Animation And Printed Material N HMNT 3001C Walden Universit ✓ Solved

Animation and printed Material N HMNT 3001C Walden University

How the distribution mechanism control the issues addressed in the content of the artifacts. The media is very significant in the perpetuation of ideologies and norms that concern a number of societal issues such as gender especially through animation and printed material artefacts. This is through the use of images, and also characters that depicts a conscience representation of ideas and values. Basically, the animated and printed media artefacts are neither neutral nor objective in their impartation of various ideologies. It is also important to note that the media is a mix of the reality of what happens in the society as regards issues of gender and the conveyance of ideas on the same.

The animated artifacts and also the print media artefacts heavily present their genres and gender stereotypes through well designed images and other representations. Whether through the fictional media, those involved in their production make choices that offer light to the audiences on the use of characters and their features. Different meanings around the issues on gender are represented by the animated and print media artefacts and that plays a major role in creating meaning and value around the same matter. The media just act as a channel of distributing what has come from the corners of power and that are intended to direct shape the and understand the people and cultural practices that surround us.

Control of the distribution of popular culture artifacts/elements. The control of the distribution of the animated and printed material artefacts on issues such as gender is largely controlled by the several parties that take part in the production of the contents. These include the screen writers, directors, those who design the costumes and also the casting agents. Working interdependently, they are responsible for the choices that purpose to help the audience better understand the characters and what they stand for. This is through a number of methods such as the use of clothing and relevant makeups as well as the character speakers.

The other role they play is making deliberate choices on the stories they tell and other frames for storytelling which is non-fictional. On the same part, the Federal law strictly prohibits any distribution of content that is obscene, indecent and profane through the animated or printed material artefacts. The law put further diction on what artefacts are obscene, indecent and profane at the same time.

Ways that the controller of distribution affect the shared experience of the audience and community. The use of animated and printed material artefacts aid in the sharing of meaning by the use of symbolic messages that reach a wide audience and the regional community at large. It becomes hard sometimes to get the difference of the messages conveyed since individuals can share some messages that are only meant for particular recipients in a given region. The way some gender-based information for instance is distributed to the receivers could cause an overlap of communication and the final message shared out. The distribution affect how people who belong to the same level such as working class receive the information and their utilization of it to derive some idea on issues that affect them regionally. Through the enforcement of the federal law on obscenity, indecency and profanity, the content that reach an intended audience in a certain region may be shared in a restricted manner such as late hours of the day to avoid reaching the young children for instance.

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In examining the impact of animation and printed material on societal perceptions of gender, it's essential to understand their role as both reflectors and shapers of ideology. The artifacts of popular culture, specifically animated series and printed materials like magazines, reinforce and challenge gender stereotypes while also influencing public attitudes. This analysis focuses on two significant artifacts: the television series "Bewitched," which aired in the 1960s, and the more contemporary film "Everything But A Man." These narratives provide insight into changing societal norms concerning gender and the ways in which distribution mechanisms control representation.

"Bewitched," which premiered in 1964, presents a storyline of a witch who is torn between her magical identity and her role as a homemaker. It epitomizes the societal expectation of women to embody domesticity, often reducing their identity to that of a supportive spouse. The main character, Samantha, is portrayed as powerful due to her magical abilities yet is confined to domestic duties, reflecting the cultural narrative of women during this era—a time when the feminist movement was emerging but not yet fully realized (Kirkham, 2017). Through its portrayal of gender roles, "Bewitched" offers a critique of the limitations placed on women and illustrates how media artifacts reinforce traditional gender stereotypes while simultaneously offering glimpses of resistance.

Conversely, "Everything But A Man," a film from the early 21st century, explores more complex themes around gender identity and professional independence. The protagonist, a successful career woman, navigates a romantic relationship while managing societal expectations regarding her roles as a partner and an employee. Despite the film’s modern setting, it still grapples with underlying issues of gender bias and the expectation for women to fulfill both professional and domestic roles—indicating that while progress has been made, stereotypes persist (Johnson, 2018). This duality demonstrates the influence of both historical and contemporary artifacts in shaping the narrative surrounding women's roles in society.

The distribution mechanism of these characters and their narratives is controlled by numerous factors including writers, producers, and financiers who dictate what stories are told and which ideologies are circulated. The pressure from stakeholders often results in nuanced portrayals of gender that can either challenge or conform to societal norms. The selection of themes, characters, and settings in both "Bewitched" and "Everything But A Man" illustrates how the intentions of creators can impact audience perception. For example, "Bewitched" emphasizes domesticity as an ideal while offering a critique of that same ideal; however, "Everything But A Man" struggles to break free from the past, reflecting ongoing societal debates about gender (Thompson, 2019).

Furthermore, the distribution practices also adhere to legal parameters set by federal laws regarding obscenity and indecency. For example, content deemed inappropriate for younger audiences is restricted, thereby controlling the messages that reach different demographic groups. This can limit discourse on gender issues, particularly if content is withheld or aired during non-peak hours to avoid younger viewers. Such restrictions significantly affect how social narratives around gender are formed and propagated within a community (Federal Communications Commission, 2013).

The role of animated and printed material in shaping gender perceptions is crucial. Such media artifacts serve as critical vehicles for the dissemination of cultural values, often reinforcing stereotypes through repeated imagery and narratives. Yet, they also offer pathways to challenge and redefine these very constructs. In analyzing how these artifacts control and influence gender perception, it becomes evident that the journey from traditional portrayals to more complex characters is fraught with challenges, but also ripe with potential for societal change.

In conclusion, both "Bewitched" and "Everything But A Man" serve as mirrors reflecting the evolving landscape of gender roles in society. The media distribution mechanisms heavily influence the messages conveyed and the ideologies perpetuated within society. As we continue to engage with these artifacts of popular culture, it is imperative to critically assess the impact they have on our understanding of gender, power dynamics, and societal norms. To foster a more equitable representation, both creators and consumers of media must remain vigilant in questioning the narratives presented to them and strive for a more inclusive portrayal of gender.

References

• Federal Communications Commission. (2013). Obscene, Indecent and Profane Broadcasts. Retrieved from www.fcc.gov
• Johnson, A. (2018). Modern media and the representation of women: A thorough analysis. Journal of Popular Culture, 51(3), 500-520.
• Kirkham, H. (2017). Gender roles in television from the 1960s to today: A retrospective view. Television & New Media, 18(7), 560-575.
• Thompson, R. (2019). The evolving portrayal of women in media: The case of animated series. Feminist Media Studies, 19(4), 607-620.
• Bordman, B., & Johansen, C. (2020). Breaking the mold: Women's roles in film and animation. Arts Journal, 9(2), 202-215.
• Stokes, D. (2021). Understanding Gender Dynamics in Popular Culture. Gender Studies Review, 5(1), 34-48.
• McRobbie, A. (2022). Feminism in the Age of Social Media: A New Perspective. Media, Culture & Society, 44(5), 715-734.
• Valentine, A. (2019). Rethinking gender in animation: New narratives and representation. Animation Studies, 14(1), 12-27.
• Guins, R. (2014). Themed issue: Marshall McLuhan’s Understanding Media: The Extensions of Man @ 50. Journal of Visual Culture, 13(1), 1-10.
• Sayers, D. L. (2020). Behind every great man: The overlooked contributions of women. Feminist Thought and Theory, 8(2), 67-82.