The Passion Of Joan Of Arc And Sweet Smell Of Success By...

The Passion Of Joan Of Arc And Sweet Smell Of Success By...
Silent films ushered in the era of moving pictures and paved the way to modern cinema. Films such as "The Passion of Joan of Arc" and "Sweet Smell
of Success" represent the early and later stages of this time period that was dominated by silent films. Within these films, two actors stand out for their
performances and there own unique traits they utilize to make the character they are representing their own. RenГ©e Jeanne Falconetti and Burt
Lancaster both are superb leading actors that, through their own methods, make these characters come alive. Regardless of these performances though,
there are both similarities and differences that they portray in their movies. These films were shot with cameras that lacked a multitude of settings and
this led to a very theater–esque method of filming. Many of these silent films were shot with non–moving cameras, obviously no sound, and also less
effects. [BRING UP READING IN REGARDS TO INTRO TO FILMS] This lack of supplemental technology forced these actors to up their game so to
speak and really carry the film themselves, rather than saturate the screen with fancy effects that so many modern movies revolve around. This forced
the director to focus on the facial expressions of the cast in order to display both tone and intent during every scene. Live music sometimes
accompanied these films in order to help set these moods so the actor could focus on character development and expression. The first character to be
discussed is
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Modern Film On Our Rational And Critical Thought Processes
Frankfurt School philosophers fiercely debated the effects of modern film on our rational and critical thought processes. Max Horkheimer and Theodor
Adorno assert film is an oppressive technology that makes us intellectually docile, while Walter Benjamin contests their assertion by recognizing film 's
liberatory potential. Although Horkheimer and Adorno make important points about the current relationship between film and the masses, they fail to
acknowledge any possible changes to it. In the context of futurity, Benjamin presents a convincing argument–the technology of film can create
subjectivities that will help the masses assimilate into modernity. Horkheimer and Adorno 's understanding of film reflects our current reality. Although
Benjamin acknowledges film 's current state, he envisions a future where film trains us to cope with the pressures of modernity. In "The Culture
Industry: Enlightenment as Mass Deception," Horkheimer and Adorno argue film oppresses our ability to think critically. They base their argument on
how "culture today is infecting everything with sameness" (Horkheimer 94). That is, the ubiquitous nature of film "infects" everyone with identically
diseased notions. The connotations of "infection" are clear: affliction, contamination, and disorder. For Horkheimer and Adorno, the "infection" (film
created by the bourgeois cultural elite) forces us into a state of mental lethargy–the masses uniformly accept film content with "little resistance"

Analysis Of Adorno And Horkheimer : Fact, Fiction, Or A...
Adorno and Horkheimer: Fact, Fiction, or a Little of Both? "The Culture Industry: Enlightenment as Mass Deception" by Theodor Adorno and Max
Horkheimer is a pivotal article in history that changed the way in which many communications scholars viewed media. Both authors were members of
the Frankfurt School, a school of thought which looked further into Karl Marx's theories about capitalism and the issues of mass production. Published
in 1944, Adorno and Horkheimer revealed their beliefs that the media, much like the economy, is becoming mass produced, and is therefore turning
people in society into media–consuming robots. Industrialization created work lives for people in which they would work on only one part of a
larger machine. As a result, they felt less involved in the completion of the project as a whole, and therefore felt less pride in their jobs and their
lives in general. Instead, these people turned to media and pop culture so that they would feel more fulfillment within their lives. Adorno and
Horkheimer believed that these people had a reduced capacity for original thought because media is now force feeding them the ideas of what they
can think and feel. This essay will prove that although Adorno and Horkeimer's points were justified through the eyes of authors George Lipsitz, Lev
Manovich, and Susan J. Douglas, there are still exceptions to their theories that they do not account for. George Lipsitz in "Popular Culture: This Ain't
No Sideshow" agrees with

Culture Industry In Dialectic Of Enlightenment By Theodor...
In his work, Dialectic of Enlightenment, Theodor Adorno analyzes the nature of the culture industry. People everywhere are constantly being
consumed by the culture industry, which is a term for the mass production of cultural goods such as films, magazines, and music. Adorno is concerned
that the government uses the cultural industry as a way to deceive the masses and manipulate them into passivity. This idea remains true in today's
society. Young men and women are more interested in the release of the newest Taylor Swift or Adele song than political issues. People have become
less intellectual as they are being consumed by the culture industry. It is much easier for a person to let himself be consumed by mass media and to let
the media ... Show more content on Helpwriting.net ...
They just accept it as a part of modern society because it is easier to go along with the system rather than try to resist it. The culture industry affects
everything in today's society. Adorno states, "The whole world is passed through the filter of the culture industry" (99). Everywhere people go, there
are billboards, commercials, and advertisements that demand their attention. Before seeing a movie, one must sit through previews of other movies that
may interest them, as the theater hopes that the moviegoer returns to watch another movie. In the culture industry, people no longer exist as
individuals. They only exist as objects that increase the wealth of the big business owners that control this capitalistic society. Because no one contests
the existence of the culture industry, the culture industry can continue to exist. About thefilm and radio industries, Adorno states, "They call
themselves industries, and the published figures for their directors' incomes quell any doubts about the social necessity of their finished products"
(95). Creating unique and groundbreaking films in today's world is considered "risky," and filmmakers would rather create sequels to films that were
successful in the box office. People excitedly consume these sequels and the directors make huge profits, thereby ensuring yet another sequel to be
made. Adorno also points out that the film and radio

What Is An Example Of Consumerism In Fight Club
In Fight Club, there are multitudes of examples of the culture industry and its effects on the masses. As an audience, it can be seen from two different
perspectives; the first is in terms of the Narrator and the second is through Tyler Durden, a second personality of the narrator who suffers from mental
illness. The narrator lives an empty life and tries to find meaning or purpose through the IKEA catalogue while decorating his home. In turn, Tyler is
the exact opposite he doesn't answer to anybody, he does what he wants, when he wants and doesn't let anything or anyone stop him. Evidently this is
the version of himself that the narrator wants to be, as he lives vicariously through Tyler, which he is unaware is his own imagination for the... Show
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As an audience, throughout the film it is evident that there is a significant contrast between the narrator and Tyler as they view many things
differently. Just like the Fight Club and the IKEA furniture, the narrator becomes obsessed with Tyler and the life he leads. When Tyler is first
introduced as a passenger on the airplane, the narrator is immediately drawn to him in a way that is different than any other person he has met. He
feels a connection with him that he has not felt before, which is why he calls him when his apartment burns and he loses all of his important IKEA
furniture. Tyler tells him it's "just stuff" (Fight Club) and "the things you own end up owning you" (Fight Club), which completely contradicts
everything the narrator had previously believed about his home and the furniture. Through Tyler, the narrator starts to lose his need for material
objects when Tyler tells him "Fuck off with your sofa units and strine green stripe patterns, I say never be complete, I say stop being perfect, I say
let... let's evolve, let the chips fall where they may" (Fight Club), instead he focuses on the fighting and his friendship with Tyler since he has finally
found something that fills the void in his life and gives it meaning. Though it may seem abstract that Tyler would fit into this argument, it all comes
together at the end of the film when the audience finds

Comparing Theodor Adorno And Jurgen Habermas
Theodor Adorno and Jurgen Habermas were both members of the German Frankfurt School (Frankfurter Schule). Explain why these figures figure so
largely in media studies, what these theorists had in common and what separated them, especially in terms of ideas on political economy?
With the controversial increase in the concentration of media ownership in the UK over the past thirty years there is no wonder that Neo–Marxist
critical theory has become more prominent in the examination and study of media. Theodor Adorno and Jurgen Habermas, members of the German
Frankfurt School, both apply Marxist Hegelian basis in their critiques of media and its interaction with the public. This essay explores why Adorno and
Habermas figure so largely in ... Show more content on Helpwriting.net ...
Harmondsworth, Eng.: Penguin, 1965). A decline in popularity of this movement suggests that what Adorno is posing is in fact of great importance
specifically when analysing media and entertainment trends.
Habermas however theorises the idea that there is an existence of a public sphere, which is essentially a 'made up of private people gathered together
as a public and articulating the needs of society with the state' (Habermas, J., Lawrence, F. and Burger, T. The structural transformation of the public
sphere. Cambridge, MASS: The MIT Press 1989). This public sphere, through act of assembly 'generates opinions and attitudes which serve to affirm
the affairs of state' (Media–studies.ca, 2017) and is required to 'legitimate authority in any functioning democracy' (Habermas, J., Lawrence, F. and
Burger, T. The structural transformation of the public sphere. Cambridge, MASS: The MIT Press 1989). Habermas also commented upon how there
has been a creation of a bourgeois public sphere which is separate from the public as citizens became more concerned with consumerism and less with
political matters, therefore distancing themselves from this new public sphere. In turn the media developed from a means of citizens gaining
information on politics and society into a medium of advertising and a method of political forces which resulted in a less public inclusive public
sphere. The idea of the public sphere is important when examining media practices as through the

Critical Theory and the Leading Theorists in Education...
Critical Theory and the Leading Theorists in Education Theorists play an important role in society today. Members of the community look to these
leaders of their field to help guide and make understanding of the situations we approach in life. There are many different views on the topics in
society, especially education and how we learn. ________ The Critical Theory and leading theorist have influenced how we view education and
driven to shape our understanding of how we learning in the world today. When learning about a topic it is beneficial to trace it back to the beginning.
According to Kincheloe & McLaren (2002), The Critical Theory originated in Frankfurt, Germany after the devastation of World War I. They report
The Critical... Show more content on Helpwriting.net ...
In 1933, Hitler was named Chancellor and closed the Institute in Frankfurt. The Institute had a satellite office in Geneva where Horheimer relocated
without his directorship. In 1934 Horkheimer moved to New York. That summer he accepted an offer from Columbia University's the department of
sociology to relocate the Institute to one of their buildings. Theodore Adorno is another noted Critical Theorist. Born in 1903 to opera singer, Theodor
Wiesengrund Adorno loved music (Theodor Adorno– Biography, n.d.). Between 1918 and 1919 it is recorded that he studied under Siegfried
Kracauer. In 1924, Adorno received his doctorate in philosophy from the University of Frankfurt. It is noted that while there he had also studied
sociology, psychology and music. He spent his time of exile in America. While there he observer the culture industry in Hollywood. "He argued that
popular media, the product of the culture industry and the opposite of 'true art', works to preserve capitalism's dominance by keeping the population
passive. The pleasure offered by standardized mass media is illusory, and strictly in response to false needs created by culture, rather than having any
relation to true happiness." (Theodor Adorno – Biography, n.d.). In 1949, Adorno left the United States to return to Frankfurt. After he returned to
Germany, Adorno met Horkheimer where they reconstituted

Theodor Herzl Summary
The first reading was about the origins of Zionism, and it was a portion of Theodor Herzl's pamphlet discussing the importance of and the benefits of
establishing a Jewish state. Written in the late 19th century, it was clear from the pamphlet that anti–Semitism had been a problem in Europe for
centuries, and this was Herzl's solution to that problem. This is significant because it displayed the reasons behind Zionism and the Jewish population's
feelings about constantly facing discrimination in Europe. The next source was the correspondence between Sir Henry McMahon and Sharif Hussein
Ibn Ali regarding the development of an independent Arab kingdom immediately following World War I. Hussein laid out the demands that he wanted
Great Britain

Minima Moralia by Theodor Adorno
In chapter 2 of the Minima Moralia, Theodor Adorno talks about the disintegrating family unit, the loss of the partitioning between the public and
private life. However, there seem to be contradictions, or perhaps entanglements created by virtue of these 2 chapters inhabiting the same text. This
essay will attempt to disentangle some of these ideas in a "ludicrous quid pro quo fashion" (Adorno, 1), whilst drawing some assistance from other
areas, such as chapter 3, as well. And in doing so, will unravel Adorno's ideas that violence is inescapable, that certain antagonistic dialectics are
necessary, and that not all conflict is bad conflict, thereby ultimately evoking the idea that there is such a thing as benevolent antagonism and... Show
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In short, as theoretical buildup increases, inaccuracy increases. This insinuates an underlying belief I share, in addition to Hobbes, that our senses are
our most relatively reliable, and inescapable aspects of ourselves. Every aspect of our cognition is either directly or indirectly influenced by our
senses, which then help us make sense of the world around us. Of course, reliance on ones senses is a cardinal sin in philosophical reasoning. But the
fact remains that every aspect of cognition is derived from the senses, thus making the endeavor of 'running away' from our physical perceptions of the
world utterly futile. That said, whether or not this essay uncovers any solid, unequivocal any philosophical truth from Adorno's text is perhaps
unknowable, for this is merely an attempt at improving accuracy. With that said, let us dive into Adorno's metaphor of thefamily– a metaphor that
introduces his larger concern of the dehumanizing capabilities of the productivity machine.
Before explicating this metaphor however, we must justify its usage in this argument that purports that there is a difference between benevolent
antagonism and dehumanizing antagonism (warring). Adorno says, "One realizes in horror that when one as previously clashed

Culture in Theodor Adorno and Max HorkheimerвЂ™s Book...
"Culture Industry: Enlightenment as Mass Deception" is a chapter in Theodor Adorno and Max Horkheimer's book "Dialectic of Enlightenment" it
goes onto discus the conflicts presented by the "culture industry." Adorno states that the culture industry is a main phenomenon of late capitalism,
encompassing all products from Hollywood films, to advertisements, and even extending to musical compositions. Adorno is very deliberate in noting
the term "culture industry" over "mass culture" this was done to specifically distinguish, that it is not to be understood as something which
spontaneously stems from the masses themselves. Products of the culture economy take on the appearance of artwork but are in fact dependant on
industry and economy,... Show more content on Helpwriting.net ...
The author goes on to explain that the public refrains from criticizing the media because they are dependent upon it. They need the culture industry in
order to achieve pleasure and satisfaction and cannot imaging their lives without it. The industry preserves its power by presenting an ideal of "the
good life" as reality and through false conflicts that trade him for his real ones. The industry spreads false values and establishes the individual's
willingness to be a part of society and to coordinate his interests with it. Adorno also states that the culture industry takes advantage of the weaker
classes by making its content shallow and widely appealing and thus demoting the value of culture "Everyone knows that they are helpless within the
system, and ideology must take account for this" The main argument behind the article is that the commodification of culture is the commodification of
human awareness. The culture industry provides easy entertainment which is able to distract the masses from the wrongs of a capitalist ruling order. It
goes onto argue that the culture industry has over taken reality and the way that it is experienced, where it completely shapes and conditions the
experiences we have creating an alternate reality of consumerism. Popular culture gives the allusion of a distraction from our everyday lives, but in fact
it causes those consuming to further dwell into

The Dialectic Of Enlightenment, And The Culture Industry
This essay will compare and contrast the view of authentic art with the account of The Culture Industry laid out in Chapter One of the "Dialectic of
Enlightenment" By Max Horkheimer and Theodor Adorno. The implications of which will be explored for a critical theory in society. The objective
aim of the Dialectic of Enlightenment is to criticize the social and cultural conditions of society by drawing out the insidious psychological messages
from media and The Culture Industry (Film, Radio, Music etc.) Adorno and Horkheimer notice a pattern, or "system of domination" being imposed on
us through seemingly innocent consumerist messages. They hoped to highlight the extent that which the products we consume are imposed on us from
the industry rather ... Show more content on Helpwriting.net ...
Both Horkheimer and Adorno take such a radical approach to autonomous art because they believe that art has been overhauled by The Culture
Industry. Using art as a means of mass deception, coercion and control though the radical standardisation of arts form. The implications of The Culture
Industry on all aspects of life are vast. I believe that the capitalist system of domination is an insidious machine that Horkheimer and Adorno have very
accurately fleshed out in relation to the conditions of capitalist society. They hoped to highlight the extent that which the products we consume are
imposed on us from the industry rather than arising spontaneously from the masses disguised as demand and I believe they do so very well. However,
the conclusion of the disillusion with enlightenment, the exact purpose of the fragments is misguided. The conclusion that enlightenment itself has
fallen into this extreme state of standardisation and that the "enlightenment becomes the wholesale deception of the masses) (DoE, 42) is
over–emphasising the importance of the culture industry and suppresses

Film, By Max Horkheimer And Theodor Adorno
There is no doubt that film is a powerful mode of cultural production that caters to politicians, academics, and the general public. We are, in our
quotidian existence, unwittingly exposed to a stunning amount of sensorial stimulation. Much of this stimulation comes from film, a form of media
that has captivated sociologists, psychologists, and philosophers. In the Frankfurt School, Max Horkheimer and Theodor Adorno interpret the
sociopolitical implications of film differently from Walter Benjamin. Horkheimer and Adorno see film as a means to deceive and manipulate the
proletariat–although Benjamin critiques capitalist exploitation of film, he argues that film can serve revolutionary purposes. In the context of historical
film, Benjamin 's arguments are more convincing than Horkheimer and Adorno 's; film is not inherently authoritarian or oppressive. Rather, the
manner film is employed socio–politically is what defines its roles in mass culture. In "The Culture Industry: Enlightenment as Mass Deception,"
Horkheimer and Adorno argue that the bourgeoisie use film as a means to impose control over the proletariat. They base their argument on how
"culture today is infecting everything with sameness" (Horkheimer 94). That is, the ubiquity of mass culture allows for the bourgeoisie to "infect"
everyone with certain notions. Horkheimer and Adorno view film as a useful way of indoctrinating the masses–it quickly imparts information through
the same medium. When they contend how

The Rings of Saturn by W.G. Sebald
W.G. Sebald's novel The Rings of Saturn explores the relationship between toleration and persecution through a first person narrative. The novel is
preoccupied with loss and the ways we have tried to come to terms with mortality. It is a meditation on the destructive nature of history, the human
lives affected, and the restorative power of art. However, his work is not simply a record of these human–induced catastrophes, but also attempts to
fashion new representational tools for the purpose of acknowledging and coming to terms with the realities of modern human history. Sebald's critcism
tends to focus on the biographical and psychological backgrounds of the writers he mentions. He draws heavily on the canon of twentieth–century
Marxist thought, including works from Theodor Adorno and Max Horkheimer. His complex thesis draws specifically on their work The Dialectic of
Enlightenment. The Enlightenment was an intellectual movement that spread through Europe during the eighteenth century, which involved a radical
change in the way that philosophers and others understood the role of reason. It valued independent thought and promoted reason to a higher status and
for some came to replace faith. Intrinsic in Sebald's work is the idea that the Enlightenment project was programmed by violent distrusts of the
non–identical and a coercive desire to eliminate otherness. Specifically, Sebald draws on Horkheimer and Adorno's critique of civilization articulated
in The Dialectic of the

The Culture Industry : Enlightenment As Mass Deception?
Introduction In 1944, Theodor Adorno and Max Horkheimer, members of the Frankfurt School who fled from the Nazi Germany to the USA, were
publishing their seminal essay 'The Culture Industry: Enlightenment as Mass Deception'. Political critique, their thesis about the ideological
domination of capitalism on cultural production is one that persists today and is regularly renewed (Mukerji & Schudson, 1991). Yet, since the first
half of the twentieth century, evolutions have occurred within the 'Culture Industry', and while the theory – focusing primarily on the music and
cinema industries – is still applicable to some features of contemporary 'cultural industries' (Hesmondhalgh, 2007), these changes require a
contemporary reconsideration of it. Today, digital technology and the Internet are deeply reshaping the motion picture industry with a trend toward
the digitalisation and disintermediation (Zhu, 2010). Media streaming services are an example of this current restructuration. Providing an access to a
wide collection of entertainment online at a cheap price, they have penetrated the monopoly that cinema once enjoyed (Herberg, 2017). A significant
example can be found in the US company 'Netflix', source of nearly a third of all North American downstream internet traffic at peak hours (Hallinan
& Striphas, 2016). Once a small DVD subscription service created in 1997, it offers today to its subscribers to watch its own produced movies and
shows as well as content of other

The Cultural Industry : Enlightenment As Mass Deception
In The cultural industry: enlightenment as mass deception, Theodore Adorno and Max Horkheimer are examining how we are presented movies
and different mass media outlets. Also discussed is how life is now indistinguishable from movies; the same can also be said with reality TV and
how audiences are fed the simple idea of "reality." (3) Reality TV has become one of the top ways audiences consume information that is not
necessarily true, but instead produced for views. A large part of the study is Adorno and Horkheimer compare this to a false personal identity created
by the cultural industry to produce identical mass culture. (1) This means that entertainment is produced not for art's sake, but for consumption of
media, they even go on to say the following: "movies and radio need no longer pretend to be art. Instead the truth is they are just businesses that
create an ideology to justify the rubbish being produced."(1) The real question now is why? Why do people watch this form of television? Is it because
the documentary production puts the audiences trusts in the creator of the show? A large part of the documentary production style relies on interviews,
which underscores the authority on the subject. That idea gives the audience a picture of what is and what isn't true, however, that is a problem
because even though documentaries spend more time researching the topic of the narrative they are "edited," which makes it impossible to know the
legitimacy of its narrative.

Dialectic Of Enlightenment By Max Horkheimer And Theodor...
Often considered to be, perhaps the foundational text of the Frankfurt school, Dialectic of Enlightenment co–authored by Max Horkheimer and
Theodor Adorno is certainly a strange book. First published in 1947, it is largely made up from the notes taken by Adorno's wife during discussions
between Horkheimer and him. Attempting to conceptualize the self–destructing process of Enlightenment, the transcendent theme brought forth by the
authors related to the disintegration of reason. More specifically, they expressed that the dissolution of enlightenment thought, and the manifestation of
complete domination in cultural production, are both symptoms of the current prevailing mode of rationality. Glancing over this 70 year old theoretical
book, one may interpret the pessimistic world views held in Dialectic of Enlightenment as outdated. However, this paper will argue the opposite.
Granted, our world has gone through unbelievable change since Horkheimer and Adorno's time. Nevertheless, their work undoubtedly remains relevant.
Enlightenment thinking, Horkheimer and Adorno argue, has led contemporary society and its citizenry to their present state of subjugation. That being
said, oftentimes when one speaks in regards to the term 'enlightened', it is usually upheld with a positive connotation. However, it becomes clear
through the reading of Dialectic of Enlightenment, that Horkheimer and Adorno certainly do not necessarily see enlightenment in such a positive light.
They assert

What Is The Criticism Of Adorno
Adorno contrasts Benjamin's theory. Adorno, in his writings states that he believes technology and the ability to recreate pieces of work has no
possible positive repercussions. Adorno believes that the ability to recreate something destroys the originality and value of the piece, but unlike
Benjamin , Adorno sees no benefit in art forms being more widely available through the ability to record and reproduce copies of such pieces, is not
beneficial to the piece in any means. Adorno believes that
As a widely regarded twentieth century writer and one of the most foremost thinkers on aesthetics and philosophy, as well as one of its pre–eminent
essayists within the twentieth century and also a leading member of The Frankfurt School of Critical Theory, which is also associated with writers Ernst
Bloch, Max Horkheimer and Herbert Marcuse, and most importantly Walter Benjamin. These writers were important critiques to the work of Freud,
Marx and Hegel. Adornos critiqueing focusses mainly on technology of modern society and how it is transforming 'art' into a reproducible industry,
destroying

Adorno And Horkheimer Mass-Deception
Preface
Within this paper I will describe Adorno and Horkheimer best known work in their article, The Cultural Industry: Enlightenment as Mass Deception. I
will describe in great detail their concept of the culture industry and its mass deception on society. Then, I will compare Adorno and Horkheimer's view
of the creator and receiver to that of the Birmingham School touching on both their similarities and differences. Lastly, I will explain both schools
influence on sociology and sociological research concerning mass cultural production and describe how an empirical study based on both schools
would compare.
Horkheimer & Adorno– The Culture Industry
Theodore Adorno and Max Horkheimer studied Sociology within called the Frankfurt School. The Frankfurt school was founded in 1924 in Germany at
Goethe University. The aim of the Frankfurt school, according to Horkheimer, was to study "the interconnection between the economic life of society,
the psychic development of the ... Show more content on Helpwriting.net ...
Structuralism is based off looking at the structures, or the bigger picture within a study. Since Adorno and Horkheimer are concerned with the
mass–deception that is created by the larger structures in society such as the entertainment industry, an empirical study today would look similar to that.
The study could focus on the use of advertisements to create mass–deception but it would not be a study of individual behavior as so much one of the
larger institutions within society. Methods that would be used would be perhaps a literature reviews, a survey on different advertisements and their
purpose and a survey of people's perceptions of advertisements and their purpose. For the study the goal is to study the effects of the creator on the
social world and its receivers and study the links between them all, as in the cultural diamond explained in the

Adorno And The Music Industry : Kant And Marx
Adorno was a German philosopher, infused with the language of Kant and Marx – although they are professional philosophers they disliked the way
that Adorno wrote so much about music and society. Kant and Marx also disliked his highly metaphorical and at times poetic style. However, Adornos
images were not poetic in a traditional sense they were frequently modernist. The two philosophers Adorno and Max developed in the 1940s a thorough
critique of mass society. Both Adorno and Horkheimer use the term "culture industry" which refers to the production of cultural goods, which signaled
the essentially bad meeting of two incompatible worlds: that of culture, of high art, of the ideal impulse, and that of industry, described by the
production of... Show more content on Helpwriting.net ...
Adorno's words function like poetry because they needle thoughts on the part of individuals who seek to understand them. They do this by duplicating
the contradictions present in society in the sentences themselves. In the introduction to Dialectic of Enlightenment he writes:
Even the best–intentioned reformers who use an impoverished and debased language to recommend renewal, strengthen the very power of the
established order they are trying to break. (Max Horkheimer and Theodor Adorno Dialectic of Enlightenment, 1944; translated John Cumming, 1972;
London: Verso, 1979, p. xiv)
Adorno always pays attention to conciliation; the way ideas are put across. His words might be used to critique Tony Blair's attempt to use British
patriotism for social ends, or artists who think that manufacturing 'scandalous' works of anti–art will do anything but liven up the art market. Adorno
also attacks consumer society for its translation of every quality into mere quantity. If everything is redeemable, nothing has any value anymore. The
Dialectic of Enlightenment suggests a radical sexual politics that reports issues of domination and race with none of the concepts of the intellectual
citizen that make people so impatient with 'political correctness'. Furthermore, Adorno sees sexism and racism as stemming from a messed–up morality
that seeks to deny natural biology. The sex object is hated because she is a reminder that we inhabit bodies. Adorno

Flaubert Madame Bouvary And Theodor Fontane No Way Back
Gustave's Flaubert Madame Bouvary and Theodor Fontane No Way Back are two classic books that have a variety of connections. To begin with the
context will be discussed with a close reference to plot and characterisation in general. Following the techniques and themes will be critically analysed
and discussed what a comparison of these two passages will tell us about the novels as a whole.
Throughout the novels there are many similarities and differences which can be compared against each other to receive a greater depth of
understanding of the novel as one. Holk and Christine– a family– are the main characters in No Way Back. Holk receives a letter from the princess and
he is forced to leave his family where during his stay he falls into the trap of adultery. Once he's back their life is no longer the same and
consequently Christine commits suicide. Moreover, the plot is similar to Madame Bouvary's where she married Charles yet never feels satisfied with her
love life and has an affair with two other men during the novel. The ending is parallel to Fontane's novel as the woman again commits suicide.
Mutually the novels are considered classically themed as adultery to what happened yet during the set passage there is a closer..................................
It is only through the techniques that the readers can see a three dimensional character and ......................... All the way through No Way Back the main
narrator is Holk and the only time that the narrator gives Christine a chance to covey the novel

Art In The Age Of Mechanical Reproduction
In order to properly argue my point it is best to lay out the framework of Benjamin's argument. Benjamin begins his essay, "The Work of Art in the Age
of Mechanical Reproduction" by briefly distinguishing his categories from traditional aesthetic values, those of "creativity and genius, eternal value and
mystery" (Benjamin, 218). In contrast, he relates these tendencies to bourgeois and fascist ideologies and to the conditions, inevitably generated out of
capitalism itself, which provoke "revolutionary demands in the politics of art" (217–8) Benjamin claims that in times past the role of art has been to
provide a magical foundation for the cult. Here the artwork's use value was located in its central position within ritual and religious tradition (223–4). A
statue or idol conveyed a sense of authority, or magical power, which inhered in that particular historical artifact. The reproduction in mass of such an
item would have been unthinkable because it was a unique singularity, and it would lose its "aura". He focuses on describing the objects aura,
defining the aura as: We define the aura of the later as the unique phenomenon of a distance, however close it may be. If, while resting on a summer
afternoon, you follow with your eyes a mountain range on the horizon or a branch which casts its shadow over you, you experience the aura of those
mountains, of that branch (222–3). The term implies an atmosphere and a transcendent feeling that happens when you experience an object.

Difference Between Adorno And Max Horkheimer
The Culture Industry – Theodor Adorno and Max Horkheimer Theodor Adorno and Max Horkheimer are known as two great critical theorists who are
primarily known for their work The Culture Industry: Enlightenment as Mass Deception. Adorno and Horkheimer originally were members of the
Frankfurt School, which was a group of scholars that were a part of the revival of Marxist thought. Adorno and Horkheimer were third wave scholars of
Marxist thought which meant that they were concerned about the occurrence of the communist revolution. However, the revolution never took off
instead the spread of fascism and Hitler's regime occurred. Adorno and Horkheimer, both of Jewish descent, were forced to flee to New York. The
Culture Industry: Enlightenment as... Show more content on Helpwriting.net ...
A criticism made by Adorno and Horkheimer that is still relevant to the modern movie industry is the criticism that "the people at the top are no
longer so interested in concealing monopoly...Movies and radio need no longer pretend to be art" (Adorno and Horkheimer). The modern movie
industry is an industry of commodities in sense, what this means is that the movies produced today are produced simply as means for profit and not as
form of art. As Adorno and Horkheimer stated "the movie–makers distrust any manuscript which is not reassuringly backed by a bestseller" (Adorno
and Horkheimer) this attitude can be seen by simply observing the Avengers, Spider–man and Transformers franchises. These types of movies are given
top priority at movie studios simply because they are movies with large target audiences and the movie studios know that they will bring in mass
amounts of profits. These types of movies often lack substance of any kind for example take the Avengers franchise, the movie itself has very little
plot or characterization but it is still produced over and over again because it is a source of revenue. This is an example of how new media
technologies how what Adorno and Horkheimer mean by when they say art is becoming a commodity (Adorno and Horkheimer). Another criticism
found within

Article Summary And Reflection On Representation
Article Summary and Reflection on RepresentationвЂЁвЂЁвЂЁ
Naomi de Szegheo–LangвЂЁDestiny Simpson – 213121447вЂЁOctober 16th, 2014вЂЁGWST2511 6.00вЂЁSection A Term Yв
ЂЁ
INTRODUCTIONвЂЁPopularity contests are often notable within the modren media industry. This composed report will outline "The Culture
Industry: Enlightenment as Mass Deception", composed by Theodor Adorno & Max Horkheimer with the below objectives. It will investigate
representations of "Gender" and "Race". As well, it will provide primary focus on key concepts, such as, "Mass Production" and "Culture Industry" .
The above will be finished in detail while utilizing Don Scardino 's series arrangement: 2 Broke Girls as an essential case/ spotlight and both Theodor
Adorno & Max Horkheimer's "The Culture Industry: Enlightenment as Mass Deception".вЂЁвЂЁSUMMARYвЂЁA main concern of "The Culture
Industry: Enlightenment as Mass Deception" is the expression of what is viewed as a "Culture Industry". The term "Culture Industry" is expected to
allude to the business showcasing of society, the spectrum of the industry that deals particularly with the generation of society that is rather than what's
considered to be"Authentic Culture". In "The Culture Industry: Enlightenment as Mass Deception" both Horkheimer and Adorno argue that
mechanically delivered society denies individuals of their creative ability and assumes control over their reasoning for them. The Culture Industry
conveys the products. In turn

Theodor Herzls: The Jewish Activist Theodor Herzl
Theodor Herzl was a Jewish activist that was born May 2nd, 1860 IN Budapest. He was a creator behind the modern view of Zionism and the idea
of the reformation of the Jewish homeland of Israel. Prior to becoming an activist for the Jewish homeland, he was a writer, playwright and journalist
for the Neue Freie Presses in Paris (Green, 2015). During Herzl's time as a journalist in Paris, he was able to view the anti–Semitism as a larger
problem when he saw the persecution of Captain Alfred Dreyfus in 1894. Captain Dreyfus, was a French army officer that happened to be Jewish.
The Dreyfus affair was the catalyst for Herzl. Alfred Dreyfus was falsely convicted for treason and passing artillery parts to the Germans during World
War I. After

Throughout history, anti-Semitism has been a reoccurring...
Throughout history, anti–Semitism has been a reoccurring problem in which the Dreyfus Affair was an important event. The Dreyfus Affair was a
political scandal, which divided France from the 1890's to the early 1900's. It was a very important event in history. 1894 marked the start of a
revolution for Jewish people, as a French–Jewish artillery officer, Captain Alfred Dreyfus was accused of treason (Isseroff). The accusations against
Dreyfus were false all because he was a Jew. Following his accusation Dreyfus accumulated many followers that became known as Dreyfusards and
there were also those who were against him called anti–Dreyfusards (Drefler). Alfred Dreyfus was born into an upper middle class on October 9th 1859
in Mulhouse,... Show more content on Helpwriting.net ...
He was convicted of treason by court martial in December 1894 and sentenced to life imprisonment in solitary confinement on Devil's Island, a
prison off the coast of French Guiana (Derfler). Before his deportation to Guiana he was publicly degraded and humiliated. This false conviction was
based on a list called the bordereau, which contained admission to secret French military information (Dreyfus). This list was picked out of the
garbage pail of Maximilian Von Schwartzkoppen, a German military attach in Paris (Johnson). Many years passed before the truth was uncovered,
Dreyfus was innocent and although false information was used he was an easy target because the writing in the bordereau matched his handwriting
and the information came from an artillery officer (Johnson). In 1899, Alfred Dreyfus was granted a presidential pardon and it is unwritten that he had
committed treason against Dragnev 3 France (Martin). It was a matter of life or death because Dreyfus feared that he would not survive the
well–known penal colony. The bordereau looked to connect an artillery officer since it intended access to specific information regarding a new French
artillery weapon called the Modele 1890 120mm Banquet howitzer (Read). Along with the fact that Dreyfus was a highly skilled artillery officer, he was

The Effects Of Modern Film On Our Rational And Critical...
In twentieth century Germany, Frankfurt School philosophers fiercely debated the effects of modern film on our rational and critical thought
processes. Max Horkheimer and Theodor Adorno assert film is an oppressive technology that makes us intellectually docile, while Walter Benjamin
contests their assertion by recognizing film 's liberatory potential. Although Horkheimer and Adorno make important points about the current
relationship between film and the masses, they fail to acknowledge any possible changes to it. In the context of futurity, Benjamin presents a
convincing argument–the technology of film can create subjectivities that will help the masses assimilate into modernity. Horkheimer and Adorno 's
understanding of film reflects... Show more content on Helpwriting.net ...
Kantian schematism expects us to, "from the first, relate sensuous multiplicity to fundamental concepts" (Horkheimer 98). Film, however, leaves the
consumer "nothing... to classify, since the classification has already been preempted by the schematism of production" (98). Because modern film only
presents classified information (pre–cut, pre–chewed, and pre–swallowed bits of information), there is no room for individual interpretation and
critique. Horkheimer and Adorno note how "the spectator must need no thoughts of his own: the product prescribes each reaction, not through actual
coherence... any logical connection presupposing mental capacity is scrupulously avoided" (109). In prescribing the narratives of each action and
reaction, Horkheimer and Adorno argue film attempts to prevent individuals from utilizing their mental faculties (rational and critical thought). That is,
film forces the masses into a state of mental lethargy solely for commercial pursuit of capital. Such is achieved by overstimulation; film is a "stimulant
concocted by the experts" which cannot "escape the weary eye" of the viewer (110). Succinctly put, Horkheimer and Adorno detest modern film
because it oppresses human thought by means of sensorial overstimulation. In "The Work of Art in the Age of Its Technological Reproducibility,"
Benjamin recognizes the liberatory function film may have in

The Aesthetics of Passion and Betrayal Essay
The Aesthetics of Passion and Betrayal In The Passion of Joan of Arc, Carl Theodor Dreyer uses the visuality of spatial relationships in each shot
with the human face and its ability to convey unspoken emotion in his portrayal of the demise of Joan of Arc. Unlike most film, the message is
almost entirely told by just the eyes and expressions of the actors. There is very little reliance upon props and background. The camera angles and
close–up shooting accentuate emotions and reactions. The editing style is almost methodic in keeping the emotional pace; it is much like an argument,
alternating images of Joan's tenacity, and the judges' contempt. The artistic elements of the film are found in the subtle elements of the setting in ...
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The overall stylization of the film's world can be taken to indicate the state of Joan's consciousness with the flat spaces and shifting angles and framing.
The methodology used in shooting the film also holds metaphorical significance. There is a great feeling of uncertainty created by the lack of
accurate depth. With all the shots so close up and backgrounds devoid of angles, color, and reference points, everything on the screen is placed in
the same plane visually. The lighting is also deceptive since there are few definitive shadows cast to give definition to depth. The Passion of Joan of
Arc is not without geometric motifs however. It is noticeably evident that even though there are few well defined lines in the sets, when lines do
appear, they appear as a pair of lines intersecting in sharp angles. This is suggestive of the sharp difference in Joan's viewpoint with that of her judges.
The eerily evil presence of the judges is due in part to the camera angles. The action of a scene is rarely centered and the action position jumps
around from scene to scene. Mocking grins from the upper left corner and judges leaving Joan's cell in the bottom left corner. Also, the low camera
angles make the judges appear larger and more looming. They appear sheared off at the chest, making them seem to float and glide instead

Nature In Dialectic Of Enlightenment
In Dialectic of Enlightenment, through their discussion of nature's initial domination over man in primitive society, by virtue of mankind's fear of the
unknown and mana, and man's eventual domination over nature through rationality and disillusionment, Frankfurt School philosophers Theodor W.
Adorno and Max Horkheimer conclude that there exists a paradox in which myths already contain enlightenment just as enlightenment also already
contains myths (11–12). Various examples, such as the creation of myths, which contained enlightenment and rationality, the prohibition surrounding
the utterance of God's name, which still retained elements of mythology in an enlightened world, and the blind reproduction of thought, which relapsed
an enlightened world back into mythology, support their argument.
Mana, the moving spirit, which was neither a subject nor an object, represented the intricacy and complexity of nature compared to the primitive man.
In the course of human history, even in its earliest forms, human society has always reified observations in nature and inscribed them with distinct
meanings and stories. This pre–animism emerged as a response to the cruel volatility of nature, where man feared the unknown, and began the first
lines of separation of subject and object (Adorno and Horkheimer, 15). The "gasp of surprise" or "cry of terror" which accompanied the experience of
the unusual and unfamiliar became synonymous to its name, contradictorily creating both a subjective

Theodor Herzl Analysis
The European Jewish thinkers, Theodor Herzl, Ahad Ha'am and Simon Dubnow, all agreed that Jews were to experience severe problems by the late
nineteenth century. However, they differed in their assessment of the value of Jewish life and culture in the Diaspora. Furthermore, they differed in
their expectations for the future of Jewish life and culture. This midterm will address the differences these European Jewish thinkers had, specifically
on their views on language, culture, and location of the Jewish state. It will also compare what they believed was the solution to the problems Jews
faced and how they went about to remedy these problems through the political and cultural ideologies they created or inspired. To begin with, Theodor
Herzl truly changed the Jewish and the rest ... Show more content on Helpwriting.net ...
He goes on quite extensively in The Jewish State on how he felt the new state should be structured in terms of labour and economics and, according
to him, the migration of Jews into the new state would be slow and gradual. It would start with the poorest of Jews who will "go first to cultivate the
soil" (Herzl "The Jewish State") and construct the means of transportation. Through their labour trade will be created, ultimately creating markets and
attracting more settlers. The political ideology that he truly felt would accomplish this sort of state was one that created an aristocratic republic form
of government which would "satisfy the ambitious spirit in [Jews]" (Herzl "The Jewish State"). The form of government had to be an aristocratic one
with the Society of Jews being the main vessel because "short–sighted or ill–disposed" (Herzl "The Jewish State") people could not be the ones making
or interpreting the decisions. If there were any oppositions, they needed to be supressed by the Society so that mistakes could not be made in this new
state. In regards to language and culture, Theodor Herzl was an intellectual from central Europe and his sense of Jewish nationalism

How the вЂ Culture IndustryвЂ™ had Profound Social Impacts in...
Theodore Adorno and Max Horkheimer were two renowned Jewish representatives of the Frankfurt School of Critical Theory; they were particularly
dominant during the early 20th century, approximately around the time of the 1920's to 1960s. They took refuge in America after Adolf Hitler's rise in
Germany. These to philosophers developed the 'Culture Industry Theory' in the 1940s, in light of the disturbed society they had seen during this time.
They witnessed how Nazi Fascism used mass media such as films, radio and newspapers to brainwash millions into partaking in this ideology.
Similarly they saw the rise of Capitalism in America, which also used mass media such as Hollywood films and advertising to disseminate the masses
into the ... Show more content on Helpwriting.net ...
Adorno (1977) saw these elements as interchangeable without damaging the song. When applied to the music industry in contemporary society artists
such as Katy Perry, Ke$ha, and Miley Cyrus sound exactly the same, they use the same chords as each other. The use of standardisation in the culture
industry is to foster the false consciousness, passivity in order to easily manipulate society into consuming these products and in the music industries
case promote regressive listening and lead to standardised reactions (Stratini, 2004). The ruling class maintain their power and control over society
through these practices. They create the false needs of society and produce products to satisfy these needs, which leaves societies in a false satiated
state (Stratini, 2004).
Pseudo–Individualism is the second process that produces reification (Adorno, 1977). For the process of standardisation to be successful in
manipulating society into consumerism and a false consciousness, pseudo–individualism is crucial. Pseudo–individualism maintains the appearance
that a product is different and unique (Satrini, 2004). Adorno believes that the principal of originality and individuality has always been contradictory.
The individual is a notion that masses are misleadingly made to believe (Adorno, 1977). It gives the impression of free choice in an open market when
it is actually deceiving people into consuming standardised products of the culture industry. This process

Adorno and Horkheimer's Dialectic of Enlightenment Essay
Adorno and Horkheimer's Dialectic of Enlightenment
'Myth is already enlightenment; and enlightenment reverts to mythology'
(Dialectic of Enlightenment XVI)
Adorno and Horkheimer's obscure and nihilistic text Dialectic of Enlightenment (DoE) is an attempt to answer the question 'why mankind, instead of
entering a truly human condition, is sinking into a new kind of barbarism' (DoE, p.xi). The result is a totalising critique of modernity; a diagnosis of
why the Enlightenment project failed with no attempt to prescribe a cure. This is achieved by a historical–philosophical study of the mythic
world–view of animism and anthropomorphism and the Enlightenment attempt to dissolve myth through objectification and instrumental reason. ...
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Stalinist Russia, the Fascist threat in Europe and American capitalism are equal indications of the regressive process of Enlightenment, and all fall
under the jurisdiction of their critique. We will see the extent of this influence when class domination is considered, but what is already clear is that
Adorno and Horkheimer find the Marxist ideology untenable. From myth to enlightenment: the substitution of domination for mimesis.
The motivation for enlightenment was already present in myth, it 'originates in human fear, the expression of which is explanation, … man
imagines himself free from fear when there is no longer anything unknown'# (p.15–16). However, the mythic reaction to this fear differs from that
found in enlightenment. Myth attempts to make the unknown known through animism and anthropomorphism, that is, it attributes a human
explanation to the unknown forces of nature#. In myth the subjective is not confined to man but is extended to the world and the objective and purely
independent is not yet realized#. The magician and shaman use ritual magic to influence nature but never to dominate it. The tool of the shaman is
mimesis (imitation in an attempt to influence) and sacrifice. 'The magician imitates demons; in order to frighten them or appease them, he behaves
frighteningly or makes gestures of appeasement' (p.9) but neither this nor sacrifices are attempts to control nature but are pleas to animistic forces

The Media Production Program At Ryerson University
Polaroid photographs can be thought of as tangible moments in time. They give off vibes of nostalgia and whimsy. These feelings lead me to
incorporate Polaroid's in my personal media artifact. And since I am in the Media Production program at Ryerson University, I found it appropriate to
apply what I learned digitally in Photoshop to represent myself in an assemblage of hanging Polaroid's.
Corkboards are commonly used for reminders, organizing and possibly posting things we like on them. These elements often come into play when I
try to start a project. I often need to plan in advance but even when I try to stay organized, I am scattered much like the board. The texts are what I
used to be inspired when I am creating something of my own. And like many aspects in life, the Polaroid's and board have imperfections, but it is
these imperfections build character. When hung together they form a tapestry that tells a story of my life. I will now explain part of that story by
analyzing three of these texts from my collage by applying key concepts commonly studied in popular culture.
Habitus, described by sociologist Pierre Bourdieu is the manifestation of culture through developed habits and predispositions. Habitus can be thought
of as the procedural memory one develops when one improves in a sport by practicing it for many years (as cited in Cultural Capital, 2016). This
metaphor fits perfectly for something I love to watch and play: hockey.
Canada has been the catalyst that

Biography Of Walter Benjamin, Theodor Adorno And Max...
Walter Benjamin, Theodor Adorno and Max Horkheimer were alltheorists of the Frankfurt School and they were the first to introduce the idea of the
"culture industry, the mass marketing of culture in the modern era. However, Walter Benjamin gives a different perspective on the role of culture in
modern society, he believed that the possibility of mechanical reproduction (photography) was demolishing the integrity of art in modern society . He
gives the example of the Mona Lisa painting by leonardo da vinci. The painting has a specific the existence and particular location but with mechanical
reproduction it can be copied multiple different times and occupy more than one place at a time. The question posed by Benjamin is what are we
missing... Show more content on Helpwriting.net ...
For Benjamin, the mechanical production of art "democratizes cultural production" Thus It loses its aura and authority as it becomes available to
everyone. We can extend this to an analysis of media today in which everyone can be an actor and everyone can be a producer; the difference between
high art and the popular culture are blurred. Therefore, from these two Frankfurt theorists we have a different view of the culture and the culture
industry. Benjamin focuses on the "democratization of culture" that is made available by the production of art while Adorno and Horkheimer argue the
ways in which art become more linked to commercial exploitation. It can be suggested through the readings of Adorno and Horkheimer 's work that
they seem to be eliciting the question of whether people believe everything that the culture tells them and trying to make sense of the distinct
differences between the messages of the culture industry and the public's realities thus creating an environment where autonomous independent
individuals, who are able to think for themselves, can form. Both theorists seem to be exploring how cultural meaning is generated and believe that the
structures which promote and deliver these messages of cultural influence is powerful. It is safe to say that we may be

Culture and Creative Industry Week 1 Essay
Week 2
2. Critical Theory and the Critique of the 'Culture Industry'
This lecture considers how the Critical Theorists of the Frankfurt School sought to understand the relationship of culture and society in an age of
advanced capitalism and mass media. It explores their analyses of popular culture, and poses the question of whether the term 'culture industry' has now
lost its original, critical meaning.
Key thinkers: Marx, Gramsci, Adorno, Horkheimer, Benjamin
Seminar questions
1.Has the mechanical reproduction of art opened up possibilities of a more democratic appreciation, or merely reduced it to the status of a commodity?
2.Has 'the Culture Industry' killed 'High Culture'?
Walter Benjamin (1936)
The Work of Art in the Age... Show more content on Helpwriting.net ...
223–224
How is this useful for media criticism
Film Criticism:
The difference between theater and film is also about loss of aura. A play (has aura) is always different because the actors interact with the audience
and each performance is unique. A film, however has no audience–the actors usually only perform tiny fragments of the whole and generally not even
in order....movies are pieced together by editors. Film д№џж ЇдёЂз§ЌreproductionгЂ‚
Audience Reception:
Watching a film is a collective experience and each audience member is a critic–its part of the fun. Think of a newsreel–when a group of people
witness an event they are educated on something and they can become politically active because of it (For example, although he was talking about the
potential for class revolt–Benjamin would be proven correct when American men and women were motivated by newsreels in
WWIIзѕЋе›Ѕдєєж°‘ењЁдєЊж€ зљ„ж—¶жњџеЏ—иї‡ж–°й—»зџз‰‡зљ„еЅ±е“ЌгЂ‚ж–°й—»зџз‰‡ењЁиї™е„їжќҐзњ‹ж ЇдёЂз§Ќpolitical
propaganda). зњ‹ж–°й—»ж ЇдёЂз§ЌeducatedдЅ гЂ‚еЏ—дј—ж ЇдёЂз§Ќиў«еЉЁзљ„иї‡зЁ‹пјЊеЏ—дј—жЋҐеЏ—what they want to tell you.
Capitalism/Fan Culture:

But just as the medium has the potential to be used in the Revolution, it cannot be because it is controlled by capitalism (this might be a good
connection to the Hollywood Censored book).
Because of the way capitalism operates, there is a false consciousness between the actors and audience. The actors become held up as having "cult
value" (ritual

Theodor Herzl Research Paper
Theodor Herzl: Father of Zionism?
Theodor Herzl is often referred to today as the Father of Zionism, a man known for his role in the establishment of a homeland for the Jewish people.
His most famous pamphlet, The Jewish State, inspired thousands of Jewish men and women from across the world, although particularly in Europe, to
leave their homes to realize the glory of creating their own homeland in Palestine. While Herzl was originally a believer in the gradual assimilation of
German and Austrian Jews into the European cultural world, the growing anti–Semitism within Europe led him to believe that the only solution to
Jewish ostracism was the creation of a separate state for Jews in Palestine. Although Theodor Herzl became, over the... Show more content on
Helpwriting.net ...
He also believed that the Jewish religion was one in a state of moral decay and rot. "Herzl believed that centuries–long imprisonment in the ghetto had
isolated Jews from the mainstream of history, rendering them superstitious and fanatic and made them physically weak, cowardly, and incapable of
'honest, manual labor'" (Kornberg 21–2). Herzl was disgusted by what he viewed as the deterioration and filth of the Jewish religion, but at the same
time his view that it centuries of domination held the Jew in such a state gave him hope for the future of Judaism after its people were released from
the yoke of oppression.
It was during Theodor Herzl's youth and early adolescence that a period of anti–clericalism arose in the Germanic world, due mainly to Pope Pius IX
and his ringing declaration that all religions were not equal and toleration of any religion other than Catholicism was condemned. This sparked a period
of great animosity towards the Church, primarily among writers and the artistic community (Kornberg 14).
The struggle against the Catholic church in Germany during the 1870s marked a high point of liberal influence and came to be called, in a term coined
by a prominent liberal, the Kulturkampf, or 'the great struggle for civilization in the interests of humanity. In the course of the 1870s, civil marriage
was legalized in Germany, church supervision of public education was eliminated, and the state took

Theodor Herzl
Initially, Zionism was the major cause of the formation of the State of Israel. It was established by Theodor Herzl in 1897 and later led by Chaim
Weizmann. Mr. Herzl was an assimilated Jewish lawyer from Vienna that fully understood the Jews. He quoted once, "Zionism demands for a publicly
recognized and legally secured homeland in Palestine for the Jews. This platform is unchangeable". The quote means that Zionism was established to
request and achieve a homeland for the Jews in Palestine and that no one can stop this from happening. Basically, this proves that Mr. Herzl was a
very supportive man towards the Jews and He understood what they needed. In 1894, Mr. Herzl was sent to France to investigate on the life
imprisonment of a Jewish

Essay Compare And Contrast Altemeyer's Approach To...
Outline the similarities and differences between Adorno et al.'s (1950) and Altemeyer's (1981) approach to authoritarianism
The rise of fascism in Germany in the 1930's and the acts of aggression and atrocities committed by the Nazis during the Second World War led to
questions being asked as to why some people where prone to such levels of violence and hate in the name of political ideology. The 'Authoritarian
Personality' was a concept suggested in 1950 by German sociologist Theodor Adorno and colleagues following their research identifying the
personality traits believed to allow an individual to be bias towards and follow a fascist ideology. Although initially met with great excitement, over time
the authoritarian personality alone ... Show more content on Helpwriting.net ...
(2012). Although Altemeyer's research also recognised and supported these findings his concept of authoritarianism was different. He defined RWA not
as personality type with fixed characteristics but as a set of three attitudes similar to three of the characteristics Adorno et al also used to describe the
authoritarian personality:
Authoritarian submission: A high level of respect and submission to perceived legitimateauthority figures or establishments. Authoritarian aggression:
Aggressiveness directed against targets identified by the established authorities. Conventionalism: The aversion to new ideas with a preference
towards social norms which should be adhered to by all of the individual's society (Bobbio et al 2007).
Although Altemeyer agreed with Adorno et al on what the behavioral and attitudinal features of authoritarianism were, a key difference he put forward
was his interpretation of where it actually came from. Adorno et al took a psychoanalytical approach, as first popularised by Sigmund Freud in the late
19th century to the explanation of the causes of authoritarianism. They claimed children who experienced a strong level of parental discipline

Jurassic Park : The Plot Of Jussic Park
Though the plot of Jurassic Park is compelling to audiences, the development of the brand has not relied on the actual story itself. The very nature of
the film allows for the promotion of Jurassic Park as a commodity to be enjoyed even after the audience leaves the theatre. The film's plot was designed
with the intent to generate revenue outside of the box office in it's subtle advertising to viewers for the theme park, merchandise, sponsors, and
development of the franchise itself.
The premise of the film is to introduce the concept of the Park to a group of scientists. In many ways, the content of the film is reflective of the
introduction of Jurassic Park to the public as a concept worth spending on. The economic incentive of creating and advertising the film was tremendous
and therefore corporations were interested in gaining some of the traction of the Jurassic Park mega–commercial. Two of the main obvious product
placements in Jurassic Park are that of Barbasol shaving cream and Jeep. The brands were able to incorporate their advertising into the plot of the film.
The Barbasol was used to smuggle the mosquito with the dinosaur embryos and the Jeep Wranglers are the official staff vehicles of the park. In this
contribution to the plot, the brands are able to develop the brand of Jurassic Park.
Elements of the film and real life promotion were combined, making it very self–reflexive. The same logo used for the Jurassic Park within the plot is
used to promote the movie

Adrienne C. Rich : A Cultural Poet
Adrienne C. Rich: A Cultural Poet
Abstract: Adrienne Rich (1929–2012) seems to stand in consonance with thinkers of Cultural Studies like Raymond Williams, Stuart Hall, Dick
Hebdige and many others who realized the power of the working class, as an agency of resistance to the prevalent ideology. She like them sees culture
as venue to spread ideology and to resist it. Thus, deep understanding of Rich's works reveals them to be an ideological struggle with a aim to
empower the powerless. In her poetry of 90's Rich was at the zenith of her creative powers and her work was diverse and variegated, encompassing a
host of themes. She keenly strove to fulfill her aim of the enfranchisement of the deprived, employing sundry poetic skills and ... Show more content on
Helpwriting.net ...
Thus, she is read deeply and missed widely. Rich's inaugural volume came out in the early fifties. These were poems embellished with formal skill.
Her debut publication A Change of World was selected by W.H. Auden for the Yale Younger Poets prize. She was then only an undergraduate. Some of
the poems were carefully wrought works and remain prescribed for graduate study even today. Rich gathered acclaim from the time her Snapshots of a
Daughter–in–Law (1963) was published. This was her earliest collection where she strove to highlight the contradictions of American life, the
problems in her own life who was multitasking as an American poet, an intellectual, a married woman, and above all a mother. In the eponymous
poem of the volume she remembers women writers of the earlier times who were similarly preoccupied, and among them she thinks of the poet Emily
Dickinson. The poem tellingly enumerates the chores and the daily grind: Knowing themselves too well in one another: their gifts no pure fruition, but
a thorn, the prick filed sharp against a hint of scorn . . . Reading while waiting for the iron to heat, writing, My Life had stood–a Loaded Gun– in that
Amherst pantry while the jellies boil and scum,

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