Category: Essays

1) Many television drama shows generate an additional on-line presence around the original ‘old media’ show in the form of web sites with additional character ‘back story’, discussion forums, or even extra web broadcasts or animated narratives (e.g. the new Dr Who)

2) Many non-fiction news and current affairs shows on ‘old media’ television and radio utilise interactive services to enhance audience engagement.

3) Music radio now often makes use of webcams in the studio, on-line interactivity, and are often streamed via the web.

4) Conversely, many examples of new media utilise or converge with ‘old media’ (eg. Video file sharing sites like YouTube, social networking sites like Facebook, video games that look and feel like films, etc.)

5) ‘Mobisides’ are drama or soap opera podcasts designed specifically for 3G phones, thus drawing upon new media technologies and ‘old’ media forms.

6) Films utilise on-line resources for marketing (eg. Viral chatter, etc.) but some films go further by deliberately constructing narrative, shooting and editing to simulate video games and generate possibilities for games spin offs (i.e. synergies).

7) Newspapers now offer on-line editions and on-line searchable information databases.
The analysis should include:

• A brief description of the text and its associated on-line elements or features (don’t make this too long as you score most marks for analysis and the application of reading).
• An analysis of how the ‘old’ and ‘new’ media elements are intended to work together to enhance the text
• A discussion of the contemporary context in which the text is located (the industry, competitors, ownership structures, social and cultural context, political factors, etc. Not all of these may apply to your choice but some of them will.)
• Some consideration of what your example might tell us about the debates in media history over what drives change (technology, market forces, progressive or liberal ideas, struggle and conflict, etc.)
• Application of some of the key concepts and theories introduced during the module
• The application of reading appropriately referenced. You need to support your ideas by referring to and discussing your sources. These will include some of the core readings for the module but also wider academic reading, including journal articles, books and less academic, contemporary sources for information about your text. Don’t just rely on contemporary non-academic on-line sources. You must engage with the academic material, too.

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Many important questions in cultural studies concern the place of the work of art in contemporary culture. In your essay, discuss three or more examples of a creative work* that appear in the readings from class (please note that I am asking about examples in the readings, not the readings themselves) . What do these examples seem to be saying about the place of art in our culture? What fears or anxieties do you see operating in these examples, as they appear in the work in question?
Note: as we have discussed over the course of the semester, words such as “art,” “entertainment,” and “creative expression” are often loaded terms with differing connotations. As you approach this essay, be creative and think about these terms–and your examples– in the broadest possible way.

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Write an essay on the following topic. Be sure to use specific examples and evidence to support a well-articulated argument, which you introduce in a well-developed introductory section.

Accepting his party’s nomination for the Presidency in 1932, Franklin Delano Roosevelt famously concluded his remarks, “I pledge you, I pledge myself, to a new deal for the American people.” But just what was so new about the New Deal? Was it a truly innovative initiative? To what extent did it break with the past, and to what extent did it reflect continuity with earlier reform movements, and with what consequences?

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American independents: John Waters, Pink Flamingos, Multiple Maniacs, Female Trouble, Hairspray: David Lynch, Eraserhead, Blue Velvet; Jim Jarmusch, Stranger Than Paradise, Down By Law, Mystery Train; Spike Lee, School Daze, Do the Right Thing; Steven Soderbergh, Sex, Lies, and Videotape, Schizopolis; Richard Linklater, Slacker, Dazed and Confused, Before Sunrise; Susan Seidelman, Smithereens, Desperately Seeking Susan; Mira Nair, Mississippi Masala; John Sayles, Return of the Secaucus Seven, Baby It’s You; Quentin Tarantino, Reservoir Dogs; Todd Haynes, Safe; Nancy Savoca, True Love, Dogfight; Allison Anders, Gas, Food, Lodging

Hollywood mavericks of the 1970s: Arthur Penn, Little Big Man, Night Moves; Hal Ashby, The Landlord, The Last Detail, Shampoo; Robert Altman, Brewster McCloud. McCabe and Mrs. Miller, Images; Peter Bogdanovich, The Last Picture Show, Paper Moon; William Friedkin, The Boys in the Band, The French Connection; Bob Rafelson, Five Easy Pieces, The King of Marvin Garden, Stay Hungry; Alan J. Pakula, Klute; Steven Spielberg, The Sugarland Express; Terence Malick, Badlabds, Days of Heaven

Relate the movies to indie films we did see in class. Are there similar scenes, themes, characters, or unusual ways of telling the stories? What about the films make them different from regular Hollywood fare? How are they similar to Hollywood movies?
In your view, what were the most powerful and/or unexpected scenes? (Keep plot descriptions of the movies you watch to two or three sentences.)"

Movies seen in class are:

Harold and Maude; American Graffiti; One Flew Over the Cuckoos nest; The Conversation; The Parralax View; Annie Hall; Carrie; The Empire Strikes Back (Star Wars episode 5); Squeeze; Boyz N The Hood; To Die For; Empire of the Sun.

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Presented here for your analysis and recommendation, is a real-world scenario. Your essay should be well thought-out, written clearly and concisely, and not exceed 1500 words in length. Be sure to comprehensively respond to all of the questions associated with this scenario. You will be evaluated on your ability to think critically, express yourself clearly (English composition skills), ability to follow instructions and the depth of your analysis.
Instructions:
1. Place your name (first, middle initial and last) in the header at the top left of the page.
2. Your essay will be evaluated on content (subject matter) and context (writing skills).
3. Structure your essay in accordance with American Psychological Association (APA) format as follows:

• a. Typed, space and ½, on standard-sized paper (8.5" x 11") with 1" margins on all sides using 12 pt. Times New Roman font.
• b. Correct grammar, which includes proper sentence structure and syntax, correct verb and pronoun agreement, appropriate grammatical number and person, and consistent number and person.
• c. Correct punctuation, which includes the proper use of commas, colons, semi-colons, apostrophes, italics, and quotes.
• d. Responses to questions should be clearly numbered, separated and consistent in the use of person (third person or first, plural or singular) where appropriate.
• e. Avoid making general statements without providing information to enhance and/or explain your point. Avoid giving generic personal opinions; instead base your responses on researched conclusions that provide depth and breadth of insight into the question.
• f. The essay should include no more than two quotes.
• g. Reference and cite information provided from sources that indicate conclusions (facts, data) based on research. Provide at least two as part of your essay submittal.

Essay Topic
A large multinational manufacturing company is launching a new product line in several countries. You are heading up a team of individuals from various departments including sales, marketing, finance and operations, and have set up a series of training sessions for company personnel in various countries in advance of the product roll out.
Your team is on a very tight schedule as you travel to several major cities and countries around the world. The roll out plan established by corporate is very ambitious. Recognizing this, you have set in motion a series of actions to ship sample products and essential training materials to various locations in advance of your team’s arrival.
Three days before training was scheduled to begin in Malaysia, the team’s next stop, the in-country manager called to inform you that the sample products and training materials were lost in shipment and never arrived at customs at the Kuala Lumpur International airport on the scheduled date. She tells you that she is continuing to try to track down the lost shipment, but unless something happens immediately, not having product and training materials will result in a 30 day delay of the product launch causing lost revenue.
As the newly promoted director of overseas operations, you are eager to make a good impression on the person you replaced who was just promoted to vice president of global operations and is your new boss. The company and your new boss are counting on you and your team to meet some very ambitious sales goals and objectives for the new product line. Meeting these goals and objectives is critical if the company is going to achieve its projected annual sales revenues. How you resolve this situation could a have long-term impact on the company and your career.
In your essay make sure you address each of the following items:
1. Identify the ethical, strategic, operational, and financial issues in this scenario and list them in priority order from most to least critical.
2. As the director of overseas operations, what options are available to you to resolve this situation? State the risks and consequences associated with each option you identify.
3. Based upon the options you identified above, select the one you would implement and describe fully and succinctly your course of action.
4. Assuming a worse case scenario in which sample product and training materials are not available in time for the product launch, how do you propose to make up for the loss in sales and revenue?
5. What action(s) would you take so that other in-country managers would know how to respond should they encounter a similar situation at their location?

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Question 1: compare and contrast the motivations of the killers as discussed by deborah e.lipstadt in the eichmann trial, christopher r. Browning in ordinary men and in the holocaust 2nd edition by donald l. Niewyk, robert jay lifton in the holocaust second edition by donald l.niewyk, richard glazer in as told to gitta sereny in the holocaust second edition by donald l. Niewyk, doris l. Bergen in war & genocide. What was the nature of their crimes and what motivated them? These answers should all come from the readings listed above! Nothing else!

Question 2 using the diary of dawid sierakowiak,israel gutman in resistance the warsaw ghetto uprising, primo levi survival in auschwitz, terrence des pres the will to survive in the holocaust second edition by donald l. Niewyk, alexander donat surviving slave labor at maidanek in the holocaust second edition by donald l.niewyk, doris l. Bergen in war & genocide. Compare and contrast the jewish victims experiences in the ghettos and in the concentration camps. How are they similar and how are they different

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Instructions:
The use of ‘fire’ to manage the environment and ensure its productivity is a widely researched topic in Indigenous land management research. You should aim to select a specific area / location in which fire management is being carried out (or researched) for your case study.

There are two parts that you need to answer:
1) Describe the geographic Information, the location, estate information (estate refers to ‘Country’ estates) this can include clan / family group information.
2) Describe how systems of managing knowledge transmission and ensuring continuity of knowledge traditions are enacted in the text! This could include: ways that Indigenous knowledge is enacted, invoked, practiced, referenced, ways that Indigenous knowledge is recorded, archived and saved, ways that Indigenous Knowledge can be passed on, transferred, embedded in society.

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You have good topic for your course paper. However, please don’t write about Mozart and his Overture to the "Magic Flute" in general but analyze its music. Compare their themes, melodies, rhythms, form, dynamics, etc. E.g., is rhythm in a theme often regular or irregular, how large is melodic range of various themes, is tempo of the song moderate, slow or fast (stable or unstable), does this theme/movement have soft dynamic level or the opposite, etc? Describe character of various themes (is it sad, or lyric, or dramatic, light, heavy etc.) You may also describe technical difficulties in the solo violin part and how the violin communicates with the orchestra. You can find different types of music analysis in your course book (which you may follow) which is convenient to use. Just avoid to discuss any personal, historical, religious, medical, political and/or economic issues and concentrate your course paper on discussing music of the chosen work.

Please don’t forget to submit your bibliography including CD(s) and the internet sites used.

1. The paper should be no less than five full pages, double-spaced (approximately 22 lines per page).
2. Students may choose any composer or a group of composers/performers; however, don’t write biographies of composers/performers. Rather choose one of his CD(s) recordings or YouTube from the web and write about one or more of his works. Try not to choose topics which are too general, e.g. "The Symphonies of Beethoven", "French Music in the 16th century" or "The History of Jazz in the 1930s", and the like. Instead of this students may write about one or two movements of a symphony of Beethoven, or about 1-3 short compositions written in France in the 16th century, or about several jazz compositions which were created in Chicago in the 1930s. It is also possible (and interesting) to compare several pieces written in different times. E.g., three different jazz compositions: where one of them was created in the 1930s, another in the 1940s, and a final in the 1950s.
3. Students may make an analysis of chosen musical work(s) by listening to music (if they can’t read music or can’t get printed music). It is highly recommended that students study the analyses which are given in the course textbook and use these techniques when describing their chosen musical work(s).
4. Students need to add a bibliography as the 6th page of their papers, thus consulting all available materials. They should include information they acquired by reading materials published as a supplement to their CD(s),information borrowed from the internet (give URL address), information borrowed from dictionaries and books or articles (e.g. the New Grove Dictionary of Music and Musicians or an encyclopedia of popular music and jazz, and the like) etc.
5. Please avoid to write about works which are discussed in your textbooks and about too well-known works, e.g. Fuer Elise, ?Moonlight? Sonata, Fifth?s and Ninth?s Symphonies of Beethoven, Canon of Pachelbel, 40th Symphony of Mozart, etc.

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The paper should integrate real-life experience with scientific research and theoretical knowledge. Please use APA format.
Knowledge is correctly described and applied in sufficient breath & depth. Analysis is integrative and insightful.
Multiple counseling approaches are accurately described and correctly explained. Comparison of the different approaches is evident.
An original view is offered and it is well-justified with in-depth analysis supported by proper knowledge and sound logic.

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Essay Two requires an analytical reading either Everything Is Illuminated and/or The Road. It must include at least four direct quotations from the text under study. The essay is to be at minimum, four pages in length, at maximum, six pages.

The draft (minimum of three pages) is due 30 April 2013 for an in-class workshop with your peers. This workshop is *mandatory* for all students. The essay itself is due at the start of class on 7 May 2013.

ESSAY TWO TOPICS

1. Analyze the significance of the narrative structure and the choice of narrators in either Everything Is Illuminated (IIE) or in The Road (TR). For instance, how do these narrative and structural choices contribute to or impact the novel?s overall themes, issues, and concerns? This could also be a comparative analysis between Foer and McCarthy’s novels.
2. Discuss and/or compare/contrast the representation of trauma in McCarthy?s TR to the representation of trauma in Foer?s EII. How do the writers similarly represent the effects of trauma and war on a character? How do they differ in their representations of trauma, war, and its effects?
3. Discuss the role and the importance of the meta-fictional elements of Everything Is Illuminated. Further, you could discuss EII as a postmodern novel.
4. Discuss the role and significance of the idea of illumination, and of darkness/blindness, in Everything Is Illuminated. What is the significance of the title, Everything Is Illuminated? What, if anything, becomes illuminated, and what, if anything, remains in darkness?
5. Discuss the use of magical realism in Everything Is Illuminated.
6. Discuss the theme of redemption and forgiveness, or of love and illumination (or lack thereof), in Everything Is Illuminated and/or in The Road.
7. Examine the role and importance of paradoxes is Everything Is Illuminated.
8. Analyze the importance of the connection between Alexander and Jonathan, and how it is that they come to write ?one story:? ?We are talking now, Jonathan, together, and not apart,? writes Alex. ?We are with each other, working on the same story? (214). What is the importance of the ?novel within the novel?? What connections can be made between the storyline of the shtetl villagers, to that of the storyline of Jonathan, Alex, and Eli?
9. In EII, the character of Didl–?assuming the authority of a rabbi?–remarks that ?We must go backward in order to go forward? (37). He then purports that, ?The what [?] is not so important, but that we should remember. It is the act of remembering, the process of remembrance, the recognition of our past?? (36) However, immediately following these statements, Didl goes on to forget what it is that he is trying to remember.

In light of this quotation from EII, discuss how EII deals with the complexity, the fragility, and oftentimes, the inaccuracy of human memory. Examine, for instance, how the novel?s characters, through a retracing of memory, traditions, ceremonies, rituals, maps, and histories, attempt to discover or solidify an identity for themselves, while arriving at an understanding of their lives, families, and worlds. Are they successful in their quests? Why or why not? Or, write on the role of memory in The Road with these same questions and ideas in mind.

10. Discuss the thematic importance and implications of Eli?s assertion, in EII, that ?I am not a bad person. I am a good person who has lived in a bad time? (227). You might also want to consider if you see this same thematic idea occurring in McCarthy?s The Road.
11. Compare and contrast the journey motif in Everything Is Illuminated to the journey motif in The Road.
12. Analyze the grandfather-father-son relationships in The Road or in Everything Is Illuminated or in both novels.
13. Analyze the development of one of the main characters over the course of the novel: that is, do a close character analysis of Alexander Perchov, or his grandfather, Eli, or Jonathan from EII; or, of the boy or of the father in TR.
14. Examine the role of women in either of the novels, or in both.
15. Discuss the role and significance of the idea of ?the road? in The Road.
16. Discuss the importance of the religious symbolism in The Road.
17. Discuss the role of oil and gas, and the representation of oil and gas, in The Road.
18. Discuss The Road as a re-writing of the Western novel or a dismantling or a critique of the Western novel. Is The Road ?the new Western? for the twenty-first century? How so?
19. Discuss The Road in relation to Frederick Jackson Turner?s ?Frontier Thesis?.
20. Discuss The Road from the standpoint of eco-criticism and environmental theories and concerns.
21. Compare the film adaptation of Everything Is Illuminated to Foer’s novel. Or, compare the film adaptation of The Road to McCarthy’s novel.
21. A topic of your choice, which must first be approved by the instructor before beginning to write.

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