scholarly journals Studying Media Literacy: Kids Take on Gender Stereotypes in Advertising

2020 ◽  
Vol 18 (1) ◽  
pp. 26
Author(s):  
Jennifer Gladkowski
Keyword(s):  
Media Literacy ◽  
Gender Stereotypes ◽  
Sixth Grader ◽  
Black And White ◽  
The 1960S ◽  
Young Wife

I’d tell him to make his own darn coffee!” one sixth grader quipped, in response to viewing a black-and-white Folgers coffee television ad from the 1960s. In it, a perky young wife serves her husband a cup of coffee with a chipper, “Your coffee, sir.” The husband, after taking a sip, grimaces and complains, “How can such a pretty wife make such bad coffee?” “I heard that!” pouts the wife, who then pays a visit to her older and wiser neighbor, Mrs. Olson, who introduces her to Folgers “mountain grown coffee.” Now armed with the Folgers, the wife tries again, serving her husband with another obedient, “Your coffee, sir.” The husband sips, this time exclaiming, “How can such a pretty wife make such great coffee?!”

scholarly journals Pokoleniowe różnice w artystycznym obrazowaniu doświadczenia totalitarnej przeszłości w czeskim teatrze najnowszym

2016 ◽  
Vol 4 ◽  
pp. 49-58
Author(s):  
Sylwia Czachór
Keyword(s):  
Collective Identity ◽  
Generational Differences ◽  
Growing Up ◽  
History And Memory ◽  
Black And White ◽  
The Past ◽  
Artistic Representations ◽  
The 1960S ◽  
Short Time ◽  
The Impact

Generational differences in artistic representations of the experience of totalitarian past in the new Czech theatre. The article presents an analysis of a number of Czech performances from the years 2007–2013 on the topic of the communist era and reflecting on the changes that have occurred over the past 25 years. Selected directors belong to three generations of artists: the ones already creating in the 1960s, the ones debuting just before or just after the Velvet Revolution and the ones beginning their career in 2000. The comparison of performances produced within a short time clearly shows the differences, both aesthetic and ideological, in the method of recognizing similar issues by the authors growing up in a completely different socio-political conditions. Works of the oldest generation, using conventional theatrical means, reveal the strongest judgmental tendencies, the need to show the ambiguous choices in black and white colors. The average generation contend with the legend of past years, asking difficult questions about the impact of the past on the shape of collective identity. The youngest generation, however, intentionally emphasize that their knowledge about communism is mediated, which encourages them to analyze the history and memory of their families in search of their own roots.Generační rozdíly v uměleckém zobrazování zkušenosti totalitární minulosti v nejnovějším českém divadle. Příspěvek obsahuje analýzu několika českých představení z let 2007–2013, jejichž tématem se stalo období komunismu a reflexe nad proměnami posledních 25 let. Vybraní režiséři patří ke třem generacím umělců:  jedni inscenovali dlouho před rokem 1989, druzí debutovali krátce po sametové revoluci, zatímco třetí zahájili kariéru v roce 2000. Soubor představení vzniklých v malém časovém rozpětí výrazně ukazuje jak estetické, tak světonázorové rozdíly ve způsobu uchopení podobné tematiky autory, kteří vyrůstali ve zcela odlišných společensko-politických podmínkách. Díla nejstarší generace pomocí konvenčních divadelních prostředků projevují nejsilnější tendence posuzovat a odsuzovat, nutnost ukázat nejednoznačné volby v černo-bílých barvách. Střední generace se poměřuje s legendami mi­nulých dob, pokládá obtížné otázky po vlivu minulosti na podobu kolektivní identity. Nejmladší tvůrci pak vědomě zdůrazňují, že jejich znalost komunismu je zprostředkovaná, což je vede k analyzování historie a rodinné paměti při hledání vlastních kořenů.  

“The Living Monument”: The Desegregation of Grady Memorial Hospital and the Changing South

2020 ◽  
Vol 86 (3) ◽  
pp. 213-219
Author(s):  
Brendan P. Lovasik ◽  
Priya R. Rajdev ◽  
Steven C. Kim ◽  
Jahnavi K. Srinivasan ◽  
Walter L. Ingram ◽  
...  
Keyword(s):  
Civil Rights ◽  
Surgical Care ◽  
Physical Structure ◽  
Public Hospitals ◽  
Memorial Hospital ◽  
Social Changes ◽  
Black And White ◽  
Separate And Unequal ◽  
The American South ◽  
The 1960S

Grady Memorial Hospital is a pillar of public medical and surgical care in the Southeast. The evolution of this institution, both in its physical structure as well as its approach to patient care, mirrors the cultural and social changes that have occurred in the American South. Grady Memorial Hospital opened its doors in 1892 built in the heart of Atlanta's black community. With its separate and unequal facilities and services for black and white patients, the concept of “the Gradies” was born. Virtually, every aspect of care at Grady continued to be segregated by race until the mid-20th century. In 1958, the opening of the “New Grady” further cemented this legacy of the separate “Gradies,” with patients segregated by hospital wing. By the 1960s, civil rights activists brought change to Atlanta. The Atlanta Student Movement, with the support of Dr. Martin Luther King Jr., led protests outside of Grady, and a series of judicial and legislative rulings integrated medical boards and public hospitals. Eventually, the desegregation of Grady occurred with a quiet memo that belied years of struggle: on June 1, 1965, a memo from hospital superintendent Bill Pinkston read “All phases of the hospital are on a non-racial basis, effective today.” The future of Grady is deeply rooted in its past, and Grady's mission is unchanged from its inception in 1892: “It will nurse the poor and rich alike and will be an asylum for black and white.”

Rewriting Gender in the New Revolutionary Song

2020 ◽  
Vol 2020 (136) ◽  
pp. 142-155
Author(s):  
Aviva Chomsky
Keyword(s):  
Latin American ◽  
Gender Stereotypes ◽  
Social Order ◽  
International Travel ◽  
Cuban Revolution ◽  
Human Potential ◽  
Traditional Gender Roles ◽  
Nueva Cancion ◽  
The 1960S ◽  
Nueva Canción

Abstract This essay examines the meanings of gender in the music of Cuba’s Nueva Trova, an important expression of what came to be known as the Nueva Canción (New Song) that flourished throughout Latin America between the 1960s and the 1980s. The continent-wide movement sought to challenge the commercialization of the airwaves by raising profound, revolutionary, and deeply Latin American themes while revaluing traditional instruments and styles. Music played an important role in articulating a rejection of capitalist and colonial values, a turn to popular and indigenous roots, a commitment to continent-wide revolution, and a vision of a better world. Through festivals, gatherings, and conferences, mass concerts and radio, international travel, and, under dictatorship, clandestinely circulated cassette tapes, the Nueva Canción exemplified a generation’s search for multiple meanings of liberation. In participating in radical critiques of Latin America’s social order, the Nueva Canción rewrote gender norms embedded in society and its music. Revolutionary singer-songwriters explored the meanings of human emancipation in ways that challenged traditional gender roles and ideologies. Political, personal, and love songs upended gender stereotypes to offer new, revolutionary meanings to romantic love. Songwriters linked the Cuban Revolution to other Latin American revolutionary processes and imagined how the new society would liberate the human spirit and human potential. Socially committed art reflected, explored, and contributed to imagining the new world, and reimagining gender played a role in the process and in its music.

scholarly journals The Colour of Social Realism

2018 ◽  
Vol 15 (4) ◽  
pp. 469-490 ◽  
Author(s):  
Sarah Street
Keyword(s):  
Social Realism ◽  
New Wave ◽  
Social Commentary ◽  
Black And White ◽  
The Family ◽  
British Cinema ◽  
Wave Cycle ◽  
The 1960S

During the 1960s Eastmancolor, a relatively cheap, widely available film stock, revolutionised the British film industry's approach to colour. This article discusses the consequences of this major representational and aesthetic shift on social realism, a sub-genre of British cinema primarily associated with black and white cinematography. While colour provided an opportunity for greater realism, critics argued that it distracted audiences with hues considered inappropriate for social commentary. The article examines how a number of notable 1950s and 1960s British colour films navigated entrenched critical positions while deploying colour in distinctive, often innovative ways to reflect their social realist environments and themes. Films examined include A Kid for Two Farthings (1955), Miracle in Soho (1957), Sapphire (1959), Flame in the Streets (1961), Some People (1962), The Family Way (1966) and Poor Cow (1967). It is argued that critics' preoccupation with the New Wave cycle of films, 1959–63, has been at the expense of colour films that extended the range of representation, both aesthetically and thematically. Bringing colour more centrally into scholarship about British cinema contributes to revisionist research on social realism that privileges the foregrounding of style and textual aesthetics. In addition, the article shows how analysing films from the perspective of colour encourages relating them to broader chromatic tastes and trends. By the mid-1960s, as culture was generally becoming more chromatically vibrant, film-makers were able to take greater advantage of the colour stocks that enabled them to experiment with realist conventions.

scholarly journals A Changing Visual Landscape: British Cinematography in the 1960s

2018 ◽  
Vol 15 (2) ◽  
pp. 204-227
Author(s):  
Duncan Petrie
Keyword(s):  
High Contrast ◽  
Cinema Studies ◽  
Black And White ◽  
International Recognition ◽  
British Cinema ◽  
Visual Style ◽  
Visual Landscape ◽  
The 1960S ◽  
Gradual Transformation ◽  
Made In

British cinema of the 1960s offers a productive terrain for the consideration of the significance and contribution of the cinematographer, a rather neglected and marginalised figure in British cinema studies. The work of British practitioners certainly achieved new levels of international recognition during this period, with the award of five Oscars for Best Cinematography between 1960 and 1969, equalling the total from the previous twenty years. A survey of the films made in Britain during the decade also reveals a gradual transformation in visual style: from a predominance of black and white to the ubiquity of colour; from hard-edged, high-contrast lighting to a softer, more diffused use of illumination; from carefully composed images and minimal camera movement to a much freer, more mobile and spontaneous visual register; from the aesthetics of classicism to a much more self-conscious use of form appropriate to a decade associated with a new emphasis on spectacle and sensation. This article will examine major achievements in 1960s British cinematography, focusing on the factors noted above and giving particular consideration to the contribution of a small number of key practitioners including Walter Lassally, David Watkin, Nicolas Roeg and Freddie Young, who individually and collectively helped to affirm the 1960s as a particularly creative period in British cinema.

From the Madhouse to the Docu-Museum

Nuncius ◽  
2020 ◽  
Vol 35 (1) ◽  
pp. 141-164 ◽  
Author(s):  
Elisabetta Sirgiovanni ◽  
Alessandro Aruta
Keyword(s):  
History Of Medicine ◽  
Psychiatric Disorders ◽  
Electroconvulsive Therapy ◽  
Black And White ◽  
Mental Diseases ◽  
History Of ◽  
The 1960S

Abstract The first electroconvulsive therapy (ECT) device for the treatment of psychiatric disorders was introduced in 1938 by Ugo Cerletti and Lucio Bini, two neuropsychiatrists at the Clinic for Nervous and Mental Diseases, La Sapienza University (Rome). No trace of what became of this device after its use at the clinic can be found until the 1960s, when it appears in a silent black-and-white video dedicated to the university’s recently rehoused and completely renovated Museum of the History of Medicine (MHM), where Cerletti’s original prototype is on display today. However, there is no record of the circumstances under which the electroshock apparatus prototype was transferred from the Clinic of Neuropsychiatry to the museum. Our investigation of this intriguing mystery has uncovered a number of pertinent details that allow us to view the history of the ECT device in a new light. It also emerges that Adalberto Pazzini, the founder of the MHM, played a larger role than was previously thought in this story.

Introducing Taiwanese-Language Cinema in Europe

2021 ◽  
Vol 4 (2) ◽  
pp. 377-386
Author(s):  
Chris Berry
Keyword(s):  
Learning Experience ◽  
Black And White ◽  
The 1960S

Abstract How do you get people interested in something they know nothing about? Something old, forgotten—and in black and white with subtitles? ‘Taiwan’s Lost Commercial Cinema: Recovered and Restored’ is a project to screen old Taiwanese-language films (taiyupian), mostly from the 1960s, in Europe. It was a learning experience in working with Taiwanese culture in Europe. This report is my effort to reflect on that experience and I try to answer two questions. First, what is so interesting about these films? Second, why was it so difficult to make the initial breakthrough and what made it possible in the end? There are many different elements at play. But I have come to understand that the environment for screening alternative, archive, and art films has changed over the decades to create both new problems and new possibilities, among which the potential for universities to be cultural incubators has been crucial.

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