With the rise of the digital age and this time of one-hundred-plus TV channels, the ways in which TV shows compete for viewers is constantly evolving and heavily dependent on visual strategies of persuasion. Print and online advertisements, billboards, and TV commercials all attempt to engage audiences in ways that â€œmobilize symbols to influence diverse publicsâ€ (Olsen 9). One particularly interesting area in which visual rhetoric is used to attract and retain viewership is the opening credits of a television show; sometimes these credits have a residual identityâ€”especially in terms of pop-cultureâ€”that far surpasses the show itself.
This paper will focus on various aspects of the San Pasqual Battlefield, located in Escondido, California. The notion of public memory, which emerges from the intersection of official and vernacular cultural expressions, will be explored through the history the San Pasqual Battlefield portrays (Bodnar 13). At a California State Park, such as the San Pasqual Battlefield, it is fair to say that visitors expect an unbiased assessment of the battle between the Californios and the Americans.
Abstract: The field of cultural studies has a long and varied history. It was estab-lished in the 1930s by scholars associated with the Frankfurt School. The tradition was continued by Stuart Hall and others at the Birmingham School of Cultural Studies in Great Britain. By the late 1980s and early 1990s, the field of study […]
“… I think of an Athenian Poland, but of an Athens immensely perfected by the greatness of Christianity” (19-year old Karol Wojtyla, in a letter to a friend in 1939, on the eve of World War II. Quoted in Shulz 108). NOTE:Â Â This is a draft manuscript; please do not quote.Â Â Work for this project was supported […]
The art of magic has enjoyed increasing visibility and a resurgence of interest, as demonstrated by the rising popularity of magicians, such as David Blaine, Hans Klok, Franz Harary, David Copperfield, and the production of two major motion pictures within a single year â€“ The Prestige and The Illusionist. With his number one-rated cable television show and his recent ten-year contract for a major Vegas show with Cirque de Soleil at the Luxor, Criss Angel personifies the modern-day magician who is at the forefront of the magic renaissance. This paper attempts to examine the rhetorical potency of magic by analyzing the first season of Criss Angelâ€™s award-winning television show, Mindfreak. By using Kenneth Burkeâ€™s concepts of symbolic action and identification, this paper explores the symbolic, albeit persuasive, dimension to magic as exemplified by Criss Angel.
On Good Friday, one of the most significant days in the Christian calendar, when Christians commemorate Jesusâ€™ death on the cross, LifeChurch.tvâ€™s Church Online gathered for an online global prayer outreach for upcoming Easter Services. Essentially, individuals from around the worldâ€”who understand each other through the magic of translation softwareâ€”logged onto http://babelwith.me and prayed together for friends and family who had not yet begun a relationship with Jesus. This community of people is serious about the role they play in fulfilling the mission of God on earth, that is, connecting men and women to God and to each other in spite of the fact that most of them have never met in person.
I thought of presenting a hardcore research paper about food politics and the insidious conspiracy by the Corn Refinerâ€™s Association of America (in collaboration with the FDA) to usher in a brave new world riding on amber waves of grain: a nutritious, affordable sweetener for all, High Fructose Corn Syrup (HFCS) lining the food aisles of Walmart.