tendencies can “mitigate their effect in our narrative thinking” (Goldie 2012). Assuming that we have these tendencies then allows us to ascertain their effect on media and whether these tendencies are appropriate. In this essay I will examine the four tendencies put forward by Goldie and their effect on media, through the lens of the May 2014 mass shooting in Isla Vista which saw these tendencies applied by the media in order to create a line of narrative thinking. Goldie’s Fictionalising Tendencies
in his essay ‘Rear Window Ethics: Laura Mulvey and the Inverted Gaze’, and explain in what ways it differs from both Mulvey’s and Modleski’s feminist readings of Hitchcock’s film. In this essay I will examine the queer reading of Rear Window (1954), directed by Albert Hitchcock, given by Robert Samuels in his essay ‘Rear Window Ethics: Laura Mulvey and the Inverted Gaze’. I will compare Robert Samuels assessment of Rear Window to Laura Mulvey’s essay, ‘Visual Pleasure and Narrative Cinema’
Representation This section of the essay will delve into the societal representations which the global media portray, through dominant discourses that help to frame and define our social understandings, opinions and attitudes of the world we live in. An emphasis will be shown on the effect these discourses have on our interpretations of people from other cultures, as well as people of another gender, or social position. These damaging discourses can serve to negatively affect sections of society
In the development of a text, an author must carefully select a narrative voice through which to convey his story. The narrative voice is the point of view from which the story is told, and it acts as the medium through which the reader experiences the text, providing structure for the literary work. The selection of the narrative voice is therefore an important aspect of the author’s rhetorical strategy as it defines the way that the reader relies on the narrator for information regarding the story
Introduction This essay seeks to discuss the ethics and social impacts of journalism practices today. To achieve this, it provides an overview of photojournalism, image manipulation, journalism objectivity and the use of image made by citizen journalists. Similar to editors, writers and news reporters, photojournalists are equally held to a standard of ethics to guide their profession. In the modern media practice, photojournalism refers to the process that entails the gathering, analysing, and disseminating
The word “Christology,” as it relates to this essay, is defined by Musser and Price as dealing “with questions about who Jesus is and about why he makes the decisive difference in human destiny.”1 The term itself implies a philosophical and apologetic approach in a study of the Person of Jesus, Who that Person is, and role He plays in the continuously unfolding human narrative. In Augustine’s Confessions, the subject of the Incarnation is argued in a philosophical aesthetic, whereas in Pope Leo’s
reading and writing are related to one another. This statement is also stated by Carell and Carson. They said, “Reading strategies must be taught that will enable learners to comprehend the text in a way that will allow them to produce an appropriate essay. ... Because task based learning is grounded in learners’needs.” (Carell & Carson, in Escribano:
This essay shall provide a structured analysis of the film easy rider with a close reference to why the film has been so important in shaping American independent cinema. Close attention will be given to the main themes and motifs throughout the film, with specific scene analysis and references to the production of the film and the societal back drop from which it came about. Easy Rider is the quintessential biker movie conceptualised by Peter Fonda and Dennis Hopper. The film follows the drug tryst
1. INTRODUCTION If we see our passage on earth as a theatrical play, what snapshots of our experiences would we wish to share with our contemporaries? At the core of this class is the desire to go deep within ourselves and explore how we can artistically and critically materialize the intimate relationship between our body/mind and the arts. Some of the situated questions we will raise are, for example: What aesthetic principles underlie and inform our practices? How do we see the boundaries between
the ability to educate people more effectively because it is very entertaining; being engaged in the story helps people to remember the events and to relate the relationships and lessons within the story to real life (Carter-Black, 2007:33). In this essay I uses Yael Farber’s play, Molora, as a reference example to explain three common elements found