risris 스토어

risris

개인인증

팔로워0 팔로우

소개

등록된 소개글이 없습니다.

전문분야 등록된 전문분야가 없습니다.

판매자 정보

학교정보

입력된 정보가 없습니다.

직장정보

입력된 정보가 없습니다.

자격증

입력된 정보가 없습니다.

판매지수

판매중 자료수

5개
전체 판매량

14개
최근 3개월 판매량

0개
자료후기 점수

평균A
자료문의 응답률

0%

전체자료 5개

영미론 기말

Fall 2014Korea UniversityMedia AestheticsFinal review* Time/Place: 12/16 (Tue), 12pm – 1pm* Please bring a pencil or a pen for the exam.* The final will cover readings, lectures, screenings, and discussions from second half of the course (10/28 – 12/11).Miner, “Body Ritual”-Nacirema; Miner’s essay critiquing whom/what/how?In the paper, Miner describes the Nacirema, a little-known tribe living in North America. The way in which he writes about the curious practices that his group performs distances readers from the fact that the North American group described actually corresponds to modern-day Americans of the mid-1950s. Miner presents the Nacirema as a group living in the territory between the Canadian~. The paper describes the typical Western ideal for oral cleanliness, as well as providing an outside view on hospital care and on psychiatry. (metaphor)Hall, “The Work of Representation”-meaning + code; “we belong to the same culture”: The meaning is constructed by the system of represemote the values and interest of the dominant groups in society and defend the prevailing structure of power- War in Vietnam- War in AlgeriaFrom denotation to connotation-The store of social knowledge(a cultural repertoire)Berger, Ways of Seeing-social presence of men and women: the social presence of woman is different in kind from that of a man. A man’s presence is dependent upon the promise of power which he embodies. A man’s presence suggests what he is capable of doing to you or for you. By contrast, a woman’s presence expresses her own attitude to herself, and defines what can and cannot be done to her.And she comes to consider the surveyor and the surveyed within her as the two constituent yet always distinct elements of her identity as a woman. Men survey women before treating them. Consequently how a woman appears to a man can determine how she will be treated. To acquire some control over this process, women must contain it and interiorize it. […] men act and women appear. The the dark corners of the earth as civilization advances, while amongst the cultured of all nations it holds the highest place- it is the toilet soap.”Admiral George Dewey (in Spanish-American war)A discourse produces, through different practices of representation(scholarship, exhibition, literature, etc), a form of racialized knowledge of the Other(Orientalism) deeply implicated in the operation of power(imperialism).”Hegemony – A condition in process in which a dominant class rule and lead a society through the exercise of moral and intellectual leadership, the process in which the dominant class induces consent out of conflicting interests.-black masculinity under control; fantasy about black masculinity; construction of black men’s ‘macho’ behaviorDenying masculinity in BlackBlack masculinity under control : infantilization “boys!”, savage, barbaric, not civilized, justifying lynching, rape.The primal fantasy of the big black penis.Resort to “toughness”Hyper-masculinity in hip hop c rally public support against unfair government regulation and in support of the planned store. One advertisement attracted particular attention. The ad featured a photograph of Nazi book burning atop a strong defense of consumer choice, reading in part.Should we let government tell us what to read?Should we allow the local government to limit where we shop?Choice is a freedom worth keeping.The ad is striking on a number of levels, including Walmart’s invocation of freedom of expression, given its history of censoring material and silencing critics, and its equation of democracy and freedom with consumption and choice. The ad prompted an outcry focused on its use of the Nazi past to describe the present. In response, both Walmart and Protect Flagstaff’s Future issued apologies.Although Walmart’s ad campaign might appear to be instructive only for corporate strategists and political operatives, in fact, it illuminates the production and reception of arguments through troubling images, ohe acts of comparison that animate. In a very real sense, such criticisms police the boundaries of common sense, endeavoring to retain control over the authority not only to authenticate the past but also to adjudicate struggles over moral wrongs and claims to social rights.A rhetorical strategy is increasingly fundamental to social movements and visual politics (King). It receives its force and significance from its capacity to link two (seemingly) unlike things: on the one hand, State violence, euthanasia, exclusion, extermination, concentration camps, and fascism; on the other hand, (industrial) agriculture, commodification, cruelty, killing for nutrition, the processing plant, and consumerism. (metaphorical reading)“Holocaust on Your Plate” also illuminates the shape of cultural politics in the contemporary UnitedStates, highlighting the ways in which they undermine the exhibit. PETA's use of the Holocaust pits two oppressed groups against one another: Jews under the Nazi regime asnot.

학교| 2019.07.19| 10페이지| 2,000원| 조회(120)

고려대, 영상미학이론, 영미론 기말, 영상미학 이론 기말

미리보기

닫기
Analysis of <The Grand Budapest Hotel>

Analysis of -Using cinematic elements to make a mood of “fairy-tale”.2013240025 김예슬The Grand Budapest Hotel is, to say the least, a fairy tale for adult. The movie starts with the scene that one girl carrying a novel unfolds it in front of the monument of the author who wrote that book. At this moment, we intuitively perceive that the movie consists of frame form. Two frames that constitute the movie are the story of girl who reads the novel, the story of author (Jude Law) who encounters the hotel’s owner, Zero Moustafa (F. Murray Abraham), at the Grand Budapest and the story of the Zero which can be a real content of the movie. The latter one attaches to the story about Monsieur Gustav H (Ralph Fiennes), the hotel’s devoted concierge, and Young Zero, lobby boy of a hotel. This is told from Zero's viewpoint when he met writer in the Grand Budapest at the first frame. It is close to a thriller surrounding the death of Madame D (Tilda Swinton) and her legacy. As the movie depicts the novel which was hold by the girl at starting scene, remarkable cinematic elements are usually used to make the movie "fairy-tale."difference in aspect ratio.First, the most noticeable characteristic of the movie is change in aspect ratio. Because the movie dates back with passing two frames, there are three aspect ratios that are vogue at the moments where the scene is progressing. These different aspect ratios can tell viewers where they are in the timeline while watching the movie. Wes Anderson, the director, used 1.85:1 aspect ratio that was vogue in present (1985) to show the girl unfolding the book. However, when the frame dates back to 1960, the time that writer heard the story of Zero, he used 2.25:1. Finally, it changes to 1.37:1 in the story of M. Gustav and Young Zero. As so, the director made audience become others -interrupt the audience to identify themselves with the protagonist- by controlling the aspect ratio. That is, he has us intensively feel like, "I see the dramatized novel". He, furthermore, inserted the frames like 'Chapter' which is main element of novel, functioning as a device of objectifying the audience. It cuts off concentration to the movie and clears up to the audience that they are not a protagonist in the movie but spectators who passively watch the story.Second, it seems that the director pays careful attention to 'mise-en-scene' in order to embody a mood of 'fairy-tale'. Usage of splendid color is also prominent as well as aspect ratio. 'The greatest Gatsby', another movie which shows fancy color using as well, expresses luxurious impression by using glorious color. In contrast, 'The Grand Budapest Hotel' uses pastel shades and primary color to make images charming. Utilization of color is deeply related to a didactic characteristic of fairy tales such as ‘the rewarding of virtue and the punishment of evil’. Although lobby boy and the people who have something to do with the hotel wear colorful clothes, the garments of Jopling who has antagonistic relationship with them are somber colors. To show "good and evil", Anderson intentionally used specific colors. In conclusion, he gave fairy-tale mood to the movie by organizing settings and costumes which are no small parts in 'mise-en-scene.’Frontal presentation of a actionThird, unrealistic composition of frame (shooting a window in right front, frontal close-up a paper, breaking cinematic conventions) and well-balanced composition also contribute to objectify the audience. It can be somewhat awkward because it doesn’t apply 180 degree system in conversation scene. Usual movies avoid the composition that sets the characters in the center. However, when you see some scenes in ‘The Grand Budapest Hotel’, these kinds of composition evoke certain feelings in your mind. For example, when M. Gustav and Zero are tied up, the camera does not follow their movements but fixes to the balance points such as horizontal lines of the floor or vertical lines of the wall. You also find this weird fixation and balance in the scene that M. Gustav and Jopling hit each other. Framing characters at right angles and frontal presentation of the action affect to the interpretation of the audience. They feel that they look from a distance into a virtual world-in this case, it is novel. Moreover, the audience takes a view far away from the scene when the lawyer is killed by Jopling. Like this, although some scenes may be heard too serious and urgent in terms of situation, the audience rather laughs. As we don’t think ‘Oh, it’s too cruel to read’ while reading a novel for children, the director makes serious scene not serious through cinematic techniques. This cinematography contributes to dramatizing fairy-tale elements of the movie.By adjusting various film elements, Wes Anderson perfectly controlled cognition of the audience and interpretation of the movie. If you see this film, you may be under the illusion that you read an illustrated book for kid. PAGE * MERGEFORMAT 3

독후감/창작| 2019.07.19| 3페이지| 1,500원| 조회(84)

고려대, 영상미학이론, 그랜드부다페스트호텔

미리보기

닫기
미효론

Ⅰ. Images, Identities & StereotypesBasic theoryCultivation TheoryLong term socialization: systematic exposure to television’s messages over time leads to the formation of a worldview that is consistent with what is portrayed on television.Symbolic Environment: The media form the mainstream of the common symbolic environment that cultivates the most widely shared conceptions of reality.Cultivation Hypothesis: Heavy viewers of television develop view of the world similarly to what they see on television.A Theory of television effectsTelevision Violence: Originated from the concerns about television violence effects.Uniformity: across channels and genres, television provides homogeneous & uniform contents saturated with violence & sex.Non selectivity: people habitually and non-selectively watch television, so there is little room for active reflection or resistance on the audience side.The Cultural Indicators ProjectInstitutional process analysis: production, management, and distribution icted in the mediaRealistic violenceViolence committed by a credible person (identification with the perpetrator)Humorous violenceJustified violenceNo punishment for violent actsModerators of violent media effectsAgeChildren are particularly vulnerable to repeated exposure to violenceChildren has less well developed neurological and emotional systems and less well developed personalities.Trait aggressivenessPeople who score high in trait aggressiveness behave more aggressively after being exposed to violent media.In the long run, more aggressive individuals turn to exposing themselves more to violent media.GenderMales are more influenced by media violence than are females.; the findings have been inconsistent.Different types of sexual contentsObscenityNot constitutionally protectedContemporary community standardsWhat appeals predominantly to prurient interestWhat depicts sexual conduct in patently offensive wayWhat lacks serious literary, artistic, political or scientific valuePornograinfluences the public’s perception concerning which character traits are important for being a successful leader.Fictional framingThe entertainment media adopt variant frames in their portrayal of social issues.Media frames of a social issue( Attribution patterns – e.g. uncontrollability vs. controllability / Core value – e.g. moral, religious values vs. equality values / viewers’ opinion on the issue)Political Talk ShowsRepresenting increasingly blurred distinction b/w news and entertainment; related to the evolution of journalism and journalism practice.What’s late night comedy shows?: Parodies, satires, critical comments along with political informationWho watches late-night comedy shows?: Younger people; politically disinterested, more liberal people.Consequences of political talk show viewingPolitical consequencesIncreasing political cynicismA new source of political information : especially effective for the least engaged people in politicsGateway hypothesisPolitical talk shows mug companiesⅤ. Media, Children, & AdolescentsChildren and the MediaAccording to the Kaiser Family Foundation report in 2010, today’s 8-18 year olds devote an average of 7 hours and 38 minutes (7:38) to using entertainment media across a typical day (more than 53 hours a week)They spend so much of that time ‘media multitasking.’Mobile media driving increased consumption. The increase in media use is driven in large part by ready access to mobile devices like cell phones.Popular new activities like social networking also contribute to increased media use. Top online activities include social networking, playing games, and visiting video sites such as YouTube.The bottom line is that the advances in media technologies are making it even easier for young people to spend more and more time with media.Children & TelevisionTelevision has the potential to generate both positive and negative effects.A child’s developmental level is a critical factor in determining the medium function in a positiivities => largely inactive but relaxing activity.Heavy exposure to advertising may result in family conflicts.Television’s unifying effect: bridging generational gaps, television induced interaction & conversation, tool for conflict avoidance, etc.Mutually reinforcing relationship b/w television use and family atmosphere.Most of the time, children watch television without parental presence or supervision.Ⅵ. Uses & Effects New communication technologiesA new era of media effects?Audiences become increasingly selective in choosing which media to use.People can easily select media outlets sharing their political predispositions, a behavior known as partisan selective exposure.Their initiative now lies in the audience side, not the media side; the media do not produce large-scale effects anymore.The sender-receiver(audience) paradigm should be modified.Selectivity onlinePartisan selectivity: people rely heavily on the candidates and positions of their preferred political party, avoiding te.

사회과학| 2019.07.19| 21페이지| 2,000원| 조회(105)

media, 미디어효과이론, 미효론

미리보기

닫기
방송영화비평-프로이트의 관점에서 본 영화「다크나이트」 평가B괜찮아요

방송영화비평-프로이트의 관점에서 본 영화「다크나이트」2013240025미디어학부 김예슬영화 ‘다크나이트’(크리스토퍼 놀란 감)은 배트맨의 인간적인 측면을 묘사했다는 점에서 기존의 히어로 영화와는 차이가 있다. 화려한 액션과 비쥬얼로 좌중을 압도하는 여타 히어로물과는 달리, 배트맨은 어떠한 초인적인 능력을 가지고 있지 않다. 슈퍼맨처럼 하늘을 날 수 있거나, 힘이 세지도 않고, 스파이더맨처럼 손에서 거미줄을 뽑아낼 수도 없다. 감독은 배트맨의 약점이 될 수 있는 ‘인간’이라는 점을 이용하여 영화의 전반적인 스토리를 이끌어간다. 가장 보편적인 인간의 심리 구조를 크리스토퍼 놀란 감독 특유의 연출력으로 표현해낸 것이다.다크나이트에는 배트맨을 포함해 크게 3명의 인물이 등장한다. 바로 배트맨(브루스 웨인, 크리스찬 베일 분), 조커(히스 레저 분), 하비 덴트(투 페이스 하비, 아론 에크하트 분)이다. 감독은 3명의 등장인물을 통해 인간의 본성을 그려낸다. 여기서 말하는 인간의 본성이란 프로이트가 정의한 인간의 심리 3단계층인 이드(id), 에고(ego), 슈퍼에고(super ego)라고 할 수 있다. 인간의 보편적 심리구조가 각각 3명의 인물에 녹아있으며, 3명의 주인공의 상호작용이 영화의 전반적인 스토리를 이끈다. 이를 바탕으로 영화 ‘다크나이트’ 안에서 그려지는 3명의 인물을 프로이트의 정신분석학적 측면에서 분석해보고자 한다.프로이트에 따르면 이드(id)란 선천적인 본능적 충동의 덩어리로서, 정신 에너지의 근본이 되는 완전 무의식이자, 쾌락의 원리를 따르는 일차적 원시 과정이다. 에고(ego)는 원초아의 욕구를 충족시키거나 통제하기 위해 발달한 것으로, 인간 의식의 일부이다. 그러므로 현실 원리를 따르는 이차적 과정이라 할 수 있다. 슈퍼에고(super ego)는 사회문화적인 규범이 내면화된 것으로 양심과 이상을 대표하며 에고를 감시하는 역할을 한다. 간단하게 설명하자면, 이드란 욕구를 말하고, 에고는 자아를 의미하며, 슈퍼에고는 사회적인 자아를 일컫는다고 할 수 있다. 여기서 사회적인 자아라는 것은 윤리적인 금기, 도덕적으로 옳은 행동, 혹은 사회적인 제재-법, 규범 등-와 같은 것을 의미한다. 프로이트는 에고가 이드와 슈퍼에고 사이에서 늘 갈등한다고 설명한다.다크나이트의 세 등장인물은 각각 프로이트의 인간 심리 3단계층에 부합한다. 조커는 에고와 슈퍼에고가 결여되고 이드가 강하게 표출되는 인물이다, 이드의 유일한 기능은 인간의 몸속에서 일어나는 흥분 에너지, 또는 긴장을 외부로 방출하는 것이다. 인간은 이렇게 이드를 방출함으로써 가장 초보적인 생활원리를 만족시킨다. 프로이트는 이를 쾌락원천이라고 지칭한다. 영화 속의 조커는 반사회적 성격장애를 앓는 범죄자이다. 그는 돈과 권력이 아닌, 오로지 고담시에 혼란을 주고자 범죄를 저지른다. 더불어 사회규범과 법은 인간이 필요로 만들어놓은 원리일 뿐이며 어떠한 동기가 부여된다면, 인간은 여지없이 규범과 도덕의식을 버리고 내재된 본능의 욕구(쾌락원천)을 따른다고 말한다. 이는 “그들의 윤리나 규범을 보라고. 그건 나쁜 농담에 불과해. 윤리나 규범 따위는 문제의 징조만 보이면 버려지지. 그것들은 세상이 허용할 때만 유효한 거라고.” 라는 대사에서 분명하게 드러난다.그리고 조커는 자신의 말을 증명이라도 하듯 광적인 범죄행위를 저지른다. 병원을 통째로 폭파하겠다고 시민들을 협박하거나, 두 배에 나눠 탄 사람들에게 다른 배를 폭파시키면 당신들은 살려주겠다는 등의 실험을 하기도 한다. 또한 그는 자신의 생각이 틀리지 않음을 증명하기 위해 배트맨을 고뇌와 선택의 길로 인도한다. 그러나 조커는 그를 죽이지 않는다. 자신을 왜 죽이려는지 묻는 배트맨에게 조커는 대답한다. “나는 널 죽이지 않아. 너 없이 내가 무슨 재미로 살지? 넌 나를 완전하게 해.” 배트맨의 존재 자체가 사회가 혼란스럽다는 것을 증명하고 있기 때문이다. 조커가 바라는 혼란만이 가득한 카오스적 세계관은 그가 칼을 빙글대며 중얼거리는 ‘why so serious?' 라는 대사에 함축되어 있다.배트맨은 브루스 웨인의 이드 성향이 만들어낸 존재이지만, 조커와 달리 쾌락원천의 지배를 받지 않는다. 배트맨은 범죄를 소탕한다는 명분으로 절대적인 권력을 가진다. 범죄자를 잡아내기 위해 건물을 부수거나, 도청을 하는 등 수많은 범법행위를 저지른다. 이 같은 그의 행동이 무조건적으로 쾌락원리가 배제된 행동은 아니라고 보인다. 브루스 웨인이 굳이 배트맨 가면을 쓰는 이유 역시 이러한 자신의 이드 성향을 감추기 위해서라고 추측할 수 있다. 그리고 초자아적인 인물 ‘하비 덴트’를 보며 고담시의 진정한 수호자는 가면 뒤에 숨어서는 안 된다고 생각한다. 그리고 고담시에는 더 이상 배트맨이 필요없음을 직감한다. 브루스 웨인은 레이첼에게 말한다. ‘하비 덴트를 봐. 그는 고담시에 더 이상 배트맨이 필요없다는 걸 보여주고 있어. 그는 가면을 쓰지 않은 영웅이야.’하지만 그는 조커의 등장으로 다시금 고뇌에 빠진다. 조커는 인간의 본성은 악하며, 자신의 생존을 위해 본능에 충실하는 존재라고 말한다. 이에 배트맨은 고담시에는 아직 하비 덴트와 같은(그로 대표되는) 희망이 남아있다고 주장하며 조커와 대립한다. 더불어 두 배에 탑승한 시민(과 범죄자) 모두 배를 폭파시키지 않음으로써 자신이 옳다는 것을 증명해낸다. 하지만 고담 시민들이 믿었던 하비 덴트가 몰락하자, 브루스 웨인은 하비 덴트를 영웅으로 만들고 배트맨은 악당이 된다.프로이트는 원시적인 이드의 세계에서 사회화된 에고의 단계에 이르렀을 때에, 인간은 상상과 현실의 이중적인 세계를 경험하게 되며 새로운 이상과 도덕을 고려하게 되는데 이것이 바로 슈퍼에고의 상태에 들어가는 것이라고 설명한다. 다시 말하면, 슈퍼에고는 인간성을 구성하는 세 번째 단계이면서 도덕적이고 비판적인 측면을 강조하는 심리이다. 하비 덴트는 정의감이 넘치는 지방 검사였다. 정의만이 세상을 지켜준다는 확고한 신념을 바탕으로, 배트맨 뒤에서 범죄를 소탕하는 브루스 웨인과는 다르게 자신이 직접 정의를 실현해나가는 인물이다. 하비 덴트의 동전 역시 그의 이상주의적 면모를 나타낸다. 앞뒤가 똑같은 동전으로 옳고 그름을 판단하고자 하는 그의 행동은 정의를 무한히 신뢰하는 그의 신념과 이상을 대변한다.

사회과학| 2019.07.19| 3페이지| 1,500원| 조회(355)

프로이트, 다크나이트, 방송영화비평

미리보기

닫기
Symbolic Violence : Media, surveillance and Gender - Through Bourdieu and Foucault. 평가A+최고예요

Symbolic Violence : Media, surveillance and Gender- Through Bourdieu and Foucault.2013240025 미디어학부 김예슬1. Introduction- Symbolic Violence and GenderFrom a sexist remark to femicide, society employs strong-arm tactics to women in various ways. ‘Various ways’, in here, include the thing from physical to societal, psychological, cultural and so on. Society represented by male want female to behave modestly, do all the household chores, be pretty and sexy at same time. Or they want female not to do ‘something’. Something, for example, can be turning against to the male, having a wild temper, being sexy only in front of their boyfriend. These kinds of action are prevalent in our society, and we also can see it, but nobody think it as problematic thing. It happens implicitly. Thus this is internalized violence.The French sociologist Pierre Bourdieu(1998) used the term "symbolic violence" to describe how the ideas and values of a ruling cultural class are purposefully imposed(often through subion programs that they watch shape their cognitions and understanding. They believe in common sense constructed by the television.Gender is defined in social context what we call culture. And the media play a key role in reproducing ‘this culture’. In other words, culture defines gender and gender, for instance femininity and masculinity, is followed through the widow called media.1) How do media depict women?- GenderGender means the sexual attitude or identity that an individual has a result of acquiring masculine and feminine attitudes, values, and behaviors that are believed to be appropriate and expected for men and women in a particular society. We learn rules that men and women’s names should be distinguished, that men are ridiculous when they wear skirts, and that women do not have much courtesy if they have a lot word without knowing the reasons. In the end, ‘gendered’ means that we acquires a different role which a particular society expect for women and men, and that role is ntioned, Women’s body is object of exhibition. It is true of not only their body, but also themselves. The corset that suffocates women in 16 century is proper example of how women’s body is displayed. And diet is another corset. It always remains with us in different form up to this day.In addition, it is so prevalent that women’s body is made a caricature or be admired. When you see the television program, you can easily find numerous sayings or subtitles that highlight idol’s body which comes up to a aesthetic standard. However, when the fat(I don’t want to use this word, but I couldn’t find suitable word) women comedian is on the show, they become the derision or laughing stock.Women and their body is usually recognized not as the subject which can do something for themselves, but as the object which needs a help or assistance of men.Some people may criticize this idea by giving a number of examples that show women is changing from sex object to desiring sexual subject. I agree. Toower dynamics made by Foucault, who also make much significance of normalization process, especially in ‘Discipline and Punish’. Foucault’s analysis is relevant to an understanding of symbolic violence because it is also an examination of power beneath the surface. For Foucault normalization served the role of routinizing coded practices that become a ‘normal’ part of institutional functioning in the regulation of the self.Foucault (1979) understands the body as a site of discourse and power, and as an object of discipline and control. Foucault’s conceptualizations regarding the body and its relation to structural power(which operate as discourse) provide a way of understanding the ways that the body is controlled and disciplined for the purposes of social order.Here, the social order can be specified as a virtual body in relation to body. As we see at the second chapter, media make a pressure of being slim, tanned(or white) and not being too tall. They don’t stop at this point. They mis that control is achieved through what Foucault calls 'disciplinary power', a form of power that is constant, unnoticeable and internalized.Women’s bodies particularly are more greatly affected by these disciplinary processes through required beauty and health regimes. It shows that how women internalize social regulation nurtured by media and how they respond to power.As inmates are not sure whether they are being watched at any one time, they must always act in accordance to the rules. Women have to care about their weights of course, and they need not to devour food. It is result of self-surveillance. Control is thus achieved through self-surveillance as the fear of being caught breaking the rules keeps them in line with expectations.And furthermore, women’s exposure to “other” women’s gaze accelerates surveillance. When we see online news, we can find some comments like ‘she has to lose some weights’. In relationship of friends, they also say kinds of word. And it is not limited ]

사회과학| 2019.07.19| 9페이지| 1,500원| 조회(106)

미디어, 푸코, media, 부르디외, Bourdieu, Foucault

미리보기

닫기