The scientific study of behaviour and mental processes Essay Example for Free

The scientific study of behaviour and mental processes EssayFor example, a person who feels the need for finish but who has been told by their parents that sex is wrong may suppress this tendency. In order to receive affirmatory regard from their parents they abide by this statement. In this track the person has received conditional positive regard from the parents. However, the need for sex remains, as this is an organismic value, which Rogers describes as our inborn even off of values, possessed by all(prenominal) (Medcof Roth, 1979). When these needs are suppressed, Rogers sees neurotic and psychotic problems developing (Hays Orrell, 1987). Abraham Maslow believed that the way towards self-actualisation was to fulfil certain needs. These needs he arranged into a pyramid, which he referred to as the power structure of needs. Starting with simple needs, for example, hunger and thirst and then progressing upwards to security, belonging, esteem, understanding and aesthetic needs before reaching self actualisation (Rungapadiachy, 1999). Maslows theory appeared exposeional and optimistic and became very popular without much criticism.It became popular within business seminars as a training aid. However Maslows hierarchy of needs has not been support by research. Hungry people may still stress esteem from others and a person who has satisfied their hunger may not necessarily seek higher needs (Wade Tarvis, 1993). Wade Tarvis (1993) also suggest that each person develops their own individual hierarchy from pip-squeakhood to old age and although for some, the need for hit the hay and security will dominate, for others the need for power or achievement will rule.Both Maslow and Rogers believed that given the right conditions, Maslows satisfaction of basic needs and Rogers unconditional positive regard, people will naturally choose growth enhancing alternatives (Roth, 1979). The behaviourist approach arose as a backlash of other approaches at the time and rather than feeling at the internal factors, behaviourism shifted its emphasis to the external factors. Psychologist John. B. Watson was becoming disenchanted with the attempts to study emotions, motives and thoughts as these were often vague and subjective and difficult to systematically study.Watson argued that psychological science must be based on what is observable and measurable by more than one person (Gross, 1996). Watson believed that behaviour could be seen as a set of reactions in response to stimuli. In this way, if one knew the stimulus then they could obtain the desired behaviour. The two types of learning which behaviourists concern themselves with are classical conditioning and operative conditioning (Rungapadiachy, 1999). Classical conditioning refers to a behaviour that is reflexive or involuntary, for example, coughing, sneezing, shivering, sexual arousal (Rungapadiachy, 1999).Watson and Rayner (1920) conducted experiments into classical conditioning by est ablishing a rat phobic disorder into an eleven-month-old child. The child was introduced to a white rat to play with and the child was pleased. However, a steel bar was introduced and whenever the rat was given to the child and the child reached out for the rat the steel bar would be struck to create a noise and frightening the child. Eventually on introduction of the rat without the steel bar the child would become frightened of the rat. Watson and Rayner had succeeded in creating a conditioned response (Wade Tarvis, 1993).

Violence of mass Media Essay Example for Free

Violence of mass Media EssayThe query involves the study of possible relationships between hysteria and mass media. In the study, a sample stray was obtained in ramble to be tested utilizing four different tests, which validates and determines possible relationships between personnel and media, media preferences and age cerise behavior occurrence, empathy and sexual urge variations, and time freight against ferocity. The research results obtained show increasingly violent behavior among males than females.The commitment time of males manifesting violent behavior is higher as compared to females. Moreover, the preferences of these respondents that manifest much(prenominal) behavioural pattern are noted to generally prefer violent media rules, near prominently, television and movie showing violent acts. Violence of Mass Media former (MINI ESSAY) Most of the public concern and scientific study of the perceived violent reality of media centers around the effects of con ceive televised wildness.The effect that many think of initiatory is modeling, when people imitate violent behavior that they see on television. The research on the different effects has been driven by diverse theoretical frameworks for example, studies of behavioral effects mother most often been driven by social learning/cognitive theory, and studies of attitudinal effects often draw on behavioral fake (Wells and Ernest, 1997 p. 227). The following section examines several different effects of media forcefulness in turn and the evidence supporting each of them.Technological advances ware dramatically increase the availability of violent entertainment. The introduction of television was critical, particularly in making violent entertainment more available to children. More recently, cable systems, videocas putte recorders, and video games have increased exposure (Singer and Singer, 2001 p. 372). (Preiss, 2007 p. 153). The research approaches the study of media delirium in t his study by looking at the various effects of the violent view of the macrocosm presented in media.This study of the perceived reality of media force focuses on the psychological processes involved and the weight of the evidence supporting the existence of those effects (Wells and Ernest, 1997 p. 229). Later in the study, the research looks at individual differences among those who are attracted to or repelled by media violence and longitudinal studies probing for long-term effects. Next, the study will look at wizard of the newest areas of concern, violent video games.Finally, the study addresses the question of what may be done to provide balance to this violent perceived reality and thus mitigate the electro disallow effects of media violence. Violence of Mass Media Introduction Although humans have used violence in cautionary tales to teach the less(prenominal)ons of morality in almost every(prenominal) culture and historical era, the teaching has usually been closely tie d to the tale. Active discussion of the moral points seems to be necessary for the lesson to take. Thus, many adults and children who picture cautionary violence television computer programmes by themselves may fail to desexualize the desired moral connection. Instead, they learn the lesson of Instrumentality, the lesson that violence can be used as an effective agent to get something of value or to compel others to do ones bidding (Wells and Ernest, 1997 p. 231). Perhaps literature has always been bloody, hut dismantle the fastest and most dedicated reader cannot make it with a printed description of more than a few murders a day by reading Shakespeare, Mickey Spillane, and Norman Mailer.A look at 4 hours of prime-time television, or a couple of rental videotape movies can easily provide several times as many deaths, maiming, rapes, and beatings as could be encountered in the same amount of time spent reading periodicals and books. The amount of violence is not the only facto r of grandness in the impact of television and movie experience. These moving image media, with their close depictions of what individuals can see and hear, are much more engaging of our stunning concern than is the reading of abstract symbols on paper, which must be translated and reconstructed into an approximation of sensory experience.What the study must now examine is whether the large volume and sensory increase of 20th-Century media violence, especially movies and television, has actually caused people to do more violence than they otherwise may have done. Methodology Sample Frame The sample frame utilized in the study involves 150 respondents from master(a) schools as well as daycare centers within the locale of midstream city. Based on the inclusion criteria, the elementary schools recruited possess a private orientation, with religious inclination to Catholicism as the basic moral ground, while the daycare center should be networked with private school.As with the gende r division of the sample size, 82 boys and 68 girls from grades 4 and 5, with an average age of 9. 99 (s. d. =0. 74). In terms of the racial criteria of the samples involved, European American comprises 58% while African American is 24%, providing the picture of the community. Data Gathering Procedure In the data gathering procedures, the study utilized a form of four different questionnaires with order counterbalanced.The following details inquired through the questionnaires are the demographic information, which includes gender, age, grade and mothers education, preferences on forms of media utilization, survey forms of real-life violence through Attitudes Towards Violence Scale Child Version (ATVC), appraisal of the respondents characters towards violence through KID-screen for adolescent violence exposure (KID-SAVE) and lastly, the extent of the samples empathy through Childrens empathy questionnaire (CEQ). subsequently which, the researchers obtain the favorite form categorizat ion for television as to sports, fighting, destruction, real people, or no favorites. On the form of internet, the respondents are categorized fit to their preferences, such as chat room, instant messages, video games, no favorite internet activities and no access to internet. Review of Related Literature Moat American families bought their first television set during the early to mid-1950s.As more and more homes had television sets and more and more people began to watch on a unfluctuating basis, scholars began to study this new phenomenon, and the first studies about television content were published (Head, 1954 Smythe, 1954 cited in Well and Ernest, 1997 p. 262). Moreover, the first congressional hearings about television, focusing particularly on television violence, were convened in 1954.Research on television content and its effects was particularly stimulated by the forces that affected the United States during the late 1960s, notably bailiwick turmoil, civil rights and th e womens movement. Two national commissions were appointed to uncover the dynamics of these Forces on society. In essence, the agendas of these commissions set the stage for early and ongoing research on media images. The national turmoil that rocked the country after the assassinations of Martin Luther King Jr. and Bobby Kennedy stimulated concern about violence in society and in the media.The National committee on the Causes and Prevention of Violence (NCCPV) was appointed to examine violence in society, including violence on television, and commissioned one study to ascertain the amount of violence on television (Gerbner, 1969 cited in Preiss, 2007 p. 162). Continued national unrest, as well as concerns about televisions impact on Americans, further further researchers to pursue this line of study. Financial assistance was also provided by increased government funding for research about television violence inn 1969, even before the report of the NCCPV released.Congress appropri ated 1$ million and set up the Surgeon Generals Scientific Advisory Committee on telly and Social Behavior and this committee funded 23 projects, dealing primarily with violence on television and its effects (Gerbner, 1972 Surgeon Generals Scientific Advising Committee, 1972 cited in Wells and Ernest, 1997 p. 232). Although busy in television violence faded somewhat during the 1960s, congressional concern about media violence again increased during the 1990, culminating in the development of ratings for television programs and the V-chip technology. vexation with civil rights, during the late 1960s and early 1970s, contributed to the proliferation of studies on minority images. The Kerner Commission, appointed by President Johnson to investigate racial disturbances in many US. cities, charged this these disturbances could be traced, in part, to the U. S (Preiss, 2007 p. 158). There have been few investigations into the effects of print media violence.The most extensive investigati on, 1w the Canadian Royal Commission on Violence in the Communications Industry in 1977, reported details of the amount of violence in print media but made no contributions to our understanding of what violence-causing effects may stem from reading violent material (Royal Commission, 1977 cited in Preiss, 2007 p. 156). Most likely for reason previously discussedless intensity and less of itviolence in books, newspapers and magazines has been of less concern to citizens. An exception was violence in comic books, which became a political issue in the United States in 1954.At the time, comic books were read avidly by many tender boys. Today, they read comic books less and spend more time with television. Despite their name, comic books were largely not funny at all they were violent and tended to emphasize the violent heroism of characters with whom the children could identify. However, many comic books glorified criminals and their brutality. Congressional hearings were held which, i n turn, resulted in the comic hook industry adopting self-censorship of violence in a successful effort to head off passage of laws, which would have imposed government restrictions.The evidence that comic books actually did bring young readers to using violence and committing crimes was drawn from the collective experience of law enforcement officers and psychiatric workers (Berkowitz, 1973 cited in (Wells and Ernest, 1997 p. 233). In one such instance, teen-age boys in Boston doused with gasoline and set on fire a down-and-out, liquor-dazed man they found. There was no apparent motive other than to try out what they had seen on a television program (Singer and Singer, 2001 p. 370).Another example is the batch of imitative suicides that have occurred following television and theater showings of the movie The Deer Hunter, in which a scene occurs showing a man with a pistol playingand losinga game of Russian Roulette (Wells and Ernest, 1997 p. 232). According to Huesmann and Taylor ( 2006), media violence poses an eventual threat to the public social counterpoise significantly through the influence of violence and aggression. According to their study, fictional television and film violence contribute to both a short-term and a long-term increase in aggression and violence in young viewers.According to the research conducted by Browne and Hamilton-Giachritsis (2005), there has been frequent evidence that suggest the gene linkage of child violent behavioral acts, and the incidence and frequency of violent media exposure. Such media forms induce stimulus, thought influence, and emotional deviations, which consequently increases the likelihood of aggression and fearful behavioral patterns, most especially in males (Preiss, 2007 p. 162). The presence of prosocial effects is undeniable.Very few people who enjoy television and movies containing violence feel that they are endangered by it, and appear most willing to take any risks. However, it would be incorrect to c onclude that violence needs to be present in entertainment in order to be of interest to people. The television and film industry has merely used violent action as a reliable and inexpensive substance of attracting a certain level of viewer interest in otherwise very repetitive stories (Singer and Singer, 2001 p. 368). Thus, action and production values (which is to say, violent action), is regularly added to scripts to make them more attractive.Nevertheless, research on college students indicates that violence, itself, is not what they are interested in so much as in the quality of action and story associated with the violence (Preiss, 2007 p. 161). Unfortunately, media executives find it difficult to accommodate such interests. The high quality of writing needed to create stories, which can stand on their own without the addition of violence is very costly. There are only a limited number of writers, whose skill is great enough to provide consistently attractive nonviolent storie s. locate and network program decision makers generally take what they consider to be the safe path of plenty of action and production values in order to assure that their programs will attract the teen-age and young adult audience members greatly desired by advertisers of consumer products (Wells and Ernest, 1997 p. 233). Berkowitz and his co-researchers have also established that the violence present in abundance in films such as Straw Dogs and Walking Tail especially influences viewers to act violently, for the film violence is presented as the solution to outrages perpetrated by others.Revenge and justification are extremely potent factors in determining whether violence will occur. If an aroused person who has freedom of action then encounters violence on a television screen, the violence may act as a potent cue to draw forth her own violence, to the degree that what is shown on screen resembles and pulls into memory previous occasions on which she used violence (U. S. Senate C ommittee on Commerce, 1972 cited in Singer and Singer, 2001 p. 368). Tannenbaum and Zillmann (1975 cited in Singer and Singer, 2001 p.367) demonstrated how arousal may be reshaped, in a very dramatic way. After arousing college males by showing them very sexy pictures, they found that whether the men subsequently assay to accomplish sexual or violent behavior depended on the cues that were presented to them. In other words, a person may be aroused by something sexual, watch a murder on television, and become violent instead of erotic (Singer and Singer, 2001 p. 367). Thus, there is a potential link between sex and subsequent violence that may be activated by television and film violence cues. FindingsAfter calculating the means and standard deviations of the results from KID-SAVE, ATVC and CEQ obtained form the samples, a series of t-tests was use to scrutinize the gender variations on the Frequency and Impact Total scales of the KID-SAVE, the ATVC Total, and the CEQ Total. Such an alysis revealed gender differences on the KID-SAVE Frequency Total scale, t(148) = 2. 71, p0. 01. Boys were reported to be in a higher stakes of violent behaviors, although no significant gender variations were found on the KID-SAVE Impact Total scale. On the other hand, the analysis on boys and girls ATVC and CEQ Total scales, t (148) = 2.62, p0. 05, and t(148) = -3. 72, p0. 01, revealed significant differences gender differences from these two tests indicate that boys have higher tendencies for violent behaviors, while girls have higher behavioral tendencies for empathy. Indices of multicollinearity were examined and no problems were identified. After which, regression analyses were initiated to determine the probabilities of real-life violence from the data of Total Frequency and Total Impact scales of the KIDSAVE, exposure to the four indicators of media violence (video game, television, movies, and Internet) and the total CEQ score.From the results of obtained, it revealed that individual variations increase the probabilities of negatively charged impact from violent video games. Considering the latter conclusion, 17 girls playing violent games are reported to demonstrate frequent negative behavior. From the said respondents, the manifestation of negative behavior maybe more prominent due to norm violation present (Funk Buchman, 1996a). Considering other media forms presented to the respondents, the results show that movie violence is the most prominent influence.On the other hand, the manifestations of negative behavior have been linked to the increased time commitment and content of movie being watched (Anderson, Huston, Schmitt, Linebarger, Wright, 2001). Time reported may have influenced the failure to find a relationship between television violence exposure and the study variables. Considering the presented categories and gender differences, boys have been reported to devote 5. 6 hours of viewing per week, while girls reported 2. 8 hours weekly. C onclusionIn the conclusion of the study, violent behaviors and utilization of mass media showing violent scenes possess a link that induces violent behavioral patterns among viewers. In terms of gender variations, males have been noted to demonstrate violent acts as compared to females. Moreover, males have noted to demonstrate increase time commitment to preferred violent movies, which are also the most preferred media forms, than with females. On the other hand, females are noted to be more emphatic as compared to males. Generally, the research has provided significant relationship between violence and mass media.ReferencesAnderson, D. R. , Huston, A. C. , Schmitt, K. L. , Linebarger, D. L. , Wright, J. C. (2001). Early childhood television viewing and adolescentbehavior. Monographs of the Society for Research in Child Development, 66 (1, ensuant No. 264). Browne , P. D. , Hamilton-Giachritsis , C. (2005, February 19). The influence of violent media on children and adolescents a public-health approach. The Lancet, 365, 702-710. Funk, J. B. (2004, January). Violence exposure in real-life, video games, television, movies, and the internet is there desensitization?. Journal of Adolescence, 27, 2339.

What photography can and should document

What chargey can and should documentThe loving crisis of our time, however, c e genuinelys for a redefinition of what photography can and should document.Obviously, not all documentary photography has to be didactic in bespeaking to a possibility of social change. But there is a need for discourse among documentary photographers round the content of work, and its relationship to the social movements of our time.The social movements of our day are more than complex. Its often harder to find the sense of political certainty which filled the vision, and inspired the trueness of these artists who came before.Photojournalism relies upon the notion that photography captures an objective record of reality for flockers. Yet, at the same time, a clearly defined system of rules and conventions governs the professional practice of photojournalism, delimiting the range of entrance images and shaping the form those images take. Paradoxically, word photographs are valued as neutral recor ds at the same time that they are admired as carefully crafted pictures. Photojournalists sop up kudos not only for what they show, solely also for how well they show it.Documentary photography was tied, historically, to both exploration and social reform. Some early documentarians worked, literally, documenting features of the inborn landscape.Others worked, like Lewis Hine for the great social surveys of the early part of the century. Their work was used to expose evil and promote change. Their images were, perhaps, or sothing like those journalists made but, less tied to illustrating a invigoratedspaper story, they had more space to breathe in. A classic example is Hines image of Leo, 48 inches high, 8 age old, picks up bobbins at fifteen cents a day, in which a young boy stands contiguous to the machines which have, we almost surely conclude, stunted his growth.Documentary photography supposed to dig deep, get at what Robert E. greens (a sociologist who had worked as a j ournalist for daily papers in Minneapolis, Denver, Detroit, Chicago and New York) called the Big News, be botherationed about society, play an active habit in social change, be socially responsible, worry about its effects on the society in which its work is distributed. Photographers like Hine saw their work, and it has often been seen since, as having an immediate effect on citizens and legislators.Today, we see this work as having an exploratory, investigative character, something more like social science. Contemporary documentary photographers, whose work converges more consciously with social science, have become aware, as anthropologists have, that they have to worry about, and justify, their relations to the people they photograph.Photographs get meaning, like all cultural objects, from their context. Even paintings or sculptures, which face to exist in isolation, hanging on the wall of a museum, get their meaning from a context made up of what has been written about them, both in the label hanging beside them or elsewhere, other optic objects, physically present or just present in viewers awareness, and from discussions going on around them and around the subject the works are about.Documentary projects typically go on for years, often focus on social issues rather than news events, and are usually independently conceived and financed by the photographer, rather than commissioned by a publication. Documentary is often assumed to be subjective, to have a point of view on the subject being investigated, but it is also presumed to be honest topicing and photographers in this mode do not generally spa to setting up shots. These sort of projects are sometimes sold in pieces to cartridges but with the decline of mass circulation magazines like Life, the usual goal has become to unloosen the hale project in book form.Photojournalism is used here to refer to the coverage of current news events in an extended format, both in the investigating and sho oting stage and in the final story product which normally consists of more than one photograph. Because these projects are time-sensitive, they may take months but not years to complete.Photojournalism is usually commissioned by a publication, such as a magazine or newspaper, but will sometimes later appear in book form as well. magic spell documentary projects are usually driven by the personal interests or convictions of the photographer, photojournalisms subject matter is generally intractable by what is deemed news-worthy by the media.The question of whether an image appropriately mull overs reality is an issue that documentary photography and photojournalism has contended with throughout their histories.The global audience is changing, and photography needs to reflect this in order to remain effective. Readers are disillusioned at the manipulation they are slowly becoming aware to via pseudo-documentaries on society and politics by filmmakers.That the camera cannot lie is t rue only in the sense that the images it captures must have existed in one form or another at some particular time.We are familiar with historical photos that have been retouched to include or exclude political figures. We are less familiar with the potential of new technologies for defense images, particularly those that appear in newspapers and magazines.Photojournalism, photography that accompanies stories intended for newspaper and magazine readers, has a long and cherished tradition of truthfulness. The faking of photographs, either through stage circumspection by the photographer or through darkroom manipulation, unfortunately, also has a long tradition.However, computer technology puts photographic faking on a new level of concern as images can be digitized and manipulated without the slightest indication of such trickery.If the manipulation of photographs is accepted for any image, the public will naturally doubt all photographs and text within all publications.Scoopt, th e citizen photojournalism arm of Getty Images, claims to have experts who carefully screen images to ensure no digital tampering has occurred. As Far id points out, however, tampering is becoming increasingly ticklish to detect with the naked eyeparticularly for understaffed organizations trying to push through photos of breaking events.Yet, human beings continue to die from war, murder, natural disasters to be born, right off in litters as large as seven or eight to live in harmony and conflict. Newspapers and photojournalism have survived the onslaught of electronic media, continuing to report the human maelstrom of a global citizenry as if it were a vivid reality play m the midst of the non reality o turn-of-the-millennium culture. some drowned within media criticism have been the voices of those professionals whose appreciation of the subjective nature of observation and reportage has led to more sensitive and sophisticated practice of visual journalism. In daily practice, di gital-imaging technology has led to increased awareness of the ease of manipulating visual reportage, in turn leading to higher not lower ethical standards. At the same time, new technology has made visual coverage faster, easier, and more prolific via digital distribution.More and more photojournalists are asked to also be ad photographers shooting fashion, food, architecture, portrait, and editorial illustration assignments. These assignments take photojournalists away from doing meaningful documentaries about social conditions in their community. These economically driven assignments are fuelled by news directors, publishers, and photographers who dont inescapably distinguish between magazine and television commercial advertising and classic photojournalism documentation. When a young photojournalist is expected to split her time between news and merged controlled images, its hard for her to take herself seriously as an on-call visual documentarian.Issues and debates surroundi ng truth will continue as long as media is reported. Even with the saturation of questionable amateur journalists, there will always be motives of greed, a human trait that is undeniable in our society.Some critics have predicted that in a fewer years, images whether still or moving will not be allowed in trials as physical evidence because of the threat to their veracity created by digital alterations. more or less consumers of the media can easily tell the difference between an advertisement and a news story. But sometimes the distinction is so subtle, only highly observing readers can tell the difference.But no matter how the tools of journalism change, fundamental ethical concerns still apply. Displaying violent, sensational images for economic reasons, violating a persons privacy before the discriminatory process can function, manipulating news-editorial pictures to alter their content, stereotyping individuals into pre-conceived categories and blurring the distinction be tween advertising and editorial messages were journalism concerns in 1895, are important topics in 1995 and will be carefully considered issues, no doubt, in 2095.Now, as we witness the playing periodtic transformations to the print journalism industry, these questions not only reveal how the idea of visual journalism has congealed but also indicate the kinds of issues that both photojournalism practitioners and their audiences will need to resolve in a world in which the printed periodical is no longer the favoured institution through which these images are mediated.Over the last fifteen years or so we have witnessed the emergence of new kinds of visual story- revealing. Digital photography gave us instant(prenominal) feedback camera phones gave us ubiquitous photography picture-sharing sites gave us a developing social milieu in which these instant and ubiquitous pictures could be shared.As a result we have new formal models for presenting visual information. There is more docum entary feature production than ever before. Still images are organized as slideshows, browse-and-enlarge albums, or in an irregular temporal flow. Reuters Bearing Witness Five Years of the Iraq War is a brilliant use of multimedia that is not a linear display of images. These new formal properties will redefine visual grammars and inform how and of what photographers make pictures, but they will also be subject to the new contexts and frameworks that will continue to emerge.The value of information increases not only when it is controlled and withheld but also when it is given shape and purpose, when value articulates with meaning.We may not remember galore(postnominal) of the facts that led to the brief student uprising in Chinas Tiananmen Square in 1989, but you can never forget the image of the lone protester stand defiantly in front of a line of menacing, green Chinese tanks.Words and pictures become one powerfully effective communicative medium deep down your own mind.Profes sional photojournalists cannot be in the best places at the right times in order to capture events as they unfold. The future of photojournalism lies with the new spawn of moral and aware consumers.The Internet offers us the chance to reinvent photojournalism by enabling us to blend the best practices from still photojournalism, broadcasting, and independent films. The Internet permits us to blend still photographs with audio, text, video, and databases to make compelling content that is farther richer than print or broadcasting typically deliver. This new world of visual story telling gives us a chance to reinvent the form and to adapt integration of various media types to tell the most compelling possible story. Visual journalism on the web offers the chance to tell narrative stories that speak powerfully to underlying truths of the human condition.The traditional model of print distribution and direct editorial patronage has been unravelling from the 1970s onwards, ever since weekly pictorial magazines like Life folded. This demonstrates photojournalism that required an editorial paymaster was in trouble long before the Internet was an issue or the global recession added to its woes.It involves seeing oneself as a publisher of content and a participant in a distributed story, the form of which helps reshape the content of the story. alternatively than just producing a single image or small series of images to be sold into another persons story, multimedia on the web has numerous advantages for visual storytellers.Both media are time-based, as opposed to space-based. A print layout is about space the eye wanders the viewer controls the time and rhythm. Time-based, of course, means the show is driven by the audio and is viewed over time,good slideshows, I think, have a very different rhythm than video less literal. Slideshows need to lean on the stance of the still image these punctuated moments in time that visually meld with the audio.As a result, p hotojournalism at the beginning of the 21st century find itself maturing beyond the uninitiate idealism of early and mid-20th-centur positivism, and even beyond the dark cynicism of late-20th-century post modernism, toward a profound sense of purpose Good visual reportage may very well be the only credible source of reasonably true images in decades to come. The heart of photojournalism is reporting human experience accurately, honestly, and with an overriding sense of social responsibility. The key to earning and maintaining public trust is increasing awareness of the process of visual reporting and its potential to inform or misinform.Published in Life magazine in 1937, Robert Capas photograph shows in one instant the suddenness and loneliness of an anonymous soldiers death. It has been suggested that the photograph was either a chance occurrence by the photographer shooting blindly, or it was staged for the benefit of the camera. He photographed in China, on the beaches of Norma ndy, in Israel, and finally in Vietnam, where he was killed by a land mine./10 Capa consistently produced images with strong emotional impact and high technical expertise.Those Capa images that have been chosen by his brother Cornell Capa and by Magnum to represent his lifes work emphasize the qualities of drama and heroism and thus have had a crucial role in sustaining the Robert Capa legend.Robert Capas saying, often quoted, that If your pictures arent good enough, youre not adjacent enough, has helped reinforce the important elements of drama and the despairing photographer that have been emphasized in the Magnum style.Capas most famous photograph, Death of a Loyalist Soldier, Spain 1936, often celebrated as the greatest war photograph of all time, creates drama with a close-up depiction of the moment of death and conveys a macho persona with the clear implication of Capas decision to place himself in close proximity to danger.His choice of a type of lens that closely resembles normal human vision, probably around 50 mm, gives the feeling that we are right next to the soldier as he falls.The fact that the viewer can see the landscape around and behind him indicates that Capa is clearly not hidden safely far away with a telephoto lens (which would compress and narrow our view of the background), but is closely engaged with the action.43 Capas photographs of D-Day where he is obviously in the surf with the go troops has a similar effect of dramatizing events by being as close as possible to the action, and thereby also endowing the photographer with even more daring and courage than the heroes of the moment, the invading soldiers, since he had a choice that the soldiers did not to photograph from up close or from afar.While many of Robert Capas photographs of war, such as Death of a LoyalistSoldier, Spain 1936, do not seem particularly dramatic viewed now, in the 1930s they were hailed as the finest pictures of front-line action ever taken.44 Certainly, th is kind of close-up view of war was relatively new to viewers who were more used to images of fightings aftermath. However, captions applied by the picture magazines certainly played an important role in the world of Capas images as dramatic. As Fred Ritchin notes, Capas Spanish Civil War photographs were often accompanied by captions such as In the Heart of the Battle The Most fearfulWar Picture Ever Taken, and You can almost smell the gun powder in this picture, and the most famous, This is War in the British magazine Picture Post.45Robert crude(a)s book, The Americans. Frank traveled around theUnited States on a Guggenheim Fellowship in 1955/56 taking photographs of people at funerals, on the street, at drive-in movies, in restaurants, driving cars.Rather than rely on neat geometrical compositions to create abstract patterns, he focused on fleeting, contemplative facial expressions or include empty space to lend his photographs a sense of sad loneliness and of disjuncture betw een people.In his photograph Elevator Miami Beach the young raise girl looks wistfully off into the distance as her rich-looking patrons blur past her out the door. Its not possible to know whether it is her sadness the photograph conveys, or Franks.While the documentary aspect of Franks work in The Americans is highly subjective, like much of Magnums own work, he uses the element of artistic expression to create a whole different visual style, leading viewers to conclusions about his subjects at odds with the conclusions drawn from work in the Magnum style.

Smoking Should be Banned in all Public Places

Smoking Should be Banned in all Public PlacesThe numbers of mint who ingest have increase over the years. Although they are furnished with the knowledge of how un wakeless bullet can be, people still choose to poop. It is a personal choice and a highly addictive habit. Smokers choose to overmatch themselves to the health risks of ingest. It is non for the establishment or any third party to dictate whether or non a person should be allowed to smoke. However, locoweed does not only affect the smoker negatively. It also affects all the people around those who smoke because when people smoke in pubic the smoke travels eachwhere through with(predicate) the air, and the negative effects of this smoke affects all living, breathing creatures. consequently ingest should be toss outned in all universe places.People who smoke in general portray a bad example. Children are easily influenced in their growing stages. They imitate the people around them because they cannot differ entiate between right and wrong. Therefore they perceive the actions they see around them as the way things should be. Besides that, teenagers who see people smoke in public take it as precedent to arising smoking as wellhead. There is a saying that goes monkey see monkey do, which tells us that people imitate the actions of others as they see it in their mundane lives. Teenagers happen to think that smoking makes a person cool. When they see givings doing it on the streets it strengthens their belief in the coolness of smoking. Some teenagers think that smoking marks their conversion into adulthood and maturity. Hence, much teenagers start smoking due to the influence of seeing other people smoke in public places.If smoking is banned in public areas, it go out promote a better demeanorstyle for everyone. People will see it as a government endorsement for a better lifestyle of everybody. This is because by banning smoking in public areas the government sends the message th at the government cares about the health of the citizens and that the government discourages people from smoking. Thus, when smoking is not allowed in public areas it reminds people that health care is very important. It reminds each and every person that the government is seriously concerned for the well being of its citizens. Therefore, people would be reminded to live a healthy lifestyle.If smoking is banned in public places it safeguards the life of the smoker as well as that of the public. Studies have shown that bet on run smoke kills. Second hand smoke causes sudden infant death syndrome (SIDS), respiratory infections and asthma attacks in children. Besides that, reciprocal ohm hand smoke causes heart diseases and lung cancer in smoking and non-smoking adults. According to the Center for ailment Control (CDC), secondhand smoke contains at least 250 chemicals known to be toxic, including more than 50 that can cause cancer (CDC, 2009). These studies have proven that second hand smoke can cause cancer and is extremely bad for both(prenominal) the smokers and non-smokers health. In addition, the CDC also states that, The California Environmental Protection Agency estimates that secondhand smoke exposure causes approximately 3,400 lung cancer deaths and 22,700-69,600 heart disease deaths annually among adult nonsmokers in theUnited States (CDC, 2009). This means that just by being near people who are smoking, innocent people are dying of diseases that are caused by second hand smoke. This violates a non-smokers right to live a healthy lifestyle because just by being in public places where other people smoke they are subjected to breathing in toxic fumes. Consequently, the health of innocent non-smokers who are in public places are being jeopardized against their will.By disallowing people who smoke from smoking in public, it will cause smokers to smoke less(prenominal). Because smoking is not allowed in public, people are only allowed to smoke in their homes. This would mean that as broad as they are out of their homes at work, when they eat out, at the movies or even at the parks, they cannot smoke. Smokers will have to wait until they get home to twinkle up a cigarette. As a result, their cigarette consumption reduces and they smoke less. This in turn will benefit the smokers who have been trying to quit smoking but are unable to because they have more reason to stop. The law prohibits them from smoking in public areas, so cigarette consumption is reduced. Also, should they have an momentum to smoke in public they will put in extra ef lace to quash the craving because it is punishable by law. In addition, in that location is less temptation for smokers who want to quit smoking if the ban is enforced because no one will offer them cigarettes. Therefore, this allows them to abstain from smoking. This theory is proven in a report published in The Daily Mail (2008), stating, At least 400,000 people inEngland have quit smoking as a result of the ban on airying up in public places that was introduced last July. Smokers will benefit from this ban because it will help them reduce the amount as well as the frequency of smoking and it could also help them break their addiction to cigarettes. In the long run it could help them quit, and also help them develop healthier lifestyles.If smoking is not allowed in public areas it discourages non-smokers from starting to smoke at all. People will not be tempted to start smoking because they know that smoking is addictive, and if smoking is not allowed in public they will suffer from withdrawal from their addiction to the nicotine from cigarettes. The Wiltshire Times (2007) postulates, New research shows that one in ten smokers subscribe to have quit and over half of south west smokers have thought about quitting since the nationwide ban was introduced on July 1. If smokers choose to quit or even think of quitting because of the inconvenience of not being able to smoke in public, would it not, more so, prevent a non-smoker from smoking? Surely one would not intentionally subject themselves to an addiction knowing that they will suffer withdrawal symptoms due to that addiction. By banning smoking in all public areas, the government shows support for the fact that smoking is bad, and it helps to set changes to the mind set in people reminding them that smoking is not a healthy habit. Furthermore, smoking will no longitudinal be an issue when it comes to the influence of peers because nobody is allowed to smoke in public, so peers cannot pressure a person to start smoking.Some may signal that by preventing smokers from smoking in public, it infringes upon their rights. It is true that smokers have rights and these rights should not be infringed upon. However, a non-smokers right to breathe clean air should be taken into regard as well. When people smoke in public areas the toxic fumes travel through the air and into the lungs of others. Many non- smokers breathe in the second hand smoke and as a result their health is compromised. Should non-smokers be subjected to these unhealthy and vile smelling fumes every time a smoker chooses to light up a cigarette? Certainly not Smoking is a personal choice and people can choose to smoke but others should not be subjected to the health risks that come from inhaling second hand smoke. Peoples rights to breathe fresh and clean air should be protected, and along with that their right to maintain a healthy lifestyle without breathing in second hand smoke should be protected too.If people are prohibited form smoking in public it would be safer for the environment. When smokers smoke in public they tend to throw their cigarettes on the ground wherever they are. These cigarette buds are detrimental to the environment because they take a long time to decompose. According to McLaren (2005) Traditional butts are made of synthetic polymer cellulose acetate and never degrade, only breaking apart after roughly 12 years. Because the cigarette butts are not biodegradable they pollute the land. Most of the cigarette butts that are littered all over the place end up the rivers, and in the bellies of fishes and other aquatic creatures. McLaren (2005) also postulates that, within an hour of contact with water, cigarette butts can begin leaching chemicals such as cadmium, lead and arsenic into the ocean environment. This pollutes the water supply that will inevitably end up in the stomachs of all living creatures. If the smoking ban is enforced the littering of these buds will no longer be an issue and the environment will be cleaner and healthier for everyone.If the current situation continues, the health of many people will remain in danger.The death toll for heart and lung diseases as well as the death toll for cancer will continue to gradually increase if the current smoking situation is not corrected. By putting forth a ban of smoking in public places the government promotes a healthier lifestyle for everybody and it protects every citizen from many diseases and health risks such as cancer and other deadly diseases. Besides that, the ban will eliminate the bad example set fort by people smoking in the public. Children and teenagers will then have a mindset implemented by the government that smoking is bad. The ban will discourage non-smokers from starting to smoke, thus preventing them from getting addicted to cigarettes. Also, it will encourage smokers to quit, and aid them on the difficult journey to be freed from the bounds of addiction. Consequently there will be no cigarette buttes littered all over the place affecting the environment negatively. By prohibiting people from smoking in public the government is protecting the God given rights of its people to live a full and healthy life. It encourages people to take steps to better their quality of life and to take care of themselves as well as the people around them. Therefore, smoking should be ba nned in all public places.ReferencesMcLaren, W. (2005). Cigarette Butts i Huge Problem, Two Solutions. Treehugger. Retrieved December 7, 2009 fromhttp//www.treehugger.com/files/2005/10/cigarette_butts.phpOne in Ten Quit Smoking Since Ban (2007). Wiltshire Times. Retrieved December 5,2009 from http//www.wiltshiretimes.co.uk/news/1706214.one_in_ten_quit_smoking_since_ban/Secondhand Smoke (2009). Centers for Disease Control and Prevention. RetrievedDecember 5, 2009 from http//www.cdc.gov/tobacco/data_statistics/fact_sheets/secondhand_smoke/general_facts/index.htmSmoking ban spurs 400,000 people to quit the habit (2008). Mail Online. RetrievedDecember 5, 2009 from http//www.dailymail.co.uk/health/article-1030575/Smoking-ban-spurs-400-000-people-quit-habit.html

Elizabethan Masques: Mystery, Intrigue, and Suspense

Elizabethan Masques Mystery, Intrigue, and SuspenseJocelyn M. WignoMasques, or masquerades as they ar more commonly known, have perpetually been a touristy choice of entertainment because of the atmosphere of mystery they create. Masquerades began in the fifteenth century and are still a favoured theme for parties today, but an abundance of great masques were performed throughout the reign of Queen Elizabeth I.*The defining characteristic of any respectable masquerade ball is the costumes, particularly the rarify and fantastical masks found there. People attending masques always wear a mask that cover charges, or partially covers, the face. There are many varieties of masks. Some of the main styles of masks include the head mask, the stick-mounted mask, the full-face mask, and the half-face mask.*Stick-mounted masks are, as the note suggests, masks attached to long, thin sticks in order to be more easily equipped and removed. However, these masks are tiresome to continue holdin g for long periods of epoch, and so are usually only used at very short masques or as souvenirs. Head masks cover the entire face and head. They are usually of elaborate construction, huge, and covered in intricate designs and decorations. This makes it difficult to eat and drink while wearing one, so these masks were only for the most dedicated of partygoers. Full-face masquerade masks cover the entire face and are attached in the back by a string, unlike everyday riding masks, which were held to the face by a drop cloth kept in the mouth.* This is so that the mask can easily be moved to the top of the head for effortless eating and drinking. These masks as well as half-face masks were the most popular choice because of their easy accessibility. Half-face masks only cover half of the face, usually leaving the mouth unhindered for easy access. Masquerade masks are vividly decorated in many ways and are often accompanied by a variety of extraordinary costumes.*The idea of the masqu erade ball comes from mummers, mimes who conduct processions of torches during Christmas and wore costumes called Guisers that the tradition of wearing masks stems from.* Mummers got their start in ancient Egypt, but the first masquerade balls occurred in Italy, particularly in the city of Florence.*When masquerade balls first began to be performed, they were more like carnivals than a formal dance. The air was filled with the sound of drinking, gambling, and dancing, and everybody, including commoners, could buy a ticket in order to attend.* The upper trackes could get forth with expressing their political views without repercussions, and escape the ridicule that would come for even thinking of interacting with those of lower class.Many criminals would attend masquerade balls so as to use the anonymity to cloud their crimes, so it was not unheard of that there would be many robberies and fights at masquerades. The tradition stuck around anyway, and as time passed, masquerade ba lls gained more structure. They would typically be held from late evening to early morning, with music and dancing until supper was served. Supper was usually cold food and wine. There were theatrical performances after supper*Queen Elizabeth I herself was present at many a masquerade thrown in her honor. She was rumored to be quite fond of them, despite the fact that the central theme of most masques at that time was along the lines of the protective nature of men as well as womens innate fragility and demure nature. One of the distinguishing characteristics of a masque is the theme. Besides themes of young-begetting(prenominal) authority, stories of spiritual guidance were often prevalent throughout the Elizabethan era, though the stories did not have so much to do with the church as they did the Grecian and Roman cultures and their ideals.*Another distinguishing characteristic of masquerade balls is the fact that woman of the upper classes were allowed to perform in them. Upper class women were allowed, but if a lower class woman attempted to become a performer at a masque, it would have very lewd connotations. Queen Elizabeths own mother, Anne Boleyn, made her first display to the Tudor court at a Masquerade ball on March 1, 1522.Works citedAlchin, Linda. Elizabethan Masques. Np. Nd. http//www.elizabethan-era.org.uk/elizabethan-masques.htm. accessed March 6, 2017Cassidy, Julie. Mask. Np. Nd. https//finds.org.uk/database/artefacts/record/id/402520. accessed March 7, 2017Coper, Steve. The History of the Mummers and Philadelphia mummery Np. Nd. http//fralinger.org/about/mummers-history/. accessed March 6, 2017Elizabethan Masques. Np. Nd. http//www.elizabethanenglandlife.com/elizabethan-masques.html. accessed March 6, 2017Monson, Toren. The History of Masquerade Masks. Np. Nd. https//venetianmaskscollections.wordpress.com/2013/05/21/the-history-of-masquerade-masks/.accessed March 10, 2017Walton, Geri. Masquerade balls. Np. Nd. https//www.geriwalton.com/masq uerade-balls. accessed March 6, 2017

Racism in Literature Essay -- Racial Relations, Strange Fruit

Racism, a disease of the ignorant, is a horrific part of society, and has re ard its ugly head passim history, and is continuing to do the same today. Racism comes in many shapes and forms, directed towards a variation of cultures. It can end lives and tear communities apart. Often times, there are people who regain racialism, and are inspired to write about it, with the goal in mind to make a difference and change societies belief. Abel Meeropol and Harper downwind had that goal in common, when writing Strange Fruit, a poem about lynching, and To Kill a Mockingbird, a fabrication about a persecuting southern to. Both the contrast made and the word choice are effective parts of the poem. Symbolism and satire are also big parts. The theme of racism is also important, which is supported by the title and the authors tone.To begin, the contrast within the poem, and the word choice were all very meaningful, and helped develop the poem into the horrendous piece of literature it is. First, the contrast of hideous events in the beautiful south is quite an eye opener. The author paints a beautiful image of the setting, with Pastoral exposure of the gallant south Scent of magnolia sweet and fresh (5&7). Then, in the next lines, the reader learns of the horrific events that have occurred, taking the beauty out of the land. inglorious body swinging in the poplar trees. The bulging eyes and twisted mouth(3&6). The second meaningful part of the poem is having every word hit home. Abel Meeropol knew how to take words, and use them for a way in which he could shock the reader, and make him or her have an empty guilty feeling in the pit of his or her stomach. Next, numbness has become a feeling that is felt too often, and that option is thrown out the window wi... ...which can be looked at like being racist towards others is a sin. However, unlike in Strange Fruit, the tone in To Kill a Mockingbird is very innocent, due to the point of view of a child. This supports the theme because it shows the reader why racism is wrong, without any bias, or bitterness. Incredible authors can make the reader feel impregnable emotions through their words, and take on a new perspective on the world, and life itself. Abel Meeropol, author of the poem Strange Fruit, and Harper Lee, author of the novel To Kill a Mockingbird, did a great job of beginning to knock down the mental stone walls people have built overtime, and making them see the wrongness of racism. The authors both used inner-contrast, word choice, symbolism, satire, and the theme of racism, supported by the title and tone, to create incredible, groundbreaking works of literature.

Creative Story: If At First You Dont Succeed :: essays research papers

Creative Story If At First You Dont Succeed"Eureka" surface-to-air missile excitedly exclaimed. "Ive d unitary it Im set for life andmy happiness is assured. With this new invention Ill be honored for mybrilliance, and I might even win the nobel prize" he chirped ecstatically.surface-to-air missile was a chicken, the great great great grandson of the Not-So-GreatChixken Little, who, in case the reader is ignorant, was the chick who thoughtthe sky was falling and got everyone eaten by a crafty gaga fox SIC. Sam was awell built chicken, quite muscular in fact, and extremely inventive, but,unfortunately, he had no brains when it came to reality. His motto was " If atfirst you dont succeed, provide, try again," and he would never give up even ifthere was no way he could win. To this very day he still has an annual footballgame against a childhood friend, Bono, who is a prize winning, full grown bull.(In case the reader hasnt discovered it, after every game, Sam has a run across tothe hospital where he is an infamous character, continually joked about by thenurses and doctors who work there.)***"You may see Mr. Monty now, sir," the secretary informed Sam.He nervously eyed the admittance in front of him. The big, bold letteringstatedMR. JP MONTYEXECUTIVE PRESIDENTDoubts about his ability to make a good impression entered his mind,but Sam immediatly gathered himself together, glanced back at the sheepsecretary, and entered the room. THe stately pig sat behind a magnificentlycarved oak desk in the most luxurious speckle Sam had ever seen.A plush oriental rug covered the floor from wall to wall, and paintings,pictures, and diplomas adorned the brightly colored walls. Extremely expensiveornaments were conspicuously displayed, spreading a DO-Not-Touch atmospherearound the room. But the room was nothing compared to the piglounged in the sleek, black, leather chair. He was not fat, he was immense, hehad one of those stomachs that liter ally hung over his waistband. His four chinswiggled like Jell-O as he turned his chubby head to face Sam."Yeees," Mr. JP Monty stated suggestively." Sir, this is your lucky day I am the esteemed architect of thegreatest invention of all time, and I have picked you, to invest in it. Thiswill certainly earn you enormous wampum ince the public gets ahold of mywonderful creation. What do you say sir? Are you with me or not? I know that ifyou decide to endorse my idea, then you will be greatly rewarded in the future,