These are the posts I want to put forward: 

Language (Dis)Abilities and Representation

Language, Identity & Social Media

Discourse & Idiology

Week 1: Introduction

https://www.telegraph.co.uk/education/2018/04/17/emojis-ruining-english-language-young-people-rely-communicate/

 
My comment:

The English language will forever be evolving in order to adapt to the modern climate. Like many living organisms, the ability to change is what enables it to survive. Modern communication is now instant. In most low register communication, conversations are short, swift, and to the point. This means that writers must find new ways to show meaning as efficiently as possible, and as they say “a picture is worth a thousand words”. Emojis are the fastest way to show meaning whilst only tapping once on the screen of your phone.

 

Although some may argue that the use of emojis is ruining the English language, leaving the newest generation with poor communication skills. However, the youth’s latest iconographical argot is simply a modern adaptation of what we all did in our younger days. Much like our parent, parents of today are out of the loop and do not like it.

My analysis:

My comment above argues that the introduction of emojis to the English language is simply a modern adaptation of how the younger generation uses images to communicate.

The positive simile, referring language to a living organism, is an example of pathos, as the audience creates a personal connection with language. The use of pathos increases the chances of the audience agreeing with the writer’s statement.

 

The following sentence “modern communication s now instant” presents a metaphor as if it was a fact (logos), giving the audience no opportunity to argue with the sentence. Furthermore, the short sentence structure demonstrates how fast information is presented in the modern ages.

After which I have used the term “low register communication” in order to increase my credibility. By including the jargon “low register” I am seen to have knowledge in the English language beyond the common speaker, creating ethos. This effect is echoed in a later sentence when stating ” the youth’s latest iconographical argot is simply a modern adaptation…”.

 

I do address the opposing view that emojis are ruining the English language, but I make it appear to be a hyperbolic view, held by those of the older generation who are “out of the loop” and are merely echoing the concerns of the generation before them. This reduces the credibility of the opposing view by making it relatable to most audiences who have experienced a battle on the language they used at a younger age.

 

 

 

 

 

 

 

I have chosen to create a flyer to promote an 80’s night at The Haunt in Brighton. The flyer shows white typography in a modern, funky font which suits the 80’s disco theme. The font size is significantly larger than the rest of the text on the flyer, this draws the audience’s attention to the key information.

Repeatedly using the number 8 links in with the 80’s theme, including the opening time of 8pm, the date “8 May” (which when transferred into a numerical date makes 8-05, looks like “80’s”.

I have included additional information about the event on the right side of the leaflet (as humans naturally read from left to right) in a smaller font. This makes sure that the attention is not drawn away from the larger main text on the left.

The bright lights and colours mimic the lights used in a disco. This shows the audience what they can expect from the 80’s night. The bright colours create connotations of fun, excitement and enjoyment which would appeal to an audience of 18-29-year-olds.

 

Finally, the inclusion of the social media icons in the bottom right corner of the leaflet allows the audience aware that the event will be promoted online. The audience can also find further information about the events on social media, and share the information with their friends.

The T.V. series “American Horror Story” (AHS) is no stranger to controversy and chilling stories. In this post, I will be looking at one of its star characters of the first series, Adelaide ‘Addy’ Langdon, played by actress Jamie Brewer.

Brewer’s character is seen multiple times throughout the series, each time expressing the same desire “I wanna be a pretty girl”. This drives her whole character ark as she sneaks into the neighbour’s bedroom, admires beauty magazines and influences her choice of Halloween costumes.

“One way to work on increasing your sense of belonging is to look for ways you are similar with others instead of focusing on ways you are different.” (Karyn Hall Ph.D, 2019)

Hall’s comment can be seen in Brewer’s character. Due to her differences, she is isolated by her mother (played by Jessica Lang) only letting her out on Halloween when she masked as a “pretty girl”. This horrible representation of societies attitude to people considered different are treated is countered by the relationship between Addy and Violet (played by Taissa Farmiga).

Farmiga plays Addy’ neighbour, however, almost plays more of a ‘sister-role’ to Addy. She treats her neighbour like any other person, looking past what makes her different. The scenes with this kind of interaction are always wanted juxtapositions to the typical dark, gothic shots used through the series. This reflects the positive results made by the acceptance and inclusion of people who are different from ourselves.

Overall, I believe AHS shows a realistic representation of what those with disabilities face in life. The desire to fit in and accepted by others being a large focus of Brewer’s character, she tackles many problems that the ‘typical’ girl would: appearance, love, friendship, and family. For all most of the series, Addy’s disability is not presented by herself, it is presented in how others treat her.

Refference:

https://www.psychologytoday.com/us/blog/pieces-mind/201403/create-sense-belonging

 

The album cover for Marilyn Manson’s “Eat Me, Drink Me” shows lead singer Brian Warner (aka Marilyn Manson) standing by a darkened window in a blood-soaked room. Manson is facing to the side slightly with one hand to his face, this demonstrates Erving Goffman’s theory of ‘Feminine Touch’, putting Manson in a submissive position.

The image is divided by two large tears, one going vertically while the other goes horizontally across the image. This creates an inverted cross shape that dominates the foreground of the image. This metaphor directly links with Manson’s reputation as “The Anti-Christ” which stands in the foreground of his personal image.

In the top right corner of the album, there are six long drips of blood that are not diegetic to the shot. These cleverly show the initials of the singer’s persona, “M.M.”.

Through the use of limited diegetic lighting only showing part of the image, it creates connotations of isolation and claustrophobia, making the subject of the image appear unapproachable.

The album cover for Lindemann’s ‘Skills In Pills’ follows a very dark think with contrasts of white, this is very typical of the gothic/metal genre. In this foreground we have a medium shot of the singer (Rammstein’s Till Lindemann) crouching low with, holding a box of sweets, his finger to his lips, maintaining eye contact with the audience. This pose places him in a dominant position, as he is required to crouch in order to get to the level of the audience. Along with the pose of placing his finger over his lips, he mimics the common hand gesture used to ask for silence or secrecy. This creates a relationship between him and the audience as if he is communicating with us directly. However, as a child seeing it, we may trust him, as an adult, that trust is questioned.

Right behind Till Lindemann is the only other member of the band, Peter Tägtgren. He is positioned in an almost slap-stick style of fear. This removes part of the seriousness of the image, giving the impression that the music may not be typical of the metal scene.

In the background, we see a tall, old, secluded house with the name “Lindemann” in lights above it. This plays on the questionable morality of the band as a home is commonly associated with safety and shelter. However, the fact that it is secluded and only two large, scary men are two be seen, the audience is left feeling on un-easy about the situation they are put in.

In the foreground of the image, there is the title of the album “Skills in Pills” in a very thin, edgy font. This pushes thoughts of scratching or etching to the audience, however, the lack of uniformity in the typography shows that the text was rushed. This enforces the typical horror genre that this style of music follows.