No Advertising Essay Example for Free

No Advertising Essay â€Å"What do I wear in bed? Chanel N °5, of course. †Marilyn Monroe mentioned in her interview in 19521. When referring to fragrance, it is hard not to mention Chanel N °5, due to its uniqueness, longevity and popularity, it is associated by others with women, famous and not famous, who have worn it in different eras over its decades. Chanel N °5 is the first perfume launched by CoCo Chanel in 19202, it is not only one of the world’s top selling perfumes3 but also represent a world of fantasy and reflection of the desire and pleasure of the time period. ?Prior to the introduction of magazine, newspaper is the main communication source of information and advertising in the society4. At that time period, it is one of the most effective method for advertisings to enter the house of consumer since the limitation of technological development of radio and television have not yet been discovered. Different from newspaper, magazine does not aim to target everyone, it often has very specific group of target group, presenting information and areas of interest that its target group would enjoy. In the early age of magazine, there was a great emphasize in targeting elite class of the society, which be seen from extremely informative full page of texts. After a realization of increasing number of middle class and immigrants, magazine shifted its target from the elite to middle class5, which lead to the necessity of the use of imagery to communicate. Editors of magazine has shift from elite man with a background of mostly literature to middle class man with a background relating to merchandise. Magazine realized that the profits are not made through subscriptions, but through companies market their products by buying spaces in the issue6. Advertisement in magazines has become one of the most prominent method of marketing or in another word, methods of creating desire. Chanel has always been featured their advertisement in leading female fashion related magazine such as Vogue, Harper’s Bazaar and Elle. This essay will explore the comparison of Chanel N °5 fragrance magazine advertisement from a different time period of 49 years in relationship to the cultural shift and the impact of advertisement from self satisfaction to sexual attraction which represents through values hold in gender, stereotypes, lifestyle, desire and fantasy. The two advertisements that will be used to analyze are the magazine ads of the famous Chanel N °5 perfume. ‘Chanel becomes the woman you are’ print ad in 1959 (Fig1) starring Suzy Parker, one of the most recognizable faces of the 1950s as a supermodel and actress. Suzy Parker was the signature face for Coco Chanel as she has always been associated with elegance and glamour7. The dominant part of the advertisement presents a black and white dreamy photograph of Suzy Parker in a beautiful evening gown with the perfect hair and make up, glancing slightly away from the viewers. The ads also features the well known bottle/ product, Chanel N °5 as a secondary focus with a tag line ‘Chanel becomes the woman you are’ with a paragraph expanding on it: ‘A perfume is different on different women because every woman has a skin chemistry all her own. Chanel N °5 is subtly created to blend with your own delicate essence- to be like Chanel N °5, yet deliciously like you alone. Chanel becomes you because it becomes you. ’. Similarly in one of the contemporary most famous campaign for Chanel N °5 in 2004 (Fig2), Nicole Kidman, a talented and beautiful Australian actress who enters the hollywood famously known for her elegant beauty8 was enlisted to represent the fragrance. The technological development of film, television and recent main information communication and sharing method, the internet, allow advertising to go beyond just a printed page enter to the phrase of story telling. The 2004 Nicole Kidman advertisement has a direct connection to the campaign of a mini-movie/ film which everyone has access through various sources. Due to the popularity of internet and information sharing, it is not a difficult for viewers who see the ads in the magazine to recall and connect the story in the film to print ads, allowing Chanel to create a full advertising campaign which successfully tell a story of the world famous star, Nicole Kidman, who escape from the publicity and fall in love with a stranger. The last scene of the film is used in the print ad, displaying Nicole Kidman when she returns back to her world, with a dialogue: ‘And then she was gone, as she forgotten, i know i will not her kiss, her smile and her perfume’9. The film does not mentioned any word about or show viewers what the perfume it was, the only clue was the necklace ‘N °5’ The print features in magazine depicts a beautiful photograph of Nicole Kidman in a dark background contrasting with her body- the closing eyes and ambiguous posture: turning away from or about to face the viewers in a beautiful modern black evening gown with her simply perfect up-do hair and her N °5 necklace which is wear to her back. The ads does not contain any words or explanation, only present N °5 with the signature bottle which is constantly shown throughout since the first ads. â€Å"Perfume is intended to contribute to our understanding of gender as performance rather than expression, and of identity as practice rather than essence†10 stated by Angela Partington. Fragrance has always been known as the connotation of identity, as the word ‘wear’ is used to describe the action of using. As can be seen in the 1959 Suzy Parker Chanel N °5 Ads, the tagline ‘Chanel becomes the woman you are’ aimed to create a personal, even intimate connection with the object. It does not promotes how special the product itself is, instead, it makes the individual consumer as an important ingredient. The ads makes consumers feel that it is specific individual ‘you’ who makes it extra unique and special. This advertisement illustration the shift from the emphasize in character as moral and internal sense to ethics to identity as a self focused behavior11. In contrast, the Ads featured Nicole Kidman presents an identity of a fantasy figure of famous star, a break from reality in which all women desire to have in real life. The opposite sex attraction is used as the message of this ads. It puts the audiences in a fantasy world and convince them to believe that using the produce will create the same outcome for them. This shows the values holds in identity of the society which self satisfied identity is not enough, it is more of the relationships to other people, the representation of ‘you’ through others’ eyes. The advertisings of Chanel N °5 in the two ads does not only symbolize the values in identity, it is also a great representation of gender and sexuality values hold in the society as well. Both of the Chanel N °5 Ad depicts women in a beautiful evening gown which certainly is going to attend an important social event. The two ads illustrates the roles of women in the society as a powerful individuals who has social status, not the women in the past who expect to stay home. They are the representation of the equality and balance of gender roles, and what women in the time period are desire to be. As sex roles evolved, with women entering the workforce and pushing for equality, sexual appeals casting the woman as a sex object is no longer a popular and rightful subject to present12. Referring to ‘The Erotic History of Advertising’, there is a shift of the theme of turning on men to representing the power- women in control13. It can be seen in the 1959 Chanel N °5 Ads, as the ad does not have any reference to any sexual attraction, only focusing herself in control of her own identity and representation. The different approach, however, generating the same effects, is taken in the 2004 Nicole Kidman Ads, it is the representation of the current society, how the society control her as a role of super star and how she uses perfume to make a man ‘remember’ or be under her control. It seems like there is a great manner in revisiting the theme of sexual attraction in the society. â€Å"Fragrance is a material, symbolic and visual object, and ‘image’/ fantasy articulating not just luxury and glamour, but a range of desires for transformed bodies, auto-erotic, sensual and socio-sexual experiences. 14 The discussion of gender and sexuality cannot be complete without the discussion of skin explosion as sexuality. Chanel has always been known to represent elegance, glamour and class15 which is why advertisings by Chanel are almost always associate with women attending an event in a beautiful gown . ‘Chanel becomes the woman you are’ ads display elegance in a simply conservative way, as seen through her fashionable dress of ruffles, covering Suzy Parker’s whole body, left only with the main emphasize of her face- her identity. This demonstrate their aim to sell personal identities for self satisfaction which is well supported with the text and tagline. The ads display how the society before may seen the use of sexuality to sell as an unacceptable methods and unfashionable topic to talk about in the society. In contrast, the 2004 Chanel N °5 Ads presents sexuality through various motifs such as the skin which shown through the very low cut back dress and the emotion on Nicole Kidman’s closing eyes. It is clear today that one of the leading marketing trend that would attract people’s enjoyment and attentions would involve more skin as the viewers are no longer limited to women but also to men. However, Chanel have use sexuality in a very elegant way through one technique described by the brand researcher William Baue, ‘focusing on fantasy allowed Chanel to harness the power of sexuality without crossing the border into distaste’16 Fantasy has always been associated with fragrance as a method to create desire17 which is the main motive of advertisement. In both ads, Chanel has chose to represent the brand itself through an actress- an individual whom placed in between the line of reality and dream. In 1959 Ads, even though the focus of the campaign is ‘you’ as a viewer, however, Chanel chose to represent its viewer as Suzy Parker, the famous actress. The connection of reality and fantasy is quietly made in a way that viewers may not even realize the fantasy they are dreaming of. Even through the text in the ads describe the quality and ingredients which makes the perfume becomes you as a person, it also touches on the fantasy aspect in term of the values of gender, power, identity and status described above. In obvious way, the ads featured Nicole Kidman shows and put viewers into a fantasy world in reality. Due to the technological development, the film became dominant part of the campaign allowing viewers to explore, take a break from reality and leave them with a desire- desire to become like Nicole Kidman and putting the message in their face that Chanel N °5 will allow ‘you’ to be like that. The unchanged method of using fantasy as desirable motifs to sell fragrance18 have proved that the women from then and now have and will always been interested and attracts to the word ‘could’, what she could be, what she could do and where she could go- the stage of dreaming. The development of technology allowed the 2004 Nicole Kidman campaign to successfully tell a fantasy story which almost force viewers to create their imagery fancy lifestyle picture in her head, which then lead to the desire to own the object advertised. In conclusion, the different time period advertisement of Chanel N °5 perfume in magazine advertisement demonstrate the shifting values from identity as self satisfaction toward the impressions of others. Advertisement of the two ads has became the reflection of the society’s value in gender, lifestyle, sexuality and desire. Moreover, fragrance will always be sold with a desirable motif through fantasy, it only varied in the term of the presentation method and techniques, mostly through the language of photography and language, that would attracts and communicate the people of the time.

Police Ethics and Deviance Essay Example for Free

Police Ethics and Deviance Essay This paper intends to define ethics and briefly discuss its role in policing. It also aims to talk about the ethical standards in policing. Last but not least, it will also cover the deviant behaviors, as well as, its effects. Ethics Defined Ethics is technically defined as â€Å"the practical, normative study of the rightness and wrongness of human conduct† (Dempsey et. al., 2005, p. 292).   It is upon which conduct is based (Dempsey et. al., 2005, p. 292). It determines whether or not an act is morally correct (Dempsey et. al., 2005, p. 292). Nature of Ethics and Its Role in Policing Meanwhile, with regards to the nature of ethics being a standard of moral correctness, it contributes largely in policing (Dempsey et. al., 2005, p. 292).   Explaining further, without ethics, a police officer will not be able to carry out critical thinking; it is only through ethical decision-making that he will arrive with the best solutions to any issue he or she is faced with (Dempsey et. al., 2005, p. 292).   In addition to that, through ethics police officers tend to become honest and when they stay honest they are, as well as, their respected departments are respected which allow their team to â€Å"recognize their full potential† (Dempsey et. al., 2005, p. 292). See, ethics is really important to policing because it helps police officers do â€Å"good† and the carry out the â€Å"right acts† all the time (Dempsey et. al., 2005, p. 293). Ethical Standards in Policing In fact, to keep the police force doing good and the right thing, the department has come up with ethical standards in policing (Dempsey et. al., 2005, p. 293). These include the following: The first one is known as the â€Å"organizational value systems† (Dempsey et. al., 2005, p. 293). This has been produced so that police officers are taught the correct behaviors that they ought to instill in themselves (Dempsey et. al., 2005, p. 293). It serves as a guide as to what behaviors are correct and ethical (Dempsey et. al., 2005, p. 293). The second is technically referred to as the â€Å"oath of office† (Dempsey et. al., 2005, p. 293). This is like a promise made by the police officers that they will act according to the laws/rules/etcetera stipulated in the oath (Dempsey et. al., 2005, p. 293). The third is technically known as the â€Å"Law Enforcement Code of Ethics† (Dempsey et. al., 2005, p. 293). This one is disseminated by the â€Å"International Association of Chiefs of Police† (Dempsey et. al., 2005, p. 293). The last which the police force is obliged to follow also is the â€Å"US Constitution† (US Supreme Court, 2008, n.p.). Of course, the â€Å"Bill of Rights† go along with the aforementioned as well (Dempsey et. al., 2005, p. 293). Both are known to be the basis of police ethics because of its â€Å"lawful† character; lawful indeed, since it is a collection of the â€Å"US Supreme Court, Federal, State Criminal Laws, as well as, Codes of Criminal Procedure† (US Supreme Court, 2008, n.p.). Deviant Behaviors and Its Effects However, it cannot be denied that despite so many ethical standards utilized and implemented by the police force, there are still some who do not accept and follow it (Dempsey et. al., 2005, p. 293). Some of the deviant behaviors committed and its effects are the following: A) Police Corruption â€Å"Police corruption† is technically defined as â€Å"an act involving the misuse of authority by a police officer in a manner designed to produce personal gain for himself or others† (Dempsey et. al., 2005, p. 296). Examples of police corruption are the following: 1) receiving money from â€Å"loan sharks, hijackers, etc†; 2) receiving money, free food, free accommodations, etcetera in exchange for services rendered; 3) accepting money in exchange of classified information provided to â€Å"criminals or private investigation firms†; 4) accepting payment in exchange of not having parking and traffic violators summoned; 5) etcetera (Dempsey et. al., 2005, p. 295). As expected corruption brings about negative effects and these include the following: 1) it only motivates others to practice corruption also especially if police officers realize that there is a slight possibility of getting caught; 2) the police department is affected and the public’s respect for it is lost; and last but not least 3) people will no longer respect the police officers and will not follow the rules implemented by them eventually as well (Dempsey et. al., 2005, p. 300). B) Police Misconduct Police misconduct is also included in the list of deviant behaviors committed by some of the police officers (Dempsey et. al., 2005, p. 303). This entails: â€Å"the use of illegal drugs; alcohol abuse; abuse of authority; sexual violence; as well as, domestic violence† (Dempsey et. al., 2005, p. 303). The effect of this is just like in the first deviant behavior discussed wherein people tend to lose their trust on the police force and eventually carry out deviant behaviors as well (Dempsey et. al., 2005, p. 303). C) Police Brutality Police brutality is also one of the deviant behaviors committed by some of the police officers (Dempsey et. al., 2005, p. 308). This is defined as the unfair and extreme use of force on suspects and other criminals (Mangan, 2000, n.p.). The effects of such include: 1) psychological trauma for the victim; and 2) he or she will later turn out to be rebellious and revengeful (Dempsey et. al., 2005, p. 308).

Impact Of Advertisers On Commercial Media

Impact Of Advertisers On Commercial Media Living in todays society, everywhere is filled with advertisements, commercial, public service, newspapers, radio, televisions, network, on the street and shopping mall, nowhere we can escape from them. Almost every day we have to come into contact with these ads, it has become an indispensible part of our life. The prosperous of advertising is based on a consensus: advertisements convince consumers to buy the goods. Advertisers believe it and so do the retailers. In the middle of nineteenth century, there is some skepticism towards adverting. Royal Commissions on the Press are adamant that advertising has no effect on commercial and equally dismissive about the effect of it on the press. Just as the first commission concluded that attempts by advertisers to influence editorial policy appear to be infrequent and unsuccessful (Curran, 1981). Such assess denials the significance of advertisers on commercial media, which seems to suggest that further enquire is pointless. Nevertheless, there are grounds for wondering whether the verdict is correct. Great shifts in the pattern of media advertising have taken place during the last decades, which have altered the feature if the commercial media. In nowadays media industry, the editorial policy of the press and network is shaped and molded by a combination of subtle financial pressure from advertisers. Thus in this article, it is worth to discuss the alternative ways in which advertisers affect the commercial media instead of over attempts to influence its content. Especially, as a concealed subsidy system, more attention should be paid to the ways advertising has shaped the mass media and the ways the media have adapted to the marketing that advertisers needs so as to compete for the subsidies. In addition, as with concerns about the impact of advertisers requirements and demands on editorial and creative decision in the media and cultural industries, basing on the current situations, this article will investigates the influence advertisers in some primary sectors of commercial media, and the changes of their power on those sectors, in order to figure out whether the contemporary advertisers is acquiring more control over the organization and output of commercial media or less. The character of advertisers in the commercial media Since the first modern full service advertising agencies emerged in the late nineteenth century, it has been a major thread of debate about the owner power advertisers put on the media. Mainly, advertisers affect the media by two means: both directly and indirectly ways. Advertisers power exert over the information programming they sponsor. As one of the main sources of produced commodity of popular images, languages and narratives, the context of advertisement is directed by advertisers, as well as the entire media industry. They also influence the text of news as it is reported, the actual form and content of information as it is presented to consumers. Recently, it might be controversial of the phenomenon that where or not it is related to their industry of advertisers having begun demanding advance warning of content. For instance, the nations fourth largest advertiser Chrysler Corporation informed the magazines in which it advertised that It is required that Chrysler Corporation be alerted in advance of any and all editorial content that encompasses sexual, political, social issues or any editorial that might be construed as provocative or offensive. Each and every issue that carries Chrysler advertising requires a written summary outlining major theme appearing in upcoming issues (Baker, 1997). Since advertisers want to reach the public so that they can sell their products well, they naturally support the media which are popular with the public. This conditions and commercial tension directly shaped the contemporary advertising industry. As the major source of finance for the two leading commercial media sectors- the press and commercial broadcasting, advertisers are thus act as neutral and passive intermediaries who allocate their media budgets basing on the preference of media consumers. They determine the structure of media industries simply by choosing where to spend their money and support media outlets that reach the right demographic groups, audiences that consume the most. Advertisers rarely think of the media exclusively as a distribution system for advertisement. Generally, they also make judgments about the effectiveness of different media as agencies of persuasion but not the desire to reach all members of the public. Actually, consider the nature and significan ce of the influence posed by advertisers; we can see that the mass media fashions an essentially means of advertising patronage according to the needs of market and the class inequalities of power, influences and consumption within the society. The advertisers want to expand their power of several aspects: fist is to access to mass or niche markets. What they want to control is how potential consumers view their product and things external to the advertisement that may influence the way people viewing it (McAllister, 1996), which means, for instance, advertising tries to control not only the symbols in the ads, but also the meanings of those symbols represent. Meanwhile, advertisers also focus on the positive demographics, they weight towards groups with disposable income like youngsters and those who are in professional and managerial occupations. They want to control over the audiences viewing behavior in order to make sure audience actually notices the advertisement. In reality, to varying degrees, the consumers that media companies are responding to are advertisers, not the people who read, watch or listen to the media (Croteau Hoynes, 2005), the demographics group with high rating is more attractive to advertisers. Hig her- income audiences are more appealing than lower- income viewers because they are more likely to afford the advertisers products. And advertisers also have a strong preference for younger audiences and relatively have no interest in the audience over the age of 50. Besides, another factor advertisers want to control is the media environment. They are engaged in creating a positive selling environment to make sure that the media content around the advertisements complements the messages and tones of their ads. The levels advertisers influences the commercial media Advertising has been central to the formation of the contemporary media landscape. With the high development and growth of advertising, advertisers have more right to participate the decision of media. Mainly, their influence can operate at several levels. Instrumental Basically, advertisers will adopt the instrumental interventions to seek to affect particular media products, trends, or policies. This influence can be reflected both by individual and collective. Individually, advertisers always interested in the sector in which particular companies endeavor to, they follow the mainstream of the media market and change their strategies to look for maximum interests. One of the most effective tactics is sponsorship, through which advertisers can secure favorable publicity. Literally, a sponsor is often someone or some organization who donates to, and takes responsibility for, the public good (Savan, 1994). As definition here, sponsorship is the act of corporate giving to some for profit, and it can emphasize its philanthropic elements. Sponsorship as a promotional activity is not new. The first instance of the company sponsorship of an event occurred at least as far back as 1887, when the French magazine Velocipede sponsored an early automobile race (Lucas, 1992).The term sponsorship can be seen as another form of advertising, is used as contrast to spot advertising. Different from the spot advertising, which involves several advertisers shari ng the total advertising time, it involves only one promoter giving all the funding to and getting all the promotional time from a media program. Nowadays, instead of the traditional advertising, sponsorship as a more effective and valid way has filled into every sectors of media industry and even our life. Advertisers looking for the new opportunity to propagandize for their products, they are not confined to the fundamental form like sponsor an event or sport, but sponsor ranging from a TV program to famous stars daily attire and supplies. Just take those starts for example; the producers of cloth, handbags, shoes or everything can put in the starts they would like to sponsor. Because to those idolaters, they are crazy to follow their idols style and want to buy what their idols like. In this way, producers can advertise for the product with the minimum cost and expand the sales and visibility. The rising cost of traditional advertising slots in media (McCarthy, 1991) led to a sig nificant increase in sponsorship. From this point of view, sponsorship has become just like any other advertising buy, and becomes valuable when it fulfills a companys marketing needs, especially when it can be tied specifically to sales increase. Besides, advertisers need do some market research to censor negative coverage. As an ads maker, one should understand that in order to sell the products they have to know consumers desires and dreams better than they know themselves. Market research, in which psychologists, polling organization, trends analysts, focus group leaders, interviewers, and the whole panoply of mass communications work together and try to figure out what will make customers buy. Colletive Advertisers also interfere in the media industry collective, which means, as a group they try to a more positive selling and operating environment. Because the most revenue of commercial media is depend on advertising, ads makers usually use their economic power to censor and control the content or purchase content favorable to their interests (Baker, 1994). Advertisers make a larger contribution to the finances of the mass media than audiences. Commercial broadcasting derives nearly all of its revenue from advertising while newspapers and magazines both derive over half their revenue from advertisements. In this sense, advertisers sponsor or control the media by means of boycotting some programs or groups that dont meet their aims. For example, American advertisers had ever shunned the working class press, and also avoided radio station with largely African American of Latino audiences. On study posed by Federal communications commission (FCC) in 1999 suggested that advertising on s tations that target programming at racial and ethnic minorities. And the paying on minority- formatted radio stations less than general market stations with comparable audience size (Bettig Hall, 2012). So we can say that the proportionate contribution to the media enterprises revenue from an individual advertiser or organized group of advertisers, the greater the likely influence. Allocation advertisers change in different sectors In order to gain the maximum profit, advertisers need to shift their investment strategy according to audience taste. Since there emergence varies channels for advertisers to do publicity of their products, they have been trying to seek for the most effective way. From the traditional media press to the modern internet, advertisers change the investment allocation basing on media market demand. The realistic condition is that t advertising allocation between media sectors are not closely tied to the pattern of media consumption. Newspapers and magazines absorb much less time, on average, than commercial TV and broadcast. Media press Recent changes in advertising allocation between media sectors have tended to undermine traditional mass media, promote the growth of specialized media and favor the development of the regional press. The media press has been one of the most significant places for advertising because of its attractiveness to local advertisers and government restrictions on the development other commercial sectors like broadcasting. In todays media industry, this medium still draws a large share of advertising revenue, for instance, Newspapers increased their advertising revenue by 7.3% from 1993 to 1994 (Coen,1995). But the newspaper press nonetheless failed to regain fully the market share of media advertising expenditure that it had enjoyed before because in recent years, there is much faster growth in their direct competitors for local advertising money, like TV network which up 17.8% and direct mail growth 8.7% (Coen,1995). This reflect the mediums diminished attractiveness to advertisers, the popular press total share of advertising revenue has steadily declined and it was only partly displaced by the newborn media such as TV and internet. Some reason for this decline is that services that newspapers have traditionally had a lock on, like classified ads, can now be delivered by other means, such as commercial TV of computer network (Fisher, 1993). The rise of commercial media seriously depleted the value of the advertising that the press did obtain. In order to get out of the dangerous situation, the press has to charge very low cover prices and spend very much more heavily on editorial outlay as a result of the rising advertising income it obtained. The most important is that the press may try to overcome the adverse situation by becoming more advertising friendly. Even though the proportion of the adult population reading newspaper and magazine remained stable during the period of new media rise, the youngsters are seldom read it anymore and more interested in the news form TV and internet. Like some women magazine press, to be heavily oriented towards the young middle class, they sell their magazines coming with som e free gift to attract the customers. Besides, the number of magazine advertising pages increased by nearly 50% (Danna, 1992). Just like one newspaper executive claims that instead of simply selling space, were listening carefully to advertisers and marketing those newspaper environments that best fit an advertisers marketing goals'(Szathmary, 1992). Internet The emergence of the internet creates new platform for advertisers to transfer of ad from established media to the internet. With the development of the society, we have entered the internet era, especially in nowadays; young people are no longer focused on reading the newspaper and even watching TV, so advertisers turn the perspective and power to the internet. Compared to traditional advertising model, the network advertisement propaganda is varied. According to an Internet and interactive marketing data, which display network advertising marketing scale driver mainly from two aspects: one is the search engine advertising scale still maintained a fast growth; and another is continuously improvement of the advertising marketing value of video and BBS (Fine, 1995). For example, the micro-film now is very popular on the internet. Some advertisers take this opportunity and make very impressive micro-film which is turned out to be an advertisement in the end. Unlike the classical advert isement show on TV or radio, this kind of ads has longer time to tall a whole story without spending so much money as on TV. Meanwhile, it has a high rate of spread and circulation, which means if advertisers put it in the YouTube so that people can share it all around the world. The rapid development of electronic commerce highlights the value identity advertisers paid to Internet channel, and they are on the way of transferring their control to the network world. Commercial TV Commercial TV became accepted in leading agency circles as the best promotional medium for cheap mass market commodities. Commercial TV is superior to the press in selling cheap, mass products. On average, people see approximately 100 TV commercials a day, and studies estimate that, counting all the logos, labels, and announcements, some 16,000 advertisements flicker across an individuals consciousness daily (Gauntlett Hill, 1999). It comes in the innovative ways that television can be subservient to advertisers, where becomes the most obvious sector controlled by advertisers. Viewing many commercial TV, the golden time is always given to the soup operas, drama series those advertising friendly programs. Advertisers generally love sitcoms, for example, with their half-hour format, and the rule of thumb in modern commercial TV is what advertisers want, they get. Another kind of TV program advertisers involve in most is reality show. With the limitation of spot advertisement both in time and rule, advertisers now are more likely to sponsor a reality show or studio entertainment. With sponsorship, one sponsors name usually appears throughout the event, sometimes from beginning to end, sometimes in the background and foreground. For instance, in those reality shows like The American Next Top Model and The Project Runway, there are quite a lot of sponsors ranging from the prize to the house competitors live, at the beginning of each series, they will be introduced and throughout the show those sponsors are intentionally mentioned and detailed descrambled by competitors or judges for several times. Audience who like the show must be memorable for those products. This seems to be more impressed than the traditional TV advertisement. For the commercial media, because they are sponsored, they must do advertising hardly to ensure they can get subsidy . This conflict of interest means that unlike official cultural products, films, TV shows, books, and paintings and so on, advertising finds few regular critics in the mainstream press. However, television that is competitively depends on advertising does tend to bar appeals to quality from the decision- taking process as consideration to be weighed in their own right. Unfortunately for advertiser, traditional media do not reach many of the most desirable groups. Consumers have more places to escape advertising and it was usually the consumers most desirable to advertisers who escaped their messages. As the major medium of commercial media industry, advertisers intervene and control mainly in commercial TV. In return some rules are carried out by the national advertising association in order to check the balance between the advertisers and audiences. In 2011, The State Administration of Radio Film and Television of China (SARFT) a new ban that all TV stations must rearrange their programs to delete all commercials set to air during TV dramas or face stern punishment. And according to Korean television regulation, except for sponsorship goods, all the other logos mus t be covered in variety show and drama series. Conclusion Advertisers have great influence to the contemporary commercial media. The most important factor affecting the degree of influence is the portion of the media firms revenue provided by ads. The media have adapted to the requirements of advertisers in the ways they have sought to maximize revenue. Advertising revenue usually has great significance for the life of a publisher or broadcaster. In commercial media, advertiser expenditure partially of an entirely underwrites the production and publication or broadcast of media content. In return media owner displays the advertisements. Advertising revenue supports media, either directly, or more usually indirectly, through a holding company or network of commissioning channels. Advertisers are free to decide whether to stay with or withdraw their commercials from controversial program. From the traditional media press to the universal commercial TV, advertisers always seek for new opportunity to put their power into wider media sectors. They change the strategy according to the need of commercial media market. As the rise of new advertising platform, advertising of newspapers and magazines are facing with big challenges and gradually lose their dominant position. The emergence of internet offer advertisers a perfect means to advertise products with less expenditure and high efficiency. The commercial TV is the best promotional medium for cheap mass market commodities. By means of spot advertising, sponsorship, implanted advertising, advertisers want to acquire more control over the opera of commercial TV. However, too many advertisements lead to a boycott of the audience, and in order to keep the balance, the advertising administration has issued some rules to prevent overpower of advertisers. Advertisers have been central to the formation of the contemporary media landscape, which depends heavily upon advertising revenue. In turn advertisers are dependent on the media to provide audiences. Overall, from what discussed above, it can be seen that contemporary advertisers are acquiring more control over the organisation and output of commercial media.

The Maasai Tribe Essay -- Kenya tribe Maasai Essays

The Maasai are one of the many southern-most tribes located in Kenya. They are physically related, and also in many other forms related to the Samburu and Turkana. The Maasai have a relatively complex culture and traditions. In fact, for many years they were unheard of. By the late 1800’s we soon discovered more about the Maasai, mostly from their oral histories.   Ã‚  Ã‚  Ã‚  Ã‚  It is presumed that the Maasai came from the north, probably from the region of the Nile Valley in Sudan. Also presumed is that they left this area sometime between the fourteenth and sixteenth centuries, migrating southwards towards he Great Rift Valley. According to the Maasai oral history, they came from a crater or deep valley somewhere to the north, at a place called Endikir-e-Kerio . Although many scholars have called this place the southeastern region of Lake Turkana, many of the oral histories say that they may have come from further up north, near the Nile river. Whichever location this is, the migration was caused by a dry spell. According to the Maasai a bridge was built, and after half the livestock and people had left the dry area, the bridge collapsed, leaving back the other half of the population. These people later climbed out of the valley, and were helped by the present day Somali, Borana and Rendille peoples. The Maasai later entered Kenya, and moved south through the Rift Valley, where there was pasture for their cattle. Because there was very little surface water, the Maasai resorted to pastoralism instead of agriculture.  Ã‚  Ã‚  Ã‚  Ã‚  The Maasai have adapted to their environment to ensure survival and the maintenance of their culture.   Ã‚  Ã‚  Ã‚  Ã‚  The Maasai have adapted to the conditions of their environment through their religious rituals, which function in keeping their political structure, and maintaining cattle numbers. The idea of religion in the Maasai culture is attatched with the importance they place on the stages of life. Spear indicates that for the Maasai, God is close yet completely unknowable. Each ritual transition between age-groups is a step toward old age and metaphorically a step toward God. According to Emily McAlpin in â€Å"The Maasai culture and Ecological Conditions† the most important event in the ceremony is the sharing of meat which brings all participants clos... ... one is in this society, the more power attained.   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  The most common form of sharing goods and distributing them is through allied kin groups. There is no doubt sometimes disagreements amongst the Maasai people, therefore most kin groups have an ally kin group. These are useful when a luxury item is sought after and one group has it and is willing to lend or give it to the other, not a necessity. When something is needed for survival, the whole society will help.   Ã‚  Ã‚  Ã‚  Ã‚   Bibliography: 1.Cronk, Lee 2004 From Mukogodo To Maasai: Ethnicity and Cultural Change in Kenya (Westview Case Studies in Anthropology), Westview Press, pp. 27-35 2. Hetfield, Johnston 1997 The Maasai of East Africa (Celebrating the Peoples and Civilizations of Africa) PowerKids Press; 1st ed edition, pp. 9-13 3.Spear, Walker 1993 Being Maasai: Ethnicity & Identity in East Afri Ca (Eastern African Studies), Ohio University Press pp. 214-221 4.Kituvi, Mukhisa 1990 Becoming Kenyans: Socio-economic transformation of the pastoral Maasai (Drylands research series), Acts Press, pp. 193-201 5. Sankan, S.S. Ole 1985 The Maasai ,Kenya Literature Bureau, pp. 77-84

Feminine Perspective within Othello :: Othello essays

Feminine Perspective within Othello  Ã‚        Ã‚  Ã‚   In William Shakespeare’s tragic drama Othello, the male characters far outnumber the female ones. This may tend to cause the feminine viewpoint to be shortchanged. Let’s not let that happen – by consideration of same in this essay.    In the essay â€Å"Wit and Witchcraft: an Approach to Othello† Robert B. Heilman discusses involvement in the play by Emilia, the wife of Iago:    Emilia’s picking up the handkerchief helps advance the action by contributing to Iago’s deception of Othello, but it is also relevant to her character and to Shakespeare’s conception of the modes of wifely devotion and marital relationship (not to mention its relations by contrast with actions of Desdemona and Bianca and of Emilia herself later). (330)    It was Emilia’s gift of the decorated kerchief to her husband that set up Desdemona for murder. Helen Gardner in â€Å"Othello: A Tragedy of Beauty and Fortune† talks of Emilia’s outlook on things:    Emilia’s silence while her mistress lived is fully explicable in terms of her character. She shares with her husband the generalizing trick and is well used to domestic scenes. The jealous, she knows,    are not ever jealous for the cause But jealous for they are jealous.    If it was not the handkerchief it would be something else. Why disobey her husband and risk his fury? It would not do any good. This is what men are like. But Desdemona dead sweeps away all such generalities and all caution. At this sight, Emilia though ‘the world is a huge thing’ finds that there is a thing she will not do for it. By her heroic disregard for death she gives the only ‘proof’ there can be of Desdemona’s innocence: the testimony of faith. For falseness can be proved, innocence can only be believed. Faith, not evidence, begets faith. (145)    At the outset of the play only the male perspective is given: Iago persuades the rejected suitor of Desdemona, Roderigo, to accompany him to the home of Brabantio, Desdemona’s father, in the middle of the night. Once there the two awaken the senator with loud shouts about his daughter’s elopement with Othello. In response to the noise and Iago’s vulgar descriptions of Desdemona’s involvement with the general, Brabantio arises from bed. With Roderigo’s help, he gathers a search party to go and find Desdemona and bring her home.

Instilled Heritage Essay -- essays research papers fc

Instilled Heritage Alice Walker usually puts herself into characters that she writes about in her stories. However, you don’t understand this unless you know about her. Staring with this let us find out about who she is and where she came from. When recounting the life of Alice Walker, you find out that she was born to sharecroppers in Eatonton, Georgia in 1944 and was the baby of eight children. She lost one of her eyes when her brother shot her with a BB gun by accident. She was valedictorian of her class in high school and with that and receiving a scholarship; she went to Spelman, a college for black women, in Atlanta. She then transferred to Sarah Lawrence College in New York and during her time there went Africa as an exchange student. She received her Bachelor of Arts degree from Sarah Lawrence in 1965. She was active in the Civil Rights Movement of the 60’s and as of the 90’s she is still an involved activist. She started her own publishing company in 1984, Wild Tree Press. She is an acclaimed writer and has even received a Pulitzer Prize for the movie, The Color Purple. What is it about her that makes her works so meaningful and persuasive? What provoked her to write what she has? One of her works, a short story called Everyday Use, is a story that she herself can be pictured in. During the opening of this story you find a woman with her two daughters. She and one of her daughters, Maggie, have just cleaned and beautified the yard of their new house. It is very comforting sitting under the Elm tree that is present and blocks the wind from going through the house. It is a place that you feel enveloped in comfort and love. Maggie and Dee, the other daughter are very different, and it is very apparent that mother, is not your ‘everyday’ woman. She, the mother, is â€Å"a larger woman that can kill and clean a hog as mercilessly as a man’ (American Lit, p. 2470). She has no problems doing what needs to be done in order to feed and protect her family. However, the daughters are quite opposite; you have the one, Maggie that has been badly burned and is much scarred, and then Dee, the African Princess want to be. Maggie is very envious of her sis ter and is waiting for the day that she leaves, to further her education. Mother only made it to second grade and back then there wasn’t much to say or do about it, so she settled with what she had. Through the church ... ... lives were lived, that we survived on scraps and patches, the leftovers from the ancestors; we take what no one wanted and make it into something that is loveable and cherished. The heritage that you are looking for is probably looking you in the face. Look around you, discover what you know is there. Remember what brought you where you are and how you got there. Your family is your heritage, no matter the consequences or heartbreaks that happen along the way. There is a reason for everything and it is only then that you can really say that instead of just showing off what you have received or found, put it to Everyday Use. It is everyday that we learn something new. When learning these things, use what you already know to lead the way for your followers to find what they are looking for, heritage is never far from anyone, as a matter of fact, it is instilled in everyone. Works Cited 1. Helga Hoel. "Alice Walker's Everyday Use." Essay on Alice Walker. 17 January 2005. 08 March 2005 . 2. Klinkowitz, Pritchard, Wallace. The Norton Anthology of American Literature. New York: W.W. Norton & Company, Inc., 2003.

Hamlet Essay

Death, the absence of life when light goes out. In Hamlet, Shakespeare uses mortality as an answer to situations that characters find themselves in, and these situations represent various themes in the play. The characters, mainly Hamlet and Laertes, show that death is one of the better ways to overcome sorrow, show vengeance, and it’s inevitable. Everyone faces unhappiness at least once in their lifetime and so do the characters in the play, â€Å"Tragedy of Hamlet†. As a result, death is a tool that characters, such as Hamlet and Laertes, use to escape from sorrow. Hamlet shows signs of committing suicide while Laertes’s sadness turns into madness. Beginning with Hamlet, Hamlet shows his depression and desire to die as he says, â€Å"O, that this too too sullied flesh would melt; Thaw and resolve itself into a dew! ; Or that the Everlasting had not fix’d; His canon ‘gainst self-slaughter! O God! God! † (Hamlet; 1. 2. 129-132). As Hamlet expresses these emotions, one can conclude that Hamlet is yet to overcome the fact that his father, King Hamlet, is dead. Hamlet’s sadness grows as he is not pleased with his mother, the Queen, as she is perfectly fine about Hamlet’s father’s death; in fact she marries her dead husband’s brother. These two situations have lead Hamlet to think that his suffering will only end if he switches off his life. Thus, one can guess that, through Hamlet, Shakespeare suggests that death is a medium with which one may end his misery. While Hamlet thinks about committing suicide to end his sadness, Laertes looks for ways to end the reason for his sadness. After Claudius tells Laertes that Hamlet is the one who is responsible for his father’s death, Laertes speaks, â€Å"To cut his [Hamlet] throat I’ th’ church† (Hamlet; 4. 7. 127), this expresses Laertes’s disdain for Hamlet. Laertes realizes the fact that Hamlet is the reason for his sadness, Hamlet being responsible for his father’s death. Therefore, he builds up a desire to kill Hamlet to avoid his sorrow but that grief soon turns into madness where he acts like a beast that is hungry for Hamlet’s blood. Hence, one can say that, through Laertes, Shakespeare is trying to claim that death is a solution to unhappiness. Therefore, Hamlet’s and Laertes’s responses uphold the argument, death, in the form of suicide and murder, is a solution to madness and sadness, a theme in Hamlet. Losing a loved one not only leads to grief but also builds up anger, which can be taken to the next level, avenging the culprit. Revenge may be as small as an insult, but in the play, Shakespeare shows vengeance through death. This can be first seen when the Ghost of King Hamlet asks Hamlet to take revenge for his death. In reply, Hamlet says, â€Å"O cursed spit; That ever I was born to set it right† (Hamlet; 1. 5. 189), affirming the Ghost’s plan for seeking revenge. As Hamlet gains knowledge about the death of his father and understands that Claudius is the murderer of his father, he builds up fury against Claudius. Hamlet’s rage, which leads to his revenge, could have an outcome of legal punishment against Claudius, for example imprisonment, but instead it ends up being Hamlet’s personal punishment on Claudius, which is slaying of Claudius. Hence, through Hamlet, Shakespeare expresses that murder shows revenge which works as a build up towards the climax of the play. Like Hamlet, Laertes also reacts to the death of his own father by seeking revenge. Sometime after Hamlet kills Polonius, Laertes’s yearning for receiving justice can be clearly seen as he says, â€Å"Let come what comes; only I’ll be revenged; Most thoroughly for my father† (Hamlet; 4. 5. 135-136). Laertes hears about the death of his beloved father and in anger, he charges for the guilty party. As Laertes assumes that King Claudius is the offender he plans to kill him and avenge his father’s death. Therefore, one can suggest that Shakespeare is trying to convey that assassination shows vengeance, and increases tensions among different characters among the play to create an interesting ending. Thus, Hamlet and Laertes seek vengeance by murdering the corrupt, which shows revenge can be gained by the death of one; revenge is one of the other themes in the play. Lastly, no matter â€Å"who† one is or how much good or how much bad one does, everyone one has the same final destination, humans are destined to die and so are characters in the play. Therefore Shakespeare is trying to express his thought that death is ones fate. As Ophelia turns mentally ill, she begins to act crazily, which later leads to Gertrude claiming that Ophelia is dead as she says, â€Å"One woe cloth tread upon another’s heel; So fast they follow; your sister’s drowne’d Laertes† (Hamlet; 4. 7. 163-164). Like any other person, Ophelia dies as confirmed by the previous line from the play. After seeing Ophelia’s role throughout the play, one can easily claim that Ophelia was a sweet gentle woman who never did any harm to anyone both intentionally and unintentionally, but in the end she dies. This proves that death is unavoidable no matter what good deeds one has done in their lifetime. Hence, Shakespeare shows the power of mortality through Ophelia’s death. Another instance that proves that death is every person’s destiny is when Hamlet is talking to Horatio after he realizes that Ophelia is dead; he says, â€Å"There’s a divinity that shapes our ends. (Hamlet; 5. 2. 10). Hamlet is saying that there is a superior power above all of us who sets one’s life, one’s fate, this affirms Shakespeare idea of death being inevitable. Furthermore, the idea of the â€Å"Wheel of Fortune†, a very popular topic during Shakespeare’s time, can be interpreted as death is ones fate. Assuming that the bottom of the wheel represents birth, when the wheel completes a full rotation, the wheel reaches to the bottom again. So to start a new life, one has to die first. Thus death is portrayed as an unavoidable power. Hence, death is shown as fate in the play, which is another theme of the play. To conclude, the real function of death is not to kill characters in the play, but to convey other important themes in the play, the other themes being madness and sadness, revenge and fate. Death, in Shakespeare’s point of view, is an escape from life to avoid sadness where either the protagonist kills himself or someone else as an act of revenge which also shows human’s limitations for fighting against the inevitable death. Death is the unsung villain of one’s life.