Reflective Material

Monica Wells MSM 5100 August 28, 2011 Why did Jim feel it necessary to analyze reflective material produced by students rather than just interview final-year students in his research? ANSWER: I feel that Jim choose to use both means of collecting data to ensure he was able to see the whole picture. Additionally, I feel it was good for him to lay down a base line for the interviews by reviewing the reflective data. I also believe this allowed him to get a better understanding of the students and the data prior to conducting interviews. Why was it important to plan and manage the interview the way described. ANSWER: I believe that it was good to explain to the students what he was attempting to do during the interview process. I also believe that as an interviewer you want as few distractions as possible thus not disrupting the flow of the information. Iti s also important to put the students at ease and not have them concerned about what they say and how it will be used. Furthermore, I believe as an interviewer one wants as few distractions as possible during the process. With Jim allowing for cross flow of communication and having them in a group, I believe that it enabled the process to get to the route of the problem. More often that not, people feed off of others comments thus adding to the discussion. As Jim only interjected when they got off topic this allowed for him to gather more data during the timeframe they were allotted. How did Jim deal with the ethical issues in his research? ANSWER: I feel that by Jim explaining up front to the students that he was recording and offering up the possibility of erasing something the students did not like, this made the ethical questions disappear. He took the time at the beginning to tell them what was going on and what he intended to do with the data gathered. I feel he covered any ethical dilemmas that could be raised. Why was it valid for Jim to decide to interview tutors when originally he had not intended to? ANSWER: I believe it was valid to interview the tutors because his initial dat collection led to him to believe there was more than what met the eye. I don’t believe the initial information was able to answer the why, how and when questions would like an interview did. It was able to get to the route of the problem allowing for him to make the WBL a better plan. The more he was able to learn about the flaws the better for him. Additionally i feel the answers in the primarily data led to more questions. He found out that many students had not been placed and now he knew why they had not.

Gender Equality Essay

World bodies have defined gender equality in terms of human rights, especially women’s rights, and economic development. [12][13] UNICEF describes that gender equality â€Å"means that women and men, and girls and boys, enjoy the same rights, resources, opportunities and protections. It does not require that girls and boys, or women and men, be the same, or that they be treated exactly alike. [14] The United Nations Population Fund has declared that men and women have a right to equality. [15] see more:speech on gender inequality â€Å"Gender equity† is one of the goals of the United Nations Millennium Project, to end world poverty by 2015; the project claims, â€Å"Every single Goal is directly related to women’s rights, and societies where women are not afforded equal rights as men can never achieve development in a sustainable manner. [13] Thus, promoting gender equality is seen as an encouragement to greater economic prosperity. [12] For example, nations of the Arab world that deny equality of opportunity to women were warned in a 2008 United Nations-sponsored report that this disempowerment is a critical factor crippling these nations’ return to the first rank of global leaders in commerce, learning and culture. In 2010, the European Union opened the European Institute for Gender Equality (EIGE) in Vilnius, Lithuania to promote gender equality and to fight sex discrimination. It is also worthy to note that gender equality is part of the national curriculum in Great Britain and many other European countries. Personal, Social and Health Education, religious studies and Language acquisition curricula tend to address gender equality issues as a very serious topic for discussion and analysis of its effect in society.

Sovereign Default risk in the Euro zone A further look at a possible Dissertation

Sovereign Default risk in the Euro zone A further look at a possible exit - Dissertation Example The resulting models which were arrived at using the forward stepwise procedure passed various goodness-of-fit tests as well as other tests of the significance of coefficients. This indicates that both CDS spread and Debt/GDP ratio improved the model’s predictive power in the case of the Euro zone while CDS spread was the only significant factor for Cyprus. Tests of the model using in-sample and out-of-sample data shows that it is capable of predicting default and non-default with a high degree of accuracy. 1.0 Introduction Sovereign default has been present in world economies throughout history. One of the countries that have defaulted in the past is Argentina. Very often, it is the same set of countries that are habitually in this state of economic crisis. The 2008 financial crisis has been described as one of the worst to be felt in this modern age since the Great Depression of 1933 (Your reference here). Its effects are still underway and countries around the world are try ing their utmost to maintain financial stability. One of the newest currency unions and the most powerful in the world; the Euro-Zone, therefore makes an interesting study. One of the single most important events that preceded the spiralling downturn in the 2008 financial crisis is the Lehman Brothers failure on September 15, 2008. Prior to the 2008 financial crisis, the sovereign Credit Default Swap (CDS) market was not as significant as corporate CDS markets. This was due to the relatively stable outlook of developed nations within the Euro Block and the perceived minimal default risk associated with these countries. As a result of the Lehman Collapse, and other proceeding financial institutional failures, large losses worldwide were incurred, which had spill over effects eventually affecting entire economies. This resulted in negative implications for investor confidence and a reduction of credit in the market. The bailouts for these banks by the individual governments could only be made possible by incurring massive amounts of debt (Dieckmann and Plank 2011). This led Governments to increased risk of sovereign default and a global reassessment of credit risk. In turn, CDS in the sovereign market became highly liquid as the uncertainty of these nations became an issue, implying an increase in sovereign credit risk. Since 2012 the Euro zone has been characterized by deepening crises in several countries, some of which have suffered what is described as selective default. These crises have been characterised by increases in CDS spread, increased Debt/GDP ratio and high bond yields. This has led to credit rating agencies such as Moody’s and Standard and Poor’s giving ratings to some of these countries that indicate to investors the risks associated with government bonds. In addition to Cyprus and Greece, some of the countries that have received speculative ratings include Bulgaria, Hungary, Italy, Ireland, Latvia, Estonia, Portugal and Spain (Blo omberg 2013). Concerns have been raised that the ratings given by credit rating agencies are unreliable as the default ratings for Greece in 2012 and Cyprus in 2013 came after the event. The aim of this study is to evaluate the risk of sovereign default in the Euro zone and also to develop an econometric model that is capable of predicting default before the event takes place. This would be very beneficial to

DBR LAB Report Example | Topics and Well Written Essays - 2000 words

DBR - Lab Report Example e such that sections of the pavement are not subjected to excessive deformation that would otherwise result in settlement of the section or localized deformation. One of the empirical methods used in the design of pavements is the California bearing ratio test abbreviated as CBR test. CBR value is determined by carrying out a CBR test on the subgrade soil. The CBR value depicts an index that shows the soil bearing capacity and the soil strength. Using the CBR value, sub – base and base material of a pavement to be constructed can be easily designed (Knapton). Using the CBR value, evaluations of the strengths of the soils can be established by using CBR value as an indicator. The CBR value typically represents a percentage of the soil with a standard crushed soil from California. Ultimately, the CBR value is mainly used in the quantification of the response of the subgrade and pavement to loading (Indian Institute of Technology Kanpur). There are various factors that affect the CBR test. These include the soil density, the soil texture and the soil moisture. Thus, the testing procedure to be used for a specific CBR test is completely dependent on the material type being tested. A drawback to the CBR test is that it gives the total thickness of material to be applied above the subgrade. The thickness is constant for a particular pavement irrespective of the materials that are used in the construction of the layers (Yoder and Witczak). In the California bearing Ration test, the objectives are the determination of the CBR value of the soil that is being considered to be used as a foundation of a pavements. This is mainly done to facilitate the evaluation of the subgrade soil strength (Purushothama). It should be noted that CBR does not provide information about the soil properties such as cohesion shearing resistance etc. 4.5 Kg of the sample to be tested was collected from the field. A soil sample was then taken from this sample a compacted in a CBR mould in 3

Are immigrants valuable contributors to life in California or are they Essay

Are immigrants valuable contributors to life in California or are they not - Essay Example Immigrants are valuable contributors to life in California since they are vital in sustaining the economic prosperity of California through their labor supply and payment of taxes to the government (Bohn, 2005). Highly skilled immigrants have spearheaded California’s innovation economy as evidenced by companies such as Google and Qualcomm. The immigrants are more likely to establish businesses and create demand for the manufactured goods thus contributing to the economic life in California (Portes and Rumbaut, 2006). The immigrants have changed the ethnic and cultural composition of California population since Latinos and African Americans form a substantial part of Californian population. Immigrants are valuable contributors to economic, social and cultural life in California. Immigrants are valuable contributors to Californian economy since they have played a critical role in California economy for the last two centuries. About a third of immigrants are likely to start businesses and immigrants’ businesses account for about 5 million jobs across the US (Bohn, 2005). According to statistics, 36.6 percent of businesses in California were owned by immigrants and immigrant business owners contributed about 30 percent of the net business income in California. In addition, highly skilled immigrants have spearheaded innovations since 52 percent of the technological start-ups in Silicon Valley have at least one immigrant founder while global companies like Google and Yahoo are attributed to immigrants (Portes and Rumbaut, 2006). The immigrants contribute $ 30 billion in federal taxes and $ 5.2 billion in state income taxes. The purchasing power of immigrants is estimated at $ 310.5 billion. The immigrants have boosted earnings for Californian workers since more than half of the immigrants have a college degree (Portes and Rumbaut, 2006). Immigrants represent a

Write a briefing for an American Business Traveler going to Japan Research Paper

Write a briefing for an American Business Traveler going to Japan (Intercultural Communications Class) - Research Paper Example Stepping into Japan from a Western country like the United States, can be like stepping into an alien world, because so many of these unnoticed assumptions, that have become second nature, now appear out of place. Communication problems arise when signals are misinterpreted, and very often this is a disorienting experience. This briefing paper outlines a few of the main differences that a traveller from the United States can expect to find in communication with Japanese nationals in Japan. It explains how Japanese customs and habits have arisen, and explains what effects they have on the business context today. Finally some final points are suggested to guide a visitor to Japan in the first phase of encounter with this fascinating culture. Japan has a population of about 127 million people and the main religions are Shinto and various branches of Buddhism. Both Roman Catholic and Protestant Christianity are also represented, but on a much smaller scale (Japan Introduction, no date). Shinto is an ancient religion that involves respect for ancestors and various spirit beings called kami. These can be divinities with personalities, like people, or they can be attached to natural phenomena. Mount Fuji, for example, is revered as holy place, and the Japanese have a strong attachment to the natural world. Festivals for the different seasons reflect ancient religious beliefs also, such as the New Year festival and the famous cherry blossom festival. Evidence of the practice of Shinto can be seen in temples which are dotted around the countryside, and occasionally in cities too, and also in Japanese homes, where there is often one corner of the house which is used as a small shrine where prayers can be said and offerings can be made. This reverence for the ancestors extends also to relations with older people in society, since Japanese generally respect older people, at home and at work, and defer to their authority more than would be usual in American society. The

Evaluate critically the historical development of the interventions of Essay

Evaluate critically the historical development of the interventions of the UK government in sports policy; do political ideologies impact modern sport - Essay Example sports which entailed the creation of rules and regulations in the play of the sports and that this element of sports started only during the 19th century (Guttmen, 2008). Another factor that contributed to this shift is the direct governmental intervention in sports during the early part of the twentieth century, which has been made more manifest after World War 1 and at the onset of globalisation (Houlihan, 2002). One of the earliest governmental interventions in sports is the passage of policies prohibiting blood sports. Great Britain and United States are the first two countries who have implemented this policy (Houlihan, 2008). In fact until now, boxing is still banned in Sweden (Houlihan, 2008) What is significant and distinct about the direct involvement of the government in sports is the idea that the state has started to intervene on what sports is to be promoted and what is to be outlawed. In fact, after World War I, the state has found more reasons to become directly invol ved in sports because sports have been valued as a good way for the military to be physically fit (Houlihan, 2002). Although this is no longer a popular reason for state involvement in sports, it cannot be denied that the military reason for physical fitness and training has become an important policy in sports development from 1920s until 1980s (Houlihan, 2002). In the more recent years, the state involvement in sports has been motivated by the concept of social integration and cohesion (Houlihan, 2002). Social integration has been claimed to be a loose term that covers diverse policies which ranges from â€Å"combating juvenile delinquency, establishing a sense of community during rapid periods of urbanization the integration of diverse ethnic groups† (Houlihan, 2002: 215). While others have maintained that the social integration of sports is not just a means to attain social stability in the face of rapid developments and changes but that it is â€Å" defined as integrati on in the work

Independent topic Speech or Presentation Example | Topics and Well Written Essays - 500 words

Independent topic - Speech or Presentation Example In professional polling the importance of sampling validity is immeasurable. The first step is to fully identify the sampling frame from the population that the poll seeks to represent. This is followed by a random selection of a small percentage from within the sampling frame to represent the entire population targeted by that poll. Random here implies that everyone has an equal chance to be selected and this can only be achieved if the method chosen to identify individuals to be interviewed is free of bias. Even though Statistics postulates that the actual number of people interviewed for a given sample is less important than the soundness of ‘randomness’ employed in the process, you still need to balance the economic cost of sample sizes with the desired level of accuracy required. Accuracy of plus or minus three percentage points margin of error is the acceptable level for professional polls. Once the individual to be interviewed has been identified it is important not to change the selected person so as to eliminate possibility of bias. In the case of telephone sampling this would involve performing call-backs until such a time that selected individual is available. However, more importantly for the interview is the wording of the questions and the order in which they are set to be answered. Crafting fair and objective questions requires extensive knowledge of public opinion, care and discipline. To achieve this it is good practice to have exact wording of a question held constant from year to year to analyze trends and also to have multiple questions to help put the research within a certain context. These two practices come in handy when interpreting the poll results. Finally, for accountability purposes the polling company needs to make its data available to the public domain for any interested parties to draw their own conclusions about what the survey data means an d to assess whether the poll was conducted in a professional manner. The New York

Occupy Wall Street Movement Essay Example | Topics and Well Written Essays - 1250 words - 2

Occupy Wall Street Movement - Essay Example The movements of OWS generally came into existence concerning the moral performance of the individuals and the unequal income distribution within the current socio-economic stature of the US. The moral implications which have been involved in the movement, in relation to OWS relates with the Primacy of Self-Interest and the Democracy progression. The Primacy of Self-Interest states the individual responsibility towards any kind of conduct. It is worth mentioning in this regard that the prevailing moral scenario within the US society indicates that the power of controlling depends largely on the wealthy group of population. In such circumstances, the distinct authorities regarding economic decision making is bestowed upon selected individuals belonging to that particular section; thus, segregating the society in terms of income (University of New Mexico, 2012). One of the notions initialized by the OWS protestors conveys the message that the nation and the economy should be controlled by the actual successor who deserves the right to control, based on their potentialities rather than their wealth. This symbolizes the leaders for the economy should be selected through fair and just elections. Furthermore, with regards to the democratic philosophy of politics, it has been connoted by the protestors that the economy should be democratic in power so that individuals can assist each other to a larger extent. Hence, government should offer active participation in protecting people from social threats.

Global Branding Assignment Example | Topics and Well Written Essays - 1500 words

Global Branding - Assignment Example Additionally, global branding creates a new image for a company could be used to increase its market share. Highly recognized brands have certain common features that define them and prevail amongst them (Bloomberg, 2006). Most of these features denote the prevailing marketing strategy that determines successful global brands. This is because branding is a marketing gimmick that basically characterizes the quintessential aspects of marketing and strategy. From my experience while visiting inter-brand and business week websites where the top global brands report is evaluated, these elements include reliability, aesthetic value, proper packaging, warranty services and sustainability among others. In essence, consumers prefer global brands for an assortment of reasons. Originally, global branding has a lot of connotations some of which are real, and others perceived. Therefore, consumers associated global brands with aspects of quality, reliability, superiority, convenience and safety ( Interbrand, 2012). As a result, global branding has a lot of sway on the buying decisions of consumers. Practically, global branding has a high bearing on the quality and suitability of products and services more so to the usage by consumers. First and foremost are the high standards associated with the global business through which global brands must meet certain requirements to survive in the market. Consumers value global brands due to the aspect of superiority in quality and reliability. Inter-brand methodology can be quite constructive in diversifying the essence of products and services and could be a good recipe for organizational success (Reinold, 2010). Though, in essence, inter brand methodology represents the confusion of parameters where the organization fails to identify its true identity in the market and resorts to inter brand methodology for opportunism purposes. Establishing global brands is a step-by-step progression that calls for time, tact and long-term perspect ive. Therefore, managers ought to first ascertain their respective concepts of marketing, as well as its long-term marketing objectives. Subsequently, managers must embrace competition in the global market and boost the quality quotient of their respective services and products. Such measures will guarantee successful international brands. Question 2 a) The emergence of a new breed of multinational from merging countries is well-documented in business reports, books and literature and points towards a paradigm shift with regard to the global business (Aguilar, 2006). In essence, the previous years have witnessed an exponential growth in the participation of emerging economies in the international trade more so in the ownership of international business. There is a big divergence between the traditional multinational corporations like IBM and Nestle among others and these emerging multinationals. These differences emanate from the strategy used in developing, managing and advancing t hese corporations. As a point of fact, emerging countries are applying particularly unique strategies of entering and prevailing in the global business environment. This poses a huge challenge to the existing multinationals. b) The new global challengers are using different approaches in entering the international market. The two most prevalent methods are the organic growth and through mergers and acquisitions. Each strategy has its own advantages and disadvantages (Casanova, 2009). For

Theoretical Framework Essay Example for Free

Theoretical Framework Essay Self- efficacy and perceived self-proficiency Bandura’s (1986) social cognitive theory is based on the concept that individuals possess a self-system that enables them to exercise a measure of control over their thoughts, feelings, and actions.   He defines this self-system as housing the individuals’ cognitive and affective structures which includes the abilities to symbolize, learn from others, plan strategies, regulate ones own behavior, and engage in self- reflection.   Bandura believes that through self-reflection, individuals could evaluate their own experiences and thought processes.    Bandura (1986) stresses that self-reflection is the most critical human capability.   Through self-reflection, individuals evaluate and change their own thinking and behavior.   Some of these evaluations include the perceptions of self-efficacy. Self-efficacy is the belief in one’s own capabilities to organize and initiate courses of behavior necessary to achieve specific types of performances. Bandura further elaborated on the belief that perceived self-proficiency could affect behavior in several ways.   Individuals may be influenced in the courses of action they undertake. He believed that individuals may only participate in tasks in which they feel confident and competent.   In contrast, they often avoid those tasks in which they feel unsuccessful.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   According to Pajares (1996), self-efficacy beliefs could determine how much effort individuals will invest in an activity, how long they will persevere when confronting obstacles, and how resilient they are in adverse situations.   There exists a direct relationship among two sets of variables where the higher the self- efficacy, the greater is the effort, persistence, and resilience. In addition, self- efficacy beliefs could influence individuals’ emotions and thought patterns.   An individual with low self-efficacy could believe that things are more difficult than they really are.   This is a belief state of mind that could contribute to depression, stress, and a limited vision of how to best solve an issue.   On the other hand, high self-efficacy could contribute to an individuals feeling of confidence and serenity in approaching problematic tasks and activities (Bandura 1986; Pajares 1996).   Moreover, according to Bandura, an individuals self- efficacy beliefs are strong determinants and predictors of the level of accomplishment that one may attain.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In consonance with this, online art students are individuals possessing this self-system that Bandura was referring to. Their self-systems could pave the way for an introspection of one’s self. This self-reflection is a means for the students to evaluate their selves and this self-evaluation made by the students are the basis for behavioral changes towards improvement. When done in the educational setting, the students could use this self-system in reflecting with regard to their self-efficacy and self-proficiency. This would direct and pinpoint the strong and weak points of the students and the factors that keep them continuing in an educational endeavor or activity. Adult online art students would need to have the chance to review their set of characteristics such as self-efficacy. As stated above, this activity would pinpoint their strong and weak points and the identification of such would pave the way for reinforcement or reversal of certain behaviors. There might be some factors that would need to be reinforced or improved in the online courses and this would be identified based on the students’ self-efficacy beliefs. Motivations of adult learners   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The literature (Knowles 1995; Mezirow 1991; Rogers 1966) in adult education focuses on the distinct attributes of adults, which builds a rationale for practice based on those attributes. Knowles (1995) advocates that adults are autonomous, self-directed, and have unique needs and requirements as learners.   He also indicates that adults like to direct their own learning and are motivated by several factors:1) are attracted to the social relationships involved in learning; 2) want to create friendships and there is a need to foster interesting associations; 3)   have external expectations; 4) have a desire to comply with instructions from someone else; 5) want to fulfill the expectations of someone with formal authority; 6) want to be of service to the community;7) want to become connected and part of social networks;8) want to secure professional advancements or gain higher status in employment; 9) want to escape from boredom   and learning provides a break in the routine of their daily lives. Moreover, Knowles (1950) believes in informal education; that is education where the learning occurs in daily life and outside of formal school settings. Just the same, the adult students of the online art classes still possess practically the same motivations stated above. It can be noticed that the motivational factors presented here are not entirely in harmony with the elements of an online class. Transformative learning, best theorized by Mezirow (1991) suggests that the adult learner make changes through transforming personal perspectives. Mezirow believes that individuals could be transformed through the process of critical reflection and that changes which accelerate transformative learning are referred to as â€Å"disorienting dilemmas†. These are situations that fail to align with preconceived opinions. The dilemmas encourage critical reflection and guide the development of alternative paths of knowledge. The adult learner is given the chance to reflect on the attitudes, opinions and emotional responses that defined personal perceptions. Transformative learning can, thus, aid adult online art students in bringing about an act of contemplation within their personal perspectives of successes, barriers, and motivations with regard to the online art programs they take. As suggested by Mezirow, the change in personal perspectives can help in attaining necessary changes among the adult students in the educational setting. The theory of experiential learning, by Carl Rogers, evolved as a part of the humanistic education movement (Patterson, 1993; Valett, 1977). Rogers distinguishes two types of learning: cognitive and experiential. Cognitive learning corresponds to academic knowledge such as learning multiplication tables and vocabulary.   Experiential learning refers to an applied knowledge such as learning about sewing in order to make clothing. Rogers (1996) believes that a distinction between cognitive and experiential learning was that the learning addresses the means and desires of the learner.   The qualities of experiential learning are self-initiation, personal involvement, and evaluation by the learner and the pervasive effects on the learner. Rogers also feels that all human beings have the ability to learn and the role of the educator is to facilitate the learning. The educator’s responsibilities were to set a positive climate for learning, clarify the purposes for the learner, organize and make available learning resources, balance intellectual and emotional components of learning, and share thoughts with learners. However, an educator should avoid dominating the classroom.   Rogers (1996) states that real learning is facilitated when the learner participates in the learning process and has control over its direction. Also that it primarily is based upon direct application with practical, social, personal or research problems.   Moreover, self- evaluation is the main method of assessing progress or success. Indeed, the theme of self-evaluation by adult online art students remains to be the central focus of this theory. It is also to be emphasized that it is the adult online art students are the principal actors to whom the learning process should be directed. It is necessary that the inputs to the learning environment comes and directs to the learners, who are the adult online art students, and the teacher remains as a facilitator in the online classes. With the fact that they are the main actors here, they are also the ones who should reflect on the learning process and bring about the change. The teacher, as a facilitator would be the one to be the change agent. Both Rogers (1966) and Mezirow (1991) reflect Knowles’ ideas about informal education. Rogers’ (1966) approach to adult education focuses on relationships. He agrees with Knowles that adults want to create friendships and foster interesting associations. However, he believed that the facilitation of significant learning relied upon the attitudinal relationship of the facilitator and the learner. He also believes that it is impossible to teach another person directly—one could only really facilitate their learning.   Similarly, Mezirow (1991) recognizes that adults are autonomous and self-directed; however, he felt the adult learner needs to challenge their frames of reference by critically reflecting on their assumptions. Mezirow feels this is a critical step in the adults learning. Learning could change if the adult would implement ways to assess their beliefs or prior assumptions. With this, a line can be drawn in the path of the adult online art students. There is a relationship within the facilitator and the learner, who are the teacher and the adult online art student respectively. It is not possible to have a direct domination of the learning process of the adult online art students. There is a need for the adult online art students to evaluate on their current beliefs so as to gain a new perspective in the learning process.   Research by Csikszentmihalyi (1997) also explores motivation. He defines a â€Å"state of flow† as a condition of heightened focus, happiness and productivity that all individuals understand and hunger for. Csikszentmihalyi offers an interesting observation about what individuals believe makes them happy. What was discovered is that individuals are most happy and most productive while pursuing challenging activities. The majority of these activities are during work or pursuing a hobby.   Individuals who emerge from each flow state are more complex, self-confident, capable, and sensitive. The experience becomes its own reward. Moreover, in order to improve one’s life, one must improve the quality of the experience. Csikszentmihalyi believes the main advantage of flow is that it enabled adults to avoid psychic entropy or degeneration which could cause depression, dispiritedness and distraction. The adult online art students are motivated by different things. Generally, it can be said that these motivations come from the idea of being challenged with their online art programs. The very experience would serve as their means and their ends. In addition to this, what matters highly are the goals and experiences given and made by them to keep them going in the online art program. Intentions of adult learners One definition (Webster’s World dictionary 1998) of intention states that it is the reason, motive or purpose for ones actions. It is a determination to act in a specific way and on purpose. However, according to Davies (2006) this definition may be unfinished. Jackson (1994), Kuhl (1990) and McCarty and Siccone (2001) as cited by Davies (2006) believe that intention is an internal representation of a persons values, purposes, or commitment to a particular activity. In addition, intention includes willpower, persistence, determination, desire, effort, work ethic, mindfulness, striving, and focus. Rychlak (1997) adds that through intention individuals have the ability to choose specific actions. They also have specific intentions that can determine the effort and persistence with which they pursue those actions.  Ã‚   Fishbein and Ajzen (1975) add that actual learning behavior is more accurately predicted by a learner’s intent. Davies (2006) concludes that it is the learners’ intent that determines the effort expended and the quality of the learning achieved. Through self-reflection mentioned several times before, the adult online art students would be able to learn about their intentions as learners. The degree of the intensity of the intention also shows the effort that will be brought about by the learner in the learning process and in the online art programs. This would greatly affect their interest in their programs. Intention can be defined as an individuals commitment and will to learn what is expected of them when given a specific learning opportunity.   According to Bandura (2001) intention is the mental representation of commitment to learn which is separate from both from motivation and effort.   Learner intention can characterize an individual aims and values for participating in the learning activity. An individual’s capability to make accurate decisions may vary depending on aptitudes and abilities. Gardner (2006) makes the point that the ability to control oneself in this way is a category of intelligence.   Intrapersonal intelligence as Gardner expresses it, is the degree to which individuals are able to efficiently control motivational influences and accurately judge situations when making decisions and forming intent. Tyler (1995) notes that intentions which are associated with specific decisions are not always fixed.   Circumstances may change and motives can become reconsidered.   Certain individuals may have multiple intentions for multiple activities.   These can often compete for their time and attention.   According to Schunk and Zimmerman (1994) in learning environments where students are faced with conflicting intentions, compromises are made that are often situational.   Students who can self-regulate and prioritize specific learning goals are academically successful. Those who are unable can become unsuccessful. The online educational setting would provide the adult online art students conflicts with regard to their motivations, intentions, and personal perspectives. It is important for the adult online art students to be able to identify their main learning goals in vis-à  -vis their intentions and motivations in order for them to become successful in their online art programs. It is necessary for them to gain a full understanding of their personal perspectives and beliefs because these are the things which would pave the way for a successful academic setting. Success strategies and best practices Palloff and Pratt (2001) discuss successful strategies and principles of good practice for instructors in online undergraduate education. This includes, encouraging contact between students and faculty, developing cooperation among students, promoting the use of active learning techniques, and giving prompt feedback. Another good practice is to place an emphasis on communicating high expectations to all learners of diverse talent and learning styles. Palloff and Pratt (2001) believe that courses that encouraged interactivity are the key to a well constructed online course. It could be remembered that one of the motivations of the adult students is the interaction between the different stakeholders of the learning environment. Thus, the transformation of the online courses into an interactive one is a key step for the administrator and the teachers. The role of the student as the principal actor should be noted here because the adult online students should take a big part and should be considered in the redirection of the online class into an interactive one. Sales-Ciges (2001) separate the instructor’s role in the online classroom into three categories: social, intellectual, and organizational.   The instructor monitors the course content by tracking student’s activities, setting timelines, and introducing procedures.   The instructor also has the role of facilitator in discussions by providing students with feedback on discussion board responses.   Stolovitch and Keeps (1999) add that instructors need to understand how to foster human interaction in a virtual setting and to guide the students through their understanding of course materials. In addition, an instructor needs to promote students interactivity for communication, motivation, discovery and participation when presenting assignments.   Wiggins and TcTighe (2001) believe that the instructor should focus on the students understanding of the material and the ability to transfer the information into real life.   In addition, the assignments must be achievable and rewarding in order to keep the student motivated. In line with this, the teachers as facilitators in the online classes for adults should maintain its role as close as it is in the real setting. It should be as close to the real classroom environment and the adult online students should have all the necessary knowledge and skills to be able to put it into application. The maintenance of the real classroom environment and the ability to put it into application are motivations for the adult online art students. Barriers for completion The research (Mezirow 1991; Tough 1979) supports that adults have several barriers against participating in learning. Significant barriers include confidence, time, interest, money, scheduling, child care, transportation, and information about opportunities to learn. More importantly, less obvious barriers include their past experiences in acquiring new learning. Kennedy (2003) observes that adults have preconceived ways of thinking and this could cause a resistance to learning new information. The adult learners’ past experiences can be a barrier in gaining new learning. Crawford (2006) supports Kennedy’s belief about the adult learner. He notes that a resistance to learning new information can occur from past habits or old ways of thinking about a particular issue. He adds that the reason for this resistance in learning is that adults are often reserved about acquiring new knowledge, particularly if it is in direct contrast to what they believe. Similarly, the adult online art students bear the same difficulties with regard to learning, more so with a new environment which is the online classrooms for them. In addition to this, there are factors that prevent them from proceeding with the learning process as they take into consideration when they enroll and proceed with their online art programs. Motivations to continue According to Knowles (1980) adult learners are educated through life experiences. They gain their self-identity from their past experiences. If they cannot use those experiences or if those experiences are unacknowledged, they can feel rejected as an individual. Bandura (1986) also supported that if an individual perceived themselves as unable to accomplish a task, they would cease to participate in the task. In addition, Kennedy (2003) noted that the fear of failure an adult may bring to the classroom could bring on further rejection from their peer group.   Kennedy believes that past experiences could also be a handicap in acquiring new learning.    Adults sometimes have preconceived ways of thinking that are resistant to change.   Moreover, adult learners could be more reserved about new knowledge if it is in contrast to what they believe.  Ã‚   Lieb (1991) contends that how an adult uses their work provides a significant and important factor in self- identification. An important aspect of work that influences the adults motivations to learn has to do with job dissatisfaction. Changes in technology and other socio-economic factors could influence a great number of adults who change occupations over the course of their lives.   Adults are often motivated to acquire and update new skills for employment. To this, the motivations for the adult online art students are motivated by the environment within which learning occurs. This would also include their past experiences and how they use the things they learn from the online art programs. Palloff and Pratt (2003) support that online learning may require a high degree of motivation, self-directed learning, persistence, and commitment from the adult learner.   Many learners lack the required preparation for the demands of online learning in order to complete their programs. Retention (Frankola 2004) in distance education higher education is not a new subject; however the study of e-learning retention is a relatively new area for research. Most of the existing models (Tinto 1975; Bean 1980) of retention were built on the retention research of ground campuses and nontraditional learners. The field of retention for adult online art students remains an unknown one. It is also necessary to identify the preparedness of the adult online art students to the nature of the learning environment. This will provide them ample time to reflect and transform their personal perspectives and make them in parallel with the situations of the online art programs. The research (Frankola 2001) has shown that the reasons for dropping out of online education programs are multiple, interrelated and complex.   Students are most likely to leave an online program after they complete the first few courses. Few students decide to leave an online education program after they have several courses completed.   The students who persist in the early phases of the online program could be viewed as successful and are probably satisfied with their online learning experience in the program. The students who had issues adjusting to the online program or technology are likely to become frustrated in their first few courses. Taking the time and effort to putting forth the investment into the program could make the difference. The adult online art students who had the chance to reflect on their personal beliefs are the ones predicted to be more successful in their online classes. It is important that the adult online student feels motivated in the experiences and goals in the learning experience to keep them going. Martinez (2003) states that recent nontraditional attrition studies have considered the impact of psychological factors on persistence.   Bandura believes (1986) that some of these factors could be related to the learners’ self-efficacy in regard to self-proficiency. Other factors could have to do with learner intentions (Davies 2006), quality of instruction (Palloff Pratt 2003), and motivations to continue (Frankola 2004; Kennedy 2003). The level of persistence exuded by the students could be affected by several factors, which are important for the adult online art students. This, in consonance with the learning environment, could contribute to the success of the students and in the continuous endeavor in learning.

Television and Cinema in Post Modern Society

Television and Cinema in Post Modern Society Television mocking its big brother Cinema? Through parody is television mocking its big brother Cinema or is simply feeding the post-modern society? Artistic achievement has, in most societies, usually seen as one of the highest goals for its citizens with artists held in highest esteem in society. The Classical civilizations of Rome and Ancient Greece are rightly regarded as artistic highlights of world civilizations due to the unprecedented status given to artists of all trades: poets, painters, bards, actors, sculptors and musicians. This respect for excellence in the arts still exists today However modern art is unfortunately too often derided as a thing of paltry significance as compared to the great artists of the past. FPeriods of high accomplishment such as Ancient Greece or the Renaissance are rightly regarded as containing such artists whose skill and mastery of their respective disciplines may rarely be emulated, if ever. However, is that a reason for giving up on modern artistic output? After all, the twentieth century was that of Pollock, Rockwell and Hockney. But lest we forget, in the annals of history, it is doubtful that the past 100 years will be remembered for their contribution to age-old art forms such as painting or sculpture. Instead, it seems likely and indeed fair that the 20th century will be remembered for the creation, popularization and investigation of the audio-visual arts of cinema and television. From the first shots of the train moving out of Carpentras station, cinema has moved the hearts and minds of millions. The 20th century was witness to the greatest technological advancements in human history and artistic output followed suit. After the silent pictures of the 1900s first captures audiences to the first black-and-white talkies, cinematic progress could never be checked. From success to success, people round the world would be enchanted by Snow White and the Seven Dwarves, awed by Harryhausen’s special effects, moved by Gone With The Wind and horrified by Birth Of A Nation. Every decade would bring an advancement in cinematic output, something which would revolutionize the industry once again and bring new generations into cinemas. These constant progressions in cinema would take place at a far faster rate than in other arts due to several important factors. First of all, the Industrial Revolution of the late 19th-century had sent technological development across the world into a tail-spin which impacted cinema very positively by providing studios with a constant stream of new machinery, effects possibilities. The knock-on effect from this was of course that a steady stream of technicians would be trained and employed by the great studios. We will be analyzing the hiring and firing practices of the studio moguls as compared to the lifelong television employees further on in this dissertation. Another great reason for the appeal of cinema would be the characters contained within it. The glamour of Hollywood until the 1940s would make audiences dream across five continents up to the present day. The gritty reality of much of today’s cinematic output had not even been imagined and movies were used to make people dream of a greater life. We will use this opportunity to further analyze the setting-up of the movie studios, the Jewish origins of most of the moguls and the taste of Americana they injected into their projects later on. Furthermore, we will draw up a detailed comparison between the early days of both film and television, analyzing which tactics worked better in the battles for a limited audience. Even horrifying world events such as World War II would provide the film industry with invigoration as Hollywood and the pre-war German film studios would engage in a rivalry, the like of which has rarely been seen in the arts. With the Hollywood ban on exporting American films to the Third Reich, the motivation for German film-makers was extraordinary and names such as Murnau and Lang emerged as major players on the world cinema scene. Unsurprisingly, the vast majority of them fled Germany during or after the war to seek new lives in Hollywood. Many failed but some met with varying measures of success, the greatest legacy of this time possibly contained in Fritz Lang’s masterpiece Metropolis, the ominous skyline filled with skyscrapers working as a tribute to Lang’s first impressions of seeing New York harbour from far out at sea. However, even from that darkest period of human history has emerged some of the most shocking and lasting pieces of film. The films shot by the Allied forces of the Nazi concentration camps have proved perhaps the most important factor of documentary cinema. Beyond the artistry, beyond the emotional impact, cinema has provided humankind with an unlimited opportunity to document its own history, both good and bad. An opportunity television executives would notice and pick up on. Even today, the claims made by CNN and BBC such as ‘We are there as the news happens’ stem from the passion for news-stories instilled in people during the World War when small news flashes shown as previews before films in movie theatres were the only pictures civilians at home had of the war outside of newspapers. These propagandistic items were of course good for morale and television would soon enter into the fray, edging cinema out to take a monopoly over showing news programs. We must also consider another important area of research. The ‘parodying’ between television and cinema is a term of some ambiguity. Within this dissertation, we will also try and highlight the inherent differences between the terms of parody and emulation. As per rivalry in any kind of industry, some actions that may seem to be a parody of existing practices are in fact no more than emulation, a mere attempt to capitalize on a rival’s success. The concept of parody on the other hand is a very subtle one. Although television and cinema are by definition filled with some of the most acerbic minds in the world, minds quite ripe to create parody, it is somewhat naà ¯ve to think that these people would be allowed to impact decisions on scheduling and programme production. Only those at the summit of their popularity would be allowed their own shows, let alone given creative control of their shows. A recent example of this happening in Britain would be So Graham Norton. However, even these shows often fail as can be demonstrated as can be seen through the antics of stars such as Liza Minnelli, John McEnroe or Anna Nicole Smith. Thus, we can observe that the concept of pure parody being used by cinema and television for its own sake is somewhat mortifying, given the massive financial risks such an undertaking would incur. However, if parody was created to feed the viewing desires of a post-modern audience, then such an action becomes more realistic. To study this, we shall take an in-depth look at the nature of today’s post-modern audience and their viewing habits. In this dissertation, we will be looking in more depth at the first fledgling footsteps of both these art forms, the characters that helped build them up to their global statuses as well as two important periods in their history. The 50s and 60s where cinema and television were in direct competition through the slow transition period of the 70s and 80s into the modern-day scenario of co-operation. With this journey through time, we will be looking at trends pioneered by each of them and looking at any sharing or borrowing of ideas between the two mediums, we shall observe their long and drawn-out rivalry as well as the numerous examples of co-operation between them. The Glamour Years or the faint ridicule of cinema’s golden age If 90% of leadership is showing up, then we can hardly be surprised at the manner in which the men who would become studio moguls quickly rose to the top of this brand new industry. The founders of Paramount, RKO, MGM, Fox and Warner Bros. were for the vast majority immigrants or children of immigrants who had come to America either to seek their fortune or who had grown up with the image of America as this place of opportunity. In the first two decades of the 20th century, these views were far truer than they are now but to attain what one desired when the bar was so high, a lot of hard work would have to be carried out over many years. Thankfully, hard work was what these men’s families had been built on. Possessing this instinct along with a fine sense for business acumen, which some would sarcastically claim was due to their Jewish nature, Mayer, Goldwyn and the others would take the American cinematic market by storm. Before continuing, let us dispel any lingering images of these men helping each other out on their way to success. They entered a ruthless line of business where they were in direct competition and they tried everything to ruin each other, from slandering each other in the popular press to stealing actors and actresses. However, more united them than the moguls would have cared to admit. Since most of them had risen from humble beginnings, their visions of America were an embodiment of the American Dream that had influenced the migration of countless thousands from their home countries. The MGM studio, for example, would become synonymous with Technicolor musicals such as The Wizard of Oz portraying the world as a happy, bright place where everyone lived contently. The Warners would take a more active interest in social commentary but even their early efforts never went too far in criticizing a society that had offered them so much. Across the studio divide, the concepts of method acting had never even been considered and the goal of cinema was to make their actors and actresses look glamorous while portraying a style of life that would make every American dream in wonder. Why this image can be considered with a slight tint of ridicule is its existence in the middle of such troubled times. In the space of thirty years, America would fight in the two bloodiest conflicts in human history yet still, the studios churned out glossy movies, filled with beautiful dames and jolly banter. But here, once again, we strike a familiar obstacle, one that both film and television have met too many times. Too often in criticism about their history, studios or television networks are blamed for the programmes they carry or films they produce. Unfortunately, whilst they cannot be absolved of all blame, the relationship between social trends and popular entertainment is an obvious one. At a time in its history when America was fighting wars, undergoing a recession as well as Prohibition, the last thing American audiences wanted was to be served up with depressing fare that they could identify with. If another example of this is needed, look at what kind of cinema was popularized in the 50s. After the war, the film noir came of age and rose to ascendancy when American society was doing well and people felt good about themselves. A crucial fact that those who are all too quick to lay blame at the feet of the studios is that films and television programs will only be made if their creators feel they will be well-received by the general public. Television’s first faltering footsteps The intertwining and complex relationship between cinema and television cannot only be analyzed from the perspectives of programme similarity and audience sharing. Those who decided on what programmes should be commissioned, those who researched audiences to determine what kind of target audiences should be tapped, those who decided on what type of scheduling to choose at any given time of day, these television executives, producers and network directors would be the ones that would outline how television would evolve from one year to the next. As has been explained, television channels found themselves confronted with a very difficult challenge. Whereas film studios had been opened in great pomp and ceremony with the budgets of their moguls behind them thus allowing them to find their feet and carve their respective identities without a vast amount of competitive pressure placed upon them. Television did not benefit from such an auspicious start. The challenge that faced channels was to find their own identities and thus capture individual audience shares whilst fighting an uphill struggle to dislodge cinema from its spot atop the entertainment mountain. To take this would kind a special kind of organization. How could television not only catch up to cinema but also surpass it in popularity? Well, television started out with two significant advantages. Firstly, that of money. The far larger amount of broadcasting time inherent to television made it a much more viable target for financial gain than cinema which could only show any adverts to limited audiences. The commercial prospects of television soon became clear and this links us neatly with its second trump card. Throughout the 50s, television’s popularity exploded and families were rushing to buy them. The reason this had not occurred during the 1940s was that regulations concerning this new kind of entertainment were still getting sorted out and freed of problems. At the end of the 40s, television was still a luxury and commissions for TV channels had only really affected the East and West Coasts. However, in the 50s, the FCC (Federal Communications Commission) decided to make the acquisition of such a commission far easier and soon, channels began appearing across the States, often broadcasting to a small area but carrying only limited-interest stories for its local people. Thus, television watching became a far more personal affair. As far as programme content, a specific identity for television developed slowly through the 50s with the launching of successful sitcoms such as I Love Lucy which carried high audience shares across the country. However, we can distinguish here the first example of a parody between two entertainment methods. Shows that were once popular on radio were being copied to television, with I Love Lucy a prime example of this. (Wikipedia, 2005) illustrates the identity-forming process of television by explaining how local television stations helped shape this process. Moving on from   merely showing advertisements for local companies, they began showing small serials and talk shows, some of which became national phenomenons. The local nature of this kind of television would eventually mostly fade away by the 70s but the damage done to cinema was irreparable. Television had entered the hearts and minds of successive American generations and it was here to stay. Here, we can draw a major comparison between cinema and television potentially parodying it. Merely watching a few episodes of these old-school sitcoms, we cannot help but be struck at the similarity of tone to the pre-war Hollywood days. It is necessary to diverge briefly to explain the state of mind of 1950s America. Before the war, the USA had undergone a massive recession caused by the Wall Street Crash and thus, it had fallen to the entertainment industry to help people forget their woes. The film industry had done this, as shown above, but the changes it had caused had not died away. Although World War II had caused the death of many a gallant young man, it had lifted the USA into a very buoyant mindset. With the European powers needing a decade more to recover from the conflict, with Japan’s military and economic potential temporarily annihilated, with China still reeling from its murderous invasion, the Soviet Union remained the only true challenge to America’s supremacy. But the Cold War had not yet begun in earnest and in the late 40s and early 50s, the USA saw itself as the world’s only true superpower. The much denigrated Eisenhower presidency kept the economy stable through a tricky balancing act and for most of America, life was good. The Americana dream adapted to no longer be a picture of great wealth but of blissful happiness. The family unit of 2.4 children, living in the comfortable and safe suburban districts with a white picket fence around a big house, was a dream that many wished to achieve and television could reflect that. Shows such as I Love Lucy portrayed a heavenly, glossy picture of American society which is ultimately matched nowhere in entertainment except among the idyllic American communities shown in early studio films. The Warners, Mayer and the others had all built up their studios from the ground up thanks to their own hard work. They were living proof of the possibilities America offered and thus showed this in their films. Television in the 50s emulated this entirely. The era was different, the clothing more modern but the ensemble feeling remained the same. This was not merely borne out in television sitcoms but also in adverts. Sitcoms would be interrupted for commercial upon commercial selling the latest washing-machine, vacuum-cleaner or kitchen appliance without which the dutiful housewife could not live. It is oddly ironic that many of today’s stereotypes about the 50s are a product of this kind of television. It needs to be remembered, However, that this often derided type of family life where the children skipped to school, rosy-cheeked and clutching an apple, while the father gave his loving wife a demure kiss on the cheek before heading to the office in his beautiful Chevrolet is not merely a myth. Around the suburbs of New York, San Francisco and the like, many families not only lived this kind of life but their children and grandchildren still do today. However, the way in which television chose to reflect this society in a utopian sense, glossing over any unpleasantness, was a definite rehashing of the technique used by the film studios of Hollywood twenty years previously. The adaptation of the two mediums and their direct battle for audience shares As television successfully found its feet and began a posing direct threat to cinema, studios were forced to change. After all, no other new form of entertainment had entered general society since the arrival of cinema before television and thus, cinema would have to fight to keep its audiences. A couple of things could be seen as certain before these changes would proceed. Firstly, cinema would never rival television for mass popularity and market potential due to the overwhelming availability of television and its presence in an increasing number of households across America. Secondly, one of television’s worrying tendencies was to garner a lot of advertising money from a wide swathe of big American companies. Electrical appliances, cars, clothes, foodstuffs and drinks were all sold on television during commercial breaks, a fact that cinema could not copy. However, studio executives soon found ways round this problem, ways in which although adverts could not be shown during the movie, surreptitious showing of products could have a similar effect. Product placement was born. Admittedly, in a society which with every passing year produces more and wastes more, it seems that studios have become less adept at making product placement seem natural rather than obvious. The 007 series had always been a treasure trove for companies wishing to place their symbols on James Bond’s latest gadget. With the arrival of Pierce Brosnan into the role However, any shred of subtlety vanished to be replaced with highly obvious use of products. For example, Brosnan’s type of car had always been one of the highlights of the film. In Die Another Day, the presence of the painfully named Aston Martin ‘Vanish’ only served as a sales pitch for the Vanquish. Such utterly shameless product placement did reach a crescendo in 2004 where the amount of plugging for Sony and Converse in I, Robot would have made Isaac Asimov turn in his grave. However, such behaviour can shed some light onto the type of post-modern audience that we are evolving in. Those detractors who claim that post-modernism is merely the natural by-product of such a senselessly wasteful society whose mechanisms result in the attempted alienation of anyone showing a shred of individuality. Whether this is true or not is difficult to ascertain but what is lamentable is that the artistic integrity which has existed since Aristotle is being compromised in cinema out of the desire to keep up with television. Thankfully, the presence of adverts in television, even if sometimes the length of advert breaks can be infuriating has meant this has not happened in television’s case. If we evolve in a post-modernist society, then these differing methods of merely pandering to our consumer’s instincts could seem to be a by-product of intense competition between two forms of popular entertainment. Unfortunately, cinema’s rapid changes would lead to renewed controversy over its spectatorship and its impact thereupon as explained by Lynn Spigel. The concept of spectatorship in itself is a fascinating one, not just within the framework of this dissertation, but also within the field of cinema and television research. The bearings that society can have upon an audience’s watching habits are a crucial fact to understanding how individuals, larger target groups or entire demographics will react to any kind of program. (Spigel, 1998) places the birth of the issue of spectatorship in the 70s as film studies began increasing in popularity. This rise in popularity and its link to audience research are vital as we can use them to comprehend not just how an audience would react to a pioneering film or series in either cinema or television but also how it would react to a parody or any kind of wholesale copying of a popular film or series by another medium of entertainment. The issues raised by Spigel are ones, she claims, whose roots lie back in the ideals of Marx and Lacan. From a psycho-analytical perspective, Spigel writes of the complexities of spectatorship research given the psychological aspects behind it. Although Spigel’s thoughts may be questioned in themselves, they do offer conclusive evidence of audience diversity today and how carefully each aspect of this diversity needs to be considered before deciding on scheduling or production. In this, we can see the great precautions television executives must need to take in order to contemplate parodying of any kind of popular film. Modern television, its workings and its impact upon the world Big, brash, loud. Three words which could describe much of the television programmes produced in America in recent years. Long gone is the demure image of the family sitting down to enjoy some good old American-style programming with shows such as Bewitched or I Dream of Jeannie. Let’s face it, if these shows were produced today, they would face some accusations of glorifying witchcraft, yet another practice banned in Leviticus’ long list of gripes against the world. Somehow, the image of ABC being picketed for showing re-runs of Bewitched may at first strike us as absurd but with careful thought, does this seem so unlikely? One of the major problems facing network directors and schedulers is the problems they could face if showing any material seen as even slightly offensive to anybody. We will not engage here in mindless America-bashing but in a country that has long defended the right to free speech, both the film and television industries are being lambasted by religious and family protection groups for promoting violence and pornography. Whilst this could be understood if horror films were shown at hours when children watched TV or if their cartoons professed truly immoral practices but when complaints relate to Elmer Fudd shooting Bugs Bunny, one can wonder if the world has gone crazy. However insane these complaints can appear to be, they are still a startlingly important reality for today’s television. They form one of the biggest pressures on television executives who are caught in a tricky balancing act. They must maintain their audience shares by scheduling popular programming whilst also keeping packs of demented denigrators at bay. Interestingly, regulations concerning the effect of violent or sexual programming have been in place for decades. After all, most channels, even now with the new glut of cable and digital operators, have respected the 9 o’clock watershed before broadcasting any overly offensive material. Have they been secretly breaching rules of moral conduct in recent years? Whilst it is certain that television programmes do have an impact on those who watch them and while children will always care little about rules or regulations that protect them from exposition to negative images, can this be said to be the wholesale fault of the television industry? If the people want games, then games they shall have. This syllogism is one without which television stations cannot operate and although appeals could be made for public decency, violent and pornographic programmes will only be made and shown as long as the public has an interest in them. Thus, society should look to what elements within itself cause television to broadcast this type of programming rather than attack television for it. A recent example that shows just what a level of frenzy has been reached was the 2004 Superbowl. Justin Timberlake and Janet Jackson provided the entertainment when Timberlake ripped off part of Jackson’s outfit, exposing her pierced right breast. Whether the stunt was pre-prepared or not has not been made crystal clear but the furore that surrounded the incident was mind-boggling. The family protection and decency groups went insane, denouncing all film and television workers as Hollywood sleaze. The fact that this slip occurred during an event with global broadcasting and with audiences reaching into the hundreds of millions blew it out of all proportion. For some reason, that a breast had been shown on national television before the watershed was seen as being a massive breach of public decency and as potentially warping the fragile little minds of innocent children. This level of problems goes a long way to showing the tonnage of pressure placed upon television channels. However, it is thankfully a trend that has not seemed to take hold outside the USA. The EU, Japan and Canada are subjected to the same kind of programming and although some complaints are voiced, they never garner so much media attention. Thus, we can see that the manners in which television panders to its audiences vary from country to country. We have highlighted television’s modus operandi in the USA but let us consider a cross-section of Japanese audiovisual entertainment. More than 20% of Japan’s cinematic output and a vast swathe of its popular television programs are made up of anime. Anime cartoons usually contain far more involved storyline than their American counterparts, replete with high levels of violence, sexy and skimpily-clad female characters and yet, these are watched by children of all ages. Does Japan thus see a higher violence rate among young children? No, in fact, the proportion of it is far lower in Japan than it is in the USA. However, even Japanese anime does not make it onto American airwaves without massive cuts by the censorship office. A good example of this is constituted by the popular anime series, Dragonball Z. In it, a group of fighters defend Earth from invasion by evil aliens or androids. Throughout its 250+ episodes, the show contains high levels of violence, including dismembering, decapitation and the beating of children. As can be imagined, when the show was broadcast in America on Cartoon Network, all these passages were cut to spare the minds of our children. However, in Japan, Dragonball Z aired in all its unadulterated gore and no-one seemed the worse for wear. This is not to say that so much violence on TV is good. Indeed, it is lamentable that it should exist at all but it is highly unfair to lay the blame for any consequences at the feet of an industry which is doing its best to keep as many people happy as possible. Although, we have taken a standpoint in attacking America for its high sensitivity when it comes to protecting its children, we have recently been confronted with proof that this type of protest does not only occur in the USA. For ten years, Jerry Springer shocked the nation with its own brand of low chatshow humour. Famed topics of debate involved the KKK, incest and bestiality. It had met with both acclaim and criticism at home, some calling it a true social commentary, other cheap laughter at others’ misfortunes. Anyway, the comedic potential of the idea was soon seen and in 2002, it was turned into a musical named Jerry Springer: The Opera, starring David Soul as Jerry Springer, showing in the West End and on Broadway. Controversy courted it throughout but its great success shouted down these demons. However, in January 2005, the BBC decided to show the musical in its entirety. As soon as this decision was made public, Christian right-wing groups attacked the BBC for insulting Christians when it would not dare the same about Muslims or Jews. While this claim did have some merit, the BBC ignored these claims and broadcast the show at 10 o’clock on a Monday night with clear warning beforehand about the potentially offensive content within it. Examples of this type of occurrence could number in their hundreds but they are an ideal way of investigating how modern audiences identify with television programmes and react to them. One of the basic tenets is that post-modernism is that reactions to any situation are processes created by each individual and that thus, clear definitions of knowledge or art encompassing a group or a society are baseless. In this, it can be argued that the very concept of a post-modern audience is flawed. However, whatever theory we choose to engage with, we cannot reject human nature. In the last twenty years, it seems that many among the generation of young people across America who fought in the 60s and 70s against Vietnam, against the Cold War, for Civil Rights and for many other noble causes have become dangerously jaded. America’s quality of life at the end of the 70s and in the 80s reached a high unseen since the 50s. Although the gap between rich and poor was ever-widening, the lifestyles of the middle and upper classes were prodigious. America was still afflicted with problems in Iran, Central America but the Soviet Block was crumbling and the mood among the general population was good. However, in the 80s and 90s occurred a phenomenon that not many people had truly predicted. The baby-boomers who had so been influential in re-shaping America after World War II were themselves beginning to be required to pass the torch to the next generation. Thus, the norms of society that they had created were themselves being challenged by their children. This shift occurred through the appropriation of traditional American areas of life by the younger generation such as television, cinema, the press as well as the fledgling Internet. We will look in further detail at the emergence of teenagers as a separate marketing entity and the impact of the home video on cinema and television as it entered this confused social maze. (Carberry, 2000) picks up on the popular image of television being viewed as a window on the world. This image, although adequate in some respects, also fails to pay attention to one crucial fact about television. If we look out of a window, we are certain that we will see will be real. A television does not offer this capacity. Television programmes are constructed and even factual news bulletins or documentaries can be edited to look the way the news director wants them to. We know enough of methods of communication to realize the propagandistic power of television and therefore we are conscious that we must always take a step back when rationalizing about something we have seen on television. Television, by its very nature, is as big a construct as cinema however Television and Cinema in Post Modern Society Television and Cinema in Post Modern Society Television mocking its big brother Cinema? Through parody is television mocking its big brother Cinema or is simply feeding the post-modern society? Artistic achievement has, in most societies, usually seen as one of the highest goals for its citizens with artists held in highest esteem in society. The Classical civilizations of Rome and Ancient Greece are rightly regarded as artistic highlights of world civilizations due to the unprecedented status given to artists of all trades: poets, painters, bards, actors, sculptors and musicians. This respect for excellence in the arts still exists today However modern art is unfortunately too often derided as a thing of paltry significance as compared to the great artists of the past. FPeriods of high accomplishment such as Ancient Greece or the Renaissance are rightly regarded as containing such artists whose skill and mastery of their respective disciplines may rarely be emulated, if ever. However, is that a reason for giving up on modern artistic output? After all, the twentieth century was that of Pollock, Rockwell and Hockney. But lest we forget, in the annals of history, it is doubtful that the past 100 years will be remembered for their contribution to age-old art forms such as painting or sculpture. Instead, it seems likely and indeed fair that the 20th century will be remembered for the creation, popularization and investigation of the audio-visual arts of cinema and television. From the first shots of the train moving out of Carpentras station, cinema has moved the hearts and minds of millions. The 20th century was witness to the greatest technological advancements in human history and artistic output followed suit. After the silent pictures of the 1900s first captures audiences to the first black-and-white talkies, cinematic progress could never be checked. From success to success, people round the world would be enchanted by Snow White and the Seven Dwarves, awed by Harryhausen’s special effects, moved by Gone With The Wind and horrified by Birth Of A Nation. Every decade would bring an advancement in cinematic output, something which would revolutionize the industry once again and bring new generations into cinemas. These constant progressions in cinema would take place at a far faster rate than in other arts due to several important factors. First of all, the Industrial Revolution of the late 19th-century had sent technological development across the world into a tail-spin which impacted cinema very positively by providing studios with a constant stream of new machinery, effects possibilities. The knock-on effect from this was of course that a steady stream of technicians would be trained and employed by the great studios. We will be analyzing the hiring and firing practices of the studio moguls as compared to the lifelong television employees further on in this dissertation. Another great reason for the appeal of cinema would be the characters contained within it. The glamour of Hollywood until the 1940s would make audiences dream across five continents up to the present day. The gritty reality of much of today’s cinematic output had not even been imagined and movies were used to make people dream of a greater life. We will use this opportunity to further analyze the setting-up of the movie studios, the Jewish origins of most of the moguls and the taste of Americana they injected into their projects later on. Furthermore, we will draw up a detailed comparison between the early days of both film and television, analyzing which tactics worked better in the battles for a limited audience. Even horrifying world events such as World War II would provide the film industry with invigoration as Hollywood and the pre-war German film studios would engage in a rivalry, the like of which has rarely been seen in the arts. With the Hollywood ban on exporting American films to the Third Reich, the motivation for German film-makers was extraordinary and names such as Murnau and Lang emerged as major players on the world cinema scene. Unsurprisingly, the vast majority of them fled Germany during or after the war to seek new lives in Hollywood. Many failed but some met with varying measures of success, the greatest legacy of this time possibly contained in Fritz Lang’s masterpiece Metropolis, the ominous skyline filled with skyscrapers working as a tribute to Lang’s first impressions of seeing New York harbour from far out at sea. However, even from that darkest period of human history has emerged some of the most shocking and lasting pieces of film. The films shot by the Allied forces of the Nazi concentration camps have proved perhaps the most important factor of documentary cinema. Beyond the artistry, beyond the emotional impact, cinema has provided humankind with an unlimited opportunity to document its own history, both good and bad. An opportunity television executives would notice and pick up on. Even today, the claims made by CNN and BBC such as ‘We are there as the news happens’ stem from the passion for news-stories instilled in people during the World War when small news flashes shown as previews before films in movie theatres were the only pictures civilians at home had of the war outside of newspapers. These propagandistic items were of course good for morale and television would soon enter into the fray, edging cinema out to take a monopoly over showing news programs. We must also consider another important area of research. The ‘parodying’ between television and cinema is a term of some ambiguity. Within this dissertation, we will also try and highlight the inherent differences between the terms of parody and emulation. As per rivalry in any kind of industry, some actions that may seem to be a parody of existing practices are in fact no more than emulation, a mere attempt to capitalize on a rival’s success. The concept of parody on the other hand is a very subtle one. Although television and cinema are by definition filled with some of the most acerbic minds in the world, minds quite ripe to create parody, it is somewhat naà ¯ve to think that these people would be allowed to impact decisions on scheduling and programme production. Only those at the summit of their popularity would be allowed their own shows, let alone given creative control of their shows. A recent example of this happening in Britain would be So Graham Norton. However, even these shows often fail as can be demonstrated as can be seen through the antics of stars such as Liza Minnelli, John McEnroe or Anna Nicole Smith. Thus, we can observe that the concept of pure parody being used by cinema and television for its own sake is somewhat mortifying, given the massive financial risks such an undertaking would incur. However, if parody was created to feed the viewing desires of a post-modern audience, then such an action becomes more realistic. To study this, we shall take an in-depth look at the nature of today’s post-modern audience and their viewing habits. In this dissertation, we will be looking in more depth at the first fledgling footsteps of both these art forms, the characters that helped build them up to their global statuses as well as two important periods in their history. The 50s and 60s where cinema and television were in direct competition through the slow transition period of the 70s and 80s into the modern-day scenario of co-operation. With this journey through time, we will be looking at trends pioneered by each of them and looking at any sharing or borrowing of ideas between the two mediums, we shall observe their long and drawn-out rivalry as well as the numerous examples of co-operation between them. The Glamour Years or the faint ridicule of cinema’s golden age If 90% of leadership is showing up, then we can hardly be surprised at the manner in which the men who would become studio moguls quickly rose to the top of this brand new industry. The founders of Paramount, RKO, MGM, Fox and Warner Bros. were for the vast majority immigrants or children of immigrants who had come to America either to seek their fortune or who had grown up with the image of America as this place of opportunity. In the first two decades of the 20th century, these views were far truer than they are now but to attain what one desired when the bar was so high, a lot of hard work would have to be carried out over many years. Thankfully, hard work was what these men’s families had been built on. Possessing this instinct along with a fine sense for business acumen, which some would sarcastically claim was due to their Jewish nature, Mayer, Goldwyn and the others would take the American cinematic market by storm. Before continuing, let us dispel any lingering images of these men helping each other out on their way to success. They entered a ruthless line of business where they were in direct competition and they tried everything to ruin each other, from slandering each other in the popular press to stealing actors and actresses. However, more united them than the moguls would have cared to admit. Since most of them had risen from humble beginnings, their visions of America were an embodiment of the American Dream that had influenced the migration of countless thousands from their home countries. The MGM studio, for example, would become synonymous with Technicolor musicals such as The Wizard of Oz portraying the world as a happy, bright place where everyone lived contently. The Warners would take a more active interest in social commentary but even their early efforts never went too far in criticizing a society that had offered them so much. Across the studio divide, the concepts of method acting had never even been considered and the goal of cinema was to make their actors and actresses look glamorous while portraying a style of life that would make every American dream in wonder. Why this image can be considered with a slight tint of ridicule is its existence in the middle of such troubled times. In the space of thirty years, America would fight in the two bloodiest conflicts in human history yet still, the studios churned out glossy movies, filled with beautiful dames and jolly banter. But here, once again, we strike a familiar obstacle, one that both film and television have met too many times. Too often in criticism about their history, studios or television networks are blamed for the programmes they carry or films they produce. Unfortunately, whilst they cannot be absolved of all blame, the relationship between social trends and popular entertainment is an obvious one. At a time in its history when America was fighting wars, undergoing a recession as well as Prohibition, the last thing American audiences wanted was to be served up with depressing fare that they could identify with. If another example of this is needed, look at what kind of cinema was popularized in the 50s. After the war, the film noir came of age and rose to ascendancy when American society was doing well and people felt good about themselves. A crucial fact that those who are all too quick to lay blame at the feet of the studios is that films and television programs will only be made if their creators feel they will be well-received by the general public. Television’s first faltering footsteps The intertwining and complex relationship between cinema and television cannot only be analyzed from the perspectives of programme similarity and audience sharing. Those who decided on what programmes should be commissioned, those who researched audiences to determine what kind of target audiences should be tapped, those who decided on what type of scheduling to choose at any given time of day, these television executives, producers and network directors would be the ones that would outline how television would evolve from one year to the next. As has been explained, television channels found themselves confronted with a very difficult challenge. Whereas film studios had been opened in great pomp and ceremony with the budgets of their moguls behind them thus allowing them to find their feet and carve their respective identities without a vast amount of competitive pressure placed upon them. Television did not benefit from such an auspicious start. The challenge that faced channels was to find their own identities and thus capture individual audience shares whilst fighting an uphill struggle to dislodge cinema from its spot atop the entertainment mountain. To take this would kind a special kind of organization. How could television not only catch up to cinema but also surpass it in popularity? Well, television started out with two significant advantages. Firstly, that of money. The far larger amount of broadcasting time inherent to television made it a much more viable target for financial gain than cinema which could only show any adverts to limited audiences. The commercial prospects of television soon became clear and this links us neatly with its second trump card. Throughout the 50s, television’s popularity exploded and families were rushing to buy them. The reason this had not occurred during the 1940s was that regulations concerning this new kind of entertainment were still getting sorted out and freed of problems. At the end of the 40s, television was still a luxury and commissions for TV channels had only really affected the East and West Coasts. However, in the 50s, the FCC (Federal Communications Commission) decided to make the acquisition of such a commission far easier and soon, channels began appearing across the States, often broadcasting to a small area but carrying only limited-interest stories for its local people. Thus, television watching became a far more personal affair. As far as programme content, a specific identity for television developed slowly through the 50s with the launching of successful sitcoms such as I Love Lucy which carried high audience shares across the country. However, we can distinguish here the first example of a parody between two entertainment methods. Shows that were once popular on radio were being copied to television, with I Love Lucy a prime example of this. (Wikipedia, 2005) illustrates the identity-forming process of television by explaining how local television stations helped shape this process. Moving on from   merely showing advertisements for local companies, they began showing small serials and talk shows, some of which became national phenomenons. The local nature of this kind of television would eventually mostly fade away by the 70s but the damage done to cinema was irreparable. Television had entered the hearts and minds of successive American generations and it was here to stay. Here, we can draw a major comparison between cinema and television potentially parodying it. Merely watching a few episodes of these old-school sitcoms, we cannot help but be struck at the similarity of tone to the pre-war Hollywood days. It is necessary to diverge briefly to explain the state of mind of 1950s America. Before the war, the USA had undergone a massive recession caused by the Wall Street Crash and thus, it had fallen to the entertainment industry to help people forget their woes. The film industry had done this, as shown above, but the changes it had caused had not died away. Although World War II had caused the death of many a gallant young man, it had lifted the USA into a very buoyant mindset. With the European powers needing a decade more to recover from the conflict, with Japan’s military and economic potential temporarily annihilated, with China still reeling from its murderous invasion, the Soviet Union remained the only true challenge to America’s supremacy. But the Cold War had not yet begun in earnest and in the late 40s and early 50s, the USA saw itself as the world’s only true superpower. The much denigrated Eisenhower presidency kept the economy stable through a tricky balancing act and for most of America, life was good. The Americana dream adapted to no longer be a picture of great wealth but of blissful happiness. The family unit of 2.4 children, living in the comfortable and safe suburban districts with a white picket fence around a big house, was a dream that many wished to achieve and television could reflect that. Shows such as I Love Lucy portrayed a heavenly, glossy picture of American society which is ultimately matched nowhere in entertainment except among the idyllic American communities shown in early studio films. The Warners, Mayer and the others had all built up their studios from the ground up thanks to their own hard work. They were living proof of the possibilities America offered and thus showed this in their films. Television in the 50s emulated this entirely. The era was different, the clothing more modern but the ensemble feeling remained the same. This was not merely borne out in television sitcoms but also in adverts. Sitcoms would be interrupted for commercial upon commercial selling the latest washing-machine, vacuum-cleaner or kitchen appliance without which the dutiful housewife could not live. It is oddly ironic that many of today’s stereotypes about the 50s are a product of this kind of television. It needs to be remembered, However, that this often derided type of family life where the children skipped to school, rosy-cheeked and clutching an apple, while the father gave his loving wife a demure kiss on the cheek before heading to the office in his beautiful Chevrolet is not merely a myth. Around the suburbs of New York, San Francisco and the like, many families not only lived this kind of life but their children and grandchildren still do today. However, the way in which television chose to reflect this society in a utopian sense, glossing over any unpleasantness, was a definite rehashing of the technique used by the film studios of Hollywood twenty years previously. The adaptation of the two mediums and their direct battle for audience shares As television successfully found its feet and began a posing direct threat to cinema, studios were forced to change. After all, no other new form of entertainment had entered general society since the arrival of cinema before television and thus, cinema would have to fight to keep its audiences. A couple of things could be seen as certain before these changes would proceed. Firstly, cinema would never rival television for mass popularity and market potential due to the overwhelming availability of television and its presence in an increasing number of households across America. Secondly, one of television’s worrying tendencies was to garner a lot of advertising money from a wide swathe of big American companies. Electrical appliances, cars, clothes, foodstuffs and drinks were all sold on television during commercial breaks, a fact that cinema could not copy. However, studio executives soon found ways round this problem, ways in which although adverts could not be shown during the movie, surreptitious showing of products could have a similar effect. Product placement was born. Admittedly, in a society which with every passing year produces more and wastes more, it seems that studios have become less adept at making product placement seem natural rather than obvious. The 007 series had always been a treasure trove for companies wishing to place their symbols on James Bond’s latest gadget. With the arrival of Pierce Brosnan into the role However, any shred of subtlety vanished to be replaced with highly obvious use of products. For example, Brosnan’s type of car had always been one of the highlights of the film. In Die Another Day, the presence of the painfully named Aston Martin ‘Vanish’ only served as a sales pitch for the Vanquish. Such utterly shameless product placement did reach a crescendo in 2004 where the amount of plugging for Sony and Converse in I, Robot would have made Isaac Asimov turn in his grave. However, such behaviour can shed some light onto the type of post-modern audience that we are evolving in. Those detractors who claim that post-modernism is merely the natural by-product of such a senselessly wasteful society whose mechanisms result in the attempted alienation of anyone showing a shred of individuality. Whether this is true or not is difficult to ascertain but what is lamentable is that the artistic integrity which has existed since Aristotle is being compromised in cinema out of the desire to keep up with television. Thankfully, the presence of adverts in television, even if sometimes the length of advert breaks can be infuriating has meant this has not happened in television’s case. If we evolve in a post-modernist society, then these differing methods of merely pandering to our consumer’s instincts could seem to be a by-product of intense competition between two forms of popular entertainment. Unfortunately, cinema’s rapid changes would lead to renewed controversy over its spectatorship and its impact thereupon as explained by Lynn Spigel. The concept of spectatorship in itself is a fascinating one, not just within the framework of this dissertation, but also within the field of cinema and television research. The bearings that society can have upon an audience’s watching habits are a crucial fact to understanding how individuals, larger target groups or entire demographics will react to any kind of program. (Spigel, 1998) places the birth of the issue of spectatorship in the 70s as film studies began increasing in popularity. This rise in popularity and its link to audience research are vital as we can use them to comprehend not just how an audience would react to a pioneering film or series in either cinema or television but also how it would react to a parody or any kind of wholesale copying of a popular film or series by another medium of entertainment. The issues raised by Spigel are ones, she claims, whose roots lie back in the ideals of Marx and Lacan. From a psycho-analytical perspective, Spigel writes of the complexities of spectatorship research given the psychological aspects behind it. Although Spigel’s thoughts may be questioned in themselves, they do offer conclusive evidence of audience diversity today and how carefully each aspect of this diversity needs to be considered before deciding on scheduling or production. In this, we can see the great precautions television executives must need to take in order to contemplate parodying of any kind of popular film. Modern television, its workings and its impact upon the world Big, brash, loud. Three words which could describe much of the television programmes produced in America in recent years. Long gone is the demure image of the family sitting down to enjoy some good old American-style programming with shows such as Bewitched or I Dream of Jeannie. Let’s face it, if these shows were produced today, they would face some accusations of glorifying witchcraft, yet another practice banned in Leviticus’ long list of gripes against the world. Somehow, the image of ABC being picketed for showing re-runs of Bewitched may at first strike us as absurd but with careful thought, does this seem so unlikely? One of the major problems facing network directors and schedulers is the problems they could face if showing any material seen as even slightly offensive to anybody. We will not engage here in mindless America-bashing but in a country that has long defended the right to free speech, both the film and television industries are being lambasted by religious and family protection groups for promoting violence and pornography. Whilst this could be understood if horror films were shown at hours when children watched TV or if their cartoons professed truly immoral practices but when complaints relate to Elmer Fudd shooting Bugs Bunny, one can wonder if the world has gone crazy. However insane these complaints can appear to be, they are still a startlingly important reality for today’s television. They form one of the biggest pressures on television executives who are caught in a tricky balancing act. They must maintain their audience shares by scheduling popular programming whilst also keeping packs of demented denigrators at bay. Interestingly, regulations concerning the effect of violent or sexual programming have been in place for decades. After all, most channels, even now with the new glut of cable and digital operators, have respected the 9 o’clock watershed before broadcasting any overly offensive material. Have they been secretly breaching rules of moral conduct in recent years? Whilst it is certain that television programmes do have an impact on those who watch them and while children will always care little about rules or regulations that protect them from exposition to negative images, can this be said to be the wholesale fault of the television industry? If the people want games, then games they shall have. This syllogism is one without which television stations cannot operate and although appeals could be made for public decency, violent and pornographic programmes will only be made and shown as long as the public has an interest in them. Thus, society should look to what elements within itself cause television to broadcast this type of programming rather than attack television for it. A recent example that shows just what a level of frenzy has been reached was the 2004 Superbowl. Justin Timberlake and Janet Jackson provided the entertainment when Timberlake ripped off part of Jackson’s outfit, exposing her pierced right breast. Whether the stunt was pre-prepared or not has not been made crystal clear but the furore that surrounded the incident was mind-boggling. The family protection and decency groups went insane, denouncing all film and television workers as Hollywood sleaze. The fact that this slip occurred during an event with global broadcasting and with audiences reaching into the hundreds of millions blew it out of all proportion. For some reason, that a breast had been shown on national television before the watershed was seen as being a massive breach of public decency and as potentially warping the fragile little minds of innocent children. This level of problems goes a long way to showing the tonnage of pressure placed upon television channels. However, it is thankfully a trend that has not seemed to take hold outside the USA. The EU, Japan and Canada are subjected to the same kind of programming and although some complaints are voiced, they never garner so much media attention. Thus, we can see that the manners in which television panders to its audiences vary from country to country. We have highlighted television’s modus operandi in the USA but let us consider a cross-section of Japanese audiovisual entertainment. More than 20% of Japan’s cinematic output and a vast swathe of its popular television programs are made up of anime. Anime cartoons usually contain far more involved storyline than their American counterparts, replete with high levels of violence, sexy and skimpily-clad female characters and yet, these are watched by children of all ages. Does Japan thus see a higher violence rate among young children? No, in fact, the proportion of it is far lower in Japan than it is in the USA. However, even Japanese anime does not make it onto American airwaves without massive cuts by the censorship office. A good example of this is constituted by the popular anime series, Dragonball Z. In it, a group of fighters defend Earth from invasion by evil aliens or androids. Throughout its 250+ episodes, the show contains high levels of violence, including dismembering, decapitation and the beating of children. As can be imagined, when the show was broadcast in America on Cartoon Network, all these passages were cut to spare the minds of our children. However, in Japan, Dragonball Z aired in all its unadulterated gore and no-one seemed the worse for wear. This is not to say that so much violence on TV is good. Indeed, it is lamentable that it should exist at all but it is highly unfair to lay the blame for any consequences at the feet of an industry which is doing its best to keep as many people happy as possible. Although, we have taken a standpoint in attacking America for its high sensitivity when it comes to protecting its children, we have recently been confronted with proof that this type of protest does not only occur in the USA. For ten years, Jerry Springer shocked the nation with its own brand of low chatshow humour. Famed topics of debate involved the KKK, incest and bestiality. It had met with both acclaim and criticism at home, some calling it a true social commentary, other cheap laughter at others’ misfortunes. Anyway, the comedic potential of the idea was soon seen and in 2002, it was turned into a musical named Jerry Springer: The Opera, starring David Soul as Jerry Springer, showing in the West End and on Broadway. Controversy courted it throughout but its great success shouted down these demons. However, in January 2005, the BBC decided to show the musical in its entirety. As soon as this decision was made public, Christian right-wing groups attacked the BBC for insulting Christians when it would not dare the same about Muslims or Jews. While this claim did have some merit, the BBC ignored these claims and broadcast the show at 10 o’clock on a Monday night with clear warning beforehand about the potentially offensive content within it. Examples of this type of occurrence could number in their hundreds but they are an ideal way of investigating how modern audiences identify with television programmes and react to them. One of the basic tenets is that post-modernism is that reactions to any situation are processes created by each individual and that thus, clear definitions of knowledge or art encompassing a group or a society are baseless. In this, it can be argued that the very concept of a post-modern audience is flawed. However, whatever theory we choose to engage with, we cannot reject human nature. In the last twenty years, it seems that many among the generation of young people across America who fought in the 60s and 70s against Vietnam, against the Cold War, for Civil Rights and for many other noble causes have become dangerously jaded. America’s quality of life at the end of the 70s and in the 80s reached a high unseen since the 50s. Although the gap between rich and poor was ever-widening, the lifestyles of the middle and upper classes were prodigious. America was still afflicted with problems in Iran, Central America but the Soviet Block was crumbling and the mood among the general population was good. However, in the 80s and 90s occurred a phenomenon that not many people had truly predicted. The baby-boomers who had so been influential in re-shaping America after World War II were themselves beginning to be required to pass the torch to the next generation. Thus, the norms of society that they had created were themselves being challenged by their children. This shift occurred through the appropriation of traditional American areas of life by the younger generation such as television, cinema, the press as well as the fledgling Internet. We will look in further detail at the emergence of teenagers as a separate marketing entity and the impact of the home video on cinema and television as it entered this confused social maze. (Carberry, 2000) picks up on the popular image of television being viewed as a window on the world. This image, although adequate in some respects, also fails to pay attention to one crucial fact about television. If we look out of a window, we are certain that we will see will be real. A television does not offer this capacity. Television programmes are constructed and even factual news bulletins or documentaries can be edited to look the way the news director wants them to. We know enough of methods of communication to realize the propagandistic power of television and therefore we are conscious that we must always take a step back when rationalizing about something we have seen on television. Television, by its very nature, is as big a construct as cinema however