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Teaching media in education
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Stuart Hall Four intellectuals established Cultural Studies, namely, Richard Hoggart, Raymond Williams, E.P. Thompson, and Stuart Hall. Hall (b. 1932) has had the lion's share of publicity. Scholars working in this tradition often take their cue from his articles. Hall tells us that he grew up in Jamaica, the "blackest son" (in his words) of a middle-class, conservative family; from an early age, Hall says, he rejected his father's attempt to assimilate into white, English-speaking society (his father worked his way up through the United Fruit Company). In 1951, he won a scholarship to Oxford (he was a Rhodes scholar)--and (as they say) the rest is history. As a student at Oxford, he sensed that his color as well as his economic status affected the way people related to him. At this time, he social life centred on a circle of West Indian students. He subsequently won (in 1954) a scholarship to pursue post-graduate studies. At this time, he aligned himself with the emerging New Left (a group opposed to Stalinism and British imperialism). During the period 1957-61, he taught in secondary school in Brixton, London, and edited the Universities and Left Review, and during the period 1961-64 he taught film and media studies at Chelsea College, London. During the period 1964-79, he taught at the Centre for Contemporary Cultural Studies (CCCS), Birmingham. Over the years, Paul Corrigan, John Fiske, Dick Hebdige, Angela McRobbie, David Morley, and Paul Willis have worked at the Centre. Hall has always combined activism and theorizing. He says that he has always been within "shouting distance of Marx." For example, during the 1950s, he was--along with Raymond Williams--a leading light of the New Left. For ten years or so he rejected M... ... middle of paper ... ...ain latent motives which could not otherwise be expressed, particularly urges toward aggression and violence. As well, the Western serves to the function of articulating and reaffirming primary cultural values, i.e., progress and individualism, by reenacting the triumph of civilized order over savage wilderness. Works Cited Barthes, Roland. 1977. "Rhetoric of the Image" (1964). In Image/Music/Text, trans. Stephen Heath. New York: Hilland Wang. (A synopsis of this important paper is offered on the COMS 441 Web site.) Hall, Stuart. 1974. "The Television Discourse--Encoding and Decoding." In Studies in Culture: An Introductory Reader, ed. Ann Gray and Jim McGuigan. London: Arnold, 1997, pp. 28-34. ---. 1980. "Encoding/Decoding." In Paul Morris and Sue Thornton (eds.), Media Studies: A Reader. 2nd edn. Washington Square, NK: University Press, 2000, pp. 51-61.
5 Feb 2014. Fiske, John. The. Television Culture. London: Methuen & Co. Ltd, 1987: Ch. 78.
Tuchman, Gaye. The TV Establishment: Programming for Power and Profit. New Jersey: Prentice Hall, Inc., l971.
Nelson, R. (2009). Modernism and Postmodernism in Television Drama. In: Creeber, G Televisions: An Introduction to Studying Televsion. 2nd ed. London: British Film Institute . p.90.
"Kennedy, John F." Television in American Society Reference Library. Ed. Laurie Collier Hillstrom and Allison McNeill. Vol. 3: Primary Sources. Detroit: UXL, 2007. 65-76. U.S. History in Context. Web. 13 Jan. 2014. Source.
One of the mediums by which this cultural shift has continually happened is through television. Not only does culture affect choices made by those in the television industry, but popular series and talk shows, whether intentionally or not, name what culturally acceptable regarding many social issues. Television, TV for short, is referring to the telecommunication medium by which ideas are transmitted into moving pictures. The Television industry will be defined as the group of brains behind the creating process of a television show of any genre. Genres each have their own purpose and effect on the audience; talk shows mean to engage, while sitcoms, drams, mini-series, and television comedies are meant to entertain. Regardless of its intentions, each genre of TV has an affect on the people who internalize what they are watching.
Paul S. Boyer. "Television." The Oxford Companion to United States History. 2001. Retrieved November 24, 2011 from Encyclopedia.com: http://www.encyclopedia.com/doc/1O119-Television.html
Wheeler, Robyn. “Making classical history”. American Visions (March 1993) pp.44 Wright, Marian. Black Americans, New York: Gale Research Inc, 1994.
Any act of conscious communication always true, in varying degrees, two fundamental objectives. One is to inform, instruct and describe, and the other is to entertain or occupy. The products of the mass communication industry made that mandate the particularity that are targeted to a wide receiver, whose acceptance is intended to conquer. The intent of the act is expressed with the term broadcast (spread through mass media), which once meant to sow broadcast the farmland. The cinema, especially the US, is the great communication industry of the twentieth century. Although in recent decades seems to have given primacy to television, the information, education and entertainment on Western culture influence is undeniable.
Tolson, A. (2006) Media Talk: Spoken Discourse on TV and Radio. Edinburgh: Edinburgh University Press.
My intention here is to acknowledge two problems that I believe all scholars of "the visible" will encounter at some point in their work. Both showed up early in my research on commemorative artworks, but I suspect that they crash everyone's party at some point. I have no "solution" to these problems, but I believe they should, actually must, be addressed in work on visual rhetoric. The first, "readability," is both a practical and theoretical problem having to do with the possibilities of interpretation in visual culture. The second, which I'll simply label "materiality" for the moment, has a presence in numerous arenas beyond the study of visual culture, but remains nearly unaddressed and nearly unacknowledged in rhetorical work on visual images.
Shapiro,M., & Lang, A. (1991).Making television reality: Unconscious processes in the construction of social reality. Communication Research, 18, 685–705. doi: 10.1177=009365091018005007
Mr. Berger states in his essay, “The reciprocal nature of vision is more fundamental than that of a spoken dialogue. And often dialogue is an attempt to verbalize this- an attempt to explain how, either metaphorically or literally, “you see things” (120). This statement is a use of the rhetorical strategy, ethos, which is what Mr. Berger uses to gain influence and trust with the academic audience that he is intending to instill new knowledge in. This is a strong use of ethos that leads into how art is viewed so
The main point of this book is that this hypothesis is wrong. It focuses on the shift from written text to television as the main mode of cultural communication, and tries to analyze how it affected our culture, how the means of communication influence the content that is communicated. According to Postman, it changed the way people perceive, it changed the way people are even capable of perceiving, it changed the things people think, it changed the...
Hartley, John (2002), Communication, Cultural and Media Studies: The Key Concepts, London, Routledge, pp. 19-21.
Gauntlett, D. Hill, A. BFI (1999) TV Living: Television, Culture, and Everyday Life, p. 263 London: Routledge.