Dance Education and Culture

Executive Summary In contemporary sociological usage, the term culture refers to the sum total of all knowledge, customs, beliefs, attitudes and values shared by a large group of individuals with other common linkages. Theories formulated by David Carr suggest that culture can also be described from an evaluative point of view as the things that are worthwhile to the humans (Carr 2003, p7).Advertising We will write a custom essay sample on Dance Education and Culture specifically for you for only $16.05 $11/page Learn More Carr goes ahead to suggest that it is a challenging fact for individuals to distinguish which of the various learning experiences they analyze in the various cultures is important for personal growth and development. Carr’s proposal has a definite application in dance education particularly because all the elements of the practice can be isolated using either the sociological or the evaluative criteria. This essay seeks to illus trate that the teaching experience particularly when it comes to dance is an amalgamation of the cultural elements manifesting through curricula and syllabi specifications. To this end various forms of literature shall be investigated to provide the background information necessary for the creation of a solid argument. Personal experience as a dance instructor shall also be drawn into the discussion and this shall be interwoven with theoretical frameworks proposed by different scholars in the field to offer even more credibility to the essay. Introduction Over the years dance studies have gained prominence all over the world. The knowledge and field requirements are under rapid evolution and both the practitioners and instructors in the field have to go through a specified amount of refresher training. Social and cultural shifts particularly in the student markets have necessitated the removal of the traditional boundaries between various academic disciplines. Teaching dance is beco ming more and more complex and in institutions of higher learning dance is crossing across all academic spheres with the introduction of such programs as dance medicine and dance philosophy. Dance education Syllabi There are three main syllabi that are well acceptable in the dance instruction field. These are named according to the institutions/personalities that established them and they are: Dance Vision International Dance Association (DVIDA), United States Imperial Society of Teachers of Dance (USISTD) and Arthur Murray.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More For each and every of the three well recognizable dance curricula, there are three primary levels for ranking student talent and abilities. These are bronze, silver and gold. However, each and every syllabus has its own primary focus that aims at strengthening a student’s skills and abilities as well as acting as the fou ndation for which more work can be based on. The foundational stages of all the three curricula are aimed at identifying students’ abilities and talents as well providing proper the theoretical information to guide the trainees in subsequent stages. Through discipline and commitment, students in senior levels of training work on already acquired techniques and they build on them, in the process perfecting their skills. In order to illustrate how both the evaluative and sociological definitions of culture can apply to the dance profession, a comparison of the practical elements of credible dance syllabi in educational facilities has to be provided. This will mainly focus on the presentation of the dance as it is the final product of the entire training process. For the purpose of this discussion, the analysis shall be based on bronze level performance of nine competitive dance routines. These three dance instruction syllabi are defined by the unique approaches they each take i n the performance of various dance routines. These differences are summarily detailed below. It is worth noting that this discussion has been restricted to the major competitive styles which are widely accepted as the common point of reference for all the dance teaching syllabi. The important elements under discussion for all the dance styles analyzed include, the progression, the uniqueness in steps and the relevance of the knowledge gained to the student. Smooth dance Waltz – The Arthur Murray has well distinguishable number of steps and aside from giving the dancer the option of variety it also goes ahead to use layering in developing a definite motion pattern across the dance floor. The USISTD also entertains the distinguishable steps as Arthur Murray but doesn’t leave room for variety. This therefore makes it only ideal for professional dancing at the expense of social dancing. DVIDA has provisions for variety but does not have elaborate movement styles until much later in the syllabus. It has however been fronted as the best curriculum to follow for the Waltz.Advertising We will write a custom essay sample on Dance Education and Culture specifically for you for only $16.05 $11/page Learn More Tango –DVIDA has a clear and fun scope of teaching the tango but tends to involve the trainees in skillful moves too early in the curriculum. This is particularly because it tends to demand a change in alignment regularly and also requires high levels of accuracy in orientation which in a way makes it very challenging to navigate. Arthur Murray has various variations in the first half of the curriculum and the remaining half comprises random movements. UISTD on its part lays emphasis on the primary usable movements and lets the trainees develop into the routine naturally. Viennese Waltz – It is very difficult to analyze this category as there are numerous approaches to the American Viennese. This makes it dif ficult to establish the genuine presentation format of the dance at the bronze level. Trainees who follow the DVIDA syllabus tend to approach this dance routine at a slow pace and then develop the drive as the training progresses. The primary Viennese movements are introduced almost midway through the curriculum and then the American patterns are introduced much later into the syllabus. Arthur Murray on the other hand tends to kick off with complex styles both in terms of speed and drive and then gradually move into slower aspects. The UISTD introduces the students to the core elements of Viennese and then integrate them with unique American aspects. As the syllabus progresses, the more complex American patterns are introduced and fused with the previous techniques that the trainees have picked up over the time. Rhythm Cha Cha – The UISTD starts with an almost conservative number of steps. DVIDA is almost similar to UISTD but it tends to be open enough to allow for slight inn ovation. Arthur Murray is entirely conservative and it does not give the performer enough credibility by the time that he/she is done with the training. Rumba – Arthur Murray’s Rumba tends to be dull from the outset and then incorporates a number of complex steps as the syllabus progresses. UISTD has unique technique descriptions and these develop in a compounding manner throughout the training period. DVIDA starts definite patterns but has limited fifth position endings.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More East Coast Swing – For this routine, DVIDA tends to omit a number of important steps such as the outside turns, points and kicks. It is therefore very difficult for a dancer who is well versed with this technique to gel well with a dancer from a different syllabus. It however has great technique description. UISTD starts on a triple which makes some steps such as the whips challenging. It also has great technique descriptions. Arthur Murray has solid steps and a great technique which makes it appropriate for both social and competitive dancing. Bolero – The USISTD bolero tends to be more like a rumba dance version. As a matter of fact, individuals can use steps from the latter in learning the bolero. Arthur Murray’s syllabus stipulates that individuals have to be at bronze level before they can start the dance. DVIDA has a number of definite steps with well written technique descriptions making it a fun to pursue syllabus. Mambo – The DVIDA mambo comprise s a wide array of steps but has some unpopular endings. Arthur Murray encourages proper timing and a great technique. It however lacks variety and this tends to make the syllabus lose its appeal. UISTD is slow from the outset but gradually morphs into a fun-filled second half. Foxtrot – DVIDA’s foxtrot tends to coerce the dancers into SSQQ timing and some of the steps in this technique at the bronze level appear awkward. Arthur Murray encourages alternate timings and encompasses great variations to make the dance even more interesting. UISTD generally tends to start with proper and progressive steps but the entire piece at the bronze level appears like a re-jig of the waltz. Movement and the historical/cultural aspects of dance The way a dance defines the movement explains the primary aspects of the style and the historical context of the dance. The techniques and skill of a dance routine are attributes which are conferred from one generation to another in a form of br oad cultural transference. However, individuals studying and performing dance from time to time tend to reinterpret traditional dance styles and present them is ways that make sense and are comfortable to them. The three dance syllabi analyzed above present students with the chance to gain comprehensive knowledge of dance. Students from each curriculum learn the different dances based on how the dances were presented by the founders of the syllabi. The students therefore base their techniques and skills on the historical and cultural significance of the adopted style. In this way, they can easily evaluate their work by comparing it with the established framework of the syllabus that they learn in. Irrespective of the chosen curriculum, there are five key gains that students of dance are expected to have made at the completion of the training period; these are: They must have gained sufficient knowledge of the elements of dance. The must clearly choreograph a dance in such a way tha t it reflects the elements of the syllabus they followed. They must be in a position to apply the skills gained in non-competitive (formal) presentations The must be able to evaluate both professional and non-professional dance practice. They must know how to elaborately communicate ideas through choreography. These five elements are based on the broad appreciation of dance as an art form that is primarily grounded on culture and tradition. In this regard, tutors and instructors should ensure that the items included in their syllabi are well planned and comprehensively cover each and every component of their primary targets. Curricula should be developed and implemented using various instructional routines which put students in better positions to go through varied experience. Bearing in mind that most students have different learning rates, tutors should ensure that all their students achieve the desired levels of performance based on the chosen syllabus. Based on a broad perspect ive of dance and dance education, the roots of dance can be traced back to the origins of human kind. Dance has been used as a way of expressing cultural values by giving individuals the opportunity to reconnect with the past and link it to the present and create visions of the future. In a way, every coming generation recreates culture through dance. By the students understanding the historical and cultural heritage of a number of dance routines exposes the students to understanding the functions of dance in different social settings. Proper curricula enable students utilize their critical thinking abilities to envisioning, describe, provide an analysis and evaluation of a given dance piece in a credible manner. Students are able to assess various techniques and styles based on the presentations they receive in class. This kind of understanding makes them better understand most of the elements in each and every sequence. Formal education and dance culture Dance had been traditional ly viewed from a narrow-angle perspective as a performance art with no real significance in the real world and therefore most individuals opted not to go through formal training (McCutchen 2006). However, through years of study and enhancement of professionalism in the field, it has been found out that the people who go for training acquire skills which are important in achievement in other areas of life not related to dance. These students tend to develop proper self-understanding and appreciation of human relationships and also tend to auger well with their external environments. Aside from this, they are able to enhance their critical thinking abilities as they are able to question the reasons for certain actions during the dance practice as well as properly defining meaning from choreographed pieces based on their respective curricula (Carr 2003). Formal education has changed over the years to accommodate fields that were previously regarded as unimportant to societal developmen t. These include the likes of dance and other performing arts and over the years there has been a cultural shift towards incorporating these fields into educational curricula with an aim of recognizing them as worthy professions. As much as individuals can easily attain their goals through setting up personal structures for reading and networking, practical fields such as dance tend to require the presence of tutor/instructor who will serve as the assessor for growth. These tutors are now under constant pressure to have gone through a formal educational system, and particularly have obtained college certification which will put them in a better position to evaluate the talents and needs of students. A tutor who has grown through a credible educational system will no doubt be in a position to determine the kind of information that is important to the personal development of his/her students and filter out from knowledge that has become obsolete and irrelevant (McCutchen 2006). Howeve r, it is definitely clear that exposure of students/trainees to a wide array of subjects will further broaden their competitive advantage in the real world. The students who have a varied knowledge system will be better placed to communicate with persons who engage in other elements of the professional dance field and they will also be in a position to understand how their roles as professional dancers interrelate with other professions in such a way that the jobs influence each other. There are two elements of education that tutors should have in mind when designing dance training programs. One is that formal education gives students an opportunity to expand their way of thinking. This means that individuals are expected to graduate out of particular training institution with knowledge that they can use to circumvent any challenge that may arise in their line of duty (McCutchen 2006). Secondly, the education is supposed to provide them with an entry ticket to professional recogniti on. This recognition, however, can only be sustained by the quality of their work and as long as the tutors focus on instilling the necessary ethic to their students it can easily be entrenched in their (the students’) career routines. One of the ways that can be used to ensure that this is attained is through ensuring that the students have extensive theoretical and practical knowledge of their area of specialization. This coupled with personal post-training experience will determine how successful an individual’s career life will be. It should be noted that there is a difference between getting a formal academic accreditation and getting an education. The real point of training is to offer the student the opportunity to learn how to think and feel deeply about a particular profession in such a way that they can not only make a living out of it, but also make a life through the knowledge gained. The importance of curricula in defining growth All of the recognizable da nce curricula particularly at trainer/college level introduce individuals to the process of research in order to isolate knowledge that they can relevantly use in coaching their students. College education also trains students on how to practically deliver everything they have picked from theoretical sessions and how to face challenges and seemingly mundane activities with honor. Most of the value picked from college dance education is a representation of how much a student was able to apply him/herself to the course and endurance of the difficulties encountered (Barker 2008). As dance educationists, we are under constant pressure to decide whether to extensively expose our students to theoretical knowledge or to concentrate on the practical application of the basic knowledge garnered. However, it is vastly acceptable that an individual with credible certification in any professional field must be in a position to practically display his/her ability as well as explain the theory beh ind the actions he/she partakes in (McCutchen 2006). It therefore becomes the responsibilities of the tutor to identify those individuals with reading disabilities and finding ways of ensuring that they pick up the critical theoretical elements of the dance practice, even if it means having to give them audio notes and oral tests. The various dance curricula have their own delivery and presentation styles and it therefore becomes challenging for tutors to establish a general format that will appear appropriate across the board. Even with this bottleneck, individuals-particularly educationists- should have it mind that the most important element of the knowledge that the students are getting is that it puts them in a better position to reevaluate themselves irrespective of the cultural elements of the society in which they were raised in. The commercial benefits of a career should not be viewed as the primary driving force of an individual who prides in having gone through proper edu cation and formal professional training (Barker 2008). Instead, students should be made well aware that if they fully apply themselves to their jobs and deliver everything with professionalism, they will be able to supersede societal/cultural pressures and lead fulfilling career lives (McCutchen 2006). As a matter of fact, college/tertiary education enables students learn how to enjoy their lives outside their jobs as well as giving them the opportunity to pursue perspectives based on their personal intrinsic values. Students who are made to clearly understand the importance of entertaining ideas and perspectives eventually end up happy in both their professional and personal lives. While it arguable that individuals can still learn this outside an academic institutions, it has been proven that individuals who choose to pursue this route tend to spend a lot of time on certain irrelevant things before it dawns on them that they need to move on to the next agenda. It is therefore appr opriate, particularly in practical fields such as dance, that individuals enjoy some level of liberal education alongside the formal elements that can only be provided by academia (Carr 2003). Research has it that most practical skills are better picked outside of academia which tends to concentrate on giving theoretical and general education. However, most people will not have the drive and motivation it takes to learn a trade using this route. It is therefore the responsibility of the instructors to establish curricula and syllabi which will give their students both the ideal general knowledge to survive in the competitive ‘outside’ world as well as horn their skills in attaining professional competence in their respective trade. Role of the instructor/trainer in defining dance culture The design and creation of a dance curriculum is a reflective process that requires the tutors and instructors to actively engage in a number of questions that will focus on the strengt hs of the delivery process. Teachers should clearly know that the main goal of the training process is to enable their students develop proper creative and expressive techniques as well as adequate dance knowledge to see their careers develop from strength to strength (Carr 2003). From personal teaching experience, I have been able to understand the delivery and presentation of dance concepts are two independent but related elements of the practice. Like other traditional academic delivery syllabi, dance syllabi also focus on delivering certain concepts and elements in isolation. However, being one of the few professions whose products are clearly noticeable, the entire learning process for dance is aimed at ensuring that all the knowledge obtained in the different classes is integrated in performance. It is of paramount importance that students understand how to create performances based on the basic elements of dance that they pick up in class. The instructor/tutor is charged with the responsibility of ensuring that the students fully understand all aspects of the instruction, because the weakness of one component dramatically reduces the quality of the entire performance. The students should be able to have a clear perception of dance as well as place the different elements in their cultural and historical position based on relevance. In this way, the students will be able to understand and view dance as a form of art through the development of an awareness of spontaneous movement and they categorically understand the underlying principles and elements of dance. Through creative expression, students who have been well tutored in the dance art form are able to combine their knowledge on body sciences and fitness with dance elements to come up with presentations that are both impressive and professional. All of the syllabi analyzed earlier follow similar frameworks where students first learn the basic and simple movements of a given dance before progressing t o more complex aspects. Role of the student/trainee in defining dance culture While trying to establish the relevance and importance of certain elements to students, it is worth noting that the primary factor that will dictate the reception of information is the students’ personal approach to the knowledge they are receiving. Some individuals just take to formal education in order to get the bare minimum that will get them noticed by field agencies (Carr 2003). This mindset significantly reduces the gains they make from the training and it therefore becomes even more challenging for the instructor to try and get them to pick up knowledge that could adequately contribute to their personal development. With the limited number of employment facilities for dancers, educationists should make it their responsibility to ensue that their students define their career goals not only by the broad/sociological aspects of culture but using the evaluative elements. The latter will prepare them to creatively use the information garnered in school in establishing themselves as marketable individuals. This also means that even if they don’t get hired to work for other people, they could easily set out on their own and still earn a decent livelihood out of it. In this sense, an average student who has the drive and determination can easily end up starting his/her own agency and hire all the brilliant and fast students they were in training together. Societal participation in defining formal dance culture Most individuals particularly those in culturally ‘respectable’ professions tend to regard dance as a trade that does not necessarily require an individual to have gone through formal education to make it (Carr 2003). This misconception has in recent times come to be dismissed as it has been established that individuals can easily gain the varied life experience required understand the needs of the profession through proper education. Even the basic g eneral knowledge that students detest while in school will come in handy at some point in their lives irrespective of the chosen career path. It is also manifest that just a few individuals have the ability to learn on their own but even these persons need to have the basic groundwork which can only be founded on formal training. With the constant demand for degrees and other notable certification by employers and recruitment agencies, colleges and other training facilities have been pushed to accommodate individuals who would otherwise never have qualified for such education (Barker 2008). This heavily impacts on delivery as the limited facilities are overstretched demanding the instructors and tutors to concentrate on offering theoretical lectures. Unfortunately, some programs such as dance require enough practical lessons as this is what the world will use in analyzing the skills of the professionals who graduate from such fields. It is therefore the prerogative of the trainers, instructors and tutors to establish the relevance of the content they are presenting to their students as far as personal and professional growth is concerned. Good educationists will ensure that the knowledge they give their students sets the tone and confers on them skills to cope with the challenges of the profession (Carr 2003). It is unfortunate that individuals graduate from training facilities without the basic idea on how to practically apply the information garnered while their counterparts who chose to follow the longer way of learning through practice can cope with any of the challenges thrown their way. While it is admirable for tutors to focus on helping their students develop useful skills it is clear that with the rapid changes in society, such skills may lose relevance in a very short time. It is therefore important that curricula and syllabi be focused on turning students into well rounded individuals who can easily adapt to professional, societal and cultural metam orphoses. Summary In an effort to illustrate both the broad and narrow definitions of culture as applies in the dance profession, this essay has raised a number of critical issues as summarized below. First, there are three primary dance curricula which are well recognized in competitive dancing. These are the Dance Vision International Dance Association (DVIDA), United States Imperial Society of Teachers of Dance (USISTD) and Arthur Murray. All the three draw elements for their syllabi from how a given societal group used to present them. This goes in tandem with the sociological view that culture is a set of practices shared amongst a group of individuals with common characteristics and who end up defining how things shall be done within the group. As has been illustrated using an analysis of nine bronze level competitive dance styles some elements have been left out or added by each of the three curricula based on convenience and appropriateness to the performer. This supports th e evaluative view of culture in the sense that the teachers of particular syllabi have to establish which aspects are important to their students’ growth and which ones serve no definitive purpose. Coming to training accorded to dancers, it has in recent times come to the appreciation of individuals with diverse backgrounds that dance can be taken as a meaningful career. With this introduction of professional appreciation, diploma and degree programs have been set up to specifically offer proper training in dance. It is this kind of appreciation that has led individuals to seek academic certification and in the process learn which elements are necessary for their personal growth. While developing curricula for their students, teachers and other instructors are charged with the responsibility of ensuring that they determine which aspects of the training will be of relevance to each and every student in the class. As a result, they more or less dictate how the culture of their classes would be shaped as opposed to relying on hand down set ups. The training of dance professionals can be evaluated based on two elements. These are the delivery of the knowledge from tutor to students, and the presentation of the learned skills by the students. The latter is however entirely dependent on the former and it is with this knowledge in mind that instructors ensure that the syllabi and course outlines support elements that will put their students at a better place to learn. However, even with the tutors and instructors playing a critical role in how the information they present to the students will be received, the students themselves have to be willing to absorb the knowledge they are given. As a result, they also contribute greatly to how the skills they acquire become of relevance to them. In other words, the students are also responsible for how culture is defined within their places of learning. Society also has a critical role to play as far as the definition of culture and professional dance practice are concerned. This is primarily because most individuals tend to depend heavily on societal influences in establishing their career paths with most of them going against the desires of their hearts to join professions that they are not interested in. It is this desire to belong to a given cultural grouping that has for a long time caused performing arts such as dance to be seen as less important as compared to other careers. However it has been recently realize that the more society opens to change, the more people are comfortable going for professions that enhance their personal growth. Conclusion It is worth noting that culture is a constantly metamorphosing element of society. It undergoes changes from time to time and when it comes to professions such as dancing, the tutors and trainees end up dictating which aspects of the cultural practice are useful to them and which are not. This project has served to illustrate many key-note point s in regards to the importance of culture in dance training. The information obtained in the research has served to broaden personal knowledge on the profession particularly from an instructor’s point of view. This is the kind of knowledge that can be practically put to use whenever drafting syllabi and developing curricula. This paper has provided extensive data on the various aspects and elements of the dance profession and has illustrated how they ling to both the sociological and evaluative definitions of culture. Various elements of syllabi creation have been critically highlighted using data obtained from books and publications credited to various professionals in the field. This information has to some extent been broken down to such levels that individual who are non-professionals can easily pick out relevant bits of data from the essay and be in a position to relate them to their respective environments. The presentation has taken the form of a research process repor t by critically evaluating the topic of discussion with relevant explanations being given to evaluate concepts. The final product is a well laid out paper that if well reviewed can be used to provide background information to guide other professionals in their own projects on related topics. Reference List Barker, C. 2008. Cultural Studies: Theory and Practice. London: Sage. Carr, D., 2003. Making sense of education: an introduction to the philosophy and theory  of education and teaching. London: Routledge. McCutchen, P.B., 2006.Teaching dance as art in education. Illinois: Human kinetics This essay on Dance Education and Culture was written and submitted by user Lillianna Suarez to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

The Return of Martin Guerre essays

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The Iron Lady Movie Analysis In this paper, the writer is going to analyze a character named Margareth Thatcher in The Iron Lady movie. The Iron Lady movie is a biopic film which tells the journey of Margaret Thatchers life. Margaret Thatcher is a woman politician who has strong influence in the world. She was successful in trace the history as the first woman Prime Minister in England whom occupied that position for more than one decade. This movie shows many fluctuations in politic, economy, and social field in the arrangement of the government and society which happened in that time. Thus, it can be said that movie, one example of popular culture, is actually a cultural product which represents the societys beliefs, values, and norms. (Nachbar Lause, 1992). Williams (2010) says that there are some examples of popular culture which give a huge effect and become popular in over the world such as fashion, television, music, and movie. It can affect both positively or negatively. The writer choose Margareth Thatcher as the object of the writers study because the writer wants to reveal that in the past time even in recent days women are oppressed in a political field, they have not been given chances to show their ability to lead the society. However, Margareth Thatcher shows her ability to carry out the Britains government. Margareth Thatcher was born on October 13, 1925, in Grantham, England. She is the daughter of a local businessman who was introduced to conservative politics by her father, a member of the towns council. When she was in university, she served as a president of the Conservative Association. Two years after she graduated from her college, she accepted to work for public office. She ran as the conservative candidate for a Dart ford parliamentary seat in the 1950 elections. She was elected to be a leader of the Conservative Party in 1975. She served as the prime minister of England from 1979 to 1990. As a prime minister, she battled the countrys recession by initially raising interest rates to control inflation. She can run the country quite well marked with some progression that has been occurred in that time. Moreover, she shows her valor when she accepted to be the first female Prime Minister in England by a lot of contradiction come from the government and the society. Besides, she i s an inspiring leader for the writer. She exemplifies how a woman leader in reality ought to behave. The writer will discuss this character using the perspectives of women stereotype, oppression, and movement in accordance to Marxist feminism theory. The theory separates men and womens power in social and economic field. It also talks about power inequality between men and women in a society. From the film, Margareth Thatcher shows her desire to have the same right, chance, and position in the society where in that time women were usually been oppressed by the men. Therefore, the writer chooses to use this theory. Having considered the above facts, therefore the writer proposes a study entitled Feminism Analysis in Phyllida Lloyd (2011) Iron Lady Movie: A Study of Women Stereotype, Oppression, and Movement. Field of the Study This study belongs to both Literature and Film Studies. Scope of the Study This study will put limitations on what is going to be analyzed as follows: The writer will analyze the feminism side of a character in The Iron Lady movie, Margareth Thatcher, using Marxist feminism theory. The writer will analyze the cinematographic visualization in the film which confirms women stereotype, oppression, and movement towards the character. Problem Formulation / Research Questions This research aims to answer the following question: What are women stereotype, oppression, and movement which are defined in the film? What are the perspectives of women stereotype, oppression, and movement according to Marxist feminism theory? How does the cinematographic visualization in the film confirm women stereotype, oppression, and movement from the perspective of Marxist feminism? Objectives of the Study This research is conducted to achieve this objective: To reveal the women stereotype, oppression, and movement in the film. To define the perspective of women stereotype, oppression, and movement according to Marxist feminism theory. To show the cinematographic visualization in the film which confirms women stereotype, oppression, and movement from the perspective of Marxist feminism. Significance of the Study The writer conducts this research to inform the readers about what was going on in the past time toward women in England who were been oppressed by the men. Moreover, the writer also wants to give her assumptions and criticism concerning to the gender stereotype which happens in the society nowadays. Definitions of Terms To prevent misunderstandings towards this study, the writer will give some definition of terms which are related to this study. Film: Film is another word that means different things in different contexts: roll film, stock, a film, to film. We were all exposed to some kind of film before we saw our first example of classic moviemaking. It may have been something we saw on television: a cartoon, a Three Stooges short, a Lassie rerun. Or perhaps it was an educational film we saw in school or a theatrical film (a film intended to be shown in movie theaters). (Anatomy of Film, Bernard Dick, 1978, pp.1-2) Marxist feminism: Marxist feminism is organized around the basic conflicts between capitalism versus patriarchy and class versus gender oppression. Marxist feminism combines the study of class with the analysis of gender. (Feminist Theory and Literary Practice, Deborah L. Madsen, 2000, p.65) Stereotype: Stereotype is fixed ideas about individuals, groups or objects. Stereotypic thinking about sex-role related personality features is pervasive. Desirable features assign men to form a competence cluster, while womens features form a warmth-expressive cluster. (Broverman, 1972, as cited in The Dictionary of Feminist Theory, Maggie Humm, 1995, pp.277-278) Oppression: The experience of oppressed people is that the living of ones life is confined and shaped by forces and barriers which are not accidental or occasional and hence avoidable, but are sys ­tematically related to each other in such a way as to catch one between and among them and restrict or penalize motion in any direction. (Oppression and the Use of Definition, Marilyn Frye, p.3) Political movement: The activities about someone during a particular period of time or a group of people who works together to advance their shared political ideas. (Oxford Dictionaries Online) Cinematographic visualization: The essential techniques, methods, and elements people use to tell the story. (Cinematography Theory and Practice: Image Making for Cinematographers and Director, Blain Brown, 2011, p.3) Review of Literature There are some theories that can support the writers research, they are: Feminism in European Politics The difference between struggling classes and the ruling classes in Marxist teaching has clearly led each class to do social struggle. However, when we are speaking about gender roles in such a stratified society, the class struggle is simply a cause to gender stereotypes and exploitation. (Madsen, 2000) Gender stereotypes is actually a set of values of being proper and improper to be done by a woman which is functioned as a limitation These values often create an unfriendly environment or even such condition for women to take part in legal and social functions. Furthermore, it supports a condition that womens rights are susceptible to violation. There are many kinds of stereotypes and several reasons of stereotypes. According to Cook Cusack (2010, pp.25-28), there are three kinds of stereotypes, they are sex stereotypes, sexual stereotypes, and sex role stereotypes. Sex stereotypes, are supposedly based on the physical or biological differences. Sexual stereotypes are those based on the perceived characteristics that play a role in sexuality, including, for example, sexual initiation, intimacy, possession, and objectification while sex role stereotypes describes a normative or statistical view regarding appropriate roles or behavior for men and women. Josephson (2005) in her book Gender and American Politics: Women, Men, and the Political Process: Tolleson-Rinehart explains the examples of discrimination among women and men government workers in western legal system. She says that among others, women usually suffer in terms of peoples trust, media coverage, and self-inconfidence from their male counterparts. Based on Gelbs theory of feminism and politics: a comparative perspective (1989), there are two kinds of feminist movement in power-seizing political fields, they are the reformists and radicals. Both of them move based on their own ideology of how women should be participating in such conditions. According to Jonasdottir (1994), oppression based on gender stratification is similar to Marxist class division where the gender woman has been named as the second gender. Thus it makes women are vulnerable to discriminate based on what Marxism defines as materialistic and economic value. The conceptual tools of cinematography Blain Brown (2011, p.3) in his book Cinematography Theory and Practice: Image Making for Cinematographers and Director says that the tools of cinematography and filmmaking actually discuss the essential techniques, methods, and elements that we can use to tell the story. Some elements in cinematography visualization which can be used to support this study are camera angles, shot sizes, and techniques of framing. According to Bernard Dick, a shot is simply what is recorded by a single operation of the camera. He also states that it can also be defined in terms of distance. (1998, pp.36-37). In other words, shot is a matter of subjects size or amount in the frame. It embodies five types; they are close up (CU), extreme close up (ECU), long shot (LS), extreme long shot (ELS), and medium shot (MS). He also says that shots are also defined by the position of the camera in relation to the subject or what do we known as angle. It is determined by where the camera is placed. There are four types of angle; they are birds eye view, high-angle (h/a), low-angle (l/a), and oblique-angle. In framing techniques, there is a rule called rule of thirds. Rule of thirds is a guideline which applies to the process of composing visual images such as paintings, photographs, and designs. It proposes that an image should be imagined as divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. When we are photographing or filming people, it is common to line the body up with a vertical line, and having the persons eyes in line with a horizontal one. (2012, Rule of Thirds,  ¶.1). Method of Data Collection Analysis Method of Data Collection The writer uses film as the instrument of this study, documentary research as the technique to conduct this research and qualitative approach to analyze the object. The writer chooses such technique and approach because the writer wants to analyze the object in depth. Method of Data Analysis Thus far, the writer has done watching the movie and collecting the data. The writer has used library and internet resource to assist completing this research.

Dining Establishments And Eating :: essays research papers

Dining Establishments and Eating   Ã‚  Ã‚  Ã‚  Ã‚  There are many factors that may change your decision on choosing a place to dine. Some people dine out almost every night, and some people may dine out only once every month or so. People treat eating out differently than others. It all depends on the type of the mood, or the time the individual may have. There are many types of eating establishments that cater to the different types of occasions, from the more elite, to the brief luncheon, and to the fast outing.   Ã‚  Ã‚  Ã‚  Ã‚  For some people eating out is to be done in haste. For that type of people eating out is simple, done to avoid the time of preparation, and cleaning up a meal. Fast food is a quick, easy way to eat on the run, with a no frills atmosphere. These people are â€Å"on the run† with things that they must accomplish in a limited amount of time. Some fast food restaurants may include: Burger King, McDonalds, Subway, or Kentucky Fried Chicken. Fast food would be an easy solution to the problem of the time factor. Fast food can easily be recognized when you enter the parking lot. For fast food the parking lot is more accessible to people(less landscaping), more entrances and exit doors(for more saved time). Once entering the building one can distinguish a fast food restaurant, by the high traffic tile floors, plastic bench seating that does not move for comfort, and the poor taste of interior design with small amounts of decoration. These buildings were meant for eating quickly, and then leaving, visual impact is not a major concern. There will be no waiters to take your order. A line to the cash register is the only way to get your food, unless the decision of the drive up window is made. Food is often times pre-prepared to save time. Casual dining has more enjoyable food, and a more refreshed environment, with only a little more time involved. Some casual dining may include: TGIF† Fridays†, Dennys, or Eat and Park. Parking is a little further back, and more landscaping may be involved to have a grander appearance. When you enter through the only main entrance and exit door, wall to wall carpeting may be an option, and more lavish plants, and paintings. Instead of finding your own seat, a host will lead you to the section you prefer. The seating in some cases would be moveable for more comfort. In most, the seating is either plush cloth, or mostly padded vinyl, for comfort. Silverware would already exist on the table Dining Establishments And Eating :: essays research papers Dining Establishments and Eating   Ã‚  Ã‚  Ã‚  Ã‚  There are many factors that may change your decision on choosing a place to dine. Some people dine out almost every night, and some people may dine out only once every month or so. People treat eating out differently than others. It all depends on the type of the mood, or the time the individual may have. There are many types of eating establishments that cater to the different types of occasions, from the more elite, to the brief luncheon, and to the fast outing.   Ã‚  Ã‚  Ã‚  Ã‚  For some people eating out is to be done in haste. For that type of people eating out is simple, done to avoid the time of preparation, and cleaning up a meal. Fast food is a quick, easy way to eat on the run, with a no frills atmosphere. These people are â€Å"on the run† with things that they must accomplish in a limited amount of time. Some fast food restaurants may include: Burger King, McDonalds, Subway, or Kentucky Fried Chicken. Fast food would be an easy solution to the problem of the time factor. Fast food can easily be recognized when you enter the parking lot. For fast food the parking lot is more accessible to people(less landscaping), more entrances and exit doors(for more saved time). Once entering the building one can distinguish a fast food restaurant, by the high traffic tile floors, plastic bench seating that does not move for comfort, and the poor taste of interior design with small amounts of decoration. These buildings were meant for eating quickly, and then leaving, visual impact is not a major concern. There will be no waiters to take your order. A line to the cash register is the only way to get your food, unless the decision of the drive up window is made. Food is often times pre-prepared to save time. Casual dining has more enjoyable food, and a more refreshed environment, with only a little more time involved. Some casual dining may include: TGIF† Fridays†, Dennys, or Eat and Park. Parking is a little further back, and more landscaping may be involved to have a grander appearance. When you enter through the only main entrance and exit door, wall to wall carpeting may be an option, and more lavish plants, and paintings. Instead of finding your own seat, a host will lead you to the section you prefer. The seating in some cases would be moveable for more comfort. In most, the seating is either plush cloth, or mostly padded vinyl, for comfort. Silverware would already exist on the table