Category: Media

Stratification Media Analysis Paper

Introduction

Media plays a significant role in shaping our understanding of society, influencing our perceptions of social hierarchies and reinforcing existing power structures. In this analytical essay, we will examine the phenomenon of stratification in media, exploring how various forms of media perpetuate and reflect social inequalities based on factors such as class, race, gender, and age.

Media Portrayals of Class

One aspect of stratification in the media is the portrayal of social class. Television shows, movies, and advertisements often depict characters from different socioeconomic backgrounds, showcasing their lifestyles, behaviors, and aspirations. These portrayals not only reflect existing class divisions but also reinforce class stereotypes and perceptions.

In media, characters from privileged backgrounds are often portrayed as successful, confident, and influential, while those from lower socioeconomic backgrounds are frequently depicted as struggling, disadvantaged, or engaging in criminal activities. Such representations contribute to the perpetuation of class-based stereotypes and the reinforcement of social inequalities.

Media Representations of Race and Ethnicity

Another dimension of stratification in the media is the representation of race and ethnicity. Media often perpetuates racial stereotypes and biases through the characters it portrays and the narratives it presents. Minority groups are frequently marginalized, misrepresented, or portrayed in stereotypical and one-dimensional ways, reinforcing existing power dynamics.

Moreover, the underrepresentation of certain racial and ethnic groups in media further marginalizes them and perpetuates their exclusion from mainstream narratives. This limited representation reinforces a hierarchy where dominant groups maintain their social power while marginalized groups struggle for recognition and representation.

Gender and Stratification in the Media

Gender stratification is a pervasive issue in media, where traditional gender roles and stereotypes are often reinforced. Women are frequently portrayed as objects of desire, lacking agency or depicted in domestic roles. On the other hand, men are often depicted as powerful, assertive, and in control. These portrayals perpetuate gender inequalities, reinforcing societal expectations and limiting the potential for gender equality.

Additionally, the media’s portrayal of beauty standards contributes to stratification based on appearance. The idealized images of thinness, youth, and flawless beauty disproportionately affect women, leading to body dissatisfaction and perpetuating societal pressures.

Age and Media Stratification

Age is another dimension of stratification reflected in the media. Older individuals are often underrepresented or portrayed in stereotypical ways, reinforcing ageism and marginalizing the elderly. The media’s emphasis on youthfulness and beauty contributes to a culture that values youth over experience, further perpetuating age-related inequalities.

Media Influence and Social Change

While media can perpetuate stratification, it also has the power to challenge and disrupt existing power structures. As media consumers, we have the responsibility to critically analyze the messages presented to us and demand more inclusive and representative narratives. By supporting media that portrays diverse perspectives, challenges stereotypes, and promotes social justice, we can contribute to positive social change.

Conclusion

Stratification in media is a complex issue that reinforces social hierarchies based on factors such as class, race, gender, and age. By critically analyzing media portrayals, we can identify and challenge the biases and stereotypes perpetuated by the media. Moreover, by supporting and demanding more inclusive and representative media, we can contribute to a more equitable and just society. It is essential to recognize the power of media and its potential to shape our understanding of social hierarchies, ultimately striving for a more inclusive and egalitarian media landscape.

Rogerian Argument Essay on Political Satire

From Sara’s points, it is clear that media institutions draw a heavy line between fake news and real news. Through my reading, Berkowitz et al. (2016) demonstrate the relocation of mainstream journalism to professional mannerisms through the works of ‘The Fifth Estate,’ bloggers and communists who confront fake news organizations. This is where I will be discussing the concept of political satire by traditional journalist media institutions.

Firstly, what is political satire? It is the method to achieve entertainment through political speech that enforces forbidden arguments. An example of this is shown within celebrities, as Berkowitz et al. (2016) reveal that popular media platforms such as ‘The Onion’ “create fake-news stories based on real events while also providing serious content on cultural issues.” Most traditional news institutions believe this misleads the concept of real news commonly demonstrated in mocking celebrities, such as Miley Cyrus’ VMA performance. In doing this, constructs the ideology of what is considered worldly news that fails to inform the public of serious issues. Berkowitz et al. (2016) also state that ‘The Onion’s’ production is an “effort to increase web traffic and boost advertising income.” In saying this, not only does ‘The Onion’ shine an unnecessary light upon this performance story, but it was also listed as one of the top 10 most important global news. As a result, achieved professional media backlash. Secondly, Berkowitz et al. (2016) show that these ‘fake news’ organizations establish ‘hyper-realism.’ The concept of hyper-realism is the purposeful act of generating entertaining content on political scandals and careers for the social goal of critiquing. Berkowitz et al. (2016) find that these fake news organizations set a “journalistic tone to mimic traditional broadcast journalism.” This is where professional media organizations become watchful, to publicly distinguish fake news and real news to avoid the consequence of ‘parody and satire.’

Now, this is where professional boundaries come in. Berkowitz et al. (2016) state that these boundaries are created by traditional journalists who decide on the expectations of ‘ethical, professional and ideological’ barriers to avoid public satire upon world news. However, as their societal understandings change over time, so do their boundaries. This professionalist action is therefore implemented through ‘The Fifth Estate’ institution, as Berkowitz et al. (2016) state that their goals are to ‘engage in boundary work attempting to bring journalists back to the practices of their professional realm.’ This is why these fake news organizations are believed to be a main issue at this time.

Moreover, it is believed that journalism should support human action to positively inform the world instead of conducting propaganda for social entertainment. Although, other forms combine political satire and serious issues, that some Journalists agree with. It is believed that it does engage audiences to be politically active for either the right or wrong reasons. In the observer article in 2018, John Bonazzo states that surrounding John Oliver’s ‘daily talk show,’ “audiences pay attention to these types of issues.” This is because Jonathan Gray, a media professor states that “expectations get piled up… because a lot of people have lost faith in journalism… that they’ve moved their expectations … for journalists over to satirists.”

In conclusion, although some media institutions are negatively enforcing satire upon careers and politics to an extent, other media institutions ultimately demand the reflection of professionalism to refocus the importance of world news representatives.

Rogerian Argument Essay on Youtube

YouTube as an educational tool

Online videos are used increasingly and more and more effectively by both faculty and scholars, inside and outside of the classroom, to engross students in their learning, invigorate classroom discussion, and achieve course learning goals such as encouraging students to be well prepared for class sessions and getting them engaged in classroom activities (Fink 2003; Myers and Jones 1993). Well-developed working and learning assignments and activities can be essential in meeting these results and in designing an active learning surrounding. These same concerns apply when taking into account the many Web 2.0 tools that are now available, especially one particularly famous video-sharing website – YouTube.

YouTube was created in 2005 and now has over 70 million videos uploaded, 80% of which are amateur, 15% professional, and 5% commercial. According to a survey held by Joan-Francesc Fondevila-Gascón, Pedro Mir-Bernal, Javier L. Crespo, Marta Carreras-Alcalde, and Lluís Feliu-Roé and published by Observatorio (OBS) Journal, (2017), YouTube is one of the most popular platforms that students use in relation with learning and university-related work. ‘However, less than half of today’s college students (44%) believe that ‘most’ or ‘almost all’ of their instructors use Instructional Technology effectively in courses (Caruso and Salaway 2008). The challenge is for the faculty to catch up.’ That being said, the question raises whether lecturers and universities ought to adopt these new tools in their everyday teaching methods to both better interact with students and offer modern teaching ways.

‘The Internet provides incomparable opportunities for online participation, collaboration, communication, and user-based content development. It includes an even larger variety of material that can be easily captured and posted – for example, company presentations, product demonstrations, and webcasts; personal videos such as travel clips; and music, movies, or TV, including news clips, and so on.’ And since young people spend a lot of time on YouTube anyway, they will not even need to let go of their phones or their computers, they can just type in the topic that concerns them, and a ton of videos will pop up, including TEDx presentations, book reviews, study materials, films and so on. Some may argue that like anywhere on Google (although Google is a research engine that would include YouTube materials too), YouTube is filled with false information and fake news. But the more videos people watch the more they will be able to distinguish what is true and what is not, just like when reading. You start by watching many of them before you can finally select the one including the content you need. And you repeat that over and over again until you develop a skill to sort out which information, in our case which video, is trustworthy. Later, you can apply this skill when searching for another type of data, on another platform. Otherwise, without getting used to swiftly evaluating texts, searching for suitable content be an extremely time-consuming and confusing process, usually ending with you becoming frustrated and finally just picking whatever comes first just to get your assignment done. But with the experience of going through dozens of videos, articles, or journals, there appears to be a subconscious pattern – in other words, intuition, that gets you through all the useless and brings you to the important. Still, we need to have a rational understanding of what is trustworthy and what is not, and why. YouTube enhances that practice, which is useful in many aspects throughout higher education since many of the written assignments include researching and evaluating sources and information. Even if you are concerned about struggling to find the right video, one way to make this process more process easier to carry out is through video uploading and sharing at platforms specifically designed for schooling such as TeacherTube which is a video-sharing site, like YouTube, explicitly geared for education purposes. Teachers can post instructions and share lessons there. But even this type of managing the research procedure will soon not be needed as more and more universities form partnerships with YouTube by creating their channels, listed under YouTube EDU (http://www.youtube.com/edu), where they post videos of lectures. ‘In one year alone, YouTube EDU partnered with over 300 universities and other providers to offer more than 65,000 free lectures, news items, and snippets of campus life.’ Such channels at this moment provide users with costless access to over 200 complete courses from over a hundred universities. Users can subscribe to channels, make a playlist with their favorite channels and videos, post their content, and leave comments about others’ content, creating an interconnected group of like-minded users.

Many YouTubers influence people to find what is most interesting to them to study and provide them with information about personal experience and not only the scientific explanation of a problem and what is happening but also how they achieved success and how they developed their careers. In a world where the content is constantly changing the nature of the YouTube environment presents an outstanding opportunity for students to gain access to the most up-to-date material and current examples, whether to eke out classroom discussion or to emphasize new developments in the field, and the content is often current, absorbing, and creatively presented. Thus, even if you have no other sources of relevant information about what concerns you, especially if it is a peculiar interest from euthanasia to blacksmiths and conspiracy theories, you have the opportunity to learn something new about it from people who have had a point of contact with such issues.

What is more, since the material is Web-based, students and faculty can without difficulty pass it out to each other. Many YouTube channels have been developed where people with similar interests collect and share relevant content. Thus, in some cases, YouTubers even inspire others to become YouTubers themselves. And although the majority of them first start by creating their channel just because of an interest, to which they wanted to give a shot, some of them, lucky and hardworking enough, actually become famous, and even write a book when feeling they have gone through so much that they think it might be worth sharing their story on paper. More often than not, these stories include quitting college or university, but also a priceless experience with coping with people both in real life and on the internet, putting as much effort as they can in every new project, and, most importantly, with being happy with what they do for a living.

In addition, people who make videos know that the audience that watches varies significantly. So they elaborate on everything thoroughly and make it as simple as possible. Thus the viewer understands the basic idea and can develop their knowledge step by step. If you have missed or failed to understand a fundamental term in class, on which a great amount of the material depends, but you are too introverted to raise your hand and ask the professor to repeat it, your second best option is to unlock your phone, open the YouTube app and type in whatever is unclear to you. And you can be sure that, along with the more sophisticated ones, there will always be some videos with information on level ‘beginner’.

YouTube can also help you learn a language. Imagine you are into make-up but you need to study for your German class. The solution – watch make-up tutorials in German. You will be attentively listening to the person talking and thus, without even realizing it, memorizing words and phrases. Someone may suggest that you watch a German television. But then you take the risk of being occupied browsing through the channels until you find something that catches your attention and makes you not only stick to it but also be so attracted and amused that you suddenly forget that you came to study in the first place. And we all know that studying without even knowing that you are doing so is the best kind of studying. Of course, you will need the basic knowledge that you get from classes and real-life practice. But when you arrive at that specific point when you still have some vocabulary to memorize but writing it down over and over again just appears to not be working for you anymore, something that has a much stronger influence on the mind is required. Something that would pierce through the membrane of your brain, find shelter there, and stay for a long time, unlike the mechanical rewriting of a word that only makes it circle your brain, and then fly away whenever an external factor distracts you. And that something, which is needed, is pure interest, in our case for make-up, combined with the excitement that the unknown vocabulary causes in our minds.

Making use of SNS applications such as YouTube resembles having a personal tutor. You can set the speed with which you are learning, you can mix it with your interests so you find it more entertaining, time and place are no obstacles, and it is costless. For tons of people around the world, YouTube and a vast majority of other video-sharing platforms are transforming into a new educational model with a growing number of free-lance channels like the ‘Khan Academy’ providing free access to an immense amount of content on almost any subject you might stumble upon. This is all beneficial for people in developing and developed countries who strive for education but could have not afforded it or even obtained access. A wide variety of educational systems are consolidating free video platforms such as YouTube into their academic environment. Discussions are produced either by content creators or by the professors/lecturers themselves, working with a webcam and some simple software, and uploading them to YouTube. The link to the media file is then included in the course website where faculty and students can watch it on demand. Along with other advances of the 21st century, we are witnessing how the old campus-based way of education, which has been around for a thousand years, is being overthrown by a new model, open for anyone, anywhere, anytime. Of course, curious students being gathered and mentored by a well-informed and experienced teacher will always be an irreplaceable option. Those who want to stick to the traditional practice will still have the alternative to get it at a conventional university. But colleges also need to take into account the increasing number of students who might lack certain abilities to attend class in person, whether they want to or not. For them, online classes with high-quality video-on-demand are essential.

References

1. Fondevila-Gascón, Joan-Francesc, et al./ ‘Use Of Social Networking Sites And Instant Messaging Applications For University-Related Work And Studying’/ Observatorio (OBS*) Journal, (2017), 017-024
2. Sherer, Pamela, and Shea, Timothy/’Using Online Video to Support Student Learning and Engagement’/COLLEGE TEACHIng, 2011, Copyright ©Taylor&FrancisGroup
3. Apostolova, Marika/ ‘SEEU USE OF SOCIAL MEDIA: TEACHING AND LEARNING THROUGH SHARING KNOWLEDGE’/ SEEU REVIEW special edition/ Volume 9, Number 2, 2013
4. Lynch, Matthew/ ‘YouTube a valuable educational tool, not just cat videos’/ The Tech Advocate/06.29.2016

One Day Everything App
-case study/dissertation paper
-ADHD user friendly app
–

One Day Everything App
-case study/dissertation paper
-ADHD user friendly app
-research
-please try to include the ideas from notes
-please add bibliography at the end

It will be an Oral Presentation in Class Where I have to take a position/argumen

It will be an Oral Presentation in Class Where I have to take a position/argument in a question and stick to it and Read/Present it.
Question is: How can we best understand disparities and inconsistency in news media framing and public opinion on matters of violence and victimization?
My Argument/Position in Question is: Economics

The assignment is to put your brain into action with a defensible proposition of

The assignment is to put your brain into action with a defensible proposition of should the U.S. government require TikTok not have Chinese ownership, what company should step up and buy them?
Why? That is the most important part. Is the company doubling down? Adding a missing social layer? Targeting new demos? Wanting an adjacency to the music industry? There are a million ways to analyze this and see potential fits. Dig in.
For the sake of color when you consider the acquisition, Musk bought Twitter for $44B, and Meta bought IG for $16B. A student asked last night how much TikTok could sell for, and this is from the Washington Post. “TikTok, one of the world’s most popular apps, would probably sell for more than $100 billion, according to one financial analyst’s estimate. And that may be low: TikTok made $16 billion in sales in the United States last year, the Financial Times reported (https://www.ft.com/content/275bd036-8bc2-4308-a5c9-d288325b91a9) — a revenue figure that could value the company at up to $150 billion.”
Dig in on your subject company. Know their building blocks (see attached deck for building block term reference).
Then write a piece. Cite your sources at the end.

This paper discusses the problem of false information flooding on the Internet u

This paper discusses the problem of false information flooding on the Internet under the information media, and discusses the possibility of implementing network real-name registration system. We can start with China’s compulsory real-name of network information as an example.

I would like to have a report of all the documentation that has been used for th

I would like to have a report of all the documentation that has been used for the assignment that is attached below. since our professor is asking me to show me evidence of doing the work to prevent going to academic integrity

Media Archaeology Lab Collection Catalog Links to an external site.
CUB Library

Media Archaeology Lab Collection Catalog Links to an external site.
CUB Library OneSearch
ProQuest Historical Newspapers Links to an external site.
Popular Mechanics Archive Links to an external site.
Popular Science Archive Links to an external site.
Popular Electronics Archive Links to an external site.
Reader’s Guide [to Periodical Literature] Links to an external site.
LexisNexis Academic Links to an external site.
CU Library Research Databases A to Z
Media History Digital Library Links to an external site.
use 4 sources and utilize at least 1 secondary source and 1 primary source you can choose how many of each you would like to utilize just have 4 sources in total
historical research
Assignment Prompt: MAL Paper Prompt.pdf Download MAL Paper Prompt.pdf
Grading Rubric: MDST 2002 MAL Rubric.pdf Download MDST 2002 MAL Rubric.pdf
Paper Submission Checklist: Submission Checklist 2002.pdf Download Submission Checklist 2002.pdf
Sample Papers: Sample Paper 1_Redacted.pdf Download Sample Paper 1_Redacted.pdf | Sample Paper 2_Redacted.pdf Download Sample Paper 2_Redacted.pdf | Sample Paper 3_Redacted.pdf Download Sample Paper 3_Redacted.pdf
For this assignment, you must choose one artifact housed at the MEDIA ARCHAEOLOGY LAB Links to an external site. (MAL) and write a critical history of it. Specifically, your task is to explore how your chosen artifact was, and maybe still is, implicated in relations of power and authority.
This assignment asks you to engage in outside research, in the form of discovery/analysis of historical materials showing how the artifact was presented, received, used, discussed, and/or understood before it was discontinued. Please refer to the assignment prompt for detailed in instructions about this assignment, including word count, requirements for course readings and concepts, the policy for AI use, etc.
Your paper must be uploaded to Canvas by no later than 3:35pm MT on WEDNESDAY, MARCH 20th. GOOD LUCK!

An analysis of genre (Monster Movie, Comedy, Action, Horror, etc.) in the film to argue if The Host is an illustration of hybridity as defined by the course material

PROMPT:
Offer an analysis of genre (Monster Movie, Comedy, Action, Horror, etc.) in the film to argue if The Host is an illustration of hybridity as defined by the course material. Choose one scene in which you see a genre convention shaping the meaning of the film. Briefly explain how your example supports or undermines viewing The Host as an example of hybridity or contraflow. In your response, make one reference to Klein’s study of Korean film (attached). Only needs to be around 3 paragraphs or around 250 words.
SAMPLE ANSWER:
Bong Joon-ho’s “The Host” is an example of hybridity in the territory of film genres, blending elements of monster movies, comedy, action, and horror. The film challenges traditional genre boundaries, contributing to the concept of hybridity.
One significant scene occurs when the Park family gathers at the funeral home after the creature’s initial attack at the Han River. In this scene, Bong Joon-ho mixes elements of family drama and societal critique with the ongoing monster threat. The family’s dynamics and interactions provide a strong emotional core to the narrative, emphasizing the importance of familial bonds in Korean culture. At the same time, the looming danger of the creature adds a layer of suspense and horror to the scene.
The blend of family drama and monster movie conventions in this scene highlights the film’s hybridity. Instead of following a conventional monster movie format that prioritizes action and suspense, Bong Joon-ho adds personal and emotional elements, offering a unique portrayal of the Park family’s struggles during the chaos. This scene contributes to the concept of contraflow by challenging traditional genre expectations. Rather than adhering strictly to Western genre conventions, Bong Joon-ho incorporates cultural specificity and social commentary into the narrative. Klein’s study of Korean film emphasizes how these unique cultural elements reshape and redefine established genres, providing a new perspective. He states that “Bong thus occupies a middle ground in his relationship with Hollywood, neither blindly emulating its conventions for the sake of profit nor wholly rejecting them in favor of some notion of cultural authenticity or art” (Klein pp 873).
In “The Host,” the emphasis on family dynamics, societal critique, and emotional depth within a monster movie framework aligns with Klein’s notion of contraflow. The film goes beyond the typical monster movie formula, introducing it with Korean cultural elements and social commentary, contributing to the diversity of global cinema.