May 30, 2016 · Identify and explain the how the U.S. government has regulated language issues in regards to broadcast radio and television. Identify and explain the how the U.S. government has handled language issues in regards to the recording industry. How is freedom of speech handled at UCF? Identify and explain how film clips were used to explain course ...
The film clip from "Freaky Friday" was used an example of intrapersonal communication. ... were studied using the basic course as a place to gather subjects and explore these important questions. ... A video clip of a singer at an NBA game was …
Dec 19, 2018 · Determination of the core concepts and film clips. The learning content of the NI course was derived from the components from Quality and Safety Education for Nurses . The researchers opted to use film clips during five of the 15 available course weeks, based on the results of Sun and Cheng . They reported that the use of multimedia, such as a film, throughout …
The relationship between movies and culture involves a complicated dynamic; while American movies certainly influence the mass culture that consumes them, they are also an integral part of that culture, a product of it, and therefore a reflection of prevailing concerns, attitudes, and beliefs. In considering the relationship between film and ...
Which step is the most problematic in the SIERR hierarchy of active listening? Phase 3:Calm, Abuser may deny violence.
How has the conceptualization of the channel changed over time? Social media, telephones, internet, and etc. were formed allowing for more ways to receive a message.
Which SMCRE variables do you have the most control over? True or false: The SMCRE variable a speaker most has in control over is the speaker variable.
Both ignored the fact that mass communication's power resides in the uses that people make of it. The development of a scientific perspective on mass communication led to the emergence of the limited-effects perspective.Nov 21, 2016
The channel, or medium, used to communicate a message affects how accurately the message will be received. Channels vary in their “information-richness.” Information-rich channels convey more nonverbal information.
Medium serves as the Means of communication, while Channel refers to the Means of Transmission of the message between a sender and a receiver (or audience). ... Hence, Medium is a broader term including appropriate Channel to succeed.Jun 25, 2018
According to the SMCRE model of communication, which of the following best describes the environment of a speaking occasion? The physical surroundings in which one speaks.
Which is the best example of an advertising slogan designed to appeal to the self-actualization need? "Be all that you can be."
Which of the following is most likely an example of an assigned group? Which of the following is not meant by the term information overload? Which approach to reducing anxiety would be best implemented through intrapersonal communication? extemporaneous speech.
Mass society theory argues that with industrialization and subsequent social changes, people have become isolated and alienated. Mass society, as depicted by Kornhauser, refers to a social system in which elites are readily open to influence by non-elites.
Media is the best way to spread knowledge, information and news from one part of the world to the other. Media educates the people to know about their basic rights and how to use them. It is also a link between the government and people because all the policies and activities of government are conveyed through media.Dec 22, 2021
But the mass media are also shaped and influenced by social groups and institutions. This is the nature of the mass media dynamic. Individuals and groups in society influence what mass media organizations produce through their creativity on the input side and their consumption habits on the output side.
Film clips could provide unexpected teaching moments to help students to gain an understanding of vague or complex concepts and also could provide an enjoyable learning strategy within the flipped learning environment. The C‐REVERSE design that was developed in this study provided the students with an opportunity to be better equipped for using NI in the clinical setting, as they are likely to interact with increasingly more advanced information technology in the future. This study shares valuable ideas for nursing educators and provides rational advice for selecting instructional strategies to guide flipped‐learning online‐class development. Further studies might not only include experimental studies that apply the design developed here, but also qualitative studies, such as narrative accounts from students’ subjective interpretations of flipped learning classes or courses using film clips.
Among the 15 weeks of flipped learning classes for the NI course, five classes were designed using film clips. During this phase, the educational intervention was manualized. The NI course was made available to students via the class registration system.
In Korea, flipped learning has been an evolving learning method and, as discussed in prior studies, has attracted considerable attention due to its self‐directed process (Lee, 2013; Lee & Hwang, 2016 ). Later emphases on students’ active classroom involvement have been consistent with current educational policy that emphasizes learner‐centered interactions (Acelajado, 2014; Jeyantha, 2016 ). In this study, the C‐REVERSE design that reflected the basic characteristics of flipped learning using film clips was developed. The participants engaged in an asynchronous online class with the advantage of no restriction on time and place, followed by interactive teaching and learning activities during the in‐class stage.
Descriptive statistics, including percentages, means, and standard deviations, as well as paired t ‐tests, were used to compare the differences between the pre‐ and post‐test scores for the knowledge questionnaire; analyses were carried out by using IBM SPSS for Windows (v. 22.0; IBM Corporation, Armonk, NY, USA). The reviewers used directed coding to examine the feedback from the students regarding the flipped learning classes with film clips and each reviewer independently recoded the transcripts. To arrive at a consensus on the identified themes, the researchers discussed and reviewed the merged data for discrepancies. The extracted themes were returned to the participants for accuracy and validity checking (Rubin & Rubin, 2005 ).
Each student's intention to recommend this class to others was queried by using a 5‐point Likert scale, ranging from 1 (“never recommend”) to 5 (“strongly recommend”). A higher score indicated a stronger intention to recommend this type of course.
Study approval was granted by the Inje University's Institutional Review Board for Human Subjects (2‐1041024‐AB‐N‐01‐20130814‐HR‐006‐02) in accordance with the World Medical Association's Code of Ethics. All the students were assured that participation was voluntary, participation would not affect their academic progress, and that their confidentiality would be preserved. After the potential participants received an explanation of their human rights, information about the purposes and procedures to be used in the study, assurance that there would be no negative consequence related to non‐participation, and assurance that the data would only be reported as an aggregation was provided. In addition, to maintain confidentiality of the participants’ responses, the researchers used the students’ birth dates to match and measure changes in scores between the tests.
The asynchronous online educational environment for implementing the flipped learning using film clips, including the five core concepts, was established. All the participants who enrolled in the NI course were second‐year nursing students.
Just as movies reflect the anxieties, beliefs, and values of the cultures that produce them, they also help to shape and solidify a culture’s beliefs. Sometimes the influence is trivial, as in the case of fashion trends or figures of speech. After the release of Flashdance in 1983, for instance, ...
Films like Dr. Strangelove (1964), M*A*S*H (1970), The Deer Hunter (1978), and Apocalypse Now (1979) portray the military establishment in a negative light and dissolve clear-cut distinctions, such as the “us versus them” mentality, of earlier war films.
As a result, the MPPDA instituted the Production Code, or Hays Code (after MPPDA director William H. Hays), which remained in place until 1967. The code, which according to motion picture producers concerned itself with ensuring that movies were “directly responsible for spiritual or moral progress, for higher types of social life, and for much correct thinking (History Matters),” was strictly enforced starting in 1934, putting an end to most public complaints. However, many people in Hollywood resented its restrictiveness. After a series of Supreme Court cases in the 1950s regarding the code’s restrictions to freedom of speech, the Production Code grew weaker until it was finally replaced in 1967 with the MPAA rating system (American Decades Primary Sources, 2004).
Griffith’s film The Birth of a Nation, presenting a racist perspective on the U.S. Civil War and its aftermath, reflected racist concerns of the era in which it was produced.
Moore’s films present a liberal stance on social and political issues such as health care, globalization, and gun control. His 2002 film Bowling for Columbine, for example, addressed the Columbine High School shootings of 1999, presenting a critical examination of American gun culture.
Film and the Rise of Mass Culture. During the 1890s and up until about 1920, American culture experienced a period of rapid industrialization. As people moved from farms to centers of industrial production, urban areas began to hold larger and larger concentrations of the population.
Bonnie and Clyde ’s violence provides one example of the ways films at the time were testing the limits of permissible on-screen material. The youth culture’s liberal attitudes toward formally taboo subjects like sexuality and drugs began to emerge in film during the late 1960s.
“Inside Out” is the story of Riley, a young girl we follow from birth through her adolescence as she and her family move from a small town in Minnesota to the city of San Francisco. The audience experiences Riley’s life through the lens of her emotions – yes, her actual motley crew of emotions. We get to watch Joy, Sadness, Fear, Anger, and Disgust all run around in Riley’s head helping her work through her every day situations by manning a control panel inside her brain. Though “Inside Out” is an adorable Pixar film in every sense, many of the psychological happenings in the film ring true. Check out some of the awesome psychological truths below that “Inside Out” adapts for the big screen!
Our intentions may be good, but “Inside Out” actually emphasizes the importance of Sadness.
“Inside Out” gives us a view into the simplicity of emotions when we are young and how they become more complex as we age! Riley’s control panel starts off very basic, there are only five emotions and only one of them can be at the controls at any point in time. We also see at various times in the movie that adults have a larger control panel than Riley (humorously depicted by her mother’s emotions lined up at their controls, influencing how she quibbles with her husband at the dinner table).
Western culture likes to believe that logic and reason should drive life – but really emotions are behind the wheel. Think of Riley’s move to San Francisco where all appears to be dark, gloomy, and depressing – she was looking at this new adventure through the lens of Fear and Sadness. Once she finds her bearings however, that lens shifts! Emotions influence our perception of the world, how we remember our memories, and even how we make our every day decisions.
Our memories may not actually be bright orbs and they certainly don’t spin on actual tracks, but Pixar’s interpretation is an incredibly clear depiction of the concept of memory conversion while we sleep. Our hippocampus, the memory center of the brain, acts to create and consolidate our memories.
To guide your exploration of the media that surround you, the Center for Media Literacy developed these five core concepts: 1. All media messages are constructed. Media texts are built just as surely as buildings and highways are built. The key behind this concept is figuring out who constructed the message, out of what materials and to what effect.
Understanding the grammar, syntax and metaphor of media language helps us to be less susceptible to manipulation. 3. Different people experience the same media message differently. Audiences play a role in interpreting media messages because each audience member brings to the message a unique set of life experiences.
4. Media have embedded values and points of view. Because they are constructed, media messages carry a subtext of who and what is important — at least to the person or people creating the message.
Most media messages are organized to gain profit and/or power. Much of the world’s media were developed as money-making enterprises. Newspapers and magazines lay out their pages with ads first; the space remaining is devoted to news. Likewise, commercials are part and parcel of most television watching.
Now, the Internet has become an international platform through which groups or individuals can attempt to persuade. By considering the core concepts behind every media message, you equip yourself with an ability to analyze and interpret a message — and to accept or reject its legitimacy.
In a similar drive for clarity Alan Williams (quoted in Neale, 1990, 62) speaks of ‘principal genres’ to refer to what he sees as the three main categories of film: narrative film, avant-garde film and documentary. He reserves the term ‘sub-genres’ to refer to what we term film genres.
This pioneering effect was to make the camera more accessible to voices formerly marginalized and by the 1970s and 1980s women, Blacks and Beurs (the Arab community in France) were entering into film-making.
Hollywood’s great subject, heterosexuality, is inscribed into almost every genre. So genre is a first place to examine the workings of ideology. The other area is, of course, that of representation (class, race, gender, age and so on). Genres function ideologically to reproduce the capitalist system.
The musical therefore functions ideologically to resolve the fear of difference. In this way, it functions as a text which disguises one of society’s paradoxes. By extension, of course, this means that it makes invisible the other sets of paradoxes that are inherent in society, thereby ensuring society’s stability.
The director of photography is also responsible for the choice of cameras, lenses, film stock and filters. Camera positions and movements, the integration of special effects are also the director of photography’s responsibility as is the overall style from scene to scene (including balance of light and colour).
There was a need for, first, a theoretical analysis of the way in which mainstream cinema constructs women and the place of women; second, a critical analysis of the work of women film-makers; and, third – as a conjuncture of these two points – the establishing and implementation of feminist film practices.
Bordwell (1985, 19) quotes the Hollywood film narrative: ‘we often assume that a Hollywood film will end happily simply because it is a Hollywood film’. Or the star can be the source of intertextual motivation: if she or he is a singer as well, the audience. 243. musical.