Consider the following scenario:
You are a teacher explaining to an adult education class why itâs important to study the media. As the teacher, what would you tell your students?
Studying media does not mean watching or using media. Studying media refers to learning about how media is created, why it is created, who it is created for,
how it affects adults/children/men/women etc. For example, when composing your answer consider whether you think it is important for children to learn the
truth behind so-called âbeauty perfectionâ in the media?
Make a strong case for learning about the media based on information you have read or researched but do not simply cut and paste (because Iâll know!). Use
knowledge youâve gained but express how you feel about the importance of becoming media literate. Include the following in your answer:
Three compelling arguments (with supporting details).
An example of a mass media product or mass media story to support each argument (Products can be names of films, newspapers, music videos, or TV shows.)
An effective title.
a written report of at least three detailed paragraphs
Please see the link:
https://mediasmarts.ca/digital-media-literacy/general-information/digital-media-literacy-fundamentals/media-literacy-fundamentals#key
Sample Solution
Wearing ladies’ garments and have thick layers of cosmetics all over, Cadmus characterize his body by rendering huge muscles, and men body type contrast with two different figures out of sight who are females. The craftsman intentionally painted the gay relationship in the closer view while other two couple is hetero show his primary concentration and subject are a sentimental connection between two men. Paul Cadmus painted Sailors and Floozies in 1938. At the point when Cadmus was at 29 years old, his vocation was soared by a stroke of Mapplethorpe-ish karma. His animalistic artistic creation, “The Fleet’s In,” a scene of full-bodied mariners and women cutting loose in tipsy celebration, was killed from a show at the Corcoran Gallery Art in Washington by the interest of the US Navy (figure 2). Significantly lustier than The Fleet’s In are two other “mariner” works of art. With “Shore Leave,” brawny gobs grab guileful airheads, carnal direness worried by those skin-tight garments (figure 3). The most express of the three, Sailors and Floozies, slithered over by a grinning trumpet, alongside different sets stirring out of sight. As indicated by New York Modern, The Arts, and the City, by Peter M. Rutkoff and William B. Scott, the painter had his craft on presentation at the Whitney “offered calm, basic, and measurable pictures of contemporary life.” What Paul Cadmus acquired with his artistic creation was contemporary since he indicated something that many individuals probably won’t have considered as craftsmanship and he painted it in an exceptionally intriguing way. The work of art was shocking; most pundits thought about that it was unpatriotic, terrible and tasteless in light of the fact that it indicated alcoholic mariners through the beginning of the Second World War. It was not the expectation of Cadmus however; his image is progressively about homoeroticism rather than enthusiasm. The acknowledgment of Whitney of all styles of contemporary American workmanship let it have an a lot more extensive scope of works with an increasingly diverse contribution. Mariners and Floozies don’t adhere to explicit measures of other contemporary arrangements, yet shows clear and expressive “enchantment pragmatist” style of Cadmus, as it frequently named. The watcher’s eye is pulled in a counterclockwise development from the leaning back mariner, wearing his white dress, where Italian Renaissance craftsmanship firmly impacted Cadmus that thus took its lead from antiquated Greek and Roman workmanship through a marine who gets with a floozie and prizes him with a slap. Additional telling subtleties is the first page of the New York Daily News, which puts things in place in recorded point of view. Indeed, even wrinkled, it’s conceivable to see the substance of Mussolini on the first page of the paper. Craftsmanship and homosexuality feel connected to us as indicated by Christopher Reed, as gay people and workmanship attested their personalities around a similar time, and in habits, which stressed their autonomy from every sort of sealed shut society. During the 1930s and 1940s, a ton of American craftsmen reacted to the World War II and Great Depression with brave photos of normal individuals in the Social Realist Style. Cadmus was just craftsman associated alongside this development who invested in archiving the encounters of gay individuals. Gay students of history have shown that WW2 was a critical defining moment, which offered open doors for men to feel and follow up on same-sex attractions. Be that as it may, this open minded condition changed drastically after the war, when the objective of the general public was come back to commonality simultaneously, a reestablished accentuation on family unit. Men who discovered their gay wants and had begun to make connections, structure connections and fight for their social equality found themselves arraigned and abused. Like such a large number of his works, Sailor and Floozies restore a more established, practically medieval arrangement of ethical quality that the painter conjures to get an eyeful of a satiric eye on his peers. Cadmus delineates the prehistoric unethical behavior of ladies and men as a mind boggling congress of hookers and floozies from one perspective, and warriors and mariners on the other, every one of them assembled in Riverside Park. >
Wearing ladies’ garments and have thick layers of cosmetics all over, Cadmus characterize his body by rendering huge muscles, and men body type contrast with two different figures out of sight who are females. The craftsman intentionally painted the gay relationship in the closer view while other two couple is hetero show his primary concentration and subject are a sentimental connection between two men. Paul Cadmus painted Sailors and Floozies in 1938. At the point when Cadmus was at 29 years old, his vocation was soared by a stroke of Mapplethorpe-ish karma. His animalistic artistic creation, “The Fleet’s In,” a scene of full-bodied mariners and women cutting loose in tipsy celebration, was killed from a show at the Corcoran Gallery Art in Washington by the interest of the US Navy (figure 2). Significantly lustier than The Fleet’s In are two other “mariner” works of art. With “Shore Leave,” brawny gobs grab guileful airheads, carnal direness worried by those skin-tight garments (figure 3). The most express of the three, Sailors and Floozies, slithered over by a grinning trumpet, alongside different sets stirring out of sight. As indicated by New York Modern, The Arts, and the City, by Peter M. Rutkoff and William B. Scott, the painter had his craft on presentation at the Whitney “offered calm, basic, and measurable pictures of contemporary life.” What Paul Cadmus acquired with his artistic creation was contemporary since he indicated something that many individuals probably won’t have considered as craftsmanship and he painted it in an exceptionally intriguing way. The work of art was shocking; most pundits thought about that it was unpatriotic, terrible and tasteless in light of the fact that it indicated alcoholic mariners through the beginning of the Second World War. It was not the expectation of Cadmus however; his image is progressively about homoeroticism rather than enthusiasm. The acknowledgment of Whitney of all styles of contemporary American workmanship let it have an a lot more extensive scope of works with an increasingly diverse contribution. Mariners and Floozies don’t adhere to explicit measures of other contemporary arrangements, yet shows clear and expressive “enchantment pragmatist” style of Cadmus, as it frequently named. The watcher’s eye is pulled in a counterclockwise development from the leaning back mariner, wearing his white dress, where Italian Renaissance craftsmanship firmly impacted Cadmus that thus took its lead from antiquated Greek and Roman workmanship through a marine who gets with a floozie and prizes him with a slap. Additional telling subtleties is the first page of the New York Daily News, which puts things in place in recorded point of view. Indeed, even wrinkled, it’s conceivable to see the substance of Mussolini on the first page of the paper. Craftsmanship and homosexuality feel connected to us as indicated by Christopher Reed, as gay people and workmanship attested their personalities around a similar time, and in habits, which stressed their autonomy from every sort of sealed shut society. During the 1930s and 1940s, a ton of American craftsmen reacted to the World War II and Great Depression with brave photos of normal individuals in the Social Realist Style. Cadmus was just craftsman associated alongside this development who invested in archiving the encounters of gay individuals. Gay students of history have shown that WW2 was a critical defining moment, which offered open doors for men to feel and follow up on same-sex attractions. Be that as it may, this open minded condition changed drastically after the war, when the objective of the general public was come back to commonality simultaneously, a reestablished accentuation on family unit. Men who discovered their gay wants and had begun to make connections, structure connections and fight for their social equality found themselves arraigned and abused. Like such a large number of his works, Sailor and Floozies restore a more established, practically medieval arrangement of ethical quality that the painter conjures to get an eyeful of a satiric eye on his peers. Cadmus delineates the prehistoric unethical behavior of ladies and men as a mind boggling congress of hookers and floozies from one perspective, and warriors and mariners on the other, every one of them assembled in Riverside Park. >
