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Keri hilson pretty girl rock video review

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a) Do you think that celebrities deserve privacy?

In many ways it can be said that the definition of celebrity has changed in the mdoern day. Nowadays, celebrities can become celebrities by taking various different routes, such as reality TV shows. In reality, many do such embarrassing and vulgar things to get into the spotlight. Furthermore, the web also provides the space for 'celebrities' such as Sophia Grace and Rosie, the 6 year olds who sung a song by Nicki Minaj and appeared on Tv accross the world. However, it can be argued to what extent can these people be given privacy?

Firstly, for example, ITV 2's reality TV show 'The Only Way is Essex' aired in 2011 were following around a bunch of normal people from Essex and looking into their lives. It is obvious that many people are part of this 'essex' culture, and anybody of the street could be asked to play that role. Surprisingly, these people shot to fame, being paid more than £20,000 per episode and launching their own fashion lines. It can be said that these people do not deserve private lives, because they portray their whole lives to a camera screen , and therefore they should not be allowed privacy.

Media Debates - do celebrities deserve a private life?

I found this debate on a blog called Helium.com

This a tricky question as the meaning of the word "celebrity" has changed in recent years. A celebrity no longer needs to have any real talent for anything. They do not have to act, sing, or dance in order for the public to pay attention to them. They can simply be famous for "being famous". What a world we live in!

The celebrities who parade through our magazines nowadays are, more often than not, people who you would not even stop in the street and have a chat with if they were your next door neighbour. These are people who have gotten their faces in the paper for being obnoxious, rude, or unbelievably stupid. Of course, there are still plenty of celebrities out there who became famous the old fashioned way and just took their clothes off. These people are not good at anything, not good role models, and certainly no good to be used as icons for how to get famous. This group of celebrities, in my opinion, have less of a right for privacy. They do have some rights as they are still human beings, and therefore entitled to the same rights as any of the rest of us, but these are the people who want the public to know everything they do. These are the people who sell the press the rights to every party, event, and special moment in their lives. These are the people who deserve little privacy, and even less respect, because nothing is sacred to them. When you have people willing to go on television and have a diet "doctor" wade through what was once in their colon, you could argue these people give up their rights for privacy. However, the paparazzi have taken the public's need to know everything about famous people to a new, disgusting level. In the old days we got our background on celebrity's lives from interviews they willingly gave to magazines, radios, and television chat show hosts. For a long time this seemed to satisfy us. Then for some reason, according to the tabloid papers and magazines, we suddenly needed to see famous people with no makeup, at the supermarket, and in one magazine a few years ago; a four page pull out of celebrities picking up their dog poop. Who doesn't need to see that image as they're having their lunch and thumbing through a mag?

Then you have the top end of the celebrity tree. The ones that is actually famous for acting, singing, etc. These people, for the most part, got to where they are by doing their job. They entertain us. They give interviews. They tell us what they want us to know about themselves, and then they go home and try to have a normal life with their friends and families. And what is wrong with that? When we finish our jobs do we want the customers coming home after us, begging us to let them into our private lives? Of course not. What's more, we would think they were insane, as I would imagine a lot of celebrities think about the general public's lust for all things celebrity. These people are just people. They do everything we do; the only difference is they have more money than us. That's it. These people do deserve a level of privacy. They deserve as much privacy as any of us do in my view. Having said that, I'm well aware that some celebrities, from the top and bottom end of the scale, court publicity, and these people know what they are getting themselves into. If they want to be photographed falling out of nightclubs, that's their own choice. The line is drawn when you have paparazzi going through famous people's rubbish bins, following them when they go to the park for a jog, and more seriously, taking pictures of their children, who are completely innocent and have no desire to have light bulbs flashing in their faces 24/7. Basically, everyone deserves privacy, the richest man in the world and the homeless guy in the street. It is a basic human right.

Media Debates - what is the influence of the media on young people?

I found this debate on Crisis connect.com


Media Influence on Youth

BODY IMAGE

Young girls are being deluged by media images of skinny models:

• Girls are becoming weight conscious as young as 8 years old
  80% of 9 year olds are on diets
  Eating disorders have grown 400% since 1970

• In a recent survey by Teen People magazine, 27% of the girls felt that the media pressures them to have a perfect body.
• A 1996 poll conducted by Saatchi and Saatchi found that ads made women fear being unattractive or old.
• By the time a young person is 17 years old, they have received over 250,000 commercial messages through the media.
• 69% of girls in one study said that magazine models influence their idea of a perfect body shape.
• Many males are becoming insecure about their physical appearance as advertising and other media images raise the standard and idealize well-built men.
• Researchers are seeing an alarming increase in obsessive weight training and the use of anabolic steroids & dietary supplements that promise bigger muscles and more stamina for lifting.
• Studies are finding that boys, like girls, may turn to smoking to lose weight

TEENS AND SEX

• Three out of four teens say ‘TV shows and movies make it seem normal for teenagers to have sex.’
• Young teens (ages 13-15) rank entertainment media as the top source of information about sexuality and sexual health
• Four out of ten teenagers say they have gotten ideas for how to talk to their boyfriends and girlfriends about sexual issues from the entertainment media.
• The American Psychological Association estimates that teens are exposed to 14,000 sexual references & innuendos per year on TV.
• A recent report from the Center for Media & Public Affairs found music videos to contain more sex per minute than any competing media genre.
• A study of 4,294 network television commercials found that nearly one in 4 commercials includes some type of sexual attractiveness as a base for the message.
• Young teens (13-15) indicate that a major source of sex education is from tv.

VIOLENCE

• The Mediascope National Television Violence Study found that children are:

  learning aggressive attitudes and behaviors
  becoming desensitized to real world violence
  developing a fear of being victimized by violence

• Many of the programs that children watch send the message that a conflict always involves a winner and a loser.
• On television, perpetrators go unpunished 73% of the time. This gives the message that violence is a successful method of resolving conflicts.
• 47% of all violent interactions on TV depict no harm to victims.
• 58% show no pain
• Only 16% of all broadcast programs show the long-term negative effects of violence.

Source: "The National Institute on Media & Family"

What’s the Problem? Facts about Girls, Women & the Media

When we started talking to and hearing from people across the country (and the globe) who had heard about the Girls, Women + Media Project, we kept hearing the same things over and over again about their frustrations with popular media.
These were things that we also noticed ourselves. For sure, not all women and girls have the same observations and feelings, so we can’t say "this is how ALL girls or women feel." And giving credit where it’s due, we also get emails and comments from men—some are really cool dads who care about their daughters (and their sons, too), others just concerned, conscientious men who care about women, about men and women getting along, and about quality and equality in our culture (…yeah!).
But if you’re reading this and thinking you’ve got complaints or suggestions for the media that are unique to you, chances are, there are a whole lot of other people thinking the same thing. So we took a look at the comments we get and hear all the time, divided them into some sort of fancy sounding categories, and did a little research. Here are a few things we found:
Unrealistic, unhealthy portrayals of female sexuality, sexual health, and gratuitous female sexuality and nudity:

• S-e-x. It’s everywhere in the media. The average young TV viewer will see about 14,000 references to sex each year. Does it matter? According to teens, yes! Teens themselves say that TV, as well as movies and other media, are some of their leading sources of information about sex and sexuality. But, do these images give people realistic, healthy, equality-minded views of sex? And is overloading teens with portrayals of sex a responsible thing to do at all? Studies show that:
• Of the roughly 14,0000 references to sex a teen will see on TV each year, only a small fraction (165) will include any reference to abstinence or delay of sex, birth control, risk of pregnancy, or sexually transmitted disease. Obviously girls bear the risk of pregnancy that boys don’t, but girls are also more likely to contract STDs than boys. (American Academy of Pediatrics, Sexuality, Contraception, and the Media, 2001)

Some studies show that repeated exposure to media with sexual content may influence teens to have sex earlier. But here’s the scary part: those same studies show that the younger a girl is when she has sex; the more likely she did it under pressure, or force. (AAP; see above)
What other messages do girls (and boys) get about sexuality from the media?
A lot of it comes from the music industry, especially through music videos.

• MTV, the favorite TV of girls 11-19, regularly includes girls and women in the traditional role of sex object, as seen in features on the network (think Spring Break) and many music videos. Girls and women who are serious musicians (excluding singers) are rarely featured. Programs and videos show boys/men as sex objects much less frequently. (MTV Programming; and Media Use in America, 2000, Mediascope)
• A study shows that when men are shown in the background of a video, they are most often fully clothed. But, when women are in the background, approximately half the time, they are dressed in ways that expose or focus on their breasts and rear ends. (ChildrenNow, Boys to Men: Media Messages About Masculinity, 1999)
• A possibly related statistic: A study from the mid-1990’s shows that 90% of the top 100 music videos shown on MTV were directed by men. (Sut Jhally, Dreamworlds 2, Media Education Foundation, 1995)
• A study of video games found that the few female characters in those games are often highly sexualized—wearing tight revealing clothing and having unrealistically large breasts and distorted small waists. (Girls and Gaming,Children Now; 2000)
• Video games and other media sometimes use prostitutes as characters that are targets for the male hero. In a game from the Duke Nukem series, prostitutes are forced to strip and are then killed. In the number one selling video game for 2001, Grand Theft Auto III, the player can "clobber" a prostitute with a baseball bat, with a new game technique, that allows the player to feel he or she is really doing this. In other popular media, prostitutes and strippers are often included to add scenes of female breasts and rear-ends on camera. These "games" offer viewers images of women and female sexuality associated with exchanging sex for money, and sex with violence.
• In advertising, women’s bodies are used sexually to sell products much more often than men’s. A 1997 advertising study showed that white women in roughly 62% of ads were "scantily clad," in bikinis, underwear, etc, while the same was true for 53% of black women. For men, the figure was only 25%. Women were also represented in stances of powerlessness more often, and black women were likely to be featured in animal prints, and in predatory poses. (Racial and Gender Biases in Magazine Advertising, S. Plous and D. Neptune, 1997, Psychology of Womens Quarterly)

Non-realistic and unhealthy body image:

• The women seen most often in the media are fashion models, pop stars (singers) and actresses. (We don’t like the word "supermodel," ‘cause they really don’t do anything that super.) Many women seen often in the media, especially models and increasingly actresses, are seriously underweight, and many diet and smoke to keep their natural weight off. (A girl or woman who diets and is underweight can be undernourished, sometimes even losing her menstrual period. Prolonged loss of periods can lead to fertility problems---while constant or extreme dieting also carries health risks and can actually lead to long-term weight gain.) (Body Wars, by Margo Maine, 2000)
• In a 1992 study of female students at Stanford University, 70% of women reported feeling worse about themselves and their bodies after looking at magazines. (A British study also had a similar finding.) Roughly 50% of teen girls in the U.S. read teen or adult fashion magazines. (Body Wars)
• In movies, body doubles are often used to substitute for "imperfect" female movie stars (such as America’s favorite actress Julia Roberts, in one of America’s favorite movies, Pretty Woman). Eighty-five percent of these body doubles have breast implants. (Jean Kilbourne, Can't Buy My Love, 2001)
• Scientific evidence suggests many women with breast implants have some adverse affects: pain, permanently deformed skin if implant is removed, loss of sensation in breast, interference with early detection of a tumor, and potential links with serious auto-immune disorders. (National Research Center for Women and Families.ca: Wash., D.C.)
• Studies show that all plastic surgeries among teens increased by almost 50% from 1996-1998, mostly for girls. At the same time there have been more advertisements for breast implants and other surgeries, and more models, actresses, and singers as "advertisements" for the surgeries (think Cher, Pamela Anderson, Demi Moore, Mariah Carey, and some have suggested, Britney). (newswecanuse.com; 1/9/01)

Information and messages about health:

• Many young women say they get a lot of their information on health from the media, including magazines and entertainment TV. (In Their Own Words: Adolescent Girls Discuss Health and Healthcare Issues, Commonwealth Fund, 1997)
• However, editorial content in magazines can be influenced by what the magazines advertisers like, so it’s hard to know whether what’s written (or not written) about health is really in the best interests of girls and women, or whether it’s influenced by advertisers' profit motives. (New York Times, 5/4/98; Magazine Marketing Raises Questions of Editorial Independence, by Robin Pogrebin)
• While teen girls account for a large part of smokers and new smokers, movies starring teen idols and aimed at teens often show "cool characters" smoking. For movies rated PG-13, 82% of movies show characters smoking. And it’s very rare that a movie will show any negative consequences for smoking. (Substance Abuse in Popular Movies and Music, Mediascope, 1999

Hate and violence directed at women:

• Words expressing hate and disrespect toward girls and women are used frequently in popular media, and especially on TV and radio. Use of words derogatory to girls and women like "bitch," "slut," "whore," and "ho" can be heard on many TV and radio programs, especially those watched and listened to by kids, including WWF (wrestling) programs, That 70’s Show, and Boston Public, as well as on the radio.
• Advertisements from some segments of the fashion industry use images of violence against a woman and try to make it fashionable or erotic. An ad for jeans in Elle shows three men physically attacking a woman; an Italian edition of Vogue shows an ad with a man pointing a gun at the face of a naked woman wrapped in plastic; from an American skateboard manufacturer, an ad aimed at young men shows a man pointing a gun at the head of a female, along with the slogan "bitch." (Jean Kilbourne, Can't Buy My Love, 2001)

Stereotypes and double standards, especially for age:

• Stereotypes can be seen in many areas of TV, movies, videogames, and other media. Although the 80’s and 90’s saw more female characters, especially on TV, in tough action roles, before reserved for men (Buffy, Dark Angell, Witchblade, Lara Croft, Crouching Tiger: Hidden Dragon), the tough gal usually has to fit the stereotype of being gorgeous, young, and usually white. To be fair, a lot of male protagonists have to be gorgeous, too, with some exceptions …which leads us to…
• Ageism: Male leading actors have longer careers than females; leading male actors over 40 are hired roughly 60% more than female actors over 40, according to the Screen Actors Guild, 2000. That’s a difference of about 7,000 jobs and millions of dollars a year. (Think Gene Hackman, 71, Sean Connery, 71, Jack Nicholson, 65, Robert Redford, 64, Danny DeVito, 57…and lots more. On their own series or features on TV, think Dick Van Dyke, 76, James Garner, 73, Regis Philbin, 68, or Dick Clark, 72. Quick; name a female action hero, host of a TV show, or series lead, over 60 years old . . . ??? . . . ).
• In a study of prime time TV and daytime TV, roles for older men outnumbered those for older women, women are made older sooner, and an older woman who is cast is more likely than an older man to be stereotyped as bad, or "evil." (Casting the American Scene, 1998, Dr. George Gerbner, for Screen Actors Guild)
• According to one study of video games, African American female characters are predominantly portrayed as victims of violence, rarely as heroic winning characters; a Latina character almost never exists, though Latinas/Latinos are now the largest ethnic minority group in the U.S. (Fair Play? Violence, Gender and Race in Videogames, ChildrenNow, 2001)

Brief outline of case study

My case study is focussing on the representations of Femininity in different era's. I will be focussing on the different portrayals of womanhood in modern texts depicting the style and issues that were lived out by women in  these times. I will be focussing on 8/9 different texts and these include:


E-media texts:


Keri Hilson - Pretty Girl Rock (2010) - this is a music video that represents era  and femininity with iconic women such as Diana Ross and Janet Jackson. Keri Hilson switches into different styles and it represents era through the setting, styling, clothes and use of the camera quality. It shows the 20's, 30's, 40's, 50's, 60's , 70's , 80's , 90's and modern day.  


Beyonce - Dance For You (2011) - this is a music video that represents era and femininity because it presents the 1940's man-woman types of office relationships. It is filmed in film noir and the styling and iconic types of clothing such as lipstick, hair and suspenders represents what the media thinks it was like to be a woman in the 1940's. 


Kim Kardashian Voluptuous advert (2011) - this is an advert that represents era and femininity because it highlights the 1960's era of burlesque dancing through the advertisement of the perfume. It represents womanhood because of its references to curves and the styling of the advert. 


Print texts: 


Rihanna Emporio Armani jeans poster/advert (2011) - This is a poster that is in black and white and highlights the 1980's vogue monotone look . This poster represents era because it shows the styling of the 80's and the seductiveness that represents femininity. 


Christina Aguilera Candy man single cove/poster (2007) - This picture highlights era because it shows the 1940's world war 2 themed styling of the photograph and image. It represents femininity because it portrays what it meant to be a woman during the 1940's and the war. 


Broadcast texts:


The Help (2011)- This film represents femininity because it highlights the role of women, especially black women in the early 1960's. It represents era through the setting of the film and highlights hardships women went through. 


Iron Lady (2011)- This film represents femininity because it depicts the story of Britain's first female prime minister Margaret Thatcher. It represents dominance and female empowerment. It represents era because it is set in 1980's Thatcher's Britain. 


The Notebook (2004) - This film represents femininity and era because it highlights the role of women and societies expectations during the early 1940's. 

This is England trailer

This trailer represents the era of the 1980's and Thatcher's Britain. It creates the stereotypes of skinheads - a racist group, teen years , difference in classes and moral erosion. It highlights in a non-nostalgic way the difficulties that were facing different cultures, people and the diversity of groups during the 80's era. The negative portrayal of the young teens life shows the influence society at any given time can have on people. 

Text: Iron Lady

 E-media texts

This text highlights the dominance of a female in a male dominated world. It subverts the idea of the male gaze, which suggests that women are seen as products by men. This also works inf avour of feminist movements, by having a woman lead men, this shows role reversal and a highlighting of a different era of women.

As this text was made in 2011 , it portrays the 1980's of Thatcher's britain ,adopting an angle to empower the decisions that Thatcher made herself. This represents era through the clothes, setting and the speech used. It gives a nostalgic and glorifying viewpoint of Thatcher's prime ministerial terms, yet a very controversial interpretation on her ilness during old age.

Details

Release Date:

6 January 2012

Budget:

$13,000,000 (estimated)

Production Co:

Film4, UK Film Council

Runtime:

105 min

Review: 5/10

Just back from a screening in Hollywood, and this is I'm afraid something of a disappointment. Come Oscar time, I suspect her peers will throw the award into the much-loved Streep's lap, but the problem with a biopic is that however skilled the actor - great, even, in Streep's case - there is a tricky, unavoidable element of impersonation that inevitably creeps in and begins to dominate the characterization. It's particularly so in the scenes with Thatcher's Cabinet members, during which I also found myself distractedly thinking "Oh look, there's Mike Pennington, just like Michael Foot! Isn't Richard E. Grant the living double of Heseltine, and what about Anthony Head, the spitting image of Geoffrey Howe!?" And indeed, Spitting Image, the brilliant UK puppet satire show, often managed a more precise evocation of individual politicians than anyone here is achieving. Perhaps part of my irritation stems from the fact that I lived through the Thatcher era and all the nightmare years of strikes, garbage in the streets and rolling blackouts that preceded her and paved the way for her disciplined and dominating approach. She was like a mother-figure to the United Kingdom, telling the country it was time to clean up after itself and put its toys away (and indeed she often seemed, literally, that patronizing). She also did immense damage to the UK, to its cultural life and the social fabric she so brutally unraveled, witness her famous claim "there is no such thing as society", the mantra of the era's ethos and the rationalization of greed. The consequences of her tenancy of No 10 Downing Street were in part what persuaded me to emigrate. Her brutal order, during the Falklands conflict, to sink the Belgrano (which had been steaming speedily away from the conflict zone) seemed to me then, as it does now, a callous and indefensible action. She papered it over with obnoxious displays of public piety and jingoism ("Rejoice! Rejoice!") and if I were a believer in such things I'd hope she spends a long long time in Hades for the Falklands war. The movie effectively skitters over all this, ignores her de-regulation of banking, sets one rather brief scene at the Brighton hotel bombing minus the presence of Norman Tebbit and his unfortunate wife's awful injuries, makes no mention of Arthur Scargill (relying on archive film of the miner's protests and the subsequent riots which galvanized the nation), and uses the Poll Tax conflict to suggest she was by then well advanced into a mental instability which marked the beginning of the end of her reign. Her daughter Carol appears as a sort of goofy, endearing helpmate (no mention of Carol's quiet disappearance from public life after her throwaway racism leaked to the public) and her son Mark, a nasty piece of work by any measure, is merely a distant presence on the phone from South Africa - no mention here of his involvement in an attempted coup in Africa. Most annoying is the movie's framing device - Thatcher is a doddering old lady beset by Alzheimer's (as indeed she is) and the memories which surface through her confusion form the body of the film. Alas, skilled as J. Roy Helland's makeup job is, the aged Thatcher kept reminding me of Catherine Tate's foul-mouthed Granny comedy routine, and the thought just wouldn't go away. Thatcher was a giant presence in the global arena and literally changed the world. This oddly unaffecting film, prone to sentimentalizing its subject (which normally is a very un-British approach), is essentially a virtuoso star turn and is not the biopic Thatcher warrants, demands, and deserves.

 Broadcast text

Broadcast text: The notebook

This is a film set in the early 1940's about a poor young man who falls in love with a rich young girl over the summer. They ar eput in between adversities and difficulties because of the idea that women must marry men of high social standing. This links to Marx's class ideology, because of the diea that there is a divide in society between the proletariat and the bourgeoisie.

This film represents femininity because of the roles of women in the society at the time. Also because of the expectations held by society as to what women should do, such as working and who they marry. The film also represents era through the use of costume, setting, dialogue and idea represented. It also appeals to the female audience, because of the idea of love and romance.

Details

Release Date:

25 June 2004 (UK)

Box Office

Budget:

$30,000,000 (estimated)

Opening Weekend:

$13,464,745 (USA) (27 June 2004) (2303 Screens)

Gross:

$81,001,787 (USA) (21 November 2004)



Review: 10/10

I went to see this film with my sister and my Mum and we were the only ones in the cinema. Not the best start, but I continued to watch it anyway and am so glad I did. This is probably one of the most beautiful and romantic films I have ever seen! From the relationship of the two characters to their surroundings, every scene is breathtaking! The Notebook tells the story of a summer romance that turns into a romance never to be forgotten. Allie and Noah are the two lead characters and they are wonderful. You immediately fall in love with the characters and you want to follow every step of their doomed love story. it is one of the greatest love stories ever told. Look out for the lake scene, unbelievable! I came out of the cinema wanting to go back in again and watch it all over again. It feels like you are reading a diary watching this film, thats how detailed and wonderful this film is. Cannot really give too much away about the story, all I can say is if you haven't seen this film yet, be sure to see it. I cannot think of a film more perfect for Valentines Day!

Broadcast text: The Help

e-media text

This is a film set in the late 60's during times of segregation. It follows black maids who look after white children. It represents the African-American maid's point of view on the white families they work for, and the hardships they go through on a daily basis.

This film represents femininity because it shows the difference in the role of women depending on race during this era. Furthermore, it represents a typcial 60's lady, by highlighting the "posh" uperclass women in comparison to the women who make believe that they are rich. This links to Marx's theory of class, because people want to conform to the dominant idea that money is the ideal and the best thing to have, despite what era, dating back to the 60's and beyond.

Details

Release Date:

26 October 2011 (UK)

Box Office Budget:

$25,000,000 (estimated)

Opening weekend:

$26,044,590 (USA) (14 August 2011) (2534 Screens)

Gross :

$168,231,632 (USA) (20 November 2011) 

Review: 9/10

Just got back from a special-screening of "The Help" at my local movie theatre, so I thought that I might as well do a review for all of you who are wanting to see this movie when it comes out.

Now, first off, I must admit that I have only read a portion of the book, but I definitely do know a lot about it. After watching the trailer, I was intrigued, so of course, I visited the IMDb boards to learn more about it. At first glance, the casting caught my attention big-time. Emma Stone as 'Skeeter'? I bet most people were as shocked as I was to find out that she was cast as the main character -- but let me tell you what: the casting was superb! I could not have chosen a better cast than what was already chosen. There was amazing chemistry between both the antagonists and protagonists. I won't go into too much depth about the characters, but for me, Emma Stone, Jessica Chastain, Sissy Spacek, and Octavia Spencer were the shining stars of the movie.Casting: 9.5/10 I know that there has been an on-going issue about this movie from a lot of people claiming that "the blacks had to be 'saved' by the whites" (pardon the language), or something along those lines. I have to agree that the trailer does give off that type of vibe -- Skeeter saving the colored-folks -- however, the movie tells and depicts otherwise - the colored-folks actually saved themselves. Minny and Aibileen, as well as the other colored-folks in the community, were the real "heroes" of the movie; they just needed someone to push them to their potential (Skeeter).I can not remember the last time I saw a movie that inspired me, made me cry, made me laugh, and made me sad, angry, and hopeful, all at the same time -- this is what "The Help" strides and aims for, without making it "cheesy". Without a doubt in my mind, there are definitely Oscar-worthy performances in this movie. Not only does this movie depict just the colored-folks' side of the story, but it also equally shows the feelings of the white-folks, as well. So, you definitely get both sides of the story without it being more or less "mean" or "degrading" to any sides.
There are definitely a few awkward moments in the movie, but what movie doesn't have them? This movie started around 7:10 and ended around 9:20 -- about 2 hours and 10 minutes, give or take, if my calculations are correct. However, this movie only felt like it was an hour-long. It was so good that I didn't even know the two hours passed by until the theatre lights lid and the rolling credits began.

All in all, this is a DEFINITELY-MUST-SEE movie. I personally believe that it is one of the best movies of 2011. Go see it -- you will not regret it. Movie rating: 9/10

 broadcast text

Print text: Christina Aguilera Candyman poster

Print text: Rihanna Emporio armani poster

Text Analysis: Kim Kardashian perfume ad

This is an advert that represents era and femininity because it highlights the 1960's era of burlesque dancing through the advertisement of the perfume. It represents womanhood because of its references to curves and the styling of the advert. The emphasis on the body and curves of Kim, through the name of the perfume and the picture highlights that this perfume can be both appealing to homosexual women, men and women who believe that they want to look like her. This plays with the diea of femininity, because it embraces womanly curves, in contrast to the old ideal of being skinny and tall.

Review of advert:

The advertisment has the bootylicious Kim dressed in vintage pink lingerie (the push-up bra being a little too modern maybe) and a marabou coat, swinging from a circle-trapeze burlesque-style. I personally think her best feature (her warm softness) is traded for some "hardened" glam-shot in which her face appears a little too austere, perhaps in an effort to lend some retro high-cheekbones and dark-lips-on-white-canvas drama. The trapeze mirrors the smoky bottle ~with some necessary pink on the neck, let's not forget~ bearing her initials; one K mirrored-into the other like the two faces of Janus. After all, who better nowadays than realistically curvaceous women to bring back those unabashedly feminine compositions. But no, it will be a white floral instead (yawn?) with a sensual soft base, encompassing jasmine, tuberose and gardenia at the heart and tonka bean coupled with sandalwood for the base. Sounds rather nice, if a little "been there, done that", no? Prices will start from super-affordable $16 for a 0.33-oz. rollerball and up to $65 for a 3.4-oz. spray bottle. The Kim Kardashian fragrance debuts in February, exclusively at Sephora.



Text Analysis: Keri Hilson- Pretty Girl Rock

This video creates a representation femininity because of it's use of highlighting iconic women such as Janet Jackson and Diana Ross. It represents femininity because of the views that women should be pretty. Also, it plays to the theory of Male gaze because the lyrics "Don't worry 'bout what I think, why don't you ask him?!" This shows that women have to get the appreciation of men for them to believe that they are beautiful, which by feminists and generally can be seen as something negative.

It also represents era becasue of the use of costumes and different styles of filming and setting, such as black and white in the 20's and flashing lights and disco in the 70's


Critical reception towards the song was generally positive, where critics noted it as the standout track on the album, and praised its catchy production. In the United States, "Pretty Girl Rock" peaked at number 24 on the Billboard Hot 100 chart and at number four on the Hot R&B/Hip-Hop Songs chart. The song was certified platinum by the Recording Industry Association of America (RIAA), for selling over 1,000,000 digital copies. Internationally, the song became a top-twenty hit in Austria, Germany, Japan and New Zealand.

An accompanying music video for the song was directed by Joseph Kahn, and features Hilson portraying an array of African American female icons of the past, which included Josephine Baker, Dorothy Dandridge, The Andrews Sisters, Diana Ross, Donna Summer, Janet Jackson and TLC. The video received positive response from critics and was nominated for Video of the Year at the 2011 BET Awards

Keri hilson pretty girl rock video review

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Text Analysis: Beyonce- Dance for You video

This is a video captured in film-noir, depicting the 40's style of women and relationships. This shows feminity because of the stereotypical woman in suspenders and red lipstick. Beyonce is portrayed as a femme fatale, because of the dominance she is showing through her dancing and movement. This video also shows the male gaze, because the leading man does nothing but stare at her, which highlights the view that men may see women as a sexual product.

Furthermore, it presents the stereotype of "the boss" and the "secretary" affair/relationship. She also has on a trench coat, which symbolises a desirable female , and is an iconic look presented in many portrayals of the 1940's.

"This video was created in 2011, for Beyonce's 4th studio album "4". "Dance for You" was well received by contemporary music critics, who noted its aural resemblance to songs by Prince as well as Janet Jackson, and praised the song's production as well as Knowles' vocals. Following the release of 4, "Dance for You" charted at number 200 on the South Korean International Singles Chart. An accompanying music video for the song was directed by Knowles and it debuted on November 25, 2010. The clip was also placed on Live at Roseland: Elements of 4. Inspired by the 1940′s film noir, the video is shot in black-and-white and captures Knowles dancing and flipping her hair in a detective's office to seduce him. Critics wrote that the video contains Knowles' trademark moves, called her a femme fatale, and commented that its concept effectively matched the track's lyrics."

The Leveson Inquiry

The Leveson is an inquiry that is exploring the culture, practises and ethics of press and institutions behind press. It is carried out by Lord Justice Leveson following the press scandals that have recently come to lights, such as phone hacking.


It runs in four modules:

• Module 1: The relationship between the press and the public and looks at phone-hacking and other potentially illegal behaviour
• Module 2: The relationships between the press and police and the extent to which that has operated in the public interest
• Module 3: The relationship between press and politicians
• Module 4: Recommendations for a more effective policy and regulation that supports the integrity and freedom of the press while encouraging the highest ethical standards.

Lord Justice Leveson is supported by assesors, counsel to inquiry and he inquiry team.

Theory research - Dyer & Dyers typography

The movie star is on the cutting edge of changing portrayals of the self. A relatively recent phenomenon, stars combine a variety of representational strategies in order to produce charisma.Hollywood has capitalized on the charisma of stars in order to persuade, using stars' charisma to stimulate consumption, define and promote particular gender roles (such as moving women into the factories during WW2 and then back into the domestic sphere after the war), and promote "hardness" during times of conflict (the images of "fitness" during the cold war). Which strategies of representation produce charisma?

Richard Dyer, in his book Stars, draws on Weber's theory of 'charisma' to discuss ways in which stars function ideologically. Weber theorised that persuasion, when not achieved by force, functions through three different types of appeals: to "tradition (doing what we've always done), bureaucracy (doing things according to agreed but alterable, supposedly rational rules), and charisma (doing things because the leader suggests it)." 

 Stars, as charismatic figures, do not have the same persuasive abilities as charismatic political leaders - Dyer argues that the expressed political beliefs of John Wayne and Jane Fonda were irrelevant or insignificant - but their influence over the representations of people, their "privileged position in the definition of social roles and types," (8) has influenced how people expect themselves and others to behave. Thus stars can be studied for the ways in which they persuade: their representations of identity, of social roles and of types.Charismatic figures, according to Weber's theory, embody a relatively stable constellation of opposing binary terms. Dyer discusses Marilyn Monroe as a notable example.