FREE FASHION ON TELEVISION IDENTITY AND CELEBRITY CULTURE 1ST EDITION PDF

Helen Warner | 9780857854414 | | | | | Effects of television viewing on child development | Britannica

Effects of television viewing on child developmenthighly contested topic within child development and psychology involving the consequences for children from the content of and the duration of their exposure to television TV programming. It is difficult to argue that youths are not affected by what is broadcast on television. However, it is equally difficult to Fashion on Television Identity and Celebrity Culture 1st edition particular shows or genres of programming as causing specific behaviours in children without considering the innumerable amount of alternate influences that may have an effect on their actions. Some have argued that television clearly has negative effects on youths—such as violent programming resulting in children who are more fearful, more aggressive, or more insensitive to the suffering of others—whereas others believe that such effects are, at best, ambiguous. Although it is uncertain which perspective is right or wrong, it is quite certain that the debate continues to galvanize social scientists, parents, and politicians in the United States and elsewhere. In the Columbia Broadcasting System CBS sponsored a study conducted by Rutgers University that found that television increased family unity and cohesion, did not promote viewer passivity, and did not Fashion on Television Identity and Celebrity Culture 1st edition other valued diversions, such as outdoor activities and social interactions. That landmark report was one of the first and most widely disseminated of its kind, and several more would follow in the forthcoming decade. Soon, however, questions were raised about whether television viewing decreased dialogue between children and parents and whether children could be expected to maintain academic progress as their average total viewing time increased to more than 20 hours a week. Eventually, broadcasters capitalized upon those youthful watchers by developing targeted programs such as puppet shows and Saturday morning cartoons. Although those were highly popular, many children—especially those from households that provided minimal parental involvement in viewing choices—were also watching wrestling shows, TV westernsand mystery-crime dramas, all of which incorporated a significant amount of violence into their story lines. That, in turn, raised even more concerns about the impact of television on American youth. Throughout the following decades, psychologists, sociologists, criminologists, and other social scientists have argued a number of different perspectives with respect to whether television violence facilitates or triggers violent behaviours in children. Some believe that watching violence on television likely causes a significant number of children to behave violently. Others have agreed that this may be true but that it is so only with children already susceptible to exhibiting violence. As a result, some Fashion on Television Identity and Celebrity Culture 1st edition argued for tighter controls, either voluntary or legislative, concerning what should be allowed on the airwaves. The debate of whether violence on television begets violence in children may be the most-salient issue, but some social scientists argue that television programming has negative effects on children beyond promoting aggressive behaviour. For example, television shows appear to perpetuate gender and racial stereotypes and offer young viewers a distorted perspective of how the world works and how people behave. Several studies have correlated television with deficits in attention and focus and have revealed negative correlations between test scores and the number of hours of programming watched. Health care professionals have also weighed in on the television debate. They believe that children who spend more time watching television are going to spend less time engaging in physical activity. Additionally, psychologists argue that the large amount of time spent watching TV threatens the cohesiveness of the family. Despite all the negative influences attributed to television, some commentators note that the medium can have a positive effect on youths. For instance, television programs are quite commonly used in school classrooms, and teachers may use educational videos or segments recorded from network broadcasts to accentuate their lessons and provide learning avenues for children with different learning styles. Because of the television-viewing habits of youths, some legislators have advocated for stricter regulation of what is shown on TV. In the United States inCongress mandated that V-chipsdevices that parents can use Fashion on Television Identity and Celebrity Culture 1st edition block programming inappropriate for children, be installed in every television set produced after Studies indicate that most parents do not use the V-chip, which may render the effects of such legislation negligible. Although members of the television-broadcasting community have been largely compliant in providing ratings and guidelines for their shows, they generally challenge governmental attempts to restrict their product. In essence, they argue that television is part of the free-enterprise system, and any attempt to control its content violates constitutional principles. They argue that their programming reflects events and actions already taking place in the world and is not their cause. Critics of that position argue that most countries have laws that ensure that television programming is regulated in order to make certain that what is aired does not contradict laws guarding against public indecency and obscenity. Effects of television viewing on child development Article Additional Info. Article Contents. Print print Print. Table Of Contents. Facebook Twitter. Give Feedback. Let us know Fashion on Television Identity and Celebrity Culture 1st edition you have suggestions to improve this article requires login. External Websites. Michael C. See Article History. Get exclusive access to content from our First Edition with your subscription. Subscribe today. Learn More in these related Britannica articles: child development. Child developmentthe growth of perceptual, emotional, intellectual, and behavioral capabilities and functioning during childhood. The term childhood denotes that period in the human lifespan from the acquisition of language at one or two years to the onset of adolescence at 12 or 13 years. A brief treatment of child development…. Psychologyscientific discipline that studies mental states and processes and behaviour in humans and other animals. The discipline of psychology is broadly divisible into two parts: a large profession of practitioners and a smaller but growing science of mind, brain, and social behaviour. Television TVthe electronic delivery of moving images and sound from a source to a receiver. By extending the senses of vision and hearing beyond the limits of physical distance, television has had a considerable influence on society. Conceived in the early 20th century as a possible medium for education…. History at your fingertips. Sign up here to see what happened On This Dayevery day in your inbox! Email address. By signing up, you agree to our Privacy Notice. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Why work with one celebrity when you could work with ten? - Style - Images

Korean pop culture, consumed globally and known by the name Hallyu, primarily involves music, television and aesthetic preferences and is. Korean pop culture, consumed globally and known by the name Hallyuprimarily involves music, television and aesthetic preferences and is much more than a virally popular entertainment trend. The history of Korean pop music reaches back to the 19th century, when a Western missionary called Henry Appenzeller introduced British and US folk songs with the lyrics translated into Korean to the local population. During the Japanese occupation —45patriotic songs were banned to prevent Fashion on Television Identity and Celebrity Culture 1st edition common people from undermining the colonial power. In the post-war years, American pop music reached Korean ears through the US forces stationed in the newly freed South. One of the first success stories was a group called The Kim Sisters, which consisted of two sisters and a cousin. They performed in bars and clubs for US troops to earn extra money for their families. In the past, heritage was expressed through language, but recent years have seen familiar folkloric details displayed in melodies, choreography and the visual elements of music videos, such as costumes e. Historical and cultural aesthetics are modernised to empower heritage in the eyes of globally-minded Korean youth. The standards for writing music, producing videos and performing dance numbers are high. Great demand allows companies to pick the best of competing professionals so as to shape multilayered and complex conceptual art and aesthetics. The industry frequently cooperates with Western artists, drawing attention to East Asian music, while performers are under increasing pressure to perform in English to win over new audiences, which may cause them to sacrifice their unique cultural characteristics. K-pop, which is predominately performed in Korean, has created massive interest in the Korean language and culture worldwide—so much so that the South Korean government has established language institutes in 50 countries. K-pop is a counterstrike against the incorrect image proliferated through US films that represent all East Asian people as shy, uncreative, dull, a- or hypersexual, geeks or ninjas. Moreover, the genre, which has cross-cultural appeal, has improved the image of East Asians born and raised in Western countries who have been previously socially marginalised. In addition to creating a wider selection of career choices, K-pop has introduced ancestral culture to younger generations who might not have come across it. Moon Jae-in, the current president of South Korea, knowingly makes use of K-pop to strengthen diplomatic ties with the US. While many Western celebrities have refused to meet Trump on ethical and political grounds, Korean stars have no such choice, given their every move is controlled by their employer. This was the first time in over a decade that South Korean artists had performed in North Korea. In rare cases, K-pop also creates foreign-policy incidents. To maintain this illusion and prevent fans from becoming irrationally jealous, performers are often prohibited from dating, at least at the start of their careers. Holland, who made his independent debut inand stands up against discrimination and suppression, is one of the few openly gay idols. He says that K-pop often fantasises about same-sex love, but at the same time it is ironically a sensitive subject and a taboo. This is why plastic surgery is common among both female and male performers. The cult of beauty increases the already fierce competition in the jobs market, since appearance is considered important in hiring even for jobs where looks are of no consequence. For that reason, people pay a lot of attention to their looks, not so much out of vanity but because they want to be successful and socially accepted. The most noteworthy beauty standards are having an extremely light skin and slim figure, which does not come naturally for many Koreans. Leaving elitism aside, it undoubtedly also has connections to white Western imperialism and outright racism. For the same reason, some of the most popular local plastic surgeries that reference European facial characteristics without actually emulating them —creating an ideal double eyelid and making the nasal bridge more pronounced—are a result of internalised racism. Even they are often bad-mouthed because of it or fetishised for appearing exotic. The idealisation of being thin is so extreme that even people of normal weight are criticised in society and the media, especially women, celebrities and even young teen K-pop artists e. Artists are often forced to practically starve, as the industry trains them to excess until they faint on stage. Despite this, the bodies of K-pop artists, especially female stars, are like national property to take pride in or criticise. Female artists are sexualised in an especially objectifying way typical of a capitalist patriarchal society. Although an illusion of a strong and independent female performer is created to boost sales, when a solo artist like Hyuna expresses her sexuality as they want to, labelling and outrage follow. Women are expected to be mild, extremely polite and sometimes even childishly innocent aegyo in Koreanwhile men are allowed to show more of their character. For example, when Irene of Red Velvet said that she read a feminist book, many male fans organised a childish protest and burned her photos. In the case of male idols, distancing themselves from traditional Confucian masculinity and breaking gender stereotypes, especially in terms of appearance gender-neutral clothing, normalising make-up and dyed hair for men but also in creative work e. This is one of the main reasons why teenage girls and young women identify with them, which has boosted their global popularity in addition to the musicgiven that misogynistic hyper-masculinity is no longer considered acceptable or attractive thanks to the increasingly widespread adoption of feminist principles. On the one hand, the ideal is to have a slim but archetypically masculine athletic figure, while on the other, male performers are supposed to have almost androgynous soft facial features. Thus, combining traditional gender normative sexiness and romanticised innocence may be considered the central characteristic of K-pop in terms of both beauty and behavioural norms. Although K-pop groups increasingly include more non-Korean artists, their employers are often xenophobic and discriminatory, which is one of the reasons why three of the four Chinese members of EXO sued their company and left the group they are now enjoying success back home. The last may seem an innocent hair style, but one must take into account that this is one of the traditional ways to style Afro-textured hair. These major and minor issues create dissonance with K-pop amongst the international fan Fashion on Television Identity and Celebrity Culture 1st edition, who are culturally Fashion on Television Identity and Celebrity Culture 1st edition knowledgeable, since—while the racist and xenophobic mocking of Fashion on Television Identity and Celebrity Culture 1st edition cultures in order to earn a profit by emulating them is increasingly criticised in the West—the K-pop industry mostly ignores criticism or refuses to understand it, not to mention self-reflection or apologising. Performers are frequently barred from having a say in choosing the styles intended for them, which makes it difficult to find the real culprit in this issue. This is why many black fans of K-pop are deeply disappointed and alienated by the genre, which imitates their culture without respecting them. Ignorance is often excused by the fact that Korean culture existed in isolation for a long time but, given the current K-pop industry, which has a global reach and has borrowed extensively from other cultures, the ignorance seems knowingly cultivated. Pre-teen would-be stars talent-scouted by companies among massive competition often sign so-called slave contracts, which used to be valid for more than ten years. However, in the duo TVXQ sued SM Entertainment for an unfair year contract that barred them from earning any money from albums that sold fewer thancopies. Inthe fines that companies could legally demand for cancelling a contract were reduced and pressuring performers into extending agreements was made more difficult. Nevertheless, almost the entire earnings of new performers are often taken by the company to compensate for training and launch costs, so that artists may effectively work for nothing for years before they earn anything at all. Training performers to sing, rap, dance, act, speak foreign languages, perform and so on may take years. The trainees, who live in ascetic dormitories, are often prohibited from communicating even with their parents and friends. Systematic physical and sexual abuse is widespread in the K-pop industry. Over four years, they were beaten with a baseball bat and tortured with guitar strings tied around their necks, among other things. Sexual abuse, even procurement, is an even bigger issue in the Korean entertainment industry. It is known that Jang Suk Woo, the owner of a smaller K-pop company, sexually harassed and raped at least ten female artists, some of whom were minors. Inactress Jang Ja-yeon, who was forced into prostitution, committed suicide because of it. It was suspected that drugs were sold aided by police corruption in the Burning Sun nightclub owned by Seungri, the by-now former member of K-pop group Big Bang. He was convicted of providing prostitutes at the club to potential foreign investors. Ignoring mental illness is prevalent not only in the K-pop industry, but in Korean society as a whole. South Korea has the highest suicide rate in the world, since few people seek psychiatric help. In his radio show, Blue Nighthe offered a kind of a therapy session to listeners, sharing advice to alleviate their troubles. Together with a sense of inferiority created by the cruel entertainment industry, this false claim convinced Jonghyun that he was to blame for his mental illness, and he lost hope Fashion on Television Identity and Celebrity Culture 1st edition recovery and believed that his depression was the result of his total personal failure, not a chemical imbalance of the brain that was at least partially curable. Several other leading Korean celebrities have taken their own lives and it is feared the tendency will continue until adequate psychiatric help becomes available, the success culture that causes so much stress is reduced, and dangerous social prejudices are disproven. The power of the public and K-pop companies to dictate the behaviour of stars and the objectified image of idols cultivated by the companies have created an at times problematic fan culture that is obsessively possessive of artists who are no longer seen as ordinary human beings. Until recently, K-pop was exclusive outside Korea, which made being a fan almost an elitist and special hobby. Many fans start learning Korean and studying the culture owing to K-pop, but some extreme fans idealise everything related to Korea in a superficial and stereotypical manner based on the genre. Some even want to become Korean. In Korean society, being Korean primarily means being born in the nation, not obtaining citizenship. Identity is intrinsically connected to ethnicity, which is why fans who are mockingly called koreaboo sometimes also imitate Korean features. Even though this is not malevolent behaviour, such a Fashion on Television Identity and Celebrity Culture 1st edition is actually offensive to and harmful for Koreans since it is fetishist, cements stereotypes and generalises the entire Korean culture on the basis of the industrial K-pop genre. The phenomenon of koreaboo has given rise to a wave of fetishism directed at people of Korean and East Asian origin in the West. On the one hand, it is very positive that other kinds of beauty are idealised besides European standards, which have dominated the world thus far under the influence of Western imperialist racism. On the other hand, Western fans of K-pop increasingly frequently deem all Asian people Koreans solely on the basis of their racial characteristics and identify them with K-pop artists even though the similarities are minimal, even going as far Fashion on Television Identity and Celebrity Culture 1st edition stalking people of Asian origin. Many Western fans try to make friends or engage in romantic relationships with people of East Asian origin just because of their ethnic background and appearance. It is especially detrimental because Western racism against East Asian people manifests itself in seeing them as a monolithic mass, due to which the aforementioned fetishism contributes to erasing the individual personal level even further. Given the almost dystopic and inhuman Fashion on Television Identity and Celebrity Culture 1st edition of the K-pop industry, what is it that these numerous fans identify with besides the music? The genre is probably so popular because a large proportion of the artists belong to bands or groups that work and live together for years or even decades, which creates Fashion on Television Identity and Celebrity Culture 1st edition unique group dynamic between them. It creates a sense of belonging with the groups as well as fandoms for the fans. Numerous concerts, autograph sessions and other special events, as well as participation in large fan clubs, facilitate closeness between performers and fans. Any listener to K-pop with a working moral compass at some point faces the dilemma of how to support these talented artists without financing the unethical industry to which they belong. There probably are K-pop stars who are genuinely happy about their careers, but there are more who suffer in this semi-authoritarian stressful environment that values profit over people than those who thrive in it. It is to be hoped that fans and the media Fashion on Television Identity and Celebrity Culture 1st edition able to make the authentic voices of the idols heard and can stand beside them when cases of injustice and inhumane treatment are revealed. Most of the dark side of K-pop remains behind closed doors, which means that if the industry Fashion on Television Identity and Celebrity Culture 1st edition not systematically forced to adopt more humane principles, nothing will change. Creating art to serve the capitalist appetite for profit never justifies human sacrifice, and no artist, no matter how commercially minded, deserves to suffer. You must be logged in to post a comment. Claudia Valge. Maari Hinsberg. Roots of Korean Pop Music The history of Korean pop music reaches back to the 19th century, when a Western missionary called Henry Appenzeller introduced British and US folk songs with the lyrics translated into Korean to the local population. A Challenge to Western Stereotypes K-pop, which is predominately performed in Korean, has created massive interest in the Korean language and culture worldwide—so much so that the South Korean government has established language institutes in 50 countries. Contractual Slavery Pre-teen would-be stars talent-scouted by companies among massive competition often sign so-called slave contracts, which used to be valid for more than ten years. Physical and Sexual Violence Systematic physical and sexual abuse is widespread in the K-pop industry. Problematic Fan Culture The power of the public and K-pop companies to dictate the behaviour of stars and the objectified image of idols cultivated by the companies have created an at times problematic fan culture that is obsessively possessive of artists who are no longer seen as ordinary human beings. The Phenomenon of Koreaboo and Fetishism Until recently, K-pop was exclusive outside Korea, which made being a fan almost an elitist and special hobby. The Unregulated Chaos of Capitalism Any listener to K-pop with a working moral compass at some point faces the dilemma of how to support these talented artists without financing the unethical industry to which they belong. Filed under: Paper issue Tagged with: Asia. No Fashion on Television Identity and Celebrity Culture 1st edition yet, add your voice below! Add a Comment Cancel reply You must be Fashion on Television Identity and Celebrity Culture 1st edition in to post a comment. The Capitalist Control of K-pop: The Idol as a Product – ICDS

Ten years on, and it Fashion on Television Identity and Celebrity Culture 1st edition grown to become one of the defining series of our age, helping to make drag a mainstream artform like never before. In the US, there have been 11 regular series, as well as four All Stars series, which now fill the gaps between the regular seasons, and feature the return of popular ex-contestants for another shot at a title. Now, RuPaul is making the franchise truly international by rolling out a series of spin-offs — there have been two series of Drag Race Thailand, while this week comes the launch of Drag Race UK; Drag Race Canada and Australia are set to follow. But, of course, there is far more to the drag scene than a television show. In his new book Drag: The Complete StoryNew York-based fashion writer Simon Doonan offers both a vibrant history of drag — from Ancient Egypt onwards — and a celebration of what he sees as its reinvigoration over the past decade. He has long been a drag artist himself, and drag is one of his specialist Fashion on Television Identity and Celebrity Culture 1st edition of academic research; he is currently co-editing two essay collections on the subject, due for publication inone of which will delve into contemporary practices across the globe. Firstly, there are the looks it favours. Then there are the specific types of performance it platforms. Amrou Al-Kadhi, aka Glamrou, is a drag queen who founded and performs with drag troupe Denim, one of the most acclaimed UK acts of the moment. As well as the paradigm of drag that Drag Race promotes, there has long been debate about who gets to take part in its glitzy parade in the first place. There have certainly not been any drag kings, or performers with masculine personas, on the show as yet. InRuPaul said in an interview with the Guardian that he would probably not allow a trans female contestant on the show, if they had started a medical transition; he subsequently apologised for his comment. More generally, some of the high-gloss varnish of the original has been chipped off. But, distinctly British though it may be, whether it really reflects the creativity of the UK scene is another matter. Indeed, Al-Kadhi says that the acts they find most exciting on the London scene at the Fashion on Television Identity and Celebrity Culture 1st edition are invariably non-binary people of colour as Al-Kadhi also is. Among the queens who get selected, there is, perhaps, an emphasis on youth over experience: one contestant in the new UK line-up, year-old Scaredy Kat, early on declares she has never performed before, while the oldest queens are Similarly, Edward warmly recalls the kind of mentorship that helped him starting out as a drag queen in the lates. To look beyond the specific criticisms that can be levelled at Drag Race, the bigger question is: does it really matter if it is a poor representation of the drag scene? In the same way that American Idol or The Voice may not provide an accurate or particularly edifying guide to modern pop music, expecting a mass-market reality TV show of any kind to be enlightening about their chosen field may be wishful. Yet, when it comes to Drag Race, there is more at stake for the drag world as a whole, given how relatively few other major platforms it has — and therefore its influence is potentially more pernicious. Alongside the annoyance of audiences expecting to see Drag Race-esque performances, Al-Kadhi's fear, which they wrote about in the Guardian last year, is that Drag Race UK could create a two-tier economy. And what does that do to all the other drag queens? US drag queens, certainly, have reported such an effect: season 7 contestant Jasmine Masters notoriously released a videofollowing Fashion on Television Identity and Celebrity Culture 1st edition appearance on the show, in which she described how she went on the show in order to get a pay rise after she found her stock falling. That type of thing bums me out, because there are so many legends here in San Francisco. Fundamentally, also, drag could be seen as an artform that has thrived off being outside the mainstream — so where does that leave it when it seemingly loses Fashion on Television Identity and Celebrity Culture 1st edition transgressive status? Mark Edward has always understood drag as inherently disruptive and counter-cultural. As a young man, he also immersed himself in the blooming acid house movement and its illegal raves — and he says that, from the very beginning, its anarchic spirit influenced his performance work. Inhe lived as Gale Force in a run-down council house installation as part of the Homotopia festival in Liverpool. In any case, like all pop-cultural phenomena, Drag Race will undoubtedly have a shelf life. It may have to shake up the formula in order to stay fresh, though, and that could be why in the end, cynics might suggest, doing better on diversity will simply become good business sense. Did you enjoy this story? Then we have a favour to ask. Join your fellow Fashion on Television Identity and Celebrity Culture 1st edition and vote for us in the Lovie Awards! It only takes a minute and helps support original, in-depth journalism. Thank you! Love TV? If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message us on Twitter. And if you liked this story, sign up for the weekly bbc. Share using Email. Bookmark this article. By Hugh Montgomery 2nd October The glitzy reality TV contest is one of the defining shows of our age. But, as a UK version launches, what has its impact been on the artform of drag as a whole, asks Hugh Montgomery. An explosive new age But, of course, there is far more to the drag scene than a television show. Some forms of drag have been rejuvenated and revived and there are [people] developing whole new lines of performance practice — Mark Edward, drag academic and artist. We do get a lot of straight audiences at our show who Fashion on Television Identity and Celebrity Culture 1st edition the one thing and actually get something quite different — Amrou Al-Kadhi, aka Glamrou. When I think about the drag performers that are the best that I know, they're not on the show — Amrou Al-Kadhi, aka Glamrou. We need community between queer people, not competition so that straight people can have a good time watching us be bitchy — Amrou Al- Kadhi, aka Glamrou. Around the BBC.