[ORDER SOLUTION] Power and Liberation

1. This is a two-part question. Thinking through a cultural studies lens (questions of power and liberation, oppression and democracy), what do you think is the political and cultural impact of the consolidation of media ownership underneath six conglomerate corporations? Please describe what this concentration of media ownership is, more generally, and then make a critical argument about the impact this has on the masses of people who consume this media. A strong answer will think about these global corporate media companies in connection to the discussion on globalization in lecture 4 (on Global Film Culture). In many ways, this question brings together what you learned in Lecture 1 and Lecture 4. Secondly, why do you think escapism, fantasy, and spectacle become the dominant themes of blockbusters made in this conglomerate culture (from the 1980s until today)? Please refer to, at least, two films discussed this week.    2. This is a three-part question. [First part] How did independent cinema change the Majors, and how did the Majors change independent cinema? In other words, how did independent cinema restructure the Hollywood industry in the 1990s? Please use, at least, one film example in your answer. [Second part] How were ‘indie’ films marketed in relationship to Hollywood in the late 80s, into the 90s? Please use Perren’s article on sex, lies, and videotape and Miramax  (and the lecture video) to help you answer this question. Why was this ironic or contradictory? [Third part] Finally, how does this ironic/contradictory marketing strategy echo the marketing tactics used to advertise The Host, according to Nikki J.Y. Lee’s article on the South Korean film industry from last week?   3. The last few lectures this week discussed the idea of a global film. This question asks you to, first, answer the question: What are some examples of ‘global films’ we learned about this week and why are they considered ‘global films’? And then, secondly: What would your idea of a global film be? What would it look like, and why would it be considered a global film? In your answer, make sure to address the primary examples of global films given in Lecture 4, on global culture, and Lecture 5, on diasporic cinema, but then include, at least, one other film we’ve discussed so far this quarter to construct your answer. A strong answer will demonstrate your knowledge of course materials from this week, but also be creative and convincing in putting forward your own ideas about what a global film could and should be. Written clearly, proofread, organized in a clear and effective way (no more than 300 words per question) Addresses the questions directly and completely (especially, if there are multiple parts to the question) Demonstrates (even highlights) knowledge of the course materials, especially by constructing answers with examples that connect readings, lectures, and films Integrates quotations from textbook, readings, lecture videos, or films (needs to be cited correctly, MLA style  (Links to an external site.) , and appropriately—not too much quotation, addressed in your own words after citing) Demonstrates deep analytical and critical thinking (through a cultural studies lens) Attentive to the political and historical context of the period, film, filmmaker, movement, etc. being written about When appropriate, develops a strong argument that is proven through well-chosen evidence that is vividly described in your answer

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