My Job At Solvang Counrty Clinic - 797 Words

Seeing the sun set from the porch at my home.Seeing all the beautiful colors that the sun creates when it sets for the day.The sun set that day seemed to take longer than noraml . Feeling my heart beat, every pump feeling as if it were a blessing. Every deep breath I took felt as if it was my fist. This was my third week on my new job. I was offered a job at Solvang Counrty Clinic. It was an amaziign job I felt as if I was on top. I would show up to work with a big smile. To me this was an incradinble oppotnity. My job was to be a male secretary for Dr.Brckmen.He ws an amzing boss to work for. He would always treat me nice. Dr.Beckmn was just like an ordinary person. Seeing him you would not even consider being a doctor was his profession. He would always show up as if he has a long night. Any one could tell it was him from far away by his almost 5 inches long beard he grew, and a growing bold spot on top of his head he tired to hide . An everyday routin for me was to show up and open the office for business. Anwersing phone calls was the majority of my job. Apart from answering phonecalles I would always relay important messages to Dr.BEckem. It doesn’t sound though but its is very though. Being Dr. beckmen s assistant came with very much reasponsibtiyt . I had to deduce from every phone call I had with every patient how important it was.I was left in charged of difficult dissicins that had to be made quickly and smart. Being a doctors assistant made me feel amzing

Homer Simpson Explains our Postmodern Identity - Free Essay Example

Sample details Pages: 28 Words: 8435 Downloads: 7 Date added: 2017/06/26 Category Statistics Essay Did you like this example? Homer Simpson Explains our Postmodern Identity crisis, Whether we Prize it or not: Media Literacy after The Simpsons Don’t waste time! Our writers will create an original "Homer Simpson Explains our Postmodern Identity" essay for you Create order ABSTRACT This article suggests that The Simpsons is a sophisticated media subject about media that forces educators who teach media literacy into an encounter with postmodern judgment. The sense of postmodern judgment for media education is explored through a focus on two now themes in The Simpsons: the changing judgment of personal identity and the consequences of a relentlessly ironic worldview. Icons of habitual culture can be used to teach about philosophical constructs. From its inception The Simpsons has posed a significant challenge to educators. The program, which ridiculed all forms of influence and turned Bart Simpson into a wildly habitual anti-hero, initially provoked an intense reaction from the education citizens, in some schools influential to the banning of paraphernalia bearing Barts images and habitual denunciations of the series. As the series grew in popularity- and eventually was joined by other cartoon series that were seen to be all the more more educationally offensive, such as Beavis and Butthead and South Park-the furor died down to a now on the other artisan passive hostility toward the program, at least in the classroom. It certainly didnt facilitate the educational communitys disagreement to have Interval magazine reputation the series the best television program of the 20th century, or to have the poet laureate of the United States, Robert Pinsky, praise the series, stating that it penetrates to the existence of television itself (Owen, 2000, p. 65). Nor did it facilitate that various teachers went hab itat, turned the program on, and laughed themselves silly. All the more another abbreviate has been created between the culture of children and the culture of education, a poser that has been perhaps all the more more painful for media educators, various of whom follow Hobbs (1998) target that the texts of everyday career, when constituted as objects of social participation, provide the possibility for combining textual, historical, and ideological examination in ways that relieve students and teachers move beyond the limits of traditional disciplines and controversy areas (p. 21). To be undeniable, there have been efforts by media educators to bring The Simpsons into the classroom. Our debate of the media literacy literature and media literacy sites revealed a number of examples of proposed lessons incorporating the series, from examining The Simpsons as a virgin variant of social satire to comparing The Simpsons family to other television families. On the other hand, in almost eve ry dispute, we sensed that the unique qualities of the series eluded these efforts. The basic tools of media education and literacy as typically agreed upon by numerous media literacy communities-tools which regulate our control to basic precepts such as the meaning that the media are constructed-appear not to be enough to turn The Simpsons from renegade habitual culture into a teachable moment (Aufderheide, 1993; Media Awareness Network, 2000). Perhaps the central poser with The Simpsons is that it seems to drag the media literacy examination onto the unfamiliar and all the more foreboding terrain of postmodernism, where issues of image and replica open to fall apart, a terrain where sporadic media educators are willing or able to follow. Of line, there has been an effort to define, critique, and bring postmodern impression to bear on educational judgment and application, expressly from advocates of critical pedagogy (e.g., Aronowitz Giroux, 1992). All the more this has been a the ory-driven effort that has not reached further far into educational scholarship, and has made almost no headway into the frontlines of educational manipulate. Various teachers Studies in Media Info Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 have never heard of the label postmodernism. The same mould is equally, if not more pronounced, in the media education citizens. Our examination of media literacy literature and key media literacy web sites in the United States and Canada revealed an almost comprehensive absence of controversy and examination on postmodernism. There have been, of pathway, notable exceptions (McLaren, Hammer, Scholle, Reilly, 1995; Steinberg Kincheloe, 1997). The outcome of this empty margin is another critical abbreviate, in this dispute not between students and educators, on the other artisan between media educators and media theorists. In examining this section, we are struck by two observations. First, the gap between media education manipulate and media judgment comes precisely at the moment when teachers and media educators are finding them selves overwhelmed by strange contemporary regular cultural texts for which the unfamiliar category of postmodernism may potentially be the most fruitful interpretive handle. Second, the positions of students and media theorists stand in the succeeding relationship. Students are living inside an increasingly postmodern regular cultural participation that media theorists are attempting to label, define, and scan. The puzzle is that students dont necessarily have the vocabulary to generate meaning of their participation, and the vocabulary that theorists have developed seems to cause meaning only in graduate seminars. The Simpsons offers a promising opportunity to strategically residence these issues, highlighting the limits of conventional media literacy tools, illustrating the aesthetic examine of postmodernism, and providing some vocabulary to label that examine. In effect, it serves as an dispute of how the solution of postmodernism can be used to develop a contemporary range of c ritical interpretive skills for constructively engaging this growing trend in habitual culture. Our article presents a mini introduction to postmodernism and a grounded process of the benefits and limits of applying this judgment. Our reason is not to provide an exhaustive or all the more spread out introduction to postmodern judgment. Rather, it is to position The Simpsons as a media subject that can be used as a starting stop for exploring postmodern judgment. Fear of Postmodernism If everyone loves The Simpsons, postmodernism has its correct participation of critics. Writing in U.S. Material and Field Report, Leo (1999) argues that postmodernism has created a language that no one can understand, a language that is used to intellectually bully readers into agreeing with outlandish propositions. The academic area, on the other artisan, has offered more equivocal assessments. Hebdige (1988) argues that we are in the presence of a buzzword, a expression which, while confusing, does appropriate an influential social or cultural transition. Kellner (1995) agrees, observing that . . . the label postmodern is often a placeholder, or semiotic marker, that indicates that there are virgin phenomena that demand mapping and theorizing (p. 46). In the infrequent instances where references to postmodernism do appear in media literacy literature, its ambiguous area is emphasized. For process, Buckingham and Sefton-Green (1997), in their effort to launch charting the challenges posed by multimedia education in an increasingly digitized media area, believe that postmodernism, although glib and sweeping, offers a beneficial pathway to characterize a number of broad social and cultural transformations. Some of the changes that control Buckingham and Sefton-Green embrace the area of consumption, the blurring distinctions between production and consumption, the poaching of texts and symbols, and the rejection of the elitist and sterile oppositions between high and habitual culture (pp. 289-292). Given the slipperiness of the sense, postmodernism on the other hand marks a cr itical modern moment in the scan of media and replica. Building on the business of Buckingham and Sefton-Green (1997), we open by asking what is postmodernism and what can we do with it? With its questioning of truthfulness and its subject of the politics of media representations, postmodernism, once it is understood properly, can be a rich source of pedagogical judgment and manipulate. The Postmodern Dispute: Definitions and Symptoms What true is the label postmodernism trying to receive? There is, first, the sense of opposition to modernism. In essence, modernism states that individuals and nations, guided by rational thinking and Studies in Media Counsel Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 2 scientific achievements, are moving toward a more humane, more just, and more economically prosperous ultimate. In other contents, modernism embraces progress, viewing it as a linear and inexorable phenomenon with acceptable outcomes. Accordingly, the publish in postmodernism stands for the meaning that there is no longer any guarantee of progress. In point, there is further petty consensus as to what progress all the more wealth. Postmodernity typically is distinguished by an undermining of force, the denigration of novel by turning it into a style or evocative nostalgia, the questioning of progress, and the head to impression the ultimate as empty. Other postmodern symptoms embrace the meaning of image overload, intertextuality (the seemingly random q uoting of one subject by another), a heightened meaning of media self-reflexivity calling control to replica as a hall of mirrors, and pastiche, defined as the sense to cause disjointed images and subject fragments. Finally, the postmodern process is marked by commodification overload (the head to turn everything into a product or marketing opportunity), irony overload (the elevation of irony as the dominant rhetorical posture), and the increased questioning of the sense of personal identity brought on by viewing the self as a social construction. In short, the meaning of postmodernism calls control to the ways in which a beneficial deal of everyday regular culture is at once fully informed by, if not driven by, the basic media literacy precept that media construct social naked truth. In act, all the more of regular culture relentlessly draws carefulness to the further arbitrariness of almost every aspect of our social participation, as well as the moral and epistemological foundati ons on which social participation depends. In other contents, the curriculum of regular culture has outstripped the curriculum of the classroom, all the more the media education classroom. The vocabulary of postmodernism allows us to launch to contemplate and term the various ways in which this is taking fix, on the other share it further leaves us at a loss about how to proceed. Recognizing this disagreement, memo and educational theorists have attempted to clarify what is to be gained by drawing on the social and theoretical insights generated by the deconstructive influence of postmodern criticism. At the same interval, they have tried to demonstrate how to tame this influence in the utility of modernist values such as human rights, equality, freedom, and democracy (Aronowitz Giroux, 1991; Best Kellner, 1991; Giroux, 1997; Kellner, 1995; Rorty, 1989; Wolin, 1990). A critical postmodernism encourages us to solicit contemporary questions about all claims to influence (scientific or otherwise), about how contemporary forms of replica and contemporary inflections in the style of replica made practicable through technology and commodification exchange the quality of sense, and about how cultural dominance is produced and maintained through the patterns of contrasts used to define social and linguistic categories (Aronowitz Giroux, 1991; Scholle Denski, 1995). Postmodernism offers contemporary tools for critical interpretation and modern responsibilities for connecting media and cultural interpretation to democracy as a form of native land that enables critical reflection and activism, making us understand the ways in which our seemingly private individual identities are formed, through language and symbols, in relationship to each other and the broader social and political citizens (McKinlay, 1998, p. 481). For The Simpsons audience, an ambivalen ce toward technology and progress is guideline fare. This judgment of the ultimate as empty and without guarantees has further been associated with the core identity of Hour X, whose slogan might glance at We have seen the forthcoming and it sucks. While any aspect of postmodernism discussed above can be found in and explored within The Simpsons, two concepts in particular-irony overload and the questioning of identity-will serve as reference points in our reconsideration of the series. The puzzle of identity is a central complication for all young citizens, on the other artisan it is a puzzle that is not duration satisfactorily addressed, given the growing levels of hopelessness, cynicism, despair, and suicide among teenagers. Of particular control to us is that The Simpsons repeatedly focuses on this further subject: the puzzle of selfhood in an increasingly absurd culture pulverized with images, symbols, values, irony, commercialization, and hucksterism. What lessons does The Sim psons teach? What lessons can be learned as the characters on the demonstrate are thrust into many battles for selfhood within the postmodern terrain? Enjoy all the more postmodern Studies in Media Info Literacy Education, Manual 1, Controversy 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 3 culture, The Simpsons, is saturated with irony and obsessed with issues of absolute identity, expressly in relation to media culture. Our task is to articulate an interpretive frame of reference to facilitate media educators and viewers open to cause critical meaning of these symptoms. The Challenges of Postmodern Selfhood Gergen (1991) notes that postmodernists abbreviate version into three epochs, each of which corresponds to a particular judgment of personal identity or selfhood. These periods are labeled as the pre-modern (romantic hour), the contemporary era, and the postmodern. From the pre-modern or romantic tradition, we derive our meaning in a stable center of identity. In Gergens contents, powerful forces in the deep interior of ones duration are held to be the source of inspiration, creativity, genius, and moral courage, all the more madness (Gergen, 1992, p. 61). Modernism redefined the self, shifting the emphasis from deep, mysterious processes to human consciousness in the here and these days, always in control with such values as efficiency, stable functioning, and progress. The self in its virgin form-what Gergen calls the postmodern or relational self-is no longer viewed as a separate target, on the other artisan is increasingly understood as a rel ational construction, defined by and spread across the humanity and activity experiences each individual encounters throughout her or his field. In short, as McNamee and Gergen (1999) argue, there are no independent selves; we are each constituted by others (who are themselves similarly constituted). We are always already related by virtue of shared constitutions of the self (p. 15). Linked to this sense is the sense that a conscious understanding of ourselves as beings occurs through language, which is itself a fundamentally relational sense, and that our identity grows and develops in relationship to the endless dialogues that we have with others, with culture, and with ourselves. In this meaning, our interactions with the media become deeply significant. Moreover, this contemporary consciousness of the relational sense of the self comes at correct the moment when the relationships we enter into and which contribute to our definition of self are multiplying at an exponential rate and are duration increasingly spread over a in a superior way and in a superior way span of hour and amplitude. It is one baggage to see the sense of the relational self when we think of, claim, two friends engaged in a mutually sustaining and defining examination. In this setting, the sense of the relational self is promising, perhaps all the more reassuring. On the other hand, extending the meaning of relationship to subsume every symbolic encounter in which we willingly or unwilling participate-from intentional relationships to unintentional and forced relationship with 3,000 commercial messages per day-presents modern challenges. A critical postmodern perspective calls control to this crisis of identity, a crisis in which the media of memo and their commercial foundations are deeply implicated. Of line, thinking of the self as a relational construct not only gives insights into the crisis of the self, on the other share it further offers a means of thinking about how to residen ce that crisis. In this more hopeful and acceptable meaning, the relational self offers a glimpse of those selected aspects of human participation and identity that may be used as a moral foundation in the face of the deconstructive maelstrom of commercial postmodern culture. The relational self suggests a moral compass that is based less on the authentic truths of religion or science than in the manner by which we draw up ourselves and our community through ceaseless and inevitable physical, linguistic, and psychological dependence upon one another. Drawing on the duty of Martin Buber, Mikhail Bakhtin, Jurgen Habermas, Richard Rorty, and Jerome Bruner, McNamee and Gergen (1999) deposit elsewhere a autonomous and thoughtful introduction to what a moral ethic organized on all sides of the relational self would see enjoy. They have called it relational responsibility, defining relationally responsible actions as those that sustain and enhance forms of exchange elsewhere of which influ ential process itself is made practicable. Isolation, they argue, represents the negation of citizens (p. 19). The guideline of relational responsibility is in stark contrast to the deconstructive tendencies of postmodernism. As such, it can serve as a critical bridge linking the interpretive coercion of a critical postmodernism to the modernist values associated with progressive democracy. Studies in Media Counsel Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 4 At the same hour, it is autonomous that the deconstructive tendencies of postmodernism (as a fix of virgin conditions) have influential implications for personal identity construction. Giddens (1991), for process, warns of the looming threat of personal meaninglessness. It is this threat that directs us back to a carefulness of one of the central tropes of postmodern discourse: irony. As noted above, relentless irony is a hallmark of both The Simpsons and the postmodern era. As individuals struggle to confront postmodern challenges to identity, there is grounds to solicit whether there is any valuation in the postmodern strategy of irony. Thus, the implications of irony both for identity formation and relational responsibility must be considered. Irony, Identity, and the Disagreement of Responsibility The Simpsons is regularly celebrated for its incisive wit and social satire, for its force to manipulate irony to bell control to the absurdity of everyday social conventions and beliefs. Irony functions as a critical form that helps us to break through surface sense to examine and understand the correct area of things in a contemporary and deeper means. It is a vehicle for enhancing critical consciousness, and it represents a moral coercion of skilled in the function of eradicating conventional pathetic (Rorty, 1989). As Hutcheon (1992, 1994) notes, critical irony is intimately linked to politics. The compel of deconstructing can be a first development to political dispute, and ironys oppositional character can be a major critical compel. The subversive functioning of irony is related to its status as a self-critical and self-reflexive resources that challenges hierarchy, and this influence to undermine and overturn is said to have politically transformative coercion. On the other share this is not where the manipulate of irony ends in The Simpsons, nor does it appropriate the postmodern turn in the meaning of irony. Postmodern irony is ambiguous and its solution is contested. It can be interpreted by adherents as playful, reflexive, and liberating; opponents, on the other hand, contemplate it as frivolous, deviant, and perverse (Hutcheon, 1992, 1994; Kaufman, 1997; Thiele, 1997). In postmodern irony, clarity in moral delineation begins to disappear. For process, in virgin comedy, as in all social behavior, all actions are controversy to satire from some perspective. Besides, by reason of postmodern irony begins with the assumption that language produces all sense, a kind of emancipatory indulgence in irony is evoked-an invitation to reconceptualize language as a form of play. As Gergen (1991) writes, we neednt credit such linguistic activities with profundity, imbue them with deep significance, or fix elsewhere to interchange the nature on their novel. Rather, we might play with the truths of the hour, shake them about, try them on prize funny hats (p. 188). In other contents, postmodern irony invites us to avoid saying it straight, using linear logic, a nd forming smooth, progressive narratives (p. 188). The Simpsons is saturated with this form of postmodern irony. On the other facilitate where does that leave media educators trying to duty with this enormously regular series? On the one artisan, media educators would prize to engage the series fully by practise of it raises various challenges to conventional ideas of mould and selfhood; on the other share, they are unwilling to lead students to examine media literacy as a form of deconstruction that leads only to meaninglessness or play. Some media scholars contemplate postmodern irony as a laborious challenge for teachers committed to linking media literacy with productive citizenship. Purdy, for dispute, laments that between Madonna and the fist-fight between Jesus and Santa Claus that opened the cartoon series South Park, there is less and less left in society whose flouting can elicit shock. Irony, he concludes, invites us to be self-absorbed, on the other facilitate in selves that we cannot believe to be particularly interesting or significant (p. 26). Conway and Seery (1992) are similarly concerned about the implications of postmodern irony for engaged citizenship. Although irony may equip the dispossessed with much-needed critical perspective and all the more underwrite a minimal political agenda, they draw up, it is generally regarded as irremediably parasitic and antisocial (p. 3). Hutcheon (1994) further shares this episode, noting that irony can be both political and apolitical, both conservative and radical, both repressive and democratizing in a pathway that other discursive strategies are not (p. 35). Gergen (1991) frames the challenge of postmodern irony in terms of its challenge to forming a coherent self. If all serious projects are reduced to satire, play, Studies in Media Counsel Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 5 or nonsense, all attempts at authenticity o r earnest ends become empty-merely postures to be punctuated by sophisticated self-consciousness (p. 189). If this is the poser that The Simpsons raises in its manipulate of both critical and postmodern irony, to what room is it contributing to a social consciousness with a practicable for social process, as opposed to contributing to a cynical numbness founded on ironic detachment? What solutions does the series offer for resolving this disagreement? Are there any alternative solutions that acknowledge the postmodern challenge to identity? Exploration of Self in Homer to the Max With these concerns in meaning, we see an phase of The Simpsons that originally aired on February 7, 1998. The period focuses with particular vehemence on the quest for identity and asks the closest questions: à ¢Ã¢â€š ¬Ã‚   How is the sense of the self understood in relationship to the blizzard of media images, symbols, and values? à ¢Ã¢â€š ¬Ã‚   How does irony fit into the exploration and resolution of identity issues? à ¢Ã¢â€š ¬Ã‚   How do we understand The Simpsons confrontations with the self and identity in terms of what has been called the postmodern process? The demonstrate begins with the principles sight gags on the couch and the Simpson familys lampooning of televisions midseason replacement series. The program that finally captures the familys carefulness is Police Cops, which becomes a present within the present. As the two Miami-Vice enjoy heroes of Police Cops subdue would-be bank thieves, one of the police detective heroes, a millionaire cop surrounded by admiring women, introduces himself as Simpson, Detective Homer Simpson. The Simpson family is shocked and Homer is exclusively overwhelmed, confusing himself with his television image. The plot then unfolds in essentially five kernels that hire up and explore Homers confusion over his own identity (Chatman, 1978). First, Homer identifies completely with the television detective hero: Wow. They captured my personality perfectly! Did you examine the means Daddy caught that bullet? In turn, the all-inclusive citizens of Springfield validates Homers contemporary pseudo-identity, treating him as if he were the television detective hero: Hey, Mr. Simpson, sir, can I purchase your autograph? Second, the Police Cops producers interchange their television detective character from glamorous hero to bumbling sidekick, launching a series of gags about Homers correct identity. The virgin characterization is truly a near perfect replication of the absolute Homer Simpson. This outrages Homer: Hey whats going on? That guys not Homer Simpson! Hes fat and stupid! The town continues to respond to Homer as the television character, only these days with ridicule rather than respect. No netheless, Homer gains some insight into the confusion between his authentic and fictional identity. As a assemblage of co-workers gathers in the hallway absent his business waiting for him to do something stupid, Homer retorts, Well, Im sorry to disappoint you gentleman, on the other artisan you seem to have me confused with a character in a fictional present. Factor of the pleasure for viewers derives from the irony of the cartoon character Homer making the state that he is the authentic Homer Simpson, as opposed to the fictional cartoon character within the cartoon. The writers of the period then continue to play with this seemingly endless hall of mirrors between absolute and fictional identity by scripting Homer to behave true in the transaction of the revised fictional detective character. Homer obliges by spilling a fondue pot on the nuclear reactor polity panel. Homers identity crisis eventually leads him to Hollywood, where he confronts the producers of the Police Cops-By the Numbers Productions-and demands that they recast the detective character: Im begging you! Im a human duration! Let me have my dignity back! The lines between Homers authentic identity and his media identity blur all the more besides when his efforts in the production business are used as grist for a contemporary gag in the later Police Cops period. Studies in Media Counsel Literacy Education, Manual 1, Controversy 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 6 In the third kernel, the plot shifts absent from Homers struggle over his identification with his media replica to his fixation on the sense that a contemporary label will give him a virgin identity. In this kernel, Homer goes to court to sue Police Cops for the improper application of his reputation. When his petition is nowadays rebuffed in the term of corporate proprietary interests, he rashly decides to transform his reputation to Max Coercion. Homers growth is nowadays transformed. His self-image improves, he becomes forceful and dynamic, and his co-workers and boss treat him with respect. Mr. Burns, remembering Homers reputation for the first interval, exclaims, Well, who could forget the reputation of a magnetic individual prize you? Keep up the acceptable profession, Max. While shopping at Costingtons for a contemporary faculty wardrobe, Homer meets a member of Springfields elite with a similarly powerful label, Trent Steele. Trent nowadays takes Homer/Max under his wing, inviting him to garden troop for Springfields young, hip force couples, an period that turns elsewhere to be the jumping off stop for an environmental reason. The critical moment in this kernel-which links the identity crisis of Police Cops with the identity theme in the Max Force parcel of the episode-occurs when Homer reveals to his contemporary best friend Trent Steele the origin of the term Max Compel. When Trent exclaims, Hey, beneficial term!, Homer replies, Yeah, isnt it? I got it off a hairdryer. Homers resolution to his identity crisis with his media self is to redefine himself in terms of the force setting of a mini household appliance. The self is these days equated with a product. At first, the results are stunningly successful. The fourth kernel leads to the denouement. In the third kernel, Homers appropriation of the identity of his hair dryer appears to have resolved his identity crisis in satisfactory transaction. On the other hand, this meaning soon falls apart. At the garden assemblage, Homer and Marge rub shoulders with celebrity environmental activists Woody Harrelson and Ed Begley, Jr., two of the various celebrities lampooned in the phase. The sense extreme these scenes is that Homer, as the buffoon celebrity Max Force, is on the same level as other equally shallow and ridiculous celebrities. Finally, Trent Steele announces that it is interval to board a bus to re ason the wanton destruction of our nations forests. This generate is relentlessly parodied: We have to protect [trees] by generate of trees cant protect themselves, except, of trail, the Mexican Fighting Trees. The partygoers travel to a stand of redwoods about to be bulldozed and are chained to the trees. The police (Chief Wiggum, Eddie, and Lou) confront Homer, attempt to swab his eyes with Hippie- Coercion mace, and stop up chasing him on all sides of his tree. His chain works prize a saw, cutting down the redwood, which in turn topples the comprehensive forest. Homer, freed at persist, throws his chain into the air, killing a bald eagle. Homer, as the phony Max Force, is rejected by the phony celebrity activists. In the fifth and final kernel, which serves as an epilogue to the phase, Marge and Homer are in bed. Marge tells Homer she is glad he changed his reputation back to Homer Simpson and Homer responds, Yes, I learned you gotta be yourself. The Phase Through a Postmodern Le ns The phase is intriguing by generate of of its insistent focus on the search for identity, and the methods by which that identity is constructed within the absurdities of the postmodern landscape. As Gergen (1992) notes, We are exposed to more opinions, values, personalities, and ways of activity than was any previous interval in novel; the number of our relationships soars, the variations are enormous: past relationships extreme (only a ring bell apart) and contemporary faces are only a channel absent (p. 58). There is, in short, an explosion in social connections. What does this explosion have to do with our meaning of selves and what we stand for, and how does it undermine beliefs in a romantic interior or in a rational center of the self ? This is precisely the controversy this period of The Simpsons takes up again and again. What is exclusively engaging in this phase is the focus on Homers identity crisis and its relationship to the media. This is not, of line, a theme unique to The Simpsons. As Caldwell (1995) observes, comedy-variety shows in the late 1940s and early 1950s were repeatedly using the conventions of intertextuality and selfreflexivity about the constructed existence of the media image. All the more Leave it to Beaver aired a media/ Studies in Media Counsel Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 7 self phase in the 1950s entitled Beaver on TV. Filmmaker Woody Allen often explores the connection between self and media, perhaps most directly in The P urple Rose of Cairo, where the films female protagonist is shocked to find her own film idol able to development off the screen and assume a flesh-andblood relationship with her. More virgin examples involve the films Duration John Malkovitch and Nurse Betty. On the other hand, episodes of The Simpsons residence this theme with a critical column seldom found in mainstream television. In this meaning, the demonstrate serves as both an illustration and exploration of the mass-mediated self. And it certainly stands as an acknowledgment of the degree to which identity is dispersed across media encounters and the degree to which others respond to and validate these contemporary media created selves. Homers engagement with the television character bearing his reputation isnt a simple one of identification, on the other share a blurring of the boundaries between his absolute self and the image of himself dialogically reflected back to himself by the media. This period takes the basic media literacy proposition that the media construct social detail and radicalizes it to argue that the fundamental identities of audience members are further socially constructed by media participation. The boundaries of our seemingly absolute identities open to fade. The writers engage in this play with the audience in at least two different ways. First, they coercion us, through our identification with Homer, to acknowledge the ways in which we identify and all the more lose ourselves in the fictional characters we watch. And to generate trustworthy this speck is driven habitat, the writers pull the rug elsewhere from under us. In the forgetful pleasure of our beneficial identification with Homer, who in turn is identifying with the glamorous protagonist, the period switches the roles of the televised Homer Simpson from seductive hero to buffoon. Homer is left the fool, and we extremely must confront our own identification with Homer and The Simpsons present. At the same interval, the present alternately encourages us to identify with Homers search for his absolute self and reminds us that the character we are closest and relating to is a cartoon invention himself. This is the push and pull of postmodern irony, at once pushing us to critical insights about the conventions of mould and at the same hour pulling us back to a safe level of detachment so that the stakes involved in unraveling our existential certainty about who we are do not become overly menacing. The phase further illustrates the crisis of the self from the perspective of content and form, as detailed by Giddens (1991) and Gergen (1991, 1992). With regard to content, the phase shows us the myriad of ways in which Homers meaning of self is pushed and pulled, spread out and contradicted. With regard to form, it never lets Homers character-or our understanding of his character-settle into a stable, coherent self once his identity has been called into question-at least not until the epilogue of the program. The period moves beyond illustration of the relational self to a critique of the challenges facing the relational self in many instances, and it is certainly in these instances where some of the unique, potentially consciousness raising efforts of The Simpsons flare through. The first dispute is when Homer goes to Hollywood to beg the production convention to give him back his dignity by recreating his television character. Despite Homers protestations that he is a human activity, the By the Numbers Production Convention is undeterred from shamelessly exploiting Homers (cartoon) citizens. This scene suggests that the keys t o our selfhood are held, in stuff, by uncaring corporations, willing to exploit us and our identity for their own gain. The second dispute is in the critically sophisticated decision to offer Homer a second chance at achieving a dignified self by literally constructing his meaning of self through total identification with the faculty setting of a hair dryer. In both cases, and exclusively in the hair dryer gag, these are subtle critiques that may or may not be processed by most viewers. Neither is amplified in any significant means semiotically or through the plot. Reading through the fan postings for the period on the Simpsons Archive speck, we found no evidence that these critiques had been taken up. In act, there was petty recognition of any of the identity issues discussed above, other than the humorous confusion over the label Max Force. On the other hand, these scenes infuse the phase with an influential critical credible, expressly from the speck of judgment of media educator s. They allow us to think about the crisis of the self in connection to the meaning of relational identity as well as within the dispute of what critical postmodernism has identified as Studies in Media Info Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 8 the ever- intensifying movement to turn everything into a commodity. All the more ones meaning of self is commodified, reducing us to believing that we really are only what we own. In other contents, while The Simpsons can certainly be enjoyed without any participation of postmodernism, viewers knowledgeable about some of the basic tenets of postmodern sense may more fully appreciate the twists and turns of its inventive plot lines. Defusing Critical Themes Nearly a decade ago, Collins (1992) reviewed a short vignette within a Simpsons period that was constructed in all the more the same pathway as the Homer to the Max phase discussed above. Homer and Bart are watching Macys Thanksgiving Hour parade on television and discussing whether the cartoon characters appearing on the balloon-floats deserve such immortality. Just as Homer tells Bart that if you plain building a balloon float for every flash-in-the-pan cartoon character, youll turn the parade into a farce, a Bart Simpson balloon float passes by. Collins wanted to know about the factor of hyperco nscious irony on television viewers: is its persist effect emancipatory, salient to a recognition that televisions representations are social constructions rather than value-neutral reflections of the real existence? Or does this irony generate a disempowering apathy, in which no image is taken at all seriously? (p. 36). Collins subject is all the more with us today, exclusively by rationale of postmodern television shows demonstrate no memo of disappearing. We are attracted to the resources of media literacy moments that such shows practise visible, on the other facilitate we further realize that these programs often deconstruct the validity and importance of those same media literary guideline. It is the postmodern dimension of nowadays media fare prize The Simpsons that requires that we select the sense and uses of irony further seriously, that we carefully attend to the quality of hope that is offered to media audiences after the deconstructive play of postmodern ironies has left us laughing and numbed. If we can no longer trust any genuine realities, if traditional moralities keep revealing their human limits, does this mean that the only credible options are to retreat into nostalgia, go shopping, or go shopping for nostalgia? Linking these concerns to identity issues, Gergen (1991) asks: Once we are aware of the ironies of self-reflection, how are we to regard them? What response can we generate? Is it simply an invitation to play and a surrender of any form of critical examination or something else? As he argues, when ones activity is constantly doubted and its constructed and contingent character is made evident, then daily area as an objectively given self is threatened (p. 137). With these concerns in meaning, we conclude by examining how the critical issues raised in the beginning of the Police Cops phase regarding the self, the media, and consumer culture are resolved. Not surprisingly, the period withdraws from its sophisticated illustrations of the challenges of postmodern culture in habitual and its more specific explorations of dilemmas of the self. It further withdraws from its application of critical postmodern irony to the more soothing romantic judgment of the self-contained and absolute self, as well as to the nostalgic sense that the traditional family is a haven in a heartless area. Lets contemplate at this turn absent from criticism in a bit more naked truth. A central site of this essay has been that the existence of The Simpsons forces media educators to stretch beyond the basic premises of media literacy to confront the postmodern vastness of the series and its postmodern implications for understanding media literacy. To this speck, we focused on two postmodern media representational issues: the relational self and postmodern irony/irony overload. In the conclusion of this phase, it appears that the critical dimension of each of these pedagogical moments is surrendered. First, the sense of the relational self is rejected. When Homer turns to Marge as they lie in bed and says I learned you gotta be yourself, we are comforted with the most obsessively repeated summary of romantic individualism in the vocabulary of habitual culture. The threat of the blurring borders between ones absolute self and ones mediated self is contained. The threat of ones confusion over who I am and what I own is contained. Moreover, it is contained literally wi thin the confines of the marriage bed, a symbol of the modernist utopia of intimacy between two self-sufficient individuals in a committed Studies in Media Info Literacy Education, Tome 1, Controversy 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 9 relationship. In this modernist judgment, to be in a relationship or not to be in a relationship is a choice. A relationship is not viewed as the inescapable foundation of a self with its closest responsibilities, obligations, and joys. The sense of the relational self, which could serve as the rationale for a nonmarket ethic for both personal and social relationships, is lost. Although Homers final I learned you gotta be yourself could further be recite ironically, it stands as the final narrative handhold for the viewer to resolve the phase. Second, the separation of regular and private-particularly in the realm of identity and relationship-is scrupulously maintained. Again, this follows the modernis t judgment. Homers activism against the corporate worlds exploitative engineering of personal identity is an isolated, individual quest that humorously reveals the futility of challenge. When Homer does join a troop in line to naked truth in relationship with others to achieve a social target, his joining is both against his will and dependent on his phoniness. The members of the aggregation are further viciously satirized for their insincerity, their self-servingness, and their kookiness. As all the more as The Simpsons celebrates and all the more tenderly appreciates quirkiness of character, quirkiness is presented as uncool as soon as it flowers into organized resistance against corporate mainstreaming. What memo, then, becomes foregrounded? The doctrine of the relational self-formerly used as the mode by which corporate media culture and consumer culture are criticized-is itself critiqued. The further sense of the relational self is seen as a threat, in the same system that corporate manipulation and celebrity phoniness are threats. In naked truth, the period suggests that the sense to the issues of corporate and consumer manipulations of identity lies in just duration ourselves, all the more though ourselves are spread across the myriad of social and mediated interactions that we participation voluntarily and involuntarily every interv al. The sense that the relational self, understood in a beneficial flash, could serve both to deepen the critique of commercial mediation of identity and to articulate an alternative ethic of responsibility is not on the screen. This retreat into the romantic, individualized self is heightened by the excesses of postmodern irony, which move the ironic trope from critique to detachment to nostalgia for authentic or imagined traditions. As Homer makes his system from his encounter with the corporate soullessness of By the Numbers Productions to his encounter with the mindless environmental activism of the celebrity phonies, he learns that all social or political process is equally futile and absurd. This lesson fits with Homers answer to his absolute self and his marital bed, on the other ease it denies viewers any hope-other than cultural regression and increasing privatization of experience-for dealing with the postmodern existence. Taylor (1991), in her glance at of television fam ilies of the 1960s and 1970s, found that the central task of these shows was to advice hold together a conservative impression of the nuclear family against whatever challenges and contradictions novel had to offer. In this meaning, it is ironic that The Simpsons serves a much the same stop, offering the family as sanctuary against a existence absent mad. The Simpsons, on the other hand, innovates by recognizing that the challenges posed to virgin culture are less about external political threats or all the more domestic strife than about the threat to solution itself and to a influential field. In this system, it opens all the more critical habitat and thoughtfully charts modern lifes postmodern absurdities before shutting down the target and examination over these further issues. Conclusion We began with the controversy: If The Simpsons is the reimburse, whats the subject? We argued that The Simpsons is not the stop of postmodern culture, on the other artisan only another process of a tidal wave of media that are hyper self-conscious about solution and mould. For in a superior pathway or worse, the series pushes us to an encounter with postmodern judgment. This encounter provides a vocabulary to recognize the descriptive symptoms of postmodernism and to appreciate the deeper social and historical conditions salient to the postmodern dispute. It further allows us to distinguish between, on the one artisan, a postmodernism of despair which focuses on meaninglessness and, on the other artisan, a critical postmodernism which Studies in Media Counsel Literacy Education, Manual 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 10 recognizes our compel and responsibility to draw up a course of action of values based on the interdependence of indication and personal identity. This is not to claim we feel that we have the answers to these questions; rather, we demand to levy forward the meaning that these are the questions an d issues that media literacy educators should be teaching toward. Drawing on postmodern impression, we examined two key now themes in The Simpsons: the changing impression of personal identity in the postmodern era, as well as the fruits and futility of a relentlessly ironic worldview. Our reason was to provide some guidelines that media literacy educators could utilize to engage the increasingly pervasive phenomenon of self-conscious media texts that grapple with the blurring dossier between the absolute area and the detail of the media area. Rethinking the sense of identity and recognizing the critical and destructive potency of irony are crucial to understanding the compel of a commercial culture that concurrently creates, celebrates, and bemoans the explosion of meaninglessness. Programs such as The Simpsons give media literacy educators the opportunity to embark upon that journey. COLUMBIA ONLINE CITATION: HUMANTIES STYLE Bybee, Carl and Overbeck, Ashley. Homer Simpson Explains our Postmodern Identity Crisis, Whether we Enjoy It or Not: Media Literacy after The Simpsons. Studies in Media Info Literacy Education 1.1 (2001). https://www.utpjournals.com/simile (subsume access hour here). COLUMBIA ONLINE CITATION: SCIENTIFIC STYLE Bybee, C. Overbeck, A. (2001). Homer Simpson explains our postmodern identity crisis, whether we enjoy it or not: Media literacy after The Simpsons. Studies in Media Info Literacy Education, 1(1). https://www.utpjournals.com/simile (subsume access hour here). BIOGRAPHICAL Memo Carl Bybee is Associate Professor of Indication Studies in the Institute of Journalism and Indication at the University of Oregon-Eugene. Ashley Overbeck is a doctoral student in the same department. Their these days probation focuses on the connection between irony, apathy, and citizenship in childrens media. AUTHOR CONTACT Info Carl Bybee and Ashley Overbeck Institute of Journalism and Memo University of Oregon Eugene, Oregon, U.S.A. 541-346-4175 [emailprotected]/* */ [emailprotected]/* */ References Aronowitz, S., Giroux, H.A. (1991). Postmodern education: Politics, culture and social criticism. Minneapolis, MN: University of Minnesota Press. Aufderheide, P. (1993). National leadership conference on media literacy. Washington, DC: Aspen Academy. Best, S., Kellner, D. (1991). Postmodern judgment: Critical interrogations. Contemporary York: Guilford Press. Buckingham, D., Sefton-Green, J. (1997). Multimedia education: Media literacy in the hour of digital culture. In Kubey, R. Media literacy in the counsel hour: These days perspectives (pp. 285-306). Modern Brunswick, NJ: Development. Studies in Media Info Literacy Education, Tome 1, Controversy 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 11 Caldwell, J. (1995). Televisuality. Contemporary Brunswick, NJ: Rutgers University Press. Chatman, S. (197 8). Chronicle and discourse: Narrative structure in fiction and film. Ithaca, NY: Cornell University Press. Collins, J. (1992). Postmodernism and television. In Allen, R.C. (Ed.) Channels of discourse, reassembled: Television and virgin criticism (pp. 327-354). Chapel Hill, NC: University of North Carolina Press. Conway, D., Seery, J. (1992). The politics of irony: Essays in self-betrayal. Virgin York: St. Martins Press. Gergen, K. (1991). The saturated self: Dilemmas of identity in virgin duration. Virgin York: Basic Books. Gergen, K. (1992, November/December). The decline and fall of personality. Psychology Today, 25, 58-64. Giddens, A. (1991). Modernity and self-identity. Palo Alto, CA: Stanford University Press. Giroux, H.A. (1997). Pedagogy and the politics of hope. Boulder, CO: Westview Press. Hebdige, D. (1988). Hiding in the flash. London: Routledge. Hobbs, R. (1998). The seven acceptable debates in the media literacy movement. Journal of Memo, 48, 16-33. Hutcheon, L. (1994 ). Ironys string: The judgment and politics of irony. London: Routledge. Hutcheon, L. (1996). Faculty of postmodern irony. In Rutland, B. (Ed.) Genre, trope, gender: Essays by Northrop Frye, Linda Hutcheon, and Shirley Neuman (pp. 33-50). Ottawa, Ontario Canada: Carleton University Press. Jameson, F. (1992). Postmodernism, or the cultural logic of late capitalism. Durham, NC: Duke University Press. Kaufman, W. (1997). The comedian as confidence person: Studies in irony fatigue. Detroit, MI: Wayne Remark University Press. Kellner, D. (1995). Media culture. Virgin York: Routledge. Leo, J. (1999, March 15). Tower of pomobabble. U.S. Material and Area Report, 27. McKinlay, P.F. (1998). Postmodernism and democracy: Learning from Lyotard and Lefort. Journal of Politics, 60, 481-503. McLaren, P., Hammer, R., Scholle, D., Reilly, S. (Eds.) (1995). Rethinking media literacy: A critical pedagogy of replica. Contemporary York: Peter Lang. McNamee, S., Gergen, K. (1999). Relational responsibi lity. Beverly Hills, CA: Sage. Media Awareness Network. (2000). https://www.media-awareness.ca (22 November 2000). Owen, D. (2000, March 13). The funniest person in TV. The Virgin Yorker, 64-75. Purdy, J. (1998, July/August). The hour of irony. The American Coming, 84-90. Rorty, R. (1989). Process, irony, and solidarity. Contemporary York: Cambridge University Press. Scholle, D., Denski, S. (1995). Critical media literacy: Reading, remapping, rewriting. In McLaren, P., Hammer, R., Scholle, D., Reilly, S. (Eds.) Rethinking media literacy: A critical pedagogy of replica (pp. 7-32). Contemporary York: Peter Lang. Steinberg, S., Kincheloe, J. (1997). Kinder-Culture: The corporate construction of childhood. Boulder, CO: Westview Press. Taylor, E. (1991). Primetime families. Berkeley, CA: University of California Press. Thiele, L.P. (1997). Thinking politics: Perspectives in antiquated, contemporary, and postmodern political judgment. Chatham, NJ: Chatham Territory Publishers. Wolin, S . (1990). Democracy in the discourse of postmodernism. Social Trial, 57, 5-31. Studies in Media Counsel Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 12

Essay about Bram Stoker - 1449 Words

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The Comic Elements Of White Chicks Essay - 2101 Words

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Independent/Alternative vs. Mainstream Media Free Essays

Many issues immediately rose up after the incident of the September 11 bombing, many of which include criticisms and comments on what really happened and who actually did it. Michael Moore was one of these people. Michael Francis Moore is a Michigan-born director cum author cum political activist that has been known widely because of his fearless views on globalizations, large corporate companies, Iraq Wars and the US intervention, and most especially, a major critic if the US President George W. We will write a custom essay sample on Independent/Alternative vs. Mainstream Media or any similar topic only for you Order Now Bush. He was the author of several best-selling books including political writings about the country’s leaders. This includes â€Å"Downsize This (1996), â€Å"Stupid White Men† (2001), and â€Å"Dude, Where’s My Country?† (2003). 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This is to enlighten them, show them what could be a very upsetting truth about Bush and his call on terrorism. Fahrenheit was given recognition and was awarded the top honor at Cannes Film Festival, the Palme d’OR, setting a record to be the first ever film documentary to have won that prize. It has been an award-winning work of Michael Moore, making it the highest-grossing documentary of all time, earning an almost 200 million dollars all over the world, 120 million of which, came from United States alone. It became a talk of the world, since it tackles on a different perspective of the September 11 terrorist attack, putting the President himself, George W. Bush, on the hot seat. This rather different look on terrorism greatly affected how people looked at the President, thus eliciting anger and negative reactions from his followers. They condemned the work of Moore, including his friends in the mainstream media. Moore and his â€Å"Farenheit 9/11† There had been a lot varied reactions with Moore’s award winning film documentary. A lot of these were the negative reactions from different news networks, all saying that Moore was telling the whole American viewers his preconceived lies about the President George W. Bush and the September 11 terrorists’ attacks.   Moore allowed to be interviewed by ABC’s anchor George Stephanopoulos on the â€Å"This Week† show. He was able to address and recognize the major points of his critics. Taking the situation of the Saudi Nationals, including the alleged bin Laden family; they were allowed to leave the United States just after the September 11 attacks. During that time, all commercial flights were grounded. Moore is saying that it is the President’s doing to clear those flights, because of the fact that they have family business ties to the Saudis, thus leading to the clearing of the bin Laden family also. The former security adviser Richard Clarke, known to be a Bush critic said that he was the one responsible for clearing the flights, thus alleviating Bush of the doubts connected to him. Moore’s say on this was that Clarke made a wrong decision because he admitted making mistakes, but he already apologized to the families of the September 11 victims. Mainstream media’s take on Moore and his â€Å"Fahrenheit† Moore’s response to the interview could be considered as his evasion to the topic, but this wasn’t taken by News channels lightly. ABC, instead of putting it on the subsequent news stories, have made a direct action against it. The network launched direct actions, two-pronged attacks on the film and its accuracy, starting from their early morning News shows up to the station’s late night news. They hit on Moore and his work without allowing Moore the chance to respond to their grave claims that are greatly damaging. Segments started with the graphic question, â€Å"Fact or Fiction?† thus hinting that Moore is not a reliable source, feeding the viewers with his lies, damaging his reputation to the people. They just relied on Clarke’s statements, yet didn’t make the effort to ask the side of Moore for his answers. â€Å"Good Morning America† publicist Bridgette Maney said that ABC News gave Moore his fair share of a chance to respond, to defend him of these accusations. Cathie Levine, ABC News spokesperson said that they didn’t lack any attempts to give Moore a chance, that they had ran a clip from the Stephanopoulos interview after the airing of Clarke’s statement. Yet, the clip they have shown didn’t have any response from Moore. They have wrongly positioned the man, showing the people that he’s a liar, yet his justifications was not shown to the public, an example of the negative publicity they are giving Moore. Another station that reacted with Moore’s â€Å"Fahrenheit† was NBC, giving out highly negative assessments of the film documentary.   These were shown on both their â€Å"Nightly News† and their cable channel, MSNBC. They tagged their coverage of Moore’s works as a â€Å"truth squad report,† again clearly implying that Moore’s works were just but a work of fiction, a product of his imagination, a documentary conceived from lies and radical imaginations. Lisa Myers, a senior correspondent of NBC, clearly showcased the hilarious, comical moment in Fahrenheit 9/11, as an important part of the â€Å"truth squad’s† expose. In this part, it shows when Moore asked some of the legislators to sign their children up as volunteers to fight in Iraq on the President’s campaign against terrorism. Lisa Myer’s pinpointed one incident, when Moore failed to put in and include the comments of a confused Republican congress member, Mark Kennedy. He replied that his nephew was called into service and that he’s already going to Afghanistan. Lisa Myers pointed that Moore didn’t like the legislator’s response that’s why he didn’t include it on the documentary. Moore rebutted that in the Stephanopoulos interview that when they interviewed Kennedy, he didn’t have any family members in Afghanistan. But just like ABC, NBC made no effort to include this rebuttal in their reports. Considering the responses from these mainstream news giants, they are all one-sided. It is possible that Moore could have fabricated the contents of his film documentary, but they lacked a lot regarding the explanation of Moore’s side. They have loaded leading phrases, like â€Å"fact or fiction,† and â€Å"truth squad,† which could be wrongly interpreted by the viewers, implying Moore’s lack of credibility. They have also omitted Moore’s answers to certain important question, making him look like a liar who can’t defend his statements, thus making him look bad to the people. Why would these networks do these, clearly showing that they are giving a bias in this case? Looking closely, NBC is owned and managed by General Electric, a company that plays a key role in National Defense because they are their prime contractors. On the other hand, ABC is owned by Disney, even though they have no evident connections to the government, they solely depend on the benefits they get from federal regulators, benefiting from the influence they have on the people, thus maintaining a good image to the people. Disney even manipulated its subsidiary, Miramax, on handling of Fahrenheit’s distribution, pulling pressure in order for the latter to pull their support in the dissemination of the film documentary on a larger scale. When you look at it closely, both NBC and ABC have a lot to gain in joining the attack on Moore’s work rather than staying still, being neutral. Independent/Alternative media on Moore and his â€Å"Fahrenheit† On another perspective, Moore’s â€Å"Fahrenheit 9/11† documentary film got overwhelmingly favorable reviews from the majority of independent media. Fahrenheit ignited a â€Å"fire† which led to various discussions on some alternative media that people access everyday. This includes blogs, journals, and web-based system for information dissemination. There has been a fairly large contribution from websites talking about important points on Moore’s film documentary. There were negative comments, yet they were seemingly justified by sites and posts that tackle favorable reactions on Fahrenheit. Thus, Fahrenheit made a difference, wherein not only the Americans derived a sense of the level of deception they have had, but also to those who wrongly accused Moore, forcing them to bear the humiliation it entailed. Conclusion/Implications The implication of Michael Moore’s work to alternative media was very positive. It elicited personal opinions from people reading it or those who have come across it. This was the main difference between the information dispersal between alternative and mainstream media. The audiences, the people reading or hearing or watching the news feed could interact, reacts, comments and discuss essential points. There is transparency, because they could question the reliability, the credibility of the source of information. Whereas the mainstream media could clearly manipulate the information they are feeding the people. Take for example the omissions in Moore’s statements, his rebuttal to the negative points raised by his critics. They were deliberately manipulated, removed by the News stations in order to prove one aspect. It is to further question Moore’s credibility as a source of information, as the one who conceived the idea of the â€Å"Fahrenheit 9/11.† References: â€Å"Michael Moore Exposed†.   2005. February 8 2007. http://www.mooreexposed.com/. Hitchens, Christopher. â€Å"Unfairenheit 9/11:The Lies of Michael Moore.†Ã‚   2004. February 8 2007. http://www.slate.com/articles/news_and_politics/fighting_words/2004/06/unfairenheit_911.html. North, Gary. † Mainstream Media Vs Upstream Media â€Å".   2005. February 8 2007. http://www.rense.com/general65/mains.htm. How to cite Independent/Alternative vs. Mainstream Media, Essay examples

Contemporary Issues in Human Resource

Question: Discuss about the Contemporary Issues in Human ResourceManagement. Answer: Introduction For every organization to succeed, Human resource department must be very active to make sure that all the problems of the employer and employee are looked at and handled appropriately. It is the overall framework that helps the employee to develop their personal skills as well as the organizational skills, knowledge, and abilities. In this circumstance. Some issues arise amongst many of the organizations (McDonnell et al., 2015, p. 19). The issues could be addressed and critiqued so as necessary changes may take place. However, some recommendations for right practices can as well be made for appraisal of these practices. There are also some contemporary issues that arise dairy like the violation of psychological contact and staffing. Violation of psychological Contrast Violation of the psychological contract has become a contemporary human resource management issue. The relationship between the employer and employee has not been to the expectation. The reason is that there are many expectations of the employer to the employee. The mutual expectations of inputs and outputs are however not achievable as strategized by the employee and thus, the company may fail to meet these feelings and thus break the psychological contrast. The Abu Dhabi Oil company is a case in point, the year 2016 was a good year where the employee had done extensive deals over the oil company in the United Arabs Emirates and other countries, that, it recorded positive trend on the sales and the Emirates economy. The employee felt that they were supposed to be appreciated as their efforts in the work was. The input versus the output was a subject for reward and motivation, and therefore, the company did not appraise the workers, and this brought a breakage of psychological contra st (Tomprou, Rousseau Hansen, 2015, p.563). Staffing Staffing has also been a contemporary issue in modern companies. The companies have a bigger task than the workers employed by the corporation. BHP Billiton mining, metal, and petroleum company has been identified with this problem. The Workers in this company are few. Regarding that the firm is the worlds largest mine, it is expected to have a good number of employees. In Melbourne, Australia, some very many people can be assigned to work in that company and reduce staffing (McDonnell et al., 2015, p. 26). The Human resource management in organizations has to work on this for the better of the employees. Conclusion The issues in the organizations about the workers welfare should be addressed by the human resource managers across the line management of these agencies. By this, the organizations will provide a conducive environment for the employee and employer. References Tomprou, M., Rousseau, D. M., Hansen, S. D. (2015). The psychological contracts of violation victims: A post?violation model. Journal of Organizational Behavior, 36(4), 561-581. McDonnell, A., Boyle, B., Stanton, P., Bartram, T., Burgess, J. (2015). Delineating human resource management practice in domestic and foreign?owned multinational enterprises in Australia. Asia Pacific Journal of Human Resources.

Business Law Legal Environment

Question: Discuss about the Business Law for Legal Environment. Answer: Introduction: In the contemporary world, particularly in all the countries that have a stable government and guided by the rule of law, business operations are regulated by various statutory provisions (Lampe, 2006; Cheeseman, 2007). In Singapore, for example, companies are mainly governed by the Companies Act (Han, 2016). Nonetheless, it is important to note in some cases, specific types of companies are regulated by both the Companies Act and some other laws. For instance, apart from the requirement to comply with the Companies Act, banks and insurance companies have a legal obligation to comply with the provisions of the Banking Act and the Insurance Act respectively. Moreover, limited liability partnerships, although recognized as body corporates, are regulated by the Limited Liability Partnership Act. Han (2016) also points out that besides meeting the requirements stipulated under the Companies Act, corporates are also required to comply with particular provisions found in other laws such as the Securities and Futures Act. Furthermore, the legal provisions that regulate the activities of businesses in Singapore are complemented by the Common Law. Subsequently, in one way or another, the law affects a business from the point of its inception to dissolution, thereby performing several key functions. First, the law facilitates businesses to acquire a legal status for purposes of creating legal persons that can sue and be sued (Lee Chen, 2016). In Section 17(3) of the Companies Act, an enterprise or business entity that has a membership exceeding 20 is required to be incorporated as a company (Hans, 2016). Accordingly, this enables the business to enter into contracts and act in its individual capacity when carrying out its operations. Second, business law operates to protect the rights of consumers (Wee Cheong, 2013). Accordingly, the law offers the general guiding principles for business operations, thereby making it mandatory for businesses to apply ethics and good pr actices when dealing with their customers. Consequently, this ensures that the customers are satisfied and at the same time, have their rights protected. Finally, the law provides a mechanism through which the various interests of the different stakeholders in the business are protected (Lee Chen, 2016). For example, to protect creditors of a business, business law provides a precise liquidation or winding up procedure (Hans, 2016). Consequently, financial institutions that provide credit services to business are cushioned from the possibility of losing their funds in the event a business or company is wound up. An effective arbitration clause contains four essential elements (Eisenberg, Miller Sherwin, 2007; Friedland, 2007). The first element, which incidentally is typical to all forms of agreements, is to produce compulsory consequences for the subject parties. According to Friedland (2007), the significance of this element is that it compels the parties to act in a certain positive manner so as to avoid a specified sanction. The second element is that which excludes the intervention of the state courts in case a dispute arises, at least prior to the issuance of the award. Ideally, this element is important in that it allows the parties to exhaust all the appropriate non-judicial mechanisms before considering or seeking judicial intervention which in many instances is a lengthy and expensive process (Eisenberg et al., 2007). The third key element in an arbitration clause is to accord arbitrators the power to resolve the potential disputes between the parties. Eisenberg et al. (2007) expl icate that this feature is critical because it empowers the arbitrators to make binding decisions that would help resolve the dispute in question. The final important feature in an arbitration clause is to allow the putting in place of a mechanism resulting under the ideal conditions of rapidity and efficiency to the issuance of an award that can be enforced by the courts. Overall, this feature is important because it expedites the resolution of the conflict and at the same time, it is relatively cheaper than the courts. Incidentally, an example of an arbitration clause provided by Singapore Law Committee (2016) is as hereunder: "Any dispute arising out of or in connection with this contract, including any question regarding its existence, validity or termination, shall be referred to and finally resolved by arbitration in Singapore in accordance with the Arbitration Rules of the Singapore International Arbitration Centre (SIAC Rules) for the time being in force, which rules are deemed to be incorporated by reference in this clause. The Tribunal shall consist of arbitrator(s) to be appointed by the Chairman of the SIAC. The language of the arbitration shall be . Subsequently, in cases where the parties to a contract decide to resolve their disputes using an arbitration mechanism, there is usually a significant chance that the outcome of the arbitration is a win-win for both parties (Goltsman et al., 2009; Thomas, O'Hara Martin, 2010). A good example of a successful arbitration in real life is one that involved a European software developer and an Asian Company in which there arose a dispute about the performance of the licence agreement (World Intellectual Property Organization, 2016). On prima facie of the factum, it is conclusive that Megastorez.com and Adrian were parties to a contract that is voidable. In a nutshell, a voidable contract is one that is enforceable but which may be rejected or affirmed at the discretion of one of the parties (Smith Atiyah, 2006; Anson et al., 2010; Koffman Macdonald, 2010). In the present instance, although Adrian agreed to purchase a laptop under the said terms and conditions, he is not bound to the contract due to lack of mutuality in the contract. Thus, he is capable of repudiating the contract at his discretion and thus, Meegastorez.com is under a legal obligation to deliver to him one silver coloured laptop (Model No. LP100) or alternatively, offer him a full refund. It is imperative to note that for a contract to be enforceable and bind the parties that have contracted, it must contain four essential elements, namely: offer, consideration, acceptance, and mutuality (McKendrick, 2014). In other words, if a contract lacks any of the said elements, such a contract lacks legal enforceability. McKendrick (2014) describes an offer as a promise made by one of the parties in the contract. On the other hand, consideration refers to something of value promised to the offeror in exchange for a particular action or omission. Cartwright (2009) elucidates that a consideration may take the form of a considerable expenditure of effort or money, a promise to deliver some service, or reliance on the promise. According to Chen-Wishart (2012) and Chen-Wishart (2012), it is the element of consideration that differentiates a contract from a gift. In contrast, acceptance takes place when a party responding to an offer agrees to it either by conduct or statement (Koffm an Macdonald, 2010). In general, the acceptance has to reflect the terms provided in the offer. In case the acceptance is different from the terms presented in the offer, then such acceptance is perceived to be counteroffer and a rejection (McKendrick, 2014). The final key element to an enforceable contract is mutuality, that is, the parties have a meeting of the minds so far as the agreement is concerned (Adams Brownsword, 2007). However, it appears from the current situation that Adrian and Megastorez.com were not at ad idem with regard to the sale and purchase of the laptop. Adrian was interested in a particular model of a laptop and his mind was set that once he makes the prescribed payment in accordance with the set terms, Megastorez.com would deliver to him a silver-coloured laptop. Nonetheless, to compensate Adrian, the online store delivered to him a laptop that was of a higher retail price and one that did not match the specifications he had provided. Although Megastorez. com reserves the right to substitute products, the fact that Adrian was not in mutual consent with having his product substituted when making payment makes the contract voidable in its entirety unless he accepts the delivered laptop. In the event that Adrian is unable to resolve the matter with Megastorez.com, he has the option of seeking the intervention of the court or the assistance of the Consumers Association of Singapore (CASE). According to Consumers International (2016), CASE is fully committed to advocating and protecting consumer interests in Singapore through the provision of consumer information and education. Moreover, CASE is keen in ensuring that all the relevant players comply fully with the provisions of the Fair Trading Act and the Consumer Protection (Fair Trading) Act. Thus, CASE would help Adrian appropriately because it has the appropriate resources for the same. In addition, since CASE is a not for profit entity, it would assist Adrian at no charge. It is important to note that a contract can be made orally or in writing (McKendrick, 2014). Thus, in the instant case, Lina has made several pre-contractual statements that are considered to be contractual terms in employment. First, Lina states to Ken that Ken would be working in the routine working hours of 9 am to 5 pm, Monday to Friday. The implication of this is that the company would not be assigning Ken duties and responsibilities over the weekend. Accordingly, Ken would be able to continue with his part-time studies even during weekdays, especially after 5pm. Second, Lina stated to Ken that during the working days, the Companys employees are required to wear corporate uniforms. Ideally, this statement means that since Ken would not be an office staff once hired, he would be required to be dressed in corporate uniform each hour he is on duty. In brief, if and when Ken accepts a job offer from the Company, he must be ready and willing to dress in the accepted company uniform d uring the working hours. It is also implied that if Ken works overtime, that is, past 5 pm on the weekdays and over the weekends if need be, he would be required to wear the corporate uniform. Finally, Lina made statements about Kens remuneration package, including medical benefits and the yearly leave entitled to a Company driver. It can be inferred that if Kens appointment was on a permanent basis, Lina must have mentioned to him prospective basic and gross salary he would earn at the end of the month when discussing about his remuneration package. However, if Kens appointment was on a casual basis, Lina must have disclosed the amount of wages that would be payable to Ken. Moreover, apart from the salary and wages, Lina must have also informed Ken other rewards that would accrue to his remuneration, for example meals or milk, electricity or gas, accommodation, and mobile phone for communication purpose. Regardless of the nature of the employment contract, whether written or oral, the Singaporean courts would always imply that such a contract has a provision for fair dismissal of the employee. In other words, the courts assume that even if it is not documented or mentioned at the time of entering into the contract, an employment contract has a mechanism through which an employer can dismiss an employee from work. It is now a legal fact that individuals earning a basic pay of not more than $4,500 are currently secured under the Employment Act and may seek for review against wrongful and unjustifiable dismissal by their employers with the Ministry of Manpower. The treatment of this category of workers would now be very like the majority representatives who are secured under the Employment Act. This is not withstanding that there is likewise another classification of custom-based law worker in which human resource professionals would comparably need to oversee as though they are wrongfu lly and unreasonably dismissed, the plan of action is through the common courts. In perspective of the above, there are fundamentally three classifications of employees in Singapore. The treatment of rejecting either by notification or without notification for the three classifications of workers contrast significantly. Managers ought to utilize reasonable techniques while dismissing their employees because supplanting them is costly and claims for illegal dismissal can be exorbitant and tedious to the Company. Incidentally, the court is always focused on promoting justice and fairness and consequently, if it establishes that an employ was dismissed in an unfair manner that cannot be deemed to be reasonable, it would be inclined to issue a judgment that would be in favour to the subject employee. Overall, despite the absence of a term that describes the procedure or manner an employee would be terminated from work, the courts always imply that there is always such a term in the employment contracts and that such terms are consistent with the principles of administrative active, which include the employ being notified of the intention to terminate their services. More importantly, such notices must have justifiable reasons for reaching that decision and simultaneously, the employee must be accorded a n opportunity to be heard so far as such notice is concerned. There are instances in which employees have invoked this implied term in court. For example in Chan Miu Yin v Philip Morris Singapore Pte Ltd [2011]SGHC161, the plaintiff argued that there is an implied term of employment contract that a worker cannot be dismissed unfairly or without due diligence (Wong, 2013). Although the court agreed with this submission, it dismissed the application because the merits of the case could not satisfy a ruling in his favour. References Adams, J. N., Brownsword, R. (2007). Understanding contract law. London, UK: Sweet Maxwell. Anson, W. R., Beatson, J., Burrows, A. S., Cartwright, J. (2010). Anson's law of contract. London, UK: Oxford University Press. Cartwright, J. (2009). The English Law of Contract: Time for Review?. European Review of Private Law, 17(2), 155-175. Cheeseman, H. R. (2007). Business law: Legal environment, online commerce, business ethics, and international issues. Upper Sadle River, NJ: Prentice Hall. Chen-Wishart, M. (2012). Contract law. Oxford, UK: Oxford University Press. Consumers International (2016). Consumers International - Our members - Member directory. Retrieved 22 August 2016, from https://www.consumersinternational.org/our-members/member-directory/CASE%20-%20Consumers%20Association%20of%20Singapore Eisenberg, T., Miller, G. P., Sherwin, E. (2007). Arbitration's Summer Soldiers: An Empirical Study of Arbitration Clauses in Consumer and Nonconsumer Contracts. U. Mich. JL Reform, 41, 871. Friedland, P. D. (2007). Arbitration clauses for international contracts. Huntington, NY: Juris Publishing, Inc.. Goltsman, M., Hrner, J., Pavlov, G., Squintani, F. (2009). Mediation, arbitration and negotiation. Journal of Economic Theory, 144(4), 1397-1420. Han, C.T . (2016). Ch.16 Singapore Company Law. Retrieved 21 August 2016, from https://www.singaporelaw.sg/sglaw/laws-of-singapore/commercial-law/chapter-16 Koffman, L., Macdonald, E. (2010). The law of contract. Oxford University Press. Lampe, M. (2006). A new paradigm for the teaching of business law and legal environment classes. Journal of Legal Studies Education, 23(1), 1-51. Lee, Pey Woan and Chen, Christopher C. H.. Modernising Company Law: The Singapore Experience. (2016).Company and Securities Law Journal. , 34(2) , 157. Research Collection School of Law. McKendrick, E. (2014). Contract law: text, cases, and materials. Oxford, UK: Oxford University Press. Singapore Law Committee (2016) .Sample Clauses. Retrieved 21 August 2016, from https://www.singaporelaw.sg/sglaw/resources/sample-clauses Smith, S. A., Atiyah, P. S. (2006). Atiyah's Introduction to the Law of Contract. OUP Oxford. Thomas, R., O'Hara, E., Martin, K. (2010). Arbitration Clauses in CEO Employment Contracts: An Empirical and Theoretical Analysis. Vand. L. Rev., 63, 957. Wee, C. H., Cheong, C. (2013). Determinants of consumer satisfaction/dissatisfaction towards dispute settlements in Singapore. Asia Pacific International Journal of Marketing. Wong, R. J. (2013). Employment ContractsTermination and Dismissal. Singapore Law Gazette, December. World Intellectual Property Organization (2016).WIPO Arbitration Case Examples. Retrieved 22 August 2016, from https://www.wipo.int/amc/en/arbitration/case-example.html