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Youth in Television have been portrayed in many different lights, anywhere from the criminal to the young at heart.With their resistance to the dominant culture, many studies have been done concerning the meaning of the political challenges to the social formation involving investigating cultural objects and media artifacts.Historically young people have fallen into distinct but dependent categories: youth-as-fun and youth-as-trouble.One might ask why any of this is pertinent to the study of television.However in the 1950’s consumer boom, youth-as-fun became a major advertising strategy.Once advertisers identified teenagers as a valuable consumer, more and more positive images of youth became evident on TV.Photography of youth has been historically produced out of ideological interests, constructed by new markets in an attempt to gain financial resources young people had gained access to.Even still today it is amazing to view how television views and portrays y!
outh for the benefit of making a sale.
Youth-as-trouble have been seen in most aspects of the factual media such as the nightly news.These shows have the major impact of building images, which in turn are taken as examples of how young working- class people generally behave.This leads to an ideological regime of images, which serve to naturalize the media construction of youth-as-trouble (51).”Images of youth-as-trouble are not only limited to news media, but can be seen in soap operas.British soap operas serve as a forum for raising important issues about social problems featuring teenagers with common problems.As keepers of normalcy and common sense, these programs serve ideological interests by bringing forms of power, i.e. the adult, to support the interests of the teenager’s bodies to be against teenage sex or acting out of control.By bringing power on the problem situations, adults on the programs are able to control the dominant ideas of …

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French and German Expressionism

I think that the French do seem more formal in designing their pictoral space than the Germans did during the expressionist movement.The Germans approached their work from a more psychological standpoint, concentrating on the human condition.The ideas of strong emotional feelings are present throughout most of the expressionist movement.In our book, figure 187, “Blue Nude” by Henri Matisse; we see the more formal designs of French artists of this time period.In figure 188, a German piece by Otto Muller, “Three Brothers”; we see that tradition of introspection that was present, Germans looking inside at themselves.The French piece seems more peaceful, serene, calm, and pictoral than the German piece does.The German piece seems very dark and tragic, almost desperate.This was a common feeling of many German artists of this time.
The French works had a more smooth look to them and the German pieces seem much more rough and undefined, but both used line in their pieces to emphasize their thoughts.Both pieces were accurate depictions of many modern feelings and ideas that were forming all over the world.Both images lack any color, but the German piece is done with more harsh tones and hard lines.The French piece is very smooth and gray-toned, but in both of these pieces an expression of the human condition is present, generally the French being more optimistic and the Germans more pessimistic.
Throughout most German expressionism the emphasis was put on line rather than color, linear pieces seem to have been the more important style.I don’t think that the French held as much regard for line in their color works as the Germans did.The French seem to create works were color was the expressive element more over line.
French and German expressionism both hold very strong emotional overtones in their works.The Germans seem more concentrated on the psycholo…

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