Research Assignment About Media Saturation And Youth Identity - 1100 Words

Research Assignment About Media Saturation And Youth Identity (Essay Sample) Content: Students NameProfessors NameCourseDateWord Count:The Youth Identity and the MediaPart IThe aspect of human consumption has existed around for a substantial period of time and this has seen the society of the United States experience a sea transformation with respect to children's daily lives. In this regard, the major transition has been witnessed in which social protections, as well as an innocent culture, were shifted to commodification culture. Youths have now been subject to assaults through a proliferation surrounding marketing tactics that appears not to cease and hence resulting in the colonization of the daily lives and consciousness of youths (Linn 593). Under Disney's guidance and tutelage of other jumbo corporations, children have demonstrated an audience captive to traditional types of media, which include television, films, prints, as well as other new digitized media that have been made readily available through laptop computers, PDAs, internet, and mobi le phones.It is, therefore, undeniable that the entertainment, cultural pedagogy, and information dispersed by these mechanisms of multimedia corporations largely influence and shape the daily lives of children. In this context, the consumer culture has showcased elements of degrading ideals responsible for a happy and secure childhood (Linn 595). Therefore, a culture that is corporate-controlled distorts and exploits the desires and hopes of individuals, as well as abusing the general public benefit for their own private gains. Disney is one of the mega-corporations features in the society as among those least frightened in an effort to control the public dialogue and hence, disparage those political and critical potential needed for the sustenance of institutions responsible for maintaining the construct of democracy.Additionally, the exposure of children to this marketing machinery that is fervent to transition them into full-grown members of the consumer society, precious time o f childrenis, therefore, enlisted by the world of market defined by corporations such as "Walt Disney Company." It is also imperative to mention that the time expended in this type of world is disturbing with reports suggesting that children view at least forty thousand ads in one year on television alone.With respect to its powerful function in the realm of media-driven communications, Disney's exercise of control regarding the modes of creating, distributing and final exchange of information is highly disproportionate, particularly to children. The change that the company underwent from once primarily catering to a crowd of kids between three and eight years with its theme parks, television shows, and animated films is now taking the lead through aggressive marketing of products for toddlers, tween, and infants. Based on its pop music that is established around Hannah Montana and High School Musical, Disney TV, video games, and websites are now made available online and thus susta ining its fans (Linn 598). Furthermore, Disneys alliance with Apple, Inc. proves that it is undoubtedly powerful in the twenty-first century.The understanding of Disney Company and its cultural role is neither a trivial nor a simpler work as the company not only epitomizes profound and famous symbols of capitalist consumerism, but also asserts to provide its customers and consumers a known quantity and stable products. The company like other mega-corporations centers its efforts on popular culture and this explains its continual expansion in its services and products to get to every media platform that is available. The uniqueness of the company is built in its "titanium-clad brand image" which is a vivid synonym of the perception of the innocence of childhood, as well as its wholesome form of entertainment that deflects at each turn. Disney being understood as a portrait of family values of middle-class and American culture appeals to youths and parents as it claims to work hard on transitioning every teeninto its lifetime customer of ideas and goods of the firm. Nonetheless, a thorough scrutiny of the company would reveal a contradiction between its reality cruel commercial philosophy and the culture it presents as the epitome childhood innocence and virtue.The exclusions, values, and choices that emanate from Disneys trade inform its storyline regarding pleasure, joy, survival and living in the global world are challenging to comprehend. It is, therefore important to address the entire corporation within a broad space of awareness in order to position Disney with regards to its meaning, history, and influence beyond its own developed constricted interpretive pattern that denies critical analyses of its actual engagement in the realm of commercial carpet that appears to bomb teens and children (Linn 600). Therefore, to appropriately discern Disney, attention needs to be drawn towards hidden corporate lenses that entail production, distribution, as well consu mption of its culture. The efforts will adequately arm all the stakeholders especially children, educators, and parents with tools capable of encountering Disney through critical meditation.The firm has proven itself strong in worldwide distribution of certain type of cultural politics and thus, acts as a teaching machine that exerts pressure on children in the American society, as well as waging forceful campaigns for the aim of peddling its cultural and political influence overseas. With the pervasive influence of the global capital that goes devoid of checks by the national government, as well the international community, the privatization of citizenship increases with children being educated as "consuming subjec...

Operation Management of a Garments Factory of Bangladesh

AN EVALUATION OF HUMAN RESOURCE TRAINING AND DEVELOPMENT AT CORPORATE BRANCH OF CONCORD GROUP 1.0 INTRODUCTION In any industry the success of an organization is extremely dependent on its human resources. Although there are many other factors that play a key role, a company must have effective employees in order to stay financially solvent and competitive. In order to maintain this valuable commodity, organizations must be aware of employee training and development. Many companies make the mistake of assuming that employees are only seeking financial benefits for their jobs. This kind of assumption is wrong now. Employee wants a good career, a good organization. Proper training and development can not only build the employees career†¦show more content†¦This report covers pre-recruitment and post recruitment training and its effects on the performance and the organization. All the training and development were discussed within the existing employees of corporate branch of concord group. 1.6 Limitations †¢ Newly develop HRD and the company’s information is not organized. †¢ Difficult to get access in the organization †¢ Due to the restrictive attitudes of the employees/respondents, and year ending activities of many Departments, obtaining proper information is be very difficult. 1.7 Sources and Method The problem of this study is to analyze the needs of employee training and development programs to business success. This study is found out the training and development required in the corporate branch of concord group of companies. The objective of this paper is designed on the basis of the requirements. This report is organized into several sections: research or survey, sample design, data analysis and graphical presentation. 1.7.1 Research design The research is a basic research. The finding of the study is useful for understanding of the needs of training and development. Best way to evaluate the of training and development of the employee of any organization is to conduct interview to all. But this is a hard one to conduct the survey thousand of employee of the concord. Population target was from the corporateShow MoreRelatedA Report On The Garment Industry1356 Words   |  6 PagesBangladesh’s businesses people have channeled their energy in ready-made garments (RMG) industry for export purposes. The ready-made garments industry facilitates 80% of the country’s exports and further provides over 4 million employment opportunities, with three-quarters being women (Anisul Huq, Stevenson, Zorzini, 2014). 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The country is prominent in exporting high quality apparels at low cost. As a result the foreign exchange earnings, industrialization, GDP improved within a short span of time. The contribution of RMG in the GDP is almost 15%. In 2012-13, almost 80% of the total exports of that year came from exporting apparels of approximately $21515.73 billion. Inspite of the postponement of the MultiFibre AgreementRead MoreHealth Safety Issues in Garments Industry of Bangladesh11720 Words   |  47 PagesOrigin of the report Health safety polices are not available in most of the garments manufacturers exporters in Ready made Garments Industry of Bangladesh. As a requirement of Human Resource Management course, this project is prepared on Health Safety issues in present Garments Industry of Bangladesh. 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The company products are manufactured in around 2 thousand production units, mostly located in Asia and Europe, often in countries with high of theRead MoreHr Practises in Garments Industry in Bd7236 Words   |  29 Pages |5 | |2.0 An overview of Bangladesh Garments Industry |6 | |3.0 Role of HRM |9 | |3.1 Contribution HRM to organization |9 | |3.2 For garments industry HR can do |10 Read MoreExecutive Summary: HM Conscious Actions and Sustainability Report 20111578 Words   |  7 Pageshas made it their mission to provide consumers with the best products by engaging in conscious actions, or better known as â€Å"Hamp;M Conscious†. CEO, Karl-Johan Persson, further explains this concept by stating that, â€Å"Our vision is clear: All our operations should be run in a way that is economically, socially and environmentally sustainable†. Hamp;M Conscious consists of a 7-step strategy to: (1) provide fashion for conscious customers, (2) choose and reward responsible partners, (3) be ethical,

Himachal Pradesh an Overview - 9238 Words

Himachal Pradesh: the Land of Gods. 10/7/2011 ROSHNI RAMCHANDANI Himachal Pradesh: History and Geography Pre History amp; Early History The history of Himachal Pradesh dates back to around two million years. At this point of time, people lived in the foothills of Himachal Pradesh. These original inhabitants of Himachal, the Kols and the Mundas, were forced by the people of the great Indus valley civilization to move up to the hills. The Indus valley civilization prospered here between 2250 and 1750 BC. The second wave of migrants to the state saw Mongoloid, like Bhota and Kiratas coming in. However, the most important lot of people entered the area only afterwards in the third wave of migration. These were Aryans from Central Asia.†¦show more content†¦But even at the end of the first Anglo Sikh war, these rulers did not get back their kingdom (which was taken over by the Sikhs). The British Period amp; Struggle For Independence The revolt of the 1857 did not see much participation from the people of the hill. They preferred to stay away from the revolt and infact some of the rulers even extended help to the Britishers. Few exceptions here included the ruler of Bushahr. Between the year 1858 and 1914, the hill states of Chamba, Mandi and Bilaspur prospered under the British rule and even supported the latter during the first world war. The important states that contributed their men and money for the first world war included Kangra, Siba, Nurpur, Chamba, Suket, Mandi and Bilaspur. After 1914, things began to change and the people came out to participate in the freedom movement of India. Post Independence Himachal Pradesh became a part C state on 26th January 1950 and a Union Territory on 1st November, 1956. In between, Bilaspur was made a part of it in 1950. Kangra and other hill states were merged into the Union territory of Himachal Pradesh in the year 1966. 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Arts hold their own in Clinton budget Essay Example For Students

Arts hold their own in Clinton budget Essay President Clinton made good on his intention to revitalize the dormant Presidents Committee on the Arts and Humanities by appointing Ellen McCulloch-Lovell executive director in early February. McCulloch-Lovell, former chief of staff for Sen. Patrick Leahy (D-Vt.) and former executive director of the Vermont Council on the Arts, will head a committee unnamed at press time composed of the heads of federal agencies with cultural programs and members of the private sector. The President is committed to government support for both , McCulloch-Lovell said. He is also committed to increasing private support and looking for creative ways that both sectors can combine to keep our cultural life vital. The sentiment in favor of public-private partnership was echoed by House Interior Appropriations subcommittee member Rep. Norman Dicks (D-Wash.), a guest at the quarterly meeting of the National Council on the Arts in February. (NEA chairman Jane Alexander had also invited Republican senator Jesse Helms of North Carolina, whose schedule kept him from attending.) Alexander highlighted the local impact of a $420,000 NEA grant for a new performing arts complex in Dickss Tacoma district, prompting the congressman to comment on how important the catalytic quality of support has been for the state of Washington. Tell about the importance of the arts in each of these communities. More vigorous levels Shortly after the council meeting, President Clinton submitted his fiscal year 1995 budget to Congress, recommending current level funding for the NEA ($170.2 million), NEH ($177.5 million) and Institute of Museum Services ($28.8 million). Because of an increase in the NEAs administrative allocation, the presidents level request, if passed, would actually reduce Program funds, including a $50,000 cut to the Theater Program, a $25,000 cut to the Opera-musical Theater Program and a $98,000 cut to the Challenge Program. With literally hundreds of federal programs slated for reductions in the coming fiscal year, I am measurably heartened by an FY 95 budget request that maintains funding for the NEA at current levels, said chairman Alexander. I hope that, as the economy continues to recover and the budget deficit is brought under control, Our nation will restore funding for the arts to more vigorous levels. American Arts Alliance chairman Robert P. Bergman, director of the Cleveland Museum of Art, responded to the Clinton Administrations FY95 budget proposal. In the current climate of drastic budget cuts and the elimination of many federal programs, we are pleased that the President recognizes the importance of the arts to this country and left intact the budgets of three of these vital cultural agencies, he said, adding that the Alliance will work in Washington and in communities across the country toward increasing national funding for the arts and humanities. What the arts can do The arts merit government support because they help to fulfill multiple national goals, Bergman continued. They instill values by helping people reconnect to their spirituality; bring people together through a universality that transcends deep differences and divisions in an increasingly diverse society; improve education by helping to impart knowledge, enhance cognitive development, improve analytical thinking and motivation, inspire teamwork, and help create self-esteem; and stimulate the economy through their positive impact on job creation, tax-base enhancement, increased tourism, improved community development and growth of auxiliary service jobs. Shortly before the Presidents 1995 budget request was issued, the House of Representatives defeated an amendment to the Emergency Supplemental Appropriations for Earthquake Assistance Bill, which would have included a $15-million cut to federally funded arts and humanities by reducing the 1994 budgets of the NEA, NEH, Smithsonian Institution, National Gallery of Art and Corporation for Public Broadcasting by 2 percent each. The amendment lost by a vote of 240 to 178 on Feb. 3. Barbara Janowitz .ud33f3827bc8f40807f1cee353b30ef4e , .ud33f3827bc8f40807f1cee353b30ef4e .postImageUrl , .ud33f3827bc8f40807f1cee353b30ef4e .centered-text-area { min-height: 80px; position: relative; } .ud33f3827bc8f40807f1cee353b30ef4e , .ud33f3827bc8f40807f1cee353b30ef4e:hover , .ud33f3827bc8f40807f1cee353b30ef4e:visited , .ud33f3827bc8f40807f1cee353b30ef4e:active { border:0!important; } .ud33f3827bc8f40807f1cee353b30ef4e .clearfix:after { content: ""; display: table; clear: both; } .ud33f3827bc8f40807f1cee353b30ef4e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ud33f3827bc8f40807f1cee353b30ef4e:active , .ud33f3827bc8f40807f1cee353b30ef4e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ud33f3827bc8f40807f1cee353b30ef4e .centered-text-area { width: 100%; position: relative ; } .ud33f3827bc8f40807f1cee353b30ef4e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ud33f3827bc8f40807f1cee353b30ef4e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ud33f3827bc8f40807f1cee353b30ef4e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ud33f3827bc8f40807f1cee353b30ef4e:hover .ctaButton { background-color: #34495E!important; } .ud33f3827bc8f40807f1cee353b30ef4e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ud33f3827bc8f40807f1cee353b30ef4e .ud33f3827bc8f40807f1cee353b30ef4e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ud33f3827bc8f40807f1cee353b30ef4e:after { content: ""; display: block; clear: both; } READ: National Theatre Production Argumentative EssayFREEDOM OF EXPRESSION WATCH Is the aftermath of the bombing of Hiroshima too hot a topic for the youngsters of Lancaster, Pa.? Responding to a citizens complaint, the county commissioners stopped payment on about $11,000 in funding for a Fulton Theatre Company touring production of Kathryn Schultz Millers A Thousand Cranes. The widely produced drama for young audiences tells the story of a 12-year-old Japanese girl with leukemia who folds origami cranes for the cause of world peace. Objections to the plays anti-American propaganda message led the commission to withhold payment, threatening Fultons 1994 tour to 45 schools, before reinstating the grant following widespread support for the theatre. Pennsylvanias Cheltenham Center for the Arts found itself in the center of a controversy caused by its recent production of Karen Sundes La Pucelle, staged by artistic director Ken Marini. The plays focus on a dream-state dialogue between Joan of Arc and a stand-up comedian who has lost faith in God offended some 200 Roman Catholics, who attended a meeting of the Cheltenham board of commissioners and convinced them to publicly condemn the play. Although the commissioners warned the theatre that local funding would stop unless they clean up their act, they actually voted only to request the Center to close the play. A motion to withdraw more than $20,000 in township funds to the Center failed. The Finley v. NEA case was back in court in early February. Attorneys for the U.S. justice Department gave oral arguments supporting the Clinton Administrations appeal of the 1992 ruling that struck down as unconstitutionally vague the NEAs 1990 statute that grants comply with general standards of decency and respect for all the diverse beliefs and values of the American public. The suit, initially filed by performance artists Karen Finley, John Fleck, Holly Hughes and Tim Miller, challenged the constitutionality of the so-called decency clause mandated by Congress. Although the Suit was settled out of court last year for $252,000, the decision was appealed by the justice Department first under the Bush Administration, but then continued after the election of Bill Clinton. The governments appeal argues that since concerns of decency will be taken care of as long as there is diversity on the panel, they are only tangential to the grant process and cannot be construed as a governmenta l effort to control speech. A decision is not expected for several months.