My Disbelief in a Certain Media Remedy

One thing that I find interesting about my personality is an occasional characteristic whereby I continually harken back to certain pieces of discussion when I engage with friends and family. On different occasions, I have inspired anger from those I speak with in such a manner. Yet, unlike what is suggested by Ott and Mack in reference to tragedy and comedy, I do not think I would gain advantageous or productive feelings from seeing a media scene bearing similitude to an aspect of my life gaining representation (269). I believe this is because several disadvantageous episodes in relation to my unapologetic and incessantly circular conversations have culminated in being characterized as annoying and personally, I find this to be a powerful affliction. As an example, I recall being infatuated with a story my cousin told me when I was younger and one day, I needed and requested every aspect of the tale and left no stone unturned in my inquiry until my cousin demonstrated her annoyance by screaming "I don't know!" I did not feel right afterwards. Thus, for me, I think that similar media illustrations would have little benefit for me except for the arising of detrimental memories (ibid 269).
                                                                           Works Cited
Ott, Brian L., and Robert L. Mack. “Ecological Analysis." Critical Media Studies:

     an Introduction. Malden: Wiley-Blackwell, 2010. 265-286. Print.

The Changing Operations of Life Evident in the Smart-Phones

iPhone 4s White
Source: Apple.com/ca

Near the end of my summer vacation three years ago, I was working construction with my father and uncle. The site was in Hamilton and my father and I are from Scarborough, meaning we had no comprehension of any services close to the job. For our morning break, I wanted to get a drink from our truck but my father had locked it while the keys were simultaneously withheld in the vehicle. My uncle, being technologically advanced, utilized his iPhone to find one specializing in the unlocking procedures pertaining to vehicles. I remember asking how he would have gone about contacting the practitioner before phones were designed with internet workings. He explained that if one made a mistake analogous to my father's while away from home's vicinity, we would have had to go stores requesting a phonebook which would give the relevant phone number. This is what I thought about when I read Ott and Mack's suggestion that aspects of media are indeed housing us today (266). As was implicitly acknowledged by my uncle, the media encapsulated by the smart-phone is indeed giving forth a different operation of life for patrons of the technology (ibid 266-267). Thus, there is no ambiguity pertaining to the integral occupation of smart-phones for individuals, constituting a great weight for both our context and operation of life (ibid 266-267).

                                                                             Works Cited
Ott, Brian L., and Robert L. Mack. “Ecological Analysis." Critical Media Studies:

     an Introduction. Malden: Wiley-Blackwell, 2010. 265-286. Print.

“iPhone 4s White.” Web Image. Apple.com. n.d. Web. 14 Sept. 2013

Why I Laughed at Fandom... Despite Participating in It

Brian L. Ott and Stephen L. Mack acknowledge that the academic investigation pertaining to fandom was started in the 1980's (249) Fandom denotes a solidified group who have an intense appreciation and feeling for some production emanating from the media (ibid 249). The forms of demonstration encapsulated by fandom are illustrated in certain activities, whether identified as distinct individual expressions pertaining to the championed work, evident in the bringing forth of unofficial


Ghostbusters Remastered Album Cover
Source: HMV.ca

illustrations in connection to the text, while communal gatherings are additionally relevant (ibid 249). The infancy of the fandom investigation was involved in a context of perception whereby non-participants in the media appreciation viewed fans as illustrative of stupidity and the bizarre (ibid 249-250). This section made me remember a convention I went to last year. I went there in the hopes of finding vintage action figures, but one of my favorite instances of the day occurred as my father and I were leaving. We were going to my father's truck and we saw a man getting dressed in a Ghostbuster's ensemble. Arriving home, I told my mother and the two of us laughed at the occurrence. I am interested in this though: who was I to laugh at the impersonator? I attended this event wearing a t-shirt representative of a ninja turtle and if the impersonator was awkward, I was too. I think that I knew my mother found fandom to be ridiculous and I felt no ambiguity that she would find the story amusing. When her reaction was indicative of my expectation, despite being a participant in fandom, I laughed too. This illustrates that the outrageous perception of fandom, discernible in the investigation's infancy, is still forceful (ibid 249-250).
                                                                               Works Cited
Ghostbusters Remastered Album Cover. Arista. HMV.ca. Web. 2 Dec. 2013

Ott, L. Brian and Robert L. Mack. “Erotic Analysis. Critical Media Studies: An

            Introduction. Malden: Wiley-Blackwell, 2010. 240-265. Print.

My Interaction with Radio: Audience Divergence as Suggested by Brian L. Ott and Stephen L. Mack

Pioneer FH-X700BT
Source: Amazon.ca

The conception of audiences illustrate a number of divergences, the one relevant to my blog being the operation of the patrons pertaining to their grasping catalyzed when interacting wit programs of television or radio situated in the media (Ott and Mack 245). As an illustration, Ott and Mack bring forth two hypothetical individuals engaging with television: first, there is a man or woman whose television interaction necessitates a regulated operation, whereby one show which meets the eyes of this patron is provided attention solely at the culmination of an earlier program (ibid 245). In contrast,  there is additionally an individual who gets a myriad of representations perceivable in reference to the television's images for a distinct duration such as sixty minutes (ibid 245). Ott and Mack acknowledge that this patron views their interaction with television as possessing value, though the central divergence between the recounted watchers extends to the power representative of the most recently aforementioned viewer in solidifying television operations which are lucrative in the processes of their own thought (245). Two weeks ago, my family and I had an evening whereby we had dinner and then undertook a drive in the Danforth area. I continually twisted a functionary piece constitutive of my father's radio while my parents suggested I resembled my uncle because of an analogous operation pertaining to the component in reference to him. Yet, I did indeed value my connection with radio in my father's vehicle because of the surprise which was catalyzed by my inevitable lack of grasp in reference to what appreciated track would be illustrated musically as I manoeuvered the equipment. Not only was it valuable as acknowledged by Ott and Mack. There is no ambiguity that my incessant activity in reference to the relevant component of the vehicle was foundational to the scenario and my interaction with radio tracks (ibid 245). This thus illuminates my constitution of audience and its command in reference to the aforementioned episode (ibid 245).

                                                                              Works Cited
Ott, Brian L., and Robert L. Mack. "Erotic Analysis." Critical Media Studies: an Introduction.

 

       Malden: Wiley-Blackwell, 2010. 240-264. Print.

Pioneer FH-X700BT. Pioneer. Amazon.ca. Web. 24 Nov. 2013.

Media Audience Varieties: The Argument of Advertisement in my House



Deli-Pro Slicing Knife, As Seen on TV
Source: Amazon.ca

When Brian L. Ott and Stephen L. Mack investigate the audience in relation to the comprehension of suggestion finding representation in the media, they acknowledge an early surveying of consumers (222). This initial illustration is characterized by a capitulating audience who undertakes the invitation of grasping intelligence situated in the media’s grasp without defiance (Ott and Mack 222-223). Within this configuration, the audience is imagined in a disadvantageous light, not only converging on a whole-scale agreement centering on the media’s speech but not having feasibility in any degree of denying these articulations utilizing the multi-faceted voice of media (ibid 222-223). I have suggested that this theoretical design is disadvantageous and yet, I will admit that I occupy a place in its construction when undertaking media participation. In thinking about this, I look to my family’s perception of advertising. On the one hand, there is my mother. She seemingly stipulates during every commercial that the suggested capabilities are false in relation to the items, and it is then that I issue forth opposition, capitulating to some degree to the acknowledgements encapsulated in advertising. I dedicated time to conceptualizing the impetus for my thought process and I have discerned that I find it inconceivable that on a whole-scale level, the products which the media catalyzes our coming face to face with are true of my mother’s estimation. Therefore, an aspect of capitulation always operates within me when I engage with advertisements, though I find it interesting that I do not betray a significant illustration of the aforementioned audience which Ott and Mack reference. If I believe that an illustration shining through the media’s conveyance betrays aspects of fallaciousness, the capitulation I referenced earlier in my blog does not arise (ibid 222-224). In the context of audience then, I myself admit that the operation of my choice and belief bears aspects of media manipulation, though an aspect of defiance is reference to this potency also finds representation in my media connection (ibid 222-224).  

                                                                                        Works Cited

 

 

Deli-Pro Slicing Knife, As Seen on TV. Ontel. Amazon.ca Web. 24 Nov. 2013.

Ott, Brian L., and Robert L. Mack. "Reception Analysis." Critical Media Studies: an Introduction.

 

       Malden: Wiley-Blackwell, 2010. 221-237. Print.

 

Songs Significant to Me: The Sadness of "Don't Stop the Party"

Pitbull - Swagged Out Cover
Source: Best Buy

I enjoyed the discourse of Brian L. Ott and Stephen L. Mack in reference to the conception of songs which are important because of their permeation into moments which are integral for individual consumers (221-222). The authors explain different scenarios that would catalyze the illustration of significance for a given song, for instance suggesting that it was a surrounding element of the high school dances one engaged in (Ott and Mac 222). This formula necessitates, in the words of Ott and Mack, that despite a hit single’s extension to a wealth of individuals, the idea of significance for a sole person fails to find attainment in the minds of other patrons because the latter’s dealings with the specific song have not been characterized similarly (Ott and Mack 222). A song which I view as significant, though in an explicitly negative and foreseeably comical dimension, is Pitbull’s “Don’t Stop the Party,” a musical piece which I initially heard at my cousin’s wedding a few weeks ago. During my cousin’s wedding, I asked a girl if she was desirous of partaking in a beverage, and she capitulated. Due to the volume of the music, I inquired as to if she wished to move into the hall to speak and she agreed to this as well. In the midst of the conversation however, I comprehended that her engagement in our discourse had lapsed, and soon she brought herself once more to the dancing area. I do not remember if Pitbull’s song met my ears prior to the aforementioned episode or afterwards but it is the musical representation of joyousness that remained imbedded in my thoughts pertaining to the wedding, a contextual element for my feelings of sadness and disappointment. Therefore, referring once more to Ott and Mack, the track’s significance emanates from my disadvantageous scenario and I thus have a detrimental perception of it; I would imagine, however, that the viewpoint characterizing my cousin getting married and utilizing the song is characterized differently, as it was a constructive piece of a blissful event for him (221-222).  

                                                                                    Works Cited

 

 

Ott, Brian L., and Robert L. Mack. "Reception Analysis." Critical Media Studies: an Introduction.

 

     Malden: Wiley-Blackwell, 2010. 221-237. Print.

Pitbull Swagged Out Cover. Pitbull. Best Buy.com. Web. 24 Nov. 2013.

My Changing Interpretation of the Bromance: Understanding Homoeroticism



Figure 1.1: Tango and Cash [Blu-Ray] Cover
Source: Amazon.com




 

In this past week’s lecture, Professor Michael Petit explained what is denoted within the conception of homoeroticism: it describes a construction of emotion which encapsulates individuals within the same realm of sexuality, though it is in defiance of homosexuality because instances of intercourse do not materialize (Lecture: 5 Nov. 2013). The idea of the bromance was then referenced to constitute Professor Petit’s example (ibid), and the most interesting aspect of this discourse in my opinion was the changing outlook it dictated to me in relation to the comical term. Familiar with the term “bromance,” I simply equated it with men who betray an incredible bond with one another. I was a member of my cousin’s bridal party a few weeks ago, and his best man was another cousin of mine, and throughout their lives, they have shared an enjoyment of sports together, worked in the construction business with one another, and taken part in the same social events. Prior to Professor Petit’s lecture, the situation of my two cousins would indeed have been the perfect constitutive illustration of the bromance. The inclusion, however, of the explanation whereby the individuals encapsulated in such a relationship disregard engagement that is defined sexually seemingly allows for the sexual to infiltrate the bromance (ibid), though the degree may not be significant. I think this is because I read the indifference towards sexual engagement in Petit’s definition as perhaps reserving an image of it nonetheless within the confines of the bromance (ibid). Thus, in the commercial for the film Tango and Cash (1989) documented in lecture, Sylvester Stallone and Kurt Russell are simultaneously participating in a facility shower while failing to bear clothes and upon the latter character’s manoeuvring in a hunched positioning, the former leaves little ambiguity in his uncomfortable feeling (Youtube: Tango & Cash, Trailer (1989)). When Kurt Russell humorously suggests that Stallone relinquish such a view of himself whereby the situation necessitates sexual attachment in his direction, the atmosphere of sexuality cannot be denied (ibid, Professor Petit Lecture: 5 Nov. 2013).  

                                                                              Works Cited

 

 

Petit, Michael. "Queer Analysis." The University of Toronto at Scarborough. The University

     of Toronto at Scarborough, Scarborough, ON. 5 Oct 2013. Lecture.

 

Tango and Cash [Blu-Ray] Cover. Warner Home Video, Amazon.com. Web. 10 Nov. 2013.

Oldtrailer09. Tango & Cash, Trailer (1989). Online video clip. YouTube. Youtube, 16 July 2008.

     Web. 10 Nov. 2013.