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Cultural difference in child development
Cultural difference in child development
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National identity can be defined as an imagined construction through discourses and rituals (Alane and Charles, 2008; Barker, 1999). It is both politically and culturally formed (Alane and Charles, 2008), which presents people with a sense of belonging to their nation states (Duncan, 2003). This essay is going to explore how the radio programme arouses a sense of national identity in its listeners, through the example of “Little Souna (In pinyin: suǒnà or lǎbā)”. It is a children’s radio programme targeted at the 5-year-old to the 7-year-old (Personal research, X, 2012; table in appendix), which contains stories, poetries, songs, broadcasting plays and interactions. The reason of choosing this programme is related to some researches, which claims that 5-year-old children began to talk about their national membership (Barrett, 2000). In that case, the analyses on the contributory role of “Little Souna” in nourishing children’s initial sense of national identity can make sense. There are three major parts of analyses on the “Little Souna” in the essay below: the first part concerns with the linguistics, where the function of language, sound and words will be examined; the second part is related to the traditional culture such as traditional music, traditional literature and traditional morality; the third part is a case study of Yushu earthquake, which also shows the power of the radio program in strengthening children’s sense of national identity.
To begin with, “Little Souna” takes advantage of linguistic power to implant national consciousness into its listeners. As Herder, Fichte and Humboldt addressed, ‘language is a defining essence of a nation’ (cited in Simpson, 2007). Chinese, doesn’t only unite the nation, but also symb...
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...evision, Globalization and Cultural Identities, Buckingham: Open University Press p7-8; 23-32;p64-69
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Lorenzo-Dus, N. (2009) Television Discourse: analyzing language in the media, Basingstoke: Palgrave Macmillan p184-191
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Sonnenschein, D. (2001) Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema, USA: McNaughton & Gunn
P82, p155, p179,p131p63 p77p104-107
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Lv, J. (2007) 中文书名翻译还是英文?[Online]: http://cdmd.cnki.com.cn/Article/CDMD-10200-2007158298.htm (March 17th, 2012)
P4-11
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Zhang, Z. (2005)
[Online]: http://lib.cqvip.com/read/detail.aspx?ID=15287239 (March 17th, 2012)
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Hu, K. (2009)
[Online]: http://yuedu.baidu.com/book/view/08e187f36a67c7311d0692f3.html (March 17th, 2012)
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Ren, X. and Wang, D. (2010)
[Online]: http://news.xinhuanet.com/society/2010-04/20/c_1244573.htm (March 17th, 2012)
foley sounds—so I've chosen what I consider to be the key, most important scenes in the film and
Although still adopting a traditional literary form, the poetry writing can be regarded as an example of the heterogeneity and border-crossing of cultural-scape in globalization period. Those poems were produced under the brunt of the international mobility that is propelled by the capitalist globalization, but precisely and paradoxically, in a suspending situation caused by national regulation, a “state of exception” of this mobility. The juxtaposition of the frustration on foreign life and the flare of nationalist emotion (with the rhetoric emulating ancient barbarian-expelling heroes), may imply a paradoxical consequence in globalization: the international mobility undergirding the national awareness instead of undermining it. Following this thread, the publication of this kind of poetry in 1930s, the oblivion of it after war, and the subsequent re-discovery, recognition, and research of it can be all taken as symptomatic traces of the localization, articulation, and transformation of national consciousness (both as “Chinese” and “American”) in the continuous globalization. Needless to say, those poems are deeply flawed in terms of aesthetics due to the rather poor literacy of their authors. It would be invoking to put these poems beside those “high art” works also produced in globalization context, such as the works on the Eiffel Tower and the London fog by Huang Zunxian (黄遵宪), a late Qin intellectual caught in between the East and the West, the
Wu, C. Y. (2007). A Study of Joe Hisaishi's Film Music in Hayao Miyazaki's Animation. (Master's thesis, Taipei University of the Arts, Taipei, Taiwan), Available from National Digital Library of Theses and Dissertations in Taiwan. (003604684)Retrieved from http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id="095TNUA5249003".&searchmode=basic
After listening to all four movements of Beethoven’s Symphony No. 5 in C minor, I have suddenly been awakened to the tremendous influence that the Classical Form of music has had on modern day works, especially in the area of the film industry which it is used to create drama, tension, and joy. History owes a debt of gratitude to composers such as Ludwig van Beethoven, who build upon the legacy of pioneers such as Joseph Haydn and Wolfgang Amadeus Mozart to create his own unique blend of symphonic compositions which will be revered throughout generations because of their continued appeal to the
Rumsey, Francis, Time McCormick. Sound and Recording, an Introduction . Woburn , MA : Focal Press, 2002.
In conclusion, I have demonstrated how Coppola exploits a wide array of sound and editing to create suspense, intensity, and anxiety in the sequence to affect the audience’s emotions, using diegetic ambient sound effects, non-diegetic music, voice over and four editing types. With this sequence, Coppola has shown the savagery of war and our complicity in this violence as an audience.
The scene is always the same: the three of us sitting in a room together, talking. I see her from the corner of my eye, glancing for only a second or two, but always long enough to notice the look on her face, the expression I’ve become so painfully familiar with over the years. I am forced to turn away; the conversation resumes. She is a few feet from us. She hears everything, and understands nothing except what she can gather from the expressions on our faces, the tone of our voices. She pretends not to be bothered, smiling at us and interjecting random questions or comments in Chinese—a language I was raised to speak, a language I’ve slowly forgotten over the years, a language that is now mine only by blood. It is an earnest but usually futile attempt to break through the invisible barrier that separates her from us, and in spite of all her efforts to hide it, that sad, contem...
Music can decipher a narrative event by indicating a perspective. To unify a set of diverse images and provide rhythmic and formal continuity and momentum, a film’s structure is more often than not, directly articulated by a musical structure. Music can assist the dialogue and visuals of film and often is inaudible (e.g. music is meant to be heard unconsciously, not consciously). Music has been used by directors to reinforce or strengthen certain weak scenes in film and then on the other hand when music is not needed to reinforce a scene
Sound as we discuss in our discussion question section, sound plays a significant role in every scene, it helps the audience in many ways such as to know the audience what is going to happen or to get the into the character. Now on days many directors increase realism brought on by sound inevitable forced acting styles to become more natural the scene can be identifying a digetic sound. Many people may think that the sound effect that a director use in a movie, novella or documentary is the same, they are totally confused, its two types of sound such as digetic sound and non digetic sound
In his poem, “Notes from the City of the Sun”, Bei Dao utilizes obscure imagery consistent with the Misty Poets and veiled political references to illustrate the struggles in Chinese society during the Cultural Revolution. The poem is sectioned into fourteen short stanzas containing imagery that are symbolic of the cultural hegemony in China under the rule of Mao Zedong. Bei Dao, born Zhao Zhen-kai, is an anti-revolutionary poet and one of the founders of a group known as the Misty Poets. The Misty Poets wrote poems that protested the Cultural Revolution led by Mao Zedong. Therefore, a lot of Bei Dao’s poems speak out against the Cultural Revolution and the restrictions that it placed on any form of art. Bei Dao’s poetry is categorized as “misty” because of the ambiguity in its references to Mao Zedong and the Cultural Revolution. An obscure imagery that occurs twice in “Notes” is the sun imagery. Another imagery that depicts the injustice of the Cultural Revolution is the description of freedom as scraps of paper. In the poem, Bei Dao also equates faith to sheep falling into a ditch; this is a depiction blind faith during the Cultural Revolution. The purpose of this essay is to analyze how Bei Dao’s use of the Misty Poet’s ambiguous imagery and implicit political context in the poem “Notes from the City of the Sun” to illustrate the cultural hegemony in China under Mao.
No human being is culture free. We are a product of the many different cultures which surround us. Our values, worldview and experiences are structured by the society and culture that exert influences on our lives each day.
Sound is an incredibly relevant part of filmmaking. Although often misunderstood, it helps to generate a more realistic episode by recreating the sonic experience the scene needs. Its main goal is to enhance the emotions that each section is trying to convey by adding music and effects alongside moving images. Psycho (Hitchcock, 1960), is one of the most popular films of the XX Century (Thomson, 2009). Commonly recognised as a masterpiece for its cinematographic, editing and musical values, it changed cinema forever by “playing with darker prospects (…) of humanity such as sex and violence (Thomson, 2009)”. This paper will analyse the sound effects used in the shower scene and its repercussions
Elizabeth Weis, John Belton (1985) Theory and Practice Film Sound, New York: Columbia University Press, pp 346.
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
Sound is important in film and how it is used to drive a narrative progression. I will analyse how and why in this essay. Covering the history of sound in films and the essential component it plays in the film industry.