Building A Sense Of Nationalism Through Third Cinema Homework Essay Sample

Building a sense of Nationalism Through Third Cinema It is more than just merely plausible that Third cinema can be used as a vehicle to build a sense of nationalism for Barbadians and the wider Caribbean. Fed on a steady diet of commercial cinema from the developed world, former colonies have acquired the taste for such. This is evident in the numbers that attend the Cinemas to watch blockbusters of their favorite stars while the local productions are left with the scrapes of the viewership fraternity who are either sake holders or those which have some academic interest in the area.

Third cinema is often confused with Third world cinema because of the origins and locations of the cache of films, which have the aesthetic composition, required for classification that have influenced filmmakers from Africa, Latin America and the Caribbean mainly. (Dodge) However even with this coincidental occurrence of being the third movement of cinema after the Hollywood commercial cinema (first cinema) and the European art films (second cinema) this third movement has focused on, and used, Third world issues to create a particular aesthetic.

Had this cinema been classified earlier or later it would possibly have broken the somewhat ambiguous situation, which currently occurs where the name is concerned. Eisenstein claimed that all films were political but not in the same way. This assertion forms the basis of the concept of Third Cinema. This type of cinema describes a film practice and criticism, which is best, suited in addressing the inequalities of political systems. (Wayne, 1) Wayne further states that this cinema that has its roots in the 1960s and 1970s gained even further attention with academia after Teshome Grabriel’s book Third Cinema in the Third World.

Clarifying the ambiguous concept by finally indicating that Third Cinema is not defined by geography but by social politics. Kwame Nkrumah first coined the term neocolonialism and suggested that is it a new system used to control former colonies by dictating what they consumed meanwhile preventing political and economic conditions for optimum development. (Neo-Colonialism xiv) This opinion is shared by Solanas and Octavio Getino who further suggest that culture is somewhat oppressed and to overcome this situation revolution needs to be encouraged which is capable of contributing to the fall of the capitalist system. Towards a Third Cinema) This is the view that has informed the various aesthetic ideals of Third Cinema that includes: the questioning of existing post-colonial structures, an aim to liberate the oppressed, the questioning of identity and community within communities and diaspora populations, dialoguing with history to challenge past concepts, challenging viewers with the lived experience and strives to rearticulate the nation by using the politics of inclusion and the ideas of people to engender new models. (Dodge)

Teshome Gabriel considers the main principal of cinema made in the third world to be “the ideology it exposes and the consciousness it displays”. This ideology being referred to represents the Imperialist view. A story or a view will change depending on who is doing the packaging of that view. Teshome suggests that by exposing these misconceptions that Third World cinema would further have the ability to allow the audience to think and form conclusions which would differ from the information presented by the commercial cinema.

Dodge supports this by stating, “Third Cinema harnesses the power of film to increase social consciousness about issues of power, nationhood, identity, and oppression around the world. For audiences within these regions, particularly those facing cultural and political subordination, Third Cinema aims to illustrate the historical and social processes that have brought about their oppression and to indicate where transformation is required. Stuart Hall in his examination of Cultural Identity and Diaspora summarises Franz Fanon as saying that Colonization is not satisfied merely with holding a people in its grip and emptying the native’s brain of all form and content. By a kind of perverted logic, it turns to the past of oppressed people, and distorts, disfigures and destroys it. (Hall 224) Mass communications tend to complete the destruction of a national awareness of a collective subjectivity on the way to enlightenment, a destruction which begins as soon as the child has access to these media, the education nd culture of the ruling class. (Getino, Solanas 38) After this statement Getino and Solanas quote statistics that highlight the influence the media has in determining the “colonization of taste and consciousness”. This explains their quote which states “the Camera is the inexhaustible expropriator of image-weapons: the projector a gun, that can shoot 24 frames per second. ” (Martin, 50) Paired with the old adage that a picture is worth a thousand words and one will see why this statement is so impactful.

The pun on the word shoot in referring to the framerate conveys a sense of destruction faster than any modern artillery. Julia Lesage in The Other Francisco Creating History takes aim at the main consideration of this article by stating: “In revolutionary Latin America, as in Cuba or Nicaragua, the new government must immediately begin to decolonize the media — in order to promote national identity and new habits of reception in spectators.

These two countries have approached this task by creating national film institutes, prioritizing the use of expensive imported filmmaking materials and also recognizing mass media’s power as a social institution. Black Girl (1966) is the first feature film by Ousmane Sembene which explored the effect that a dominant culture can have over another. Landy supports the notion of film being used to shape nationalism by stating, “film itself can be shaped as an instrument in the struggle of cultural liberation”.

Traditionally a story such as this would be told from the point of view of the masters and their relationship to the oppressed servant girl. However, in keeping with Landy’s assertions and with the Third Cinema aesthetic it is Diouana the servant girl who the camera concentrates on which results in the audience being captivated by her plight. La Hora de los Hornos (The Hour of the Furnances, 1968) is a film that examines Argentine society and takes aim at the intellectuals of the country who have become re-enslaved to the Imperialists.

This film uses a number of techniques including “Eisensteinian montage, interview, verite factory scenes, long blocks of text, and a handful of brief narrative excursions. ” (Beckett) Getino and Solanas attempt to use the film as a rally call to revolution in advancing Marxist ideals by juxtaposing the reality of the lived experience versus the represented pseudo reality that First World media sought to create. The way has been paved for the Caribbean to continue to explore the Third Cinema. Hall even suggests that there is a “new Third Cinema” which is emerging in the Caribbean.

Indeed development has already been started with more and more film schools and courses that are being started. Given the historically negative reaction of imperialist to leftist ideology it would not be wise for Caribbean states to aggressively pursue the third cinema aesthetic of the 60s and 70s. However, Barbados and the Caribbean, can use some of the knowledge and techniques to showcase things ‘Barbadiana’ and of the wider Caribbean. Research and behavior theory has shown that the environment, in which they develop, forms a person’s opinions, language and behavioral characteristics.

The effectiveness of the messages also increases in potency if this message is enshrined in the psyche or a person from a young age. (Meacham) However this solution is not as straightforward as presented. Having already acquired the taste for the commercial type cinema it will be difficult to break this trend among the older generation who dictate what the younger generation view. National policy towards these types of films is also a major consideration which will either suppress or can be used to maximize the potential that can be realize in these films by allowing the biggest possible viewing audience.

This effort can be similar to what was done by the Canadian Broadcasting Corporation and during the golden age of Classic American Hollywood Cinema which used also used film as a tool for culturalization. End Notes Beckett, Colin. “Some thoughts following Hour of the Furnaces” Uniondocs, 14 Apr. 2010. Web. 23 Nov. 2012 Dodge, Kim. Third (World) Cinema: What is Third Cinema? Thirdcinema. blueskylimit, 2007. Web. 17th Nov. 2012 Gabriel, Teshome. Third cinema in the third world? : the aesthetics of liberation?. Michigan: 1982 UMI Research Press, 1982. Print Getino and Solanas.

Towards a Third Cinema 1969. Unknown Hall, Stuart. “Cultural Identity and Diaspora” Framework no 36. 1989. Web. 23rd Nov. 2012 Landy, Marsha. “Politics and style in Black Girl” A Review of Contemporary Media, Jump Cut no. 27. 1982: 23-25. Web. 23rd Nov. 2012 Meacham, Wesley. Environmental Psychology A view of Human Behavior and How People are Effected by Population Density and Territory. wesleymeacham. hubpages. 16 Sept 2012. Web. 24th Nov. 2012 Martin, Michael. New Latin American Cinema: Theory, Practices and Transcontinental Articulations: Wayne State University Press? , 1997.

Print. Nkrumah, Kwame. Neo-colonialism? : the last stage of imperialism?. London: Thomas Nelson and Sons Ltd. 1965. Print Further Reading Frantz Fanon, The Wretched of the Earth: A Negro Psychoanalyst’s Study of the Problems of Racism and Colonialism in the World Today. New York: Grove Press, Inc. , 1966, Print. Godard and Sterritt. Jean-Luc Godard: Interview University. Press of Mississippi, 1998. Print. Hamid, Rahul. Introduction to Black Girl” Senses of Cinema 2002. Web. 24th Nov. 2012 Unknown, Third Cinema – Ideology: Racism and Identification. Science. jrank. n. d. Web. 23 Nov.

Comparison Of Uglies And The Hunger Games

Humankind has thought up of many different ways our future could be like. Some imagine robots and flying cars, while others think of freedom and peace. Although Suzanne Collins’ The Hunger Games and Scott Westerfeld’s Uglies seem to have nothing in common at first glance, their time setting is what makes them alike. Both taking place in a distant future, they both create an image of what the world could look like. However, robots and flying cars aren’t part of the picture at all. In fact, they both have a view on the future that isn’t quite like what people would imagine.

First off, both books put a lot of emphasis on beauty. According to these books, plastic surgery could be a big thing in the future, much bigger than it is now. While only the population of the Capitol have access to these procedures in The Hunger Games, Katniss speaks a lot of how their looks barely even look human. Dying their skin green, purple hair being seen everywhere, changing their eye color permanently, those are just some of the things the people of the Capitol do to make themselves “prettier”.

In Uglies, However, beauty is forced on everyone. In fact, at the age of 16, everyone gets a drastic transformation, where their entire body becomes symmetrical, their body proportions are remade and they basically become perfect humans. Thus, beauty is seen in a very different way than it is now in both novels. Furthermore, ancient humans (meaning us) are put to blame in both novels. Both societies living with limited resources, they have thought of multiple ways to overcome the difficulties we have left them with.

In The Hunger Games, Katniss speaks a lot of how her ancestors have destroyed the planet. Even though the Capitol has access to anything they could ever want, the 12 districts live in famine, sickness and poverty. The people in Uglies, however, live a rather comfortable life. Instead of living with limited resources, like the people of Panem do in The Hunger Games, they have found ways to create food and create new materials to make their buildings, clothes and other objects.

For example, their food is made of powder, which transforms into food. Hence, both books show that humankind is not doing much good for the future citizens of Earth. Also, both Tally and Katniss live in overly protected societies. While you would think we would acquire more freedom over time, it is certainly not the case in these novels. In Uglies, the people live under supervision their entire life, wearing a bracelet that monitors their every move. Once they’re 16, they move, but they remain in an overprotected environment.

Katniss lives a similar life. The citizens of Panem (except for those living in the Capitol) live in one district their entire life. They aren’t even allowed to leave the district. Although it’s not like they could, since they are kept in by an electrical fence. Indeed, the word “vacation” isn’t exactly part of their vocabulary. In fact, both populations in Uglies and The Hunger Games have no awareness of what there is outside their “world”, Tally never having gone out of her city, and Katniss never having left Panem.

Finally, if our future turns out to be like how it is described in these novels, it will be nothing like what most people expect. While they aren’t exactly alike, they both have a view on what beauty could be like, they both blame us (humans of today) for the world’s state and they show overly controlled societies. It may not be the innovative and technologic world most people anticipate, but who knows, maybe Collins and Westerfeld’s novels will turn out to be premonitory.

Sephora Case Study

If Bornstein receives more funding, she needs to determine how to distribute it across various digital platforms/categories. To do so, she should consider reducing traditional marketing as requested in the additional funding proposal. It is important to assess the analytical metrics of traditional marketing categories before deciding where to cut funds, as this will help evaluate their effectiveness. However, we currently lack data on these metrics and only possess information on social media marketing instead.

Based on 2010 data, Sephora allocates 45% of its expenditure to retail marketing, which includes prints, catalogs, and store animations. Online strategies account for 35% of their spending, while the remaining 20% is invested in Beauty Insider. It seems that Sephora heavily relies on traditional marketing methods as its primary approach. However, I believe it is crucial for this approach to evolve. To adapt to today’s digital era where the majority of people reside in the virtual world rather than the physical one, my recommendation is to decrease funding for printing and catalog campaigns since print marketing has become less effective.

The rise in popularity of tablets, smartphones, and computers has led to a shift from printed materials to digital formats for newspapers, advertisements, and books. David Suliteanu poses the question of when we should decrease our distribution and catalog size. Should we cease printing and mailing catalogs altogether? Although many individuals appreciate our catalogs as a way to showcase Sephora’s position as a trendsetter with expertise, their visual attractiveness is crucial for upholding our company’s reputation. However, it is not mandatory to send them out to every single person.

To reduce printing, it may not be logical to completely stop, but rather to decrease the number of prints and target selected customers, such as VIPs. These VIP customers can be selected based on factors like their longevity as Sephora customers and their annual spending.

Regarding Sephora, I perceive it as a platform rather than just a store or a product. This is because Sephora offers a wide range of brands and thousands of different products, making their variety extensive.

The beauty talk policy on their website has become a platform that brings people together, similar to a large forum. Additionally, their effectiveness on social media and websites is another reason. Creating Beauty Talk as a separate platform from Facebook raises the question of whether it was a wise decision. However, it does have value for customers since Facebook has its own disadvantages despite being an essential tool for reaching people easily.

In Sephora’s website, all customers remain anonymous, even if they choose to share their picture through privacy settings. However, on Facebook pages, everyone can see the pictures and identities of those who ask questions, post comments or updates. This lack of anonymity on Facebook may deter users from asking sensitive or embarrassing questions. Furthermore, due to the continuous posting on Facebook pages, older posts quickly become buried and difficult to find after a few hours.

However, on Sephora’s website, users can constantly reference that post. Ultimately, it is advisable to utilize one’s own website for this purpose as it offers increased security. Even Facebook cannot be fully trusted as they have the capacity to alter their rules or the structure of Facebook pages, which could hinder Sephora’s Beauty Talk strategy. Additionally, managing user activities (such as inappropriate comments or spam links) will be more convenient on their own website as opposed to Facebook. Which competitors should Sephora prioritize as they shift towards digital and social marketing and why?

To enter the digital marketing realm, Sephora will need to make a substantial investment in establishing an efficient supply chain system that encompasses warehouses, logistics, and other components. It is important to acknowledge the presence of established competitors like Amazon in this market. As the biggest online retailer, Amazon possesses a robust supply chain management system supported by multiple warehouses throughout the USA. This advantage empowers them to effectively handle their inventory and provide an extensive array of products.

On the other hand, their logistics also works well, ensuring that shipments usually reach customers on time as promised. Additionally, they have a helpful review and rating section for each product. ULTA serves as a major competitor to Sephora, so it is important for Sephora to consider what strategies ULTA is implementing. What should Sephora’s overarching strategic goal be for their digital and social marketing programs? How can they meet the CEO’s desire to achieve success in the digital realm?

It can be challenging to establish strategic objectives for future digital and social marketing media because of the uncertain nature of social media. The ever-evolving actions of anonymous users make it difficult to anticipate outcomes. Nonetheless, a key objective for present-day social media could be directing Facebook users to Sephora’s Beauty Talk webpage. It should be noted that Sephora maintains its dedication to Facebook, as demonstrated by the presence of the “Call” feature on their mobile page (Exhibit 1).

The functionality of the “Call” button allows users to easily contact Sephora’s customer service. Furthermore, Twitter has seen a substantial increase in its user base. This social media platform is highly effective at quickly gathering individuals, particularly those with a large number of followers (Exhibit 2). Additionally, it can be used for advertising purposes not just through Sephora’s official account but also by utilizing other users’ accounts on Twitter.

There are two types of Twitter accounts that can invest: celebrity accounts and phenomenon users. Celebrity accounts are usually held by music, Hollywood, or TV celebrities with thousands or even millions of followers. However, their impact on people may not be as significant because when they promote a brand on Twitter, it is seen as an advertisement and not their personal opinion. On the other hand, phenomenon users are not celebrities but are popular among Twitter users, with thousands of followers. The main difference between them and celebrities is that phenomenon users often have an emotional connection with their followers. People follow them because they like what they write, so when they mention a brand like Sephora, for example, people do not necessarily see it as advertising. Instead of directly typing out advertisements, phenomenon users indirectly reference the brand, making it less obvious that they are promoting it. One way to impress CEOs and secure their investment is through metrics. By showcasing data analysis that supports the consistent trend of social marketing and demonstrates the underperformance of traditional marketing methods like printing catalogs, CEOs can be convinced to invest.

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