more independent without being criticized&nbsp;<br>- media defines a very narrow range for womanhood&nbsp;<br>- 1. men's authority, women's incompetence, evident in children's classics&nbsp;<br>- male voice overs in commercials suggest that women depend on men to tell them what to do.&nbsp;<br>- the long standing dominant-submissive model for females was brought back in the 1980's: women do the laundry and are secretaries to men who own companies<br>- 2. women are caregivers and men are providers&nbsp;<br>- women's careers in media are given very little attention, they are predominantly shown doing traditional things.&nbsp;<br>- magazines aimed at women stress looking good and doing things to please others&nbsp;<br>- in newspapers, stories about men focus on work and their achievements, stories about women focus on their roles as wives, mothers and homemakers - women's professional activities typically dwell on traditional aspects&nbsp;<br>- 3. women as victims, men as aggressors&nbsp;<br><br>- medias images of men and women encourage us to perceive that normal bodies and physical functions are abnormal.&nbsp;<br>- PMS viewed as a disease, advertisers made money off of the created problem.&nbsp;<br>- menopause described negatively in media as abnormal, desolate, unfruitful. this is inaccurate.&nbsp;<br>- things like a healthy body weight, grey hair, facial lines and body hair have all been made unacceptable in society by media.&nbsp;<br>- heavy exposure to media violence within relationships tends to normalize it.&nbsp;<br><br>- 🤬 is extremely rare in cultures that value women and feminine qualities.&nbsp;<br>- 🤬 is most common in countries that have ideologies of male supremacy and dominance and a disrespect of women and nature.&nbsp;<br>- cultural values communicated to us constantly encourage us to believe that men are superior, men should dominate women, male aggression is acceptable as a means of attaining what is wanted, women are passive and should defer to men and women are sex objects.&nbsp;<br><br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-01-18 09:22:26 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/1997448312</guid>
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         <title>Reading Week 4: Ghost Town</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2010449791</link>
         <description><![CDATA[<div>Reading 1:&nbsp;<a href="https://www.theguardian.com/music/2011/jan/30/reggae-revolutionary-bob-marley-britain">Reggae: the sound that revolutionised Britain | Reggae | The Guardian</a><br><br>Reading 2:&nbsp;<a href="https://chicagoreader.com/music/ska-story-the-sound-of-angry-young-england/">Ska story: the sound of angry young England - Chicago Reader</a> </div>]]></description>
         <enclosure url="https://www.theguardian.com/music/2011/jan/30/reggae-revolutionary-bob-marley-britain" />
         <pubDate>2022-01-25 06:17:00 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2010449791</guid>
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         <title>Ghost Town / Reggae</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2010558336</link>
         <description><![CDATA[<div>Rock-reggae bands like the Police, ska revivalists like the Specials, and homegrown reggae talents like Janet Kay would quickly take over the charts. UB40, Culture Club, Soul II Soul, and then the current period, in which "you can't discriminate between color any longer - it's just people," as Soul II Soul vocalist Caron Wheeler put it.<br><br>Punk may now be found in lecture halls, art galleries, and fashion history books in the cultural university. British reggae, on the other hand, is mostly forgotten and underappreciated, with the Specials' "Ghost Town" serving as the default soundtrack for every grim, Thatcherite early 1980s reminiscence.<br><br>"Punk is a thing of the past. Forget about the new Mods marching to 'My Generation's' rhythm. Ska is the term in England in 1980." That's how David Fricke, a Rolling Stone reviewer, started his March 23, 1980, essay on ska, the newest music phenomenon to sweep the United Kingdom. A decade later, 2-Tone Records, the record company most famous for the ska revolution, has released The 2 Tone Story, a double CD that showcases the finest of the ska movement and left you wondering why the mesmerizing music never became the word in America.<br><br>The ska of the late 1970s and early 1980s was a resurrection and expansion of the "rude boy" ska craze that swept Jamaica in the early 1960s. As the island country gained independence from the United Kingdom in 1962, it was in the middle of a cultural renaissance, and ska, a fusion of Jamaica's local folk music, known as Mento, and American R &amp; B, which could be heard on the radio from New Orleans late at night, reflected this. The mix had a jittery calypso beat and a strong dose of unpleasant jazz-tinged horns. The lyrics were largely lighthearted, although some, like the Skatalites' "Independent Anniversary Ska," alluded to the promise of self-government. By the mid-1960s, the original ska sound had evolved into a more controlled "rock-steady" sound, which eventually gave way to reggae.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-01-25 07:35:29 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2010558336</guid>
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         <title>Reggae: The Sound that Revolutionised Britain </title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2010766131</link>
         <description><![CDATA[<div><sub>- "Summer of Hate" in 1977<br><br>- 2 Looks, either Rastafarian or Hippy, each represented "different worlds inhabited by young white and black Britain. (a year before the summer of hate each one was to their own).&nbsp;</sub></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-01-25 09:34:35 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2010766131</guid>
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         <title>Reggae: the sound that revolutionized Britain</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2011093854</link>
         <description><![CDATA[<div>- reggae: music originating in Jamaica featuring a heavy bass and guitars, with close vocal harmonies&nbsp;<br>- ended the rift between black and white teenagers&nbsp;<br>- riots in Brixton, Southall, Liverpool, Birmingham, Bristol and Leeds resulted in the recalling of the 'sus' laws<br>- 'rock against racism' formation after famous singer trash talked politicians and said racist and offensive stuff towards black people in the UK.&nbsp;<br>- reggae originated in Jamaica and was considered radical, the British used it and changed it up a bit to talk about their own problems.&nbsp;<br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-01-25 13:02:11 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2011093854</guid>
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         <title>Reading Week 5 - Ghost Town</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2019174813</link>
         <description><![CDATA[<div>Reading 1: https://theconversation.com/ghost-town-a-haunting-1981-protest-song-that-still-makes-sense-today-88733&nbsp;<br><br>Reading 2: https://www.theguardian.com/music/2020/jun/04/the-100-greatest-uk-no-1s-no-2-the-specials-ghost-town<br><br>Reading 3: https://www.gq-magazine.co.uk/culture/article/the-specials-jerry-dammers-ghost-town </div>]]></description>
         <enclosure url="https://theconversation.com/ghost-town-a-haunting-1981-protest-song-that-still-makes-sense-today-88733" />
         <pubDate>2022-01-29 14:08:56 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2019174813</guid>
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         <title>ghost town articles</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2022788175</link>
         <description><![CDATA[<div>Ghost Town” was the mournful sound of these riots, a poetic protest. It articulates anger at a state structure, an economic system and an entrenched animosity towards the young, black, white and poor. <br><br>Ghost Town was powered by despair and anger, both at the state of a country in which unemployment had risen by <a href="https://www.bbc.co.uk/news/uk-politics-22070491">nearly a million in 12 months</a>, and by 82% among ethnic minorities – “government leaving the youth on the shelf, no jobs to be found in this country” – and the state of the Specials (“Bands won’t play no more / too much fighting on the dancefloor”). The band fought so much during its recording that the studio engineer threatened to throw them out. <br><br>On 10 July, a second wave of rioting spread across the country: <a href="https://www.theguardian.com/uk/gallery/2011/apr/10/police-race">Brixton</a>, Southall, Battersea, Dalston, Streatham and Walthamstow in London, Handsworth in Birmingham, Chapeltown in Leeds, Highfields in Leicester, and many other cities including Edinburgh, Luton, Sheffield, Portsmouth, Preston, Newcastle, Derby, Southampton, Nottingham, Wolverhampton, Stockport and Cardiff all reported “riots” of varying degrees.&nbsp;</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-02-01 07:21:00 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2022788175</guid>
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         <title>Ghost Town </title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2022806544</link>
         <description><![CDATA[<div><br>- England 1981, violence in the bars and streets&nbsp;<br>- bands played ska music- where reggae evolved&nbsp;<br>- it is not explicitly against any one event, it is a stealth protest song<br>- mournful flute solo creates bleak lyrical landscape&nbsp;<br>- soundtrack reflects and engenders anxiety&nbsp;<br>- The Lorcano club was referred in the song where the 2-tone record label started<br>- riots breaking out across urban areas&nbsp;<br>- fights broke out between the unemployed and the police in neglected parts of London<br>- the song conveys the anger at the economic structure, the system and the animosity towards young, black, white and poor.&nbsp;<br>- the streets are implied to be inhabited by ghosts, dancing is a memory<br>- a haunting track of a thousand lost futures&nbsp;<br>- manic chanting/yelling connotes to the fact that protesting sometimes has no words, it is just a cry out against injustice&nbsp;<br>- they were a band born out of political and racial tension &nbsp;</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-02-01 07:37:06 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2022806544</guid>
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         <title>Reading Week 6 - Representation of African American&#39;s in Music Videos</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2033399065</link>
         <description><![CDATA[<div>Reading 2: https://repository.unair.ac.id/102018/5/4.%20CHAPTER%20I.pdf </div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/613221235/aa2138ddaac94697a45decef66d3aa8e/Representation_in__This_Is_America_.pdf" />
         <pubDate>2022-02-07 15:49:12 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2033399065</guid>
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         <title>Representation of African Americans in music videos </title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2035012260</link>
         <description><![CDATA[<div>DNA and HUMBLE represent symbolic emotions from African Americans experience as victims of white supremacy while exploring their culture in a postmodern manner. Black textuality is adapted into media, especially Rap and Hip-Hop.&nbsp;<br><br>duality: a struggle of whether having a desire or being realistic in responding to surroundings (hobbes 1968)<br><br>black textuality: a cultural product which is written by african americans based on their experience in a racist society (tate 1998)<br><br>racial-ethnic identity: the quality of being part of a certain ethnicity which plays an important role for african americans (reitzes 1999)<br><br>sign: anything that can be interpreted (chandler 2007)<br><br>white supremacy: an ideology that white people of european descent should be dominant over people of other backgrounds (anti defamation league 2015)<br><br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-02-08 09:10:34 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2035012260</guid>
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         <title>Reading Week 1 - Letter to the Free</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2050264799</link>
         <description><![CDATA[<div>Reading 1: <a href="https://media-studies.com/letter-to-the-free/">https://media-studies.com/letter-to-the-free/</a>&nbsp;</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-02-16 07:14:38 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2050264799</guid>
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         <title>letter to the free</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2062290079</link>
         <description><![CDATA[<div>&nbsp;A song written for a documentary exploring the criminalization of African Americans; speaks out against a justice system that helps to perpetuate the terrible inequality endured by many African Americans.&nbsp;<br><br>Common is an advocate for criminal justice reform and is the founder of Imagine Justice, a non-profit organization dedicated to “empowering communities and fighting injustice wherever it appears”. “Letter to the Free” is his rally call against racism and the different forms of slavery still being used in America.<br><br>Music video notes:<br>-Empty prison could signify the freedom Common is trying to achieve&nbsp;<br>-Row of houses and a wild garden could represent the promised land of freedom<br>-Performative music video that focuses on artists/musicians' performance on camera<br><br>Exam-style questions:<br><br>1. Explain how the codes and conventions of music videos have been used to construct viewpoints in the Letter to the Free Close Study Product.<br>&nbsp; &nbsp; -&nbsp;<br><br></div><div>2. Explain how values and ideologies are communicated by media language used in the Close Study Product Letter to the Free.<br>&nbsp; &nbsp; -&nbsp;<br><br></div><div>3. How useful is Paul Gilroy’s theory of representation in understanding the Close Study Product Ghost Town?<br>&nbsp; &nbsp; -&nbsp;<br><br></div><div>4. Explore how far the representation of issues in the Close Study Product Letter to the Free reflects its social and political context.<br>    -<br><br></div><div>5. Explore the cultural and social significance of the Close Study Product Letter to the Free.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-02-23 09:55:22 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2062290079</guid>
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         <title>23 Feb - Letter to the free</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2062330333</link>
         <description><![CDATA[<div>When slavery and involuntary servitude were abolished in America, the constitution was amended to allow the practice to continue for the "punishment of crime." A vagabond, for example, could be forced to labor without pay in some states since unemployment is unlawful. Surprisingly, some people were expelled from their jobs and homes after liberation. They were arrested and leased back to the white landowners since they had nowhere to reside.Common is an outspoken supporter of criminal justice reform and the founder of Imagine Justice, a non-profit dedicated to "empowering communities and combating injustice wherever it occurs." His rallying cry against racism and the various types of slavery still in use in America is "Letter to the Free."<br><br>The empty prison in the music video could represent Common's quest for freedom. The sixth shot shows a bizarre sight of a black monolith hovering in the middle of a recreation yard. It's perplexing and unexpected. "It signifies the limitless thing about blackness, and blackness can't be defined in time or space," Common said in an interview. The monolith returns outside a row of cottages and a wild garden in the final picture, maybe representing the promised land of freedom. "Letter to the Free" serves as both a historical remembrance and a promise of a "sweet country of liberty" in this way.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-02-23 10:23:36 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2062330333</guid>
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         <title>Reading Week 2 - Blinded by the Light</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2070691615</link>
         <description><![CDATA[<div>Reading 1:&nbsp;<a href="https://www.theguardian.com/commentisfree/2019/aug/29/my-film-blinded-by-the-light-memoir-british-pakistani-cinema">My film is bridging cultural divides. This gives me hope in such polarised times | Sarfraz Manzoor | The Guardian</a>&nbsp;<br><br>Reading 2:&nbsp;<a href="https://www.theguardian.com/film/2019/jul/27/sarfraz-manzoor-bruce-springsteen-and-amolak-changed-my-life">Bruce Springsteen changed my life… and so did my best friend Amolak | Film | The Guardian</a><br><br></div>]]></description>
         <enclosure url="https://www.theguardian.com/commentisfree/2019/aug/29/my-film-blinded-by-the-light-memoir-british-pakistani-cinema" />
         <pubDate>2022-03-01 03:14:20 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2070691615</guid>
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         <title>Blinded by the light </title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2070949075</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-03-01 07:22:45 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2070949075</guid>
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      <item>
         <title>BBTL</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2070963338</link>
         <description><![CDATA[<div>Just as people choose to read a particular newspaper or watch a particular news channel, these are a self-selecting set of people who have chosen to buy a ticket for the film. As a result, one may claim that the film isn't altering anyone's perspective because only those who are prepared to pay to see it will do so. People, on the other hand, engage with stories with minds that are more open than they are with politics. When he&nbsp;asked a crowd of more than 700 people in Traverse City, Michigan — mostly white moviegoers – how many had spent two hours in the company of a Pakistani Muslim family, not a single hand went up.<br><br>Javed, the main character of this film, is a British Pakistani Muslim teenager. Blinded by the Light is being launched at a time when Muslims are routinely demonized as the other — both Boris Johnson and Donald Trump have mocked Muslims in order to garner political currency. The writers&nbsp;were&nbsp;unsure whether a mainstream audience (white and non-Muslim) would be able to relate to the protagonist, but it's been fascinating to watch how they've responded to the characters as sons, mothers, and fathers – as human beings.<br><br>Gurinder Chadha, who also directed Bend It Like Beckham, directed Blinded by the Light, a rites of passage comedy drama. It is set in 1987 and revisits Sanfraz's teenage years, with most of it based on true occurrences. One unexpected side effect of this is that his adolescent friendship with Amolak has been immortalized - something neither of them could have envisaged in their wildest imaginations.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-03-01 07:34:13 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2070963338</guid>
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         <title>Reading Week 3 - Film Industry</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2083093267</link>
         <description><![CDATA[<div>Reading 1: Hollywood and Chine<br><br>Reading 2: https://aldaracademies-my.sharepoint.com/:b:/g/personal/cchowdhary_alyasminaacademy_sch_ae/EdQqkP--7vVBrVzVUcAWjSsBBrpT_WoHs9IJnIhz7jfVfg?e=dF9vLW </div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/613221235/82c9721ade8fce7beea2965edffc319c/MM72HollywoodChina.pdf" />
         <pubDate>2022-03-08 03:14:11 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2083093267</guid>
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         <title>8 mar</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2083466069</link>
         <description><![CDATA[<div>In the early days of Hollywood, every film was a possible liability for its producers and distributors. Most films were stand-alone; a one-off enterprise that had to capture the audience’s imagination or risk becoming a rotten tomato. The successful ones took audiences on a rollercoaster of emotion, had mesmerising narratives or followed the arcs of compelling characters, such as Rick Blaine in Casablanca or Forrest Gump in the eponymous film.<br>The international film market is a market that continues to grow, particularly in China and Russia, and as a result, the films we watch today are developed particularly for these markets. China is now considered the world’s second-largest theatrical release market with the expectation that it will soon become the largest. China now has more cinema screens than the US; an average of 27 new cinema screens was built per day in 2016 alone.&nbsp;<br>The Chinese audience want familiar brands, 3D and Special FX. They want the spectacle that only the American film studio can deliver with its big budgets and investment in post-production CGI. A good example is Transformers: Age of Extinction. This is a film that was co-produced by Paramount Pictures and China Movie Channel, making it the most high-profile example of Hollywood’s developing relationship with China to date. The film was criticised by reviewers for its weak plotline; however, it was the only film in 2014 to make over 1 billion dollars worldwide at the box office and this was the result of its popularity in China. If you’ve watched the film, you may have noticed that scenes were littered with Chinese product placement; the mise-en-scène was narratives or followed the arcs of compelling characters.<br>When the digital technology boom occurred, the DVD – died a quick death. Film studios all over Hollywood saw their profits fall and all looked desperately for new ways to be financially viable. Chinese cinemas will only screen 34 imported films each year so competition for the market is tough&nbsp;</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-03-08 07:36:48 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2083466069</guid>
      </item>
      <item>
         <title>Film industry </title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2083651676</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-03-08 09:44:35 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2083651676</guid>
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      <item>
         <title>Reading Week 4 - Independent Cinema</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2091521720</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/613221235/5c4e51b4f3800e4bcde1e5e0168737f1/Independent_Cinema_in_the_Digital_Age.pdf" />
         <pubDate>2022-03-12 10:17:31 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2091521720</guid>
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      <item>
         <title>Independent Cinema</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2095390514</link>
         <description><![CDATA[<div>Technology's rapid advancement has had a significant impact on the creative and cultural industries. The Internet has changed the corporate landscape in every industry, and it is unlikely to slow down in the near future, resulting in the so-called Fourth Industrial Revolution. For the film industry, the Internet has offered both opportunities and obstacles; also, new and increasingly sophisticated technology (such as home theater systems) are putting pressure on independent cinemas.<br><br>Dynamic digital expansion is gradually becoming a prominent issue in discussions about the future of film distribution among academics and industry professionals. In recent years, there has been a surge in interest in film distribution, with most research focusing on exhibition, moviegoing, cultural geography, and audience studies.<br><br>Given VOD's ability to satisfy consumer convenience, it has influenced judgments about the time of releases (Ulin, 2009). VOD models are currently the most popular digital option, with an ever-growing user base (Smits, 2017). In Poland, for example, internet viewers increased from 67.9% in 2009 to 78.2% in 2014. (Franek, 2015). In other parts of Europe, Re's (2018) case study of the Italian film market attributes recent growth to the entrance of Netflix. While income from VOD models are expanding in the UK, revenues from film on television and theatrical distribution are also increasing. Theatrical revenues were the most important component of the UK film value chain in 2016. (British Film Institute, 2017).</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-03-15 07:18:58 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2095390514</guid>
      </item>
      <item>
         <title>Independent cinema in the digital age</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2095427142</link>
         <description><![CDATA[<div>- technology has had a massive impact on the creative and cultural industries, pushing it into a digital sphere. &nbsp;<br>- disruption: redesigning a distribution strategy to survive a change in environment.&nbsp;<br>- emergence of VOD, the most popular digital solution, convenient and free (from pirate websites)<br>- VOD falls into 3 main categories: Subscription VOD (most popular, eg. Netflix), Transactional VOD, Ad-based VOD.&nbsp;<br><br>Advantages of the independent film market:&nbsp;<br>-more time to spare for each title<br>-bigger willingness to cooperate with producers&nbsp;<br>-more open minded approach toward non-commercial values of the film<br><br>- consumers have gone from 'push' to 'pull', people are now responsible for creating their own digital watching experience.&nbsp;<br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-03-15 07:44:36 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2095427142</guid>
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      <item>
         <title>Reading Week 5 - Henry Jenkins</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2105003801</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/613221235/3ed3973f031a8e0b52eb97e2b7f7a8ed/MM73_Fandom.pdf" />
         <pubDate>2022-03-21 10:28:45 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2105003801</guid>
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      <item>
         <title>Tue 22 Mar</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2106855991</link>
         <description><![CDATA[<div>Jenkins' theoretical writing reveals a genuine mourning for the loss of traditional culture, particularly its participatory elements. Jenkins admires folk art for its ability to bring society together in acts of creative loveliness, activities that frequently convey some kind of political message - because folk culture gives us, the regular folk, a voice to critique the order of things. Unfortunately, Jenkins believes that "new mass media signalled the end of essential folk cultural traditions that flourished in nineteenth-century America." Take careful note of Jenkins' fairly emotional use of the word 'doom' in this statement, as well as the way he contrasts current mass media with the 'vital' life-giving aspects of nineteenth-century American folksiness. Jenkin's assessment of the expansion of mass media in the twentieth century and its influence on folk culture is analogous. Online fandoms allow audience engagement to be shared in real time across a worldwide network. Jenkins contends that this connectedness is powerful, allowing media users to collaborate in coordinated or communal actions of resistance. According to Jenkins, certain viewers can withstand the hypnotic, creativity-sapping effects of mass media. Furthermore, certain audiences responded to the television revolution with the same creative impulses seen in the American folk culture. Instead of banjos, viewers utilized the television shows they saw as 'creative scaffolding,' adopting the characters and narratives they discovered in the media to craft their own stories. In this sense, audiences utilized fanfiction to alter mass media tales to their own particular tastes in the same way that pre-mass media folk performers changed their own versions of well-known tunes.<br>Jenkins finds that fanfiction gives tangible proof of how larger audiences interpret cultural items.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-03-22 06:14:38 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2106855991</guid>
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         <title>Reading Week 1 - The Daily Mail</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2132357322</link>
         <description><![CDATA[<div>Reading 1: https://www.gale.com/intl/essays/adrian-bingham-daily-mail-public-life</div>]]></description>
         <enclosure url="https://www.gale.com/intl/essays/adrian-bingham-daily-mail-public-life" />
         <pubDate>2022-04-06 10:16:07 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2132357322</guid>
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      <item>
         <title>Reading Week 2 - Regulation</title>
         <author>cchowdhary</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2132415409</link>
         <description><![CDATA[<div>Reading 1 -&nbsp;<a href="https://aldaracademies-my.sharepoint.com/:w:/g/personal/cchowdhary_alyasminaacademy_sch_ae/EZQzL1j1u39PubS1zHdupCUBxw7u--eGkpe06uVIaQzLHA?e=72Iwci">From Local Press to National Regulator - A Journalist’s Tale.docx</a></div>]]></description>
         <enclosure url="https://aldaracademies-my.sharepoint.com/:w:/g/personal/cchowdhary_alyasminaacademy_sch_ae/EZQzL1j1u39PubS1zHdupCUBxw7u--eGkpe06uVIaQzLHA?e=72Iwci" />
         <pubDate>2022-04-06 11:11:00 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2132415409</guid>
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      <item>
         <title>Tue 12 Apr</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2140477797</link>
         <description><![CDATA[<div>Northcliffe envisioned the publication from the start as one that would voice its opinions and attempt to influence national decision–making processes: it would campaign for specific causes, champion persons and organisations, and expose poor performance or policy. This was defended on the grounds that the publication was a vital medium of popular opinion, possibly more responsive than politicians who were only elected every five years. 'Every enlargement of the franchise becomes more powerful the newspaper and less powerful the politician,' Northcliffe stated in 1903 (albeit this did not convert into his support for women's suffrage).<br><br>Early twentieth–century politics was dominated by discussions about the role of the state — how it should engage in the economy, what obligations it owed to its citizens, and how it should deal with poverty. While the Liberal press advocated for the implementation of welfare measures (such as old-age pensions and unemployment insurance), the Mail argued that the state's growth should be limited in order to avoid extinguishing the competitive individualism that was supposedly the source of national greatness during the Victorian era.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-04-12 07:53:51 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2140477797</guid>
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      <item>
         <title>The Daily Mail and Public Life</title>
         <author></author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2140550130</link>
         <description><![CDATA[<div>- Northcliffe was a Tory populist, who always seemed to retain independence from party labels and structures&nbsp;<br>- In the early 20th century, politics mostly talked about how the country should be controlled<br>- The liberal press supported introducing welfare measures, this was supposedly what made the nation so great&nbsp;<br>- 'People of Budget' was introduced by Lloyd George in 1909, which was made to raise tax for the rich in order to pay for welfare measures which The Mail opposed, calling it&nbsp; ‘audacious attempt to force socialism on the country without consulting the people.’<br>- The Daily Mail's first detailed piece on the Labour Party in 1906 suggested that the Labour party's intentions ‘must of necessity conflict with the organization of industrial enterprise’ and would give the state an ‘insane’ power through ‘an extension of the most evil features of the present system’.<br>- The Bolshevik Revolution in 1917 boosted fears of the 'Red Peril' and the Mail's publications only added to that<br>- </div>]]></description>
         <enclosure url="" />
         <pubDate>2022-04-12 09:13:10 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2140550130</guid>
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         <title>Tue 19 Apr</title>
         <author>krmafl</author>
         <link>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2148195191</link>
         <description><![CDATA[<div>The most serious single issue during the hacking scandal is that something unlawful was going on that should not have been going on and was not dealt with by the police, and the ensuing measures have been excessive. Far too many newspapers and magazines had become entangled in a regulatory framework that they should not have. A small segment of the press was behaving in an inappropriate manner, but it should have been dealt with legally.<br><br>A complaint must be addressed by a newspaper within 28 days. If the complaint is not addressed, the complainant may take it to the IPSO Complaints Committee, which will determine if the Editor's Code of Practice was violated. If it has, the Committee can insist on revisions and have them put on a specific page.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-04-19 07:41:05 UTC</pubDate>
         <guid>https://padlet.com/cchowdhary/cduhzm5lo8nb0r82/wish/2148195191</guid>
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