Antiabortionists in both the United States and Britain have long applied the principle that a picture of a dead fetus is worth a thousand words. Chaste silhouettes of the fetal form, or voyeuristic-necrophilic photographs of its remains, litter the background of any abortion talk. This chapter explores the overlapping boundaries between media spectacle and clinical experience when pregnancy becomes a moving picture. It attempts to understand the cultural meanings and impact of images like those in The Silent Scream. The chapter examines the effect of routine ultrasound imaging of the fetus not only on the larger cultural climate of reproductive politics but also on the experience and consciousness of pregnant women. Finally, it considers some implications of "fetal images" for feminist theory and practice. Fetal imagery epitomizes the distortion inherent in all photographic images: their tendency to slice up reality into tiny bits wrenched out of real space and time.

Fetal Images : The Power of Visual Culture in the Politics of Reproduction

We position reality television within the broader category of consumer practices of authenticity seeking in a postmodern cultural context. The study draws on relevant perspectives from consumer research, literary criticism, sociology, and anthropology to argue that viewers of reality television encounter three elements of paradox in the process of constructing authenticity. The negotiation of each paradox exceeds the process of coping with or resolving their inherent contradictions to encompass the creation of new values. We argue that consumers blend fantastic elements of programming with indexical elements connected to their lived experiences to create a form of self-referential hyperauthenticity.

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Paradox and the Consumption of Authenticity through Reality Television

Part 1 Basics: criticism and knowledge empirical study critical and conventional ethnography the critical tradition elements of critical social research. Part 2 Class: c ass, production and culture, Karl Marx - "Capital" C. Wright Mills - "The Power Elite" Goldthorpe, Lockwood et al - "Affluent Worker" Paul Willis - "Learning to Labour" Grimshaw and Jefferson - "Interpreting Policework" Judith Williamson - "Decoding Advertisements" Will Wright - "Six Guns and Society". Part 3 Gender: perspectives Ann Oakley - "Sociology of Housework" Cynthia Cockburn - "Brothers" Sallie Westwood - "All Day Every Day" Khawar mumtaz and Farida Shaheed - "Women of Pakistan" Joanna Liddle and Rama Joshi - "Daughters of Independence". Part 4 Race: race, racism and ethnicity Joyce Ladner - "Tomorrow's Tomorrow" Lois Weis - "Between Two Worlds" Gideon Ben-Tovim et al - "The Local Politics of Race" Mark Duffield - "Black racdialism and the Politics of De-industrialization". Part 5 Conclusion: empirical enquiry getting beneath the surface contradiction myth knowledge as process critical case study radical historicism critical ethnography structuralist techniques the critical social research process an ending.

Critical social research

This article discusses using film as a resource for teaching organizational behavior and management theories and concepts. It draws from the film theory and film studies literature to describe film's unique qualities as a communication medium. The article describes how film enhances the learning process in ways unavailable in other media. It describes many ways of using films in organizational behavior and management courses, using examples of scenes from several well-known films.

/pdf/film-as-a-teaching-resource-2qbummoyr5.pdf

Film as a Teaching Resource

Photographs and pictures of other kinds have various strengths and weaknesses. But photography is commonly thought to excel in one dimension especially, that of realism. Andre Bazin and many others consider photographs to be extraordinarily realistic, realistic in a way or to an extent which is beyond the reach of paintings, drawings, and other "handmade" pictures. This attitude is encouraged by a rich assortment of familiar observations. Photographs of a crime are more likely to be admitted as evidence

https://www.jstor.org/stable/pdfplus/2215023.pdf

Transparent Pictures: On the Nature of Photographic Realism

The philosophy and unique insights of the late French film critic are revealed in these essays.

What is cinema

Before his untimely death in 1958 Andre Bazin began to review and select for publication his post-World War II writings on the cinema. Of the planned four volumes, one was published in 1958, and a second in 1959; the remainder await some competent selective hand. The first volume centers on the theme of the ontological basis of cinema or, as Bazin also puts it, "in less philosophical terms: the cinema as the art of reality." The second discusses the relations between the cinema and those arts with which

https://www.jstor.org/stable/pdfplus/1210183.pdf

The Ontology of the Photographic Image

Qu est-ce que le cinema ?

La reedicion de esta importantisima obra de la teoria cinematografica es una prueba del creciente interes que tienen los ensayos de Bazin para los amantes del cine. En ? Que es el cine ? se plasma el sentir de un hombre que vibro con el mundo de las imagenes y que dedico su corta vida a hacerlo mas inteligible y apreciado. Y no lo hizo desde una catedra, sino desde la mas pura praxis: la del espectador incansable de peliculas. Bazin escribio este libro apoyandose, sobre todo, en algunos de sus innumerables articulos publicados en la prensa. Su contenido constituye un poderoso fluir de ideas, que plantean al lector una reflexion sobre el cine y el amor a este arte. Andre Bazin nacio en 1918 y fallecio en 1958. Muy pronto se oriento hacia la critica cinematografica por la via del periodismo, llevando a cabo una intensa e importante labor en publicaciones y medios como Le parisien libere, Revue de cinema, Esprit y Radio-cinema. En 1951 fundo, con otros especialistas, Cahiers du Cinema, que se convirtio en el principal medio para difundir sus ideas. Bazin no fue el creador de un sistema estetico, ni -en rigor- un teorico del cine, sino un descubridor, un sembrador de inquietudes.

Qué es el Cine

It sounds good when knowing the what is cinema vol 1 in this website. This is one of the books that many people looking for. In the past, many people ask about this book as their favourite book to read and collect. And now, we present hat you need quickly. It seems to be so happy to offer you this famous book. It will not become a unity of the way for you to get amazing benefits at all. But, it will serve something that will let you get the best time and moment to spend for reading the book.

André Bazin

Papers

What is cinema

The Ontology of the Photographic Image

Qu est-ce que le cinema ?

Qué es el Cine

What is cinema?, Vol. 1