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.

Screaming Like the Opposite Sex: A Professor's Quick YouTube Search

YOUTUBE MOVIES
Source: Amazon.com

One of my favorite elements of Professor Petit’s lecture last Tuesday was the focusing of the analytical, and also humorous eye, upon YouTube content centering upon the emanation of behaviors supposedly held within the realm of women issuing forth from men (Lecture: 5 Nov. 2013). Specifically, Professor Petit illustrated that there was a wealth of the site’s videos evidencing a scream which comes forth from a manly figure that is highlighted as bearing a semblance to a sound relegated to the woman’s arena (ibid). Yet, no reversal of this conception was perceivable upon the website, a statement illuminated when Professor Petit looked for clips upon the website which depict women as the enunciator of a vocal bearing resemblance to men, an investigation failing to be fruitful (ibid). Through this interaction with YouTube, however, I was thinking of a different idea. Uninfluenced by the trouble of Professor’s second investigation, my mind had only blankness in my attempt at grasping enunciation emanating from a woman characterized by its similitude to the form of men. After reading my translation of Professor Petit’s lecture, I believe that the conclusion of my aforementioned inability is accounted for in his words. He suggests that the media is illustrative of strong reference to the conception of heteronormativity, a term which denotes a construction of humanity whereby features such as one’s biology necessitate connection with other human designs such as behavioristic aspects (ibid). It is also acknowledged that the infiltration of this media, into the realm of reality where we the consumers live, in effect closes the door of feasibility for certain actions to emanate from the opposite sexes of men and women (ibid). Indeed, my engagement with the media has given me a grasping of the female vocal, designed as soft and at times vulnerable, but I do not think my acquaintance is as great with the male vocal and its designs (ibid). Thus, an essential piece of the equation alludes me in the construction of the woman whose enunciations fall into a characterization of men and their communication.

                                                                      Works Cited

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

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

YOUTUBE MOVIES. Real Gold, Amazon.com. Web. 10 Nov. 2013.

 

The Different Lives of Men and Women on Television: Ott and Mack's Analysis and Television Study

Everybody Loves Raymond Season 6 DVD
Source: HMV.ca

In a discourse analyzing television, Ott and Mack suggest that the medium betrays a different construction for the characters within the male realm and those within the female arena (184). The authors begin with the former, who are cloaked with aspects such as a degree of volition and as having power within their palms, which is indeed the precursor to the figurative outfit they dawn on television as the conqueror of occupations and thus the holder of the family’s economy (Ott and Mack 184). In line with this design, one who engages with a television program is easily rewarded with a portrait men engaging with different jobs, and as this necessitates some visual visitation of work-place, the authors acknowledge that a televised man is aligned with public standpoints (ibid). This illustration suggested of men fails to encapsulate the opposite sex finding representation on television: according to Ott and Mack, televised women fail to bring forth the emanation of strength, catalyzing their highlight as she who over-watches aspects of the familial (ibid). The authors urge the reader to analyze housewives finding representation in media, while Ott and Mack also acknowledge illustrations of the actions held within the grasp of the aforementioned women, and among others, the one betraying relevance to my blog is the effort allocated for tidiness to permeate domesticity (ibid). I have mentioned my adoration for Everybody Loves Raymond in an earlier blog but I will once more illuminate a scene which is relevant. I recall an episode where Raymond (Ray Romano) and Debra (Patricia Heaton) vehemently suggest to one another that they should relocate a suitcase stationed in an unsuitable portion of the home, in the midst of an adjoining staircase ("Baggage," Everybody Loves Raymond). The voice of Raymond’s father (Peter Boyle) soon finds representation, acknowledging to Deborah that the travelling article should indeed be re-positioned by her hand due to his reasoning that “that’s the way it's supposed to be,” (Youtube: Everybody Loves Raymond Baggage Episode Full Skit) thus illustrating the conceptions illustrated by Ott and Mack in “Feminist Analysis.” I am interested in the dynamic created by the fact that the often vicious Frank makes the impolite suggestion. I believe I have viewed the entire catalogue of the television series and there are a myriad of detrimental postulations emanating from Frank Barone. Thus, does the suggestion that viewers of the program possess, whereby the television character is utilized to demonstrate the uncouth, decidedly trample underfoot any semblance of what Ott and Mack suggest is the interconnectedness forming the connection between televised women and their seemingly uncontested residence within the conception of domesticity (Ott and Mack 109)?

                                                                                     Works Cited

"Baggage." Everybody Loves Raymond. CBS. 5 May 2003. Television.

Everybody Loves Raymond Season 6 DVD. Warner Home Video. HMV.ca. Web. 3 Nov. 2013.

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

     Malden: Wiley-Blackwell, 2010. 177-196. Print.

---. "Rhetorical Analysis. Critical Media Studies: an Introduction. Malden: Wiley-Blackwell, 2010.
     99-123. Print.

SamieTrimble7. "Everybody Loves Raymond Baggage Episode Full Skit." Online video clip.
     Youtube. Youtube. 5 Nov. 2012. Web. 3 Nov. 2013.

Combative Movies and Gender: Self-Reflection on an Observation

This past week was interesting for me, as the content I read from Brian L. Ott and Robert L. Mack’s textbook Critical Media Studies: an Introduction actually came face to face with me in my own life. The authors suggest that gender is an element of a cultural or societal viewpoint which stipulates what will emanate from the two sexes, illustrating this conception within the realms of what males and females consume for instance, which I assume extends to media selection, while the authors also reference gender’s voice in the explanation of the drills of life which the differentiated bodies of male and female dedicate themselves to (178). In offering explanation, Ott and Mack suggest that it is the conception of gender that is illustrative of the woman as a manifestation of the beneficial forces of support and guardianship, depictions which do not have a relationship with sex, which the authors denote as the true elemental divergences between males and females which harken to the explanations of biology (178). Last Monday I was in a class where films are an integral element, and in the viewing a group presentation from my colleagues, I will generalize an important question of theirs with a relevant complexion to Ott and Mack’s material. One of the group members inquired as to why a wealth of filmic situations which illustrate the defeating of villainy issue forth a man in the undertaking of the physical or psychological combat, while these heroic scenarios do not imagine the woman.

The Dark Knight Cover
Source: HMV.ca
 

 

 

Mission Impossible/ Special Collector's Edition Cover
Source: HMV.ca

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Skyfall Cover
Source: HMV.ca
 

 I then shared my response, suggesting that combative films have a relationship with purchasers of movie tickets or the films themselves which illustrates the admiration emanating from men with greater strength than from the opposite sex (Brym et al. 272). Soon after, a female colleague bluntly questioned “is that fair?” This left no ambiguity for me that my suggestion which was permeated by the conception of gendered pleasantries within the media realm had an offending quality (Ott and Mack 178), though throughout my formulation of the opinion and articulation, I did not believe that my opinion fell into any arena of offence. As I had not yet read “Feminist Analysis” before my Monday lecture, the words of Ott and Mack, however, depict my suggestion in class as attaining a perception of proper suggestion from the hands of the realm of gender, which the authors acknowledge as disadvantageous (179).  

                                                                           Works Cited

Brym, Robert J., et al. "Sexualities and Gender Stratification." Sociology: Your Compass for a

     New World. 4th ed. Toronto: Nelson Education, 2010. 265-298. Print.

Dark Knight Cover. Warner Home Video. HMV.ca. Web. 3 Nov. 2013.

Mission Impossible/Special Collector's Edition. Paramount Home Video. HMV.ca Web. 3 Nov.

2013.

 

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

     Malden: Wiley-Blackwell, 2010. 177-196. Print.

Skyfall Cover. MGM/United Artists. HMV.ca. Web. 3 Nov. 2013.