Why Is the Statue of Liberty Green

The Statue of Liberty is a famous landmark with an iconic blue-green color. However, it wasnt always green. When the Statue was unveiled in 1886, it was a shiny brown color, like a penny. By 1906, the color had changed to green. The reason the Statue of Liberty changed colors is that the outer surface is covered with hundreds of thin copper sheets. Copper reacts with the air to form a patina or verdigris. The verdigris layer protects the underlying metal from corrosion and degradation, which is why copper, brass, and bronze sculptures are so durable. Chemical Reactions That Make the Statue of Liberty Green Most people know copper reacts with air to form verdigris, but the Statue of Liberty is its own special color because of its unique environmental conditions. Its not a simple single reaction between copper and oxygen to produce a green oxide as you might think. The copper oxide continues to react to make copper carbonates, copper sulfide, and copper sulfate. There are three main compounds that form the blue-green patina:   Cu4SO4(OH)6 (green)Cu2CO3(OH)2 (green)Cu3(CO3)2(OH)2 (blue) Heres what happens: Initially, copper reacts with oxygen from the air in an oxidation-reduction or redox reaction. Copper donates electrons to oxygen, which oxidizes the copper and reduces the oxygen: 2Cu O2 → Cu2O (pink or red) Then the copper(I) oxide continues to react with oxygen to form copper oxide (CuO): 2Cu2O O2 → 4CuO (black) At the time the Statue of Liberty was built, the air contained a lot of sulfur from air pollution produced by burning coal: Cu S → 4CuS (black) The CuS reacts with carbon dioxide (CO2) from the air and hydroxide ions (OH-) from water vapor to form three compounds: 2CuO CO2 H2O → Cu2CO3(OH)2 (green)3CuO 2CO2 H2O → Cu3(CO3)2(OH)2 (blue)4CuO SO3 3H2O → Cu4SO4(OH)6 (green) The speed at which the patina develops (20 years, in the case of the Statue of Liberty) and color depends on the humidity and air pollution, not just the presence of oxygen and carbon dioxide. Patina develops and evolves over time. Nearly all the copper in the Statue is still the original metal, so the verdigris has been developing for over 130 years. Simple Patina Experiment With Pennies You can simulate the patination of the Statue of Liberty. You dont even need to wait 20 years to see results. You will need: copper pennies (or any copper, brass, or bronze metal)vinegar (dilute acetic acid)salt (sodium chloride) Mix together about a teaspoon of salt and 50 milliliters of vinegar in a small bowl. The exact measurements arent important.Dip half of the coin or another copper-based object into the mixture. Observe the results. If the coin was dull, the half you dipped should now be shiny.Place the coin in the liquid and let it sit for 5-10 minutes. It should be very shiny. Why? The acetic acid from the vinegar and sodium chloride (salt) reacted to form sodium acetate and hydrogen chloride (hydrochloric acid). The acid removed the existing oxide layer. This is how the Statue may have appeared when it was new.Yet, chemical reactions are still happening. Dont rinse off the salt and vinegar coin. Let it dry naturally and observe it the next day. Do you see the green patina forming? The oxygen and water vapor in the air are reacting with the copper to form verdigris. Note: A similar set of chemical reactions causes copper, brass, and bronze jewelry to turn your skin green or black! Painting the Statue of Liberty? When the Statue first turned green, people in authority decided it should be painted. The New York newspapers printed stories about the project in 1906, leading to a public outcry. A Times reporter interviewed a copper and bronze manufacturer, asking whether he thought the statue should be repainted. The companys vice president said that  painting was unnecessary since the patina protects the metal and that such an act might be considered vandalism. Although painting the Statue of Liberty has been suggested several times over the years, it has not been done. However, the torch, which was originally copper, corroded after a renovation to install windows. In the 1980s, the original torch was cut away and replaced with one coated with gold leaf.

The Baroque Period - 1085 Words

Artists and Artworks from the Baroque Period Nathan Hale American Intercontinental University Abstract The author of this paper examines three works of art from three different artists from the Baroque Period. He compares the different works of art and discusses similarities, differences, and the techniques that were used. The Baroque period ran from 1600 to 1770, Artist of that time used different techniques that were used during the renaissance period to bring drama to art. An immense amount of art in that period shows fantastic energy and emotion. These pieces of art that were designed and created during the Baroque period brought out emotion in the onlookers of the†¦show more content†¦The color of the sculpture is of skin tone, but the way Bernini sculpted the lines created shadowing in his skin. You can tell the strength of David by all the carved out muscles that are all over his body. Peter Paul Rubens a renowned humanist and diplomat in his time. Was the most influential baroque painters in northern Europe. He studied works of Michelangelo. When he returned up north he was very sought after and opened a large studio with much assistance. He was known for the beauty he painted when painting nudes, but there was a propensity for everything in his painting to have a sense of sensuality, his freedom with the brush influenced many painters. The rising of the cross 1610 to 1611 which was painted oil on panel. He painted this piece of art for an important Roman Catholic cathedral in his homeland. He paints the elevation of the cross after returning to Flanders from Italy. The main panel illustrates muscle men attempting to lift the cross, and the unbearable weight of Christ of the cross. This piece of art is jumping out on the onlooker it simply is amazing leading to the picture of Christ . The visual vitality makes this piece a baroque piece of art. The center of this beautiful painting is filled with drama and power. The strong figures lug the rope to raise up the cross. While the other muscly men carry and raise a pale looking Jesus. YouShow MoreRelatedBaroque Er The Baroque Period1748 Words   |  7 PagesThe Baroque period spanned from 1600 to 1750. It was a time where new ideas were discovered and original boundaries were broken to reveal completely different aspects to architecture. Seen as an artistic style, Baroque was a powerful period, full of flamboyant concepts, derived to create drama. The Baroque period produced many magnificent buildings, every one extremely detailed. The catholic church started the Baroque movement through their bid to reclaim their crowd. The church attempted to doRead MoreBaroque Art : The Baroque Period1648 Words   |  7 PagesThe Baroque period originated during the beginning of the 17th century in Italy and continued over a century in some parts of Europe. The Baroque artwork combines melodramatic compositions, beautiful details, and emotionality to give viewers as strong a visual experience as possible. Baroque murals and paintings can often be found in several churches and cathedrals through Italy and Europe. This is due because the Roman Catholic Church in the 17th century knew that the Baroque style of art couldRead MoreThe Baroque Period Essay884 Words   |  4 Pagesreached its peak of success between the 17th and 18th century. This time period is known as the Baroque period. Countless composers achieved immense success during this point in history, two of the most famous being, Johann Bach and George Frideric Hande l. The first opera, oratorio, and cantata occurred during the Baroque period. Amazingly, most of the instruments used during the period, remain in use today. The Baroque period in music obviously played a tremendous role in the growth of music throughRead MoreThe Baroque And The Renaissance Period947 Words   |  4 PagesThe Art period went through many different transitional phases to become what it is now, but the most famous of these phases are the Baroque and the Renaissance period. During the Renaissance saw the appearance of the â€Å"rebirth† of its country. the painters use realistic portrayals of nature and the human figure by artists that were inspired by the ancient Greek and Roman art and culture. However, during the Baroque creative phase,the artwork that seemed to be unrealistic, clear and produced manyRead MoreThe Renaissance And The Baroque Period1501 Words   |  7 PagesStudying art throughout history shows how each time period built and reflected on the ones before it. While artists in some time periods create wildly different styles from the past, others reflect back on the styles and methods of the artists in times before them. The Renaissance is an excellent example of an era in which the art was a reflection of past methods, styles, and subject matter. We can see this through Michelangelo’s David. The Baroque period often had subjects similar to the Renaissance,Read MoreThe Baroque Period Of Music719 Words   |  3 PagesUnlike the Baroque period of music with its flourish and embellishments, the Classical period of music had a more structured and formal format to its music. Music of this time period, which lasted from 1750 to 1820, is distinguishable by its high-spirited and fast paced style. The most popular forms of music at this time were sonatas, symphonies, and string quartets. Although opera was still immensely enjoyed, it did not maintain the stamina it had gained in the Baroque period. Advances were beingRead M oreThe Baroque Period in Europe509 Words   |  2 PagesThe Baroque period was around 1600’s in Rome, Italy and then spread to most of Europe. There were three different periods of Baroque early in 1590 to 1625, high 1625 to 1660 and late 1660 to 1725. The style of art during this period focused on clear detail; produce drama and tension in paintings, sculptures and architecture. Unlike some eras of art, the Roman Catholic Church encouraged the Baroque style. The church wanted the arts to communicate religious themes in direct emotional involvement. TheRead MoreFairnelli Characteristics Of The Baroque Period1292 Words   |  6 Pages When thinking about the Baroque period, people tend to only associate it with instrumentalists and composers such as Johann Sebastian Bach, George Fredrich Handel and Antonio Vivaldi. However, in addition to such instrumentalist and composers, there are some great vocalists who represent the Baroque period but are not widely recognized today. C arlo Maria Michelangelo Nicola Broschi, who is better know by his stage name, Farinelli, is an Italian vocalist of the 18th century and one of the remarkableRead MoreThe And Powerful During The Baroque Period843 Words   |  4 Pagesrich and powerful during the Baroque period. It is called age of absolutism because of the high power of the aristocracy. They use luxury entertainments to show their power. On the other hand, the religious institutions, which is divided into Catholic and Protestant, also compete their power with their baroque style in churches. And the middle-class also distribute the development of Baroque style as well. And because its ability of influence the development of baroque style, a style that representRead MoreThe Renaissance, Baroque, And Rococo Periods1139 Words   |  5 PagesAbstract This essay looks at the time in history beginning in the 1400’s to the mid-1700’s which we identify in art history as The Renaissance, Baroque, and Rococo periods. Focusing on the influence new scientific knowledge had in the art produced during this time with specific examples from each period and artists of the time. Keywords: Renaissance, Baroque, Rococo, Art, History, Science, Knowledge The Renaissance Beginning with the Renaissance (1400-1600) we see a change in the subject matter

Thesis Violence and Mass Communication Free Essays

string(309) " multiple exposures to violence or victimization are at higher risk for mental health problems, behavioral problems, substance abuse, and delinquent behaviors \(Ford, Chapman, Hawke, Albert, 2007; Ford, Elhai, Connor, Frueh, in press; Saunders, Williams, Smith, Hanson, 2005; Tuell, 2008\)\." Effects of Exposure to Media Violence to the Psychological Development of the High School Students of Bulacan State University- Laboratory High School A Thesis Proposal Presented to Ms. Marjorie Miguel College of Arts and Letters Bulacan State University In Partial Fulfillment of the Requirements for Communication Arts II For the Degree of Bachelor of Arts in Mass Communication Major in Broadcasting By Calara, Jerica Mae S. P. We will write a custom essay sample on Thesis: Violence and Mass Communication or any similar topic only for you Order Now Mendoza, Justine Mary Robert A. Navalta, Erl Chak S. J. Panti, Jeaneth D. P. Villalon, Maria Neren E. March 2012 BULACAN STATE UNIVERSITY College of Arts and Letters School Year 2011 March 22, 2012 Faculty of the College of Arts and Letters College of Arts and Letters Bulacan State University Malolos Bulacan To whom it may concern: Greetings! We, the Insiders from the freshmen of BA Mass Communication Major in broadcasting, are presenting our thesis proposal entitled â€Å"Effects of Exposure to Media Violence to the Psychological Development of the High School Students of Bulacan State University- Laboratory High School,† written by Jerica Mae S. P. Calara, Justine Mary Robert A. Mendoza, Erl Chak S. J. Navalta, Jeaneth D. P. Panti, and Ma. Neren E. Villalon, guided and mentored by the Communication Arts II professor, Ms. Marjorie Miguel. This contains all the relevant information about media violence and its effects in the psychological development of an individual, particularly, the high school students of Bulacan State University. Rest assured that all the information contained in this proposal are true and reliable to best of our knowledge and beliefs. Yours truly, __________________ Ma. Neren E. Villalon Researcher ACKNOWLEDGEMENT We would like to thank the Almighty Father for the blessing of wisdom, patience, and hardwork. We will forever offer all our sacrifices and efforts to Him and without Him, this would never be possible. To our research adviser and mentor, Ms. Marjorie Miguel, we thank you for your guidance and understanding throughout the second semester, for you have taught us not only the lessons we need to learn in the school, but also the life lessons we have always needed. It is an honor to have you as our adviser. To our loving section, BAMC-1A, this research paper served as our stepping stone in achieving success. Behind the ideas and lessons we put in are also values that we should acquire as future media practitioners of our generation. There are three more years ahead of us, and we hope to have a fruitful future ahead of us. Congratulations for finishing the first chapter of college life. To our family, your support and love will be cherished forever, for without you, we would never achieve everything we have now. â€Å"A hypocrite works only for himself, a man works for the benefit of others; A good man works for the Lord†¦Ã¢â‚¬  ABSTRACT Title: Effects of Exposure to Media Violence to the Psychological Development of the High School Students of Bulacan State University- Laboratory High School Researchers: Calara, Jerica Mae Mendoza, Justine Mary Robert Navalta, Erl Chak S. J. Panti, Jeaneth D. P. Villalon, Maria Neren E. Research Adviser: Ms. Marjorie Miguel Due to the evolution of the fast-paced world, a more graphic violence is exhibited in media, which gravely affected the psychological development of the children and adolescents, causing them to acquire a more distinct and aggressive behavior towards other people. OBJECTIVE In this research, the group aims to provide sufficient information to educate people about the harms of exposure to media violence to the psychological development of an individual. This would only be possible if people would really understand how important it is to guide their children properly. Furthermore, the researchers would like to promote a child-friendly media that would mold children into productive and morally-shaped professionals in the future. TABLE OF CONTENTS Title Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Cover Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Acknowledgement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 CHAPTER 1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Statement of the Problem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Significance of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Scope and Delimitation of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Definition of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 CHAPTER 2 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Review of Related Theories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Review of Related Literature Local Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Foreign Literature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Review of Related Studies Local Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Foreign Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Conceptual Framework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Hypotheses of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 CHAPTER 3 Methods and Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Appendices Questionnaires . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Letters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Experts’ Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Interview Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Curriculum Vitae . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 CHAPTER I THE PROBLEM AND ITS BACKGROUND INTRODUCTION Violence is never new to the society, and it is constantly alarming because it greatly affects the development of a child. Whenever a person manifests any form of violence to a child, he imitates it in such a way that they think it is right, causing him to commit youthful crime. According to the Department of Social Welfare and Development (DSWD), there are more than 2,600 juvenile delinquency cases reported in 2009. A year later, the number reduced to 1,200. However, DSWD claims that there are still many unreported cases in the country (Diaz, 2011). Statistics on crime incidents from the Philippine National Police from January to August 2011 showed that crimes committed by children account for only 2. % (or 3,856) of the 176,703 reported crimes, as against the remaining 172,847 committed by adults. It goes to show that many children committed crime and had exhibited aggressive and negative behavior towards people, and one of the causes of this inexcusable behavior is exposure to violence. Ten things every juvenile court judge should know about trauma and delinquency. The majority of youth who develop a pattern of delinquent behaviors and experience subsequent juvenile court involvement have faced both serious adversities and traumatic experiences. Research continues to show that most youth who are detained in juvenile detention centers have been exposed to both community and family violence and many have been threatened with, or been the direct target of, such violence (Abram et al. , 2004; Wiig, Widom, Tuell, 2003). Studies also demonstrate that youth who have multiple exposures to violence or victimization are at higher risk for mental health problems, behavioral problems, substance abuse, and delinquent behaviors (Ford, Chapman, Hawke, Albert, 2007; Ford, Elhai, Connor, Frueh, in press; Saunders, Williams, Smith, Hanson, 2005; Tuell, 2008). You read "Thesis: Violence and Mass Communication" in category "Papers" Any form of violence gravely deteriorates the psychological well-being of a child. That is why it is noted that the main focus in on one of the factors that affects the psychological development of an individual, and that is media violence. Exposure to any form of violence may contribute to the behavioral pattern s of growing individuals especially to those who have witnessed it throughout their lives, which is now possible with television as the fastest portal of learning and violence. According to some, you are what you watch when it comes to violence in the media and its influence on violent behavior in young people. The research published in February 2009 in the Journal of Youth and Adolescence, shows that even when other factors are considered, such as academic skills, encounters with community violence, or emotional problems, â€Å"childhood and adolescent violent media preferences contributed significantly to the prediction of violence and general aggression† in the study subjects (Buffington, et. al. ,2011). Media Violence – Introduction The debate over media violence has eluded definitive answers for more than three decades. At first blush, the debate is dominated by one question—whether or not media violence actually causes real-life violence. But closer examination reveals a political battle. On the one hand, there are those who blame media violence for societal violence and want to censor violent content to protect children. On the other hand are those who see regulation as the slippery slope to censorship or a smokescreen hiding the root causes of violence in society. One thing is certain: the issue of media violence is not going away. Increasingly the debate is focusing on the â€Å"culture of violence,† and on the normalization of aggression and lack of empathy in our society. Media Violence Research Research into the media and violence  examines whether links between consuming  media  violence and subsequent aggressive and  violent  behavior exists. Although some  social scientists  support this link, methodological and theoretical problems with the existing literature limit interpretation of findings in this area. There is concern among some scholars that media researchers may have exaggerated effects (Ferguson Kilburn, 2009; Freedman, 2002; Pinker 2002; Savage, 2004). These effects, such as aggression and patterns of violent behaviors are believed to be interrelated with visual representations of violence. Complaints about the possible deleterious effects of mass media appear throughout history, even  Plato  was concerned about the effects of plays on youth. Various media/genres, including  dime novels,  comic books,  jazz,  rock and roll,  role playing/computer games  and many others have attracted speculation that consumers of such media may become more aggressive, rebellious or immoral. This has led some scholars to conclude statements made by some researchers merely fit into a cycle of media-based moral panics (e. g. Gauntlett, 1995; Trend, 2007; Kutner Olson, 2008). The advent of  television  prompted research into the effects of this new medium in the 1960s. Much of research has been guided by  social learning theory  developed by  Albert Bandura. Social learning theory suggests that one way in which human beings  learn  is by the process of modeling. Through the videos, movies, clips, episodes, and even shows, violence is manifested in media that is why children tend to imitate aggressive behaviors. Their minds create an interpretation which could be later on seen on their actions. These actions tend to shape them into violent individuals. From time to time, intellectual investigation and analysis about the effects of media violence and aggression to the psychological development of a child are being examined harmful influence of television violence and on how to create a child-friendly media that will help the parents mold their children into morally- shaped individuals. The researchers intend to apply the concepts of psychology in defining and explaining such terms that will justify the effects of media violence on the well-being of a child. It is also necessary to use medical terms that will support the statements presented in this research, which will be explained further. STATEMENT OF THE PROBLEM There are many effects of exposure to media violence which influence the psychological well-being of a child. This study intends to investigate these effects, particularly to high school students in Malolos, Bulacan. This study is made to give answers and clarifications on the following questions: In general, the question is, â€Å"How does media violence, especially on television, affect the psychological development of a child? 1. How does viewing violence on television actually foster aggressive behavior? 2. Is the association of exposure to television violence with the aggressive behavior causal? (Is violent television directly causing aggressive behavior? ) 3. 1 Significant Association of Media Violence to Aggression 3. 2 Media Violence and the Increasing Rate of Youthful Crime 3. 3 Psychological Risks and Setbacks of E xposure to Media Violence 3. What should be the precautions and measures that should be applied in order to create a child-friendly media? SIGNIFICANCE OF THE STUDY Considering all the aspects of this research, the main goal is to educate people and also the respondents about the harmful effects of media violence to the psychological well-being of a child. Furthermore, it is the responsibility of the researchers to provide essential information about the psychological influences of exposure to media violence and aggression. Mass Communication Students. As future media practitioners, it is essential for them to promote a child-friendly media to its viewers because media is one of the factors of human development, moreover, in the psychological aspect of an individual. Students. This research would help students realize the disadvantages of patronizing shows which use media violence as a source of entertainment, and on how should they avoid watching it. Teachers and School Administrators. As mentors, this research would help them create a teaching strategy that will mold and guide students as they develop to mature professionals. Parents. It is the responsibility of the parents to guide their children in watching television programs. That is why they would gain information and explanations from this research that will help them guide their children properly. Readers. This intellectual output aims to provide readers with sufficient knowledge and understanding about the effects of media violence to the psychological well-being of a child. This would help them be informed not only about the harmful effects but also their responsibilities as viewers. SCOPE AND DELIMITATIONS There are several factors that should be considered in determining how media violence affects children and adolescents, but the researchers paid more attention in analyzing how media violence, especially on television, affects the psychological well-being of children and teenagers, particularly high school students. The scope of this research applies to Bulacan State University Laboratory High School students at Malolos City, Bulacan, for the school year 2011-2012. DEFINITION OF TERMS Mass Communication- refers to a scholarly study of mass media, its various forms and effects to people. Mass Media- refers collectively to all  media  technologies  that are intended to reach a large audience via  mass communication (Wikipedia) Development- refers to the progress achieved by an individual which, in this research, pertains to the psychological development Psychology- the study of the  mind, occurring partly via the study of  behavior (Wikipedia). Violence- refers to the aggressive behaviors portrayed by the characters seen on television Students- refers to the high school students of Bulacan State University Laboratory High School (Unless given specification, e. g. Mass Communication Students) CHAPTER II REVIEW OF RELATED LITERATURE AND STUDIES This study was based in the previous investigations and experiments made by analysts and psychologists in determining the probable causes and effects of media violence exposure. According to Andrea Martinez (1994), most studies support â€Å"a positive, though weak, relation between exposure to television violence and aggressive behaviour. Although that relationship cannot be â€Å"confirmed systematically,† she agrees with Dutch researcher Tom Van der Voot who argues that it would be illogical to conclude that â€Å"a phenomenon does not exist simply because it is found at times not to occur, or only to occur under certain circumstances. † More investigations took place to prove the relation of aggressive behavior to children and adolescents. They even conclude that there are several factors that affect the relationship of television violence to adolescents such as violent music lyrics. In 2003, Craig Anderson and Iowa State University colleague Nicholas Carnagey and Janie Eubanks of the Texas Department of Human Services reported that violent music lyrics increased aggressive thoughts and hostile feelings among 500 college students. They concluded, â€Å"There are now good theoretical and empirical reasons to expect effects of music lyrics on aggressive behavior to be similar to the well-studied effects of exposure to TV and movie violence and the more recent research efforts on violent video games. â€Å" It is implied that violent music lyrics act as their â€Å"opium†, for when teenagers listen to such music, it tends to make them feel more aggressive, creating different feelings and thoughts. In 1960, University of Michigan Professor Leonard Eron studied 856 grade three students living in a semi-rural community in Columbia County, New York, and found that the children who watched violent television at home behaved more aggressively in school. Eron wanted to track the effect of this exposure over the years, so he revisited Columbia County in 1971, when the children who participated in the 1960 study were 19 years of age. He found that boys who watched violent TV when they were eight were more likely to get in trouble with the law as teenagers. When Eron and Huesmann returned to Columbia County in 1982, the subjects were 30 years old. They reported that those participants who had watched more violent TV as eight-year-olds were more likely, as adults, to be convicted of serious crimes, to use violence to discipline their children, and to treat their spouses aggressively. Studies show that violent behaviors, just like any other behavior can be seen through years and can still be observed even for a long period of time. Professor Monroe Lefkowitz published similar findings in 1971. Lefkowitz interviewed a group of eight-year-olds and found that the boys who watched more violent TV were more likely to act aggressively in the real world. When he interviewed the same boys ten years later, he found that the more violence a boy watched at eight, the more aggressively he would act at age eighteen. Columbia University professor Jeffrey Johnson has found that the effect is not limited to violent shows. Johnson tracked 707 families in upstate New York for 17 years, starting in 1975. In 2002, Johnson reported that children who watched one to three hours of television each day when they were 14 to 16 years old were 60 per cent more likely to be involved in assaults and fights as adults than those who watched less TV. Kansas State University professor John Murray concludes, â€Å"The most plausible interpretation of this pattern of correlations is that early preference for violent television programming and other media is one factor in the production of aggressive and antisocial behavior when the young boy becomes a young man. † People often use the phrase that â€Å"children are impressionable. It means that children do not see the world through the same filter of experience that adults do. Children see things more literally. They do not yet possess the sophisticated sensibilities to distinguish fiction from reality. It matters a great deal, therefore, how much TV children watch and what they view. The effects of media violence on children have been studie d for over thirty years, with researchers repeatedly finding correlations between aggressive/violent behavior and the viewing of media violence. These education and psychology researchers began asserting years ago that a cause-and-effect relationship existed, i. . , viewing media violence was one of the causative factors in aggressive behavior in children. REVIEW OF RELATED THEORIES Exposure to such quantities of violent depictions damages youth and contributes to violence in real life. In particular, television violence promotes aggression, teaches the youth that violence is an acceptable solution to problems, and fosters a fearful attitude by leading viewers to think that the world is more violent than it really is. Here are the theories that will explain the influences of television violence to the youth: Cultivation Theory Cultivation Theory focuses more on how people attitudes are impacted by the media, rather than just behaviors. One of the findings of this research is that when people are exposed to heavy media violence, they seem to have an attitudinal misconception called â€Å"mean world syndrome†. This means that they overestimate how much violence actually occurs in their communities and the rest of the world. While on the other hand, people who are exposed to less media violence have a more realistic sense of the amount of violence in the real world. Social Learning Theory Media affects theories in modern times originated with Albert Bandura’s social learning theory, which suggests that children may learn aggression from viewing others. Modeling of behavior was observed in Bandura’s Bobo Doll Experiments. He showed children a video of a model beating up a Bobo doll and then put the children in a room with a Bobo doll to see if he/she would imitate the behavior previously seen on the video. The findings of this experiment suggest that children tended to model the behavior they witnessed in the video. This has been often taken to imply that children may imitate aggressive behaviors witnessed in media. Catharsis Theory Catharsis is a Greek word meaning â€Å"cleansing† or â€Å"purging†. It has been described as a â€Å"purification† or a â€Å"purging† of such emotions. Many directors and producers of violent media claim that their products are cathartic. For example, Alfred Hitchcock, director of the movie Psycho, said, â€Å"One of television’s greatest contributions is that it brought murder back into the home where it belongs. Seeing a murder on television can be good therapy. It can help work off one’s antagonism. † More recently, in 1992, Paul Verhoeven, director of the movie Total Recall, said, â€Å"I think it’s a kind of purifying experience to see violence. † Social Cognitive Theory Social cognitive theories build upon social learning theory, but suggest that aggression may be activated by learning and priming aggressive scripts. Desensitization is also included in latter social cognitive theories. For example in one recent study, a sample of college students was assigned at random to play either a violent or non-violent video game for 20 minutes. They were then asked to watch a 10 minute video of real life violence. The students who had played the violent video games were observed to be significantly less affected by the simulated aggressive act than those who didn’t play the violent video games. Moral Panic Theory Clarified by David Gauntlett this theory postulates that concerns about new media are historical and cyclical. Society forms a predetermined negative belief about a new media. Research studies and statements by scholars and politicians are designed to confirm the pre-existing belief, rather than objectively study the issue with care. Ultimately the panic dies out after several years or even decades, but ultimately resurfaces when yet another new form of media is introduced. REVIEW OF RELATED LITERATURE LOCAL LITERATURE Cultures of corruption and of violence in society are close cousins, if not twins. They are intertwined. Where there is corruption, there is violence, and vice versa. Violence is a symptom of a corrupt mind or society, and corruption is violence against fellow human beings and society (Chua, 2010). Children through their adolescent stage are great imitators. Television violence surfaced the minds of our teenagers though it brings negative effects- for adolescents search for their role model during their formative years. In the Philippines, where almost every household had televisions, violence is rampant. Philippine Television Scenario: * 93% of Filipino children have access to television. * Television shows consist of 10,000 rape, assaults and murder scenes each year. * Teenage boys who watch television more than an hour are more likely to commit violent acts than those who watch less than an hour. With the influence of television that results to violence, the United Nations classified Philippines as a high aggression area—an environment promoting aggressive behavior. It is said that exposure to adult programs eliminates childhood. (Tan, 1994) concluded that before, learning is difficult and dependent, but now, the youth easily learn about adult behavior through TV programs. If they are required by law to wait until they are old enough to drive, likewise, they need to wait for the right age to watch TV. Television may not be as detrimental for teenagers or for adults, as it is for the young ones. With this statistics, Sen. Manuel Villar Jr. has filed a bill banning the broadcast of programs that contain scenes considered extremely violent for children during daytime. Senate Bill 2441 mandates the Movie and Television Review and Classification Board (MTRCB) and the National Telecommunications Commission (NTC) to establish rules for blocking violent programs during daytime. Television has been taken for granted, as it becomes the fastest portal of violence. Teenagers feel vulnerable and less protected. Teenagers are exposed to increasingly higher doses of aggressive images. Violence among youth is also on the rise, making it plausible to correlate the two, even though we believe that the primary causes for aggressive behavior in children are to be found in their family environment, and the social and economic conditions in which they are raised. Television violence merges with reality. FOREIGN LITERATURE Learning violence has no exception. It can be imitated in the same manner as how the alphabet was committed to memory (Walker, 2010). In a study conducted by Dr. Jo Groebel of Utrecht University from 1996-1997, it was confirmed the dominant role of television in the everyday lives of children around the globe: 93% of the students who attend school and live in electrified urban or rural areas have regular access to television and watch it for an average of three hours a day. This represents at least 50% more than the time spent on any other out of school activity, including homework, being with friends, or reading. The result justifies the assumption that television is the most powerful source of information and entertainment besides face-to-face interaction. It is concluded that the introduction of television in the 1950s caused a subsequent doubling of the homicide rate, i. e. , long-term childhood exposure to television is a causal factor behind approximately one half of the homicides committed in the United States, or approximately 10 000 homicides annually. Although the data are not as well developed for other forms of violence, they indicate that exposure to television is also a causal factor behind a major proportion-perhaps one half-of rapes, assaults, and other forms of interpersonal violence in the United States (Centerwall, 1992) Fig 1. — This series of photographs shows a 14-month old boy learning behavior from a television set. In photograph A, the adult pulls apart a novel toy. The infant leans forward and carefully studies the adult’s actions. In photograph B, the infant is given the toy. In photograph C, the infant pulls the toy apart, imitating what he had seen the adult do. Of infants exposed to the instructional video, 65% could later work the toy, as compared with 20% of unexposed infants. Just like Bandura’s experiment on how children learn and adapts violence, the figure shows how easily a toddler mimics a personality on a television. To present how television violence manifests in the youth’s daily lives, Arnold Schwarzenegger’s ‘Terminator’ is a global icon, known by 88% of the children surveyed, be they from India, Brazil or Japan. Asked to name their favorite role models, boys most frequently named an action hero. 51% of the children from war or high-crime environments wish to be like him, as compared to 37% in the low-aggression neighborhoods. This only means that teenagers tend to mimic the shows they have seen on television. In 1990, the American Academy of Pediatrics issued a policy statement that Pediatricians should advise parents to limit their children’s television viewing to 1 to 2 hours per day. Nowadays, the youth perceives television as a factual source of information about a world outside their homes but the truth is this is where violence is a daily commonplace. But violence, according to Centerwall in 1992, is generally powerful, exciting, charismatic, and efficacious. REVIEW OF RELATED STUDIES LOCAL STUDIES One of the findings was half of the Filipino programs contain violent incident (excluding news casts). Moreover, it indicated that violence would likely occur in these kinds of television programs: 1. Action/Adventure 2. Drama/Sitcoms 3. Variety Shows 4. MTV (Music Television) Exposure to this kind of television programs lead to several problematic outcomes. Aggression Adolescents in middle school and high school are much more likely than younger children to doubt the reality of television content and much less likely to identify with television characters. The small percentages of those who continue to believe in the reality of television and to identify with its violent heroes are the only ones likely to be more aggressive, especially if they continue to fantasize about aggressive-heroic themes. Desensitization Desensitization is indicated by lower empathy or sympathy. Media violence has also been shown to desensitize youth to violence. Trauma and Victimization Media violence also leads to fear and a feeling of victimization. In one study, 75% of high school students reported media violence at moderate to high levels, and 10% sought to counseling due to nightmares, anxiety, and fear associated with media violence. FOREIGN STUDIES Bobo Doll Experiment The Bobo doll experiment was the name of two experiments conducted by Albert Bandura in 1961 and 1963 studying patterns of behavior associated with aggression. He hoped that the experiments would prove that aggression can be explained, at least in part, by social learning theory. The theory of social learning would state that behavior such as aggression is learned through observing and imitating others. He showed children a video of a model beating up a Bobo doll and then put the children in a room with a Bobo doll to see if he/she would imitate the behavior previously seen on the video. The findings of this experiment suggest that children tended to model the behavior they witnessed in the video. This has been often taken to imply that children may imitate aggressive behaviors witnessed in media. In his book, The 11 Myths of Media, James Potter shares what he believes to be the short term effects and long term effects of media. Short-Term Effects . Imitation and Copying Behavior Children and adults mimic and incorporate a behavior they have seen a character in media perform. 2. Desensitization Media can reduce our emotional reactions. It breaks down viewer’s natural resistance to killing. 3. Temporary Fear Violent media can produce intense fright reactions. Fright is an immediate emotional response and is composed of anxiety, distress, and increased physiological arousal tha t are frequently engendered in viewers as a result of exposure to specific types of media productions. Long-Term Effects 1. Aggression 2. Moving the Mean of Society toward More of a Fight Flight Mentality When violence permeates the media year after year in all kinds of programming and when the message of the violence is antisocial (violence is usually justified, successful, and harmless to victims), the mean of society is likely to move gradually to antisocial direction. The society will gradually move towards a fight-flight mentality. The fight component is exhibited by an erosion of inhibitions to behaving in a violent manner. The flight component is exhibited by a gradual increase in generalized fear along with an erosion of sympathy for victims of violence. 3. Thinking of Being Victims of a Crime 4. Accepting Violence Easily CONCEPTUAL FRAMEWORK Fig. 2 — Through an input, process, and output cycle, the researchers defined the relationship of media violence linked to aggression. When children are exposed to media violence at an early age, their mind creates an interpretation that is why they imitate any aggressive behavior shown to them. Through this, aggression is manifested. HYPOTHESIS OF THE STUDY From the information gathered by the researchers in determining the probable effects of exposure to media violence to the psychological development of an individual, hypotheses are formulated. These are based on the findings of this research and will be proved later on. 1. Through media violence manifested on television, aggressive behaviors are acquired as a child interprets what he sees on the character. Children tend to imitate what they see on television that is why it becomes a habit when they are exposed in this form of violence. By this, the child learns to act in the same behavior as what he sees. 2. Proper development of the psychological being of a child is at risk, especially of teenagers because they are on their adolescence stage—a stage of development and preparation for adulthood. What they see and learn in their childhood such as violence, might lead to execution of violent acts acquired in their adulthood, leading to more serious behavioral problems. Without the proper guidance, they might constantly develop into a violent person. 3. One characteristic of a child is being impressionable, that is why they directly imitate the acts they see on television. From this, aggressive behavior could be achieved. . Young children often mimic what they see. Older children develop, through years of watching, sub-conscious mental plans of how they will react in conflict situations. For years they have seen conflicts resolved by violence, and they sub-consciously develop the same reaction plan. When confronted with a conflict, the tendency is to react the way they have seen coun tless others react—in a combative, aggressive or violent manner. 5. By reducing their time in watching, accompanied by proper guidance and explanation, they could reduce the tendency of a child to acquire violent behavior. 6. Television is the most efficient and the fastest portal of learning and acquiring knowledge. Children watching television without proper guidance gives their own explanation to what they have watched. In such manner, they tend to grow and bear in mind their wrong interpretation of violence. CHAPTER III METHODS OF RESEARCH METHODS AND TECHNIQUES Descriptive Method The researchers applied the descriptive or statistical method that will describe the data and characteristics of the population intended in this research. Through this, the researchers also used the survey method as a technique in defining the data gathered and presented. Survey Method The survey is a non-experimental, descriptive research method. This method assesses the student’s point of view through series of questions intellectually formulated to satisfy the needed information in this research. This is conducted in a group of students from Bulacan State University Laboratory High School. RESEARCH INSTRUMENTS The researchers used questionnaires distributed to the students, consisting of closed-ended questions. A  closed-ended question  is a question format that provides respondents with a list of answer choices from which they must choice to answer the question. The group also formulated interview guide consisting of series of questions that will help in directing the conversation towards the topics and issues presented in this research. Through these instruments, the researchers will gather the data needed in order to provide the results needed in this research. BIBLIOGRAPHY Anderson, C. A. , and Bushman, B. J. (2002). The effects of media violence on society. Science, 295, 2377-2378. Appendix 4-B violence in the media and its effect on youth violence. (1999). Youth Violence: A Report of the Surgeon General. Retrieved February 25, 2012, from http://www. urgeongeneral. gov/library/youthviolence/chapter4/appendix4b. html Centerwall, B. S. (1992, June 10). Television and Violence: The Scale of the Problem and Where to Go From Here. Retrieved from http://cursor. org/stories/television_and_violence. htm Chua, P. S. (2010, August 30). Heart to heart talk: violence on television. Cebu Daily News, Retrieved from http://globalnation. inquirer. net/c ebudailynews/opinion/view/20100830-289558/Violence-on-television Frazier, B. (n. d). The impact of tv violence on children and adolescents. The Successful Parent. Retrieved from http://www. thesuccessfulparent. om/children-and-media/the-impact-of-tv-violence-on-children-and-adolescents Grobel, J. (1997). Media and violence study. Retrieved from http://www. ppu. org. uk/education/mediaviolencesurvey-c. html Johnson, J. G. , et al. (2002). Television viewing and aggressive behavior during adolescence and adulthood. Science,  295, 2468-2471. Media awareness network. (2010, July 8). Violence in Media Entertainment. Retrieved from http://www. media-awareness. ca/english/issues/violence/violence_entertainment. cfm Media violence – introduction. (2010). Media Awareness Network. Retrieved from http://www. media-awareness. a/english/issues/violence/ Media violence and behavior. (n. d). LimiTV. Retrieved from http://www. limitv. org/aggression. htm Research on the effects of media vi olence. (2010). Media Awareness Network. Retrieved from http://www. media-awareness. ca/english/issues/violence/effects_media_violence. cfm Rick Nauert PhD. (2008). Media violence linked to aggression. Psych Central. Retrieved from http://psychcentral. com/news/2008/11/20/media_violence_linked_to_aggression/3379. html Violence kills tv. (1998, December 1). Science Go Go. Retrieved March 19, 2012, from http://www. scienceagogo. com/news/19981101145024data_trunc_sys. html Shah, S. A. A. (2008). Children and media violence. Retrieved from http://www. scribd. com/doc/30841039/Media-Research-Children-and-Media-Violence Short and long term media effects. (2012). The New Media Foundation. Retrieved March 15, 2012, from http://www. thenewmedia-foundation. org/media/valus. php Sy, M. (2011, April 19). Villar calls for ban on tv programs too violent for kids. The Philippine Star, Retrieved from http://www. philstar. com/Article. aspx? articleId=677908publicationSubCategoryId= Tan, B. C. (1994 ). Tv is not for children. Retrieved from http://www. rstep. org. ph/reading2. tm Violence, media (position paper). (2004). AAFP. Retrieved from http://www. aafp. org/online/en/home/policy/policies/v/violencemedia. html APPENDICES QUESTIONNAIRES BULACAN STATE UNIVERSITY College of Arts and Letters S. Y. 2011-2012 Provided in this questionnaire are personal questions. Please answer all the questions honestly. Shade the circle provided before the choices. -The Insiders Provided in this questionnaire are personal questions. Please answer all the questions honestly. Shade the circle provided before the choices. -The Insiders BASIC INFORMATION: Name: ______________________________________ Year and Section:_____________________________ Age: ____ Gender: __________ Address:_____________________________________ ____________________________________________ Contact No. : __________________________________ 1. During your childhood years, how many hours a day did you spend in watching television? * 1-2 hours * 3-4 hours * 5-7 hours * Others (Please specify. ):_______ 2. Which of the following programs did you often watch before? * Sineskwela * Math-tinik * Hiraya Manawari * Teletubbies * Voltes V * Daimos * Power Rangers * Tom and Jerry 3. Do your parents prevent you from watching programs that show violence? Yes * No 4. As an adolescent, how many hours a day do you spend in watching? * 1-2 hours * 3-4 hours * 5-7 hours * Others (Please specify. ):_______ FOLLOW- UP QUESTION: Do your parents still prevent you from watching programs that promote violence? * Yes * No 5. What kind of programs do you prefer? * Drama * Comedy * Action * Others (Please specify. ) : _______________ ___ 6. Do you often watch alone? * Yes * No 7. Which of the following programs did you often watch before? * Matanglawin * Kap’s Amazing Stories * Pinoy Explorer * IJuander * City Hunter * Iris * Valiente * Regal Shocker 8. Do you think it is beneficial for you to patronize programs with violent scenes? * Yes * No 9. Do you think that exposure to media violence could cause a child to be aggressive? * Yes * No 10. What is your reaction after seeing violence on television? * Pleased- happy, contented * Terrified- scared, frightened * Not Contented- wanting more * Annoyed- disturbed, irritated LETTERS BULACAN STATE UNIVERSITY College of Arts and Letters S. Y. 2011-2012 185 Sapphire Street, Brgy. Perez, Bulakan, Bulacan, Phils. March 22, 2012 Mr. Angel C. Caparas High School Principal Bulacan State University- Laboratory High School City of Malolos, Bulacan Dear Mr. Caparas: We, a group of Mass Communication students from the College of Arts and Letters, are in the process of accomplishing our research paper in a study entitled, â€Å"Effects of Exposure to Media Violence to the Psychological Development of the High School Students of Bulacan State University- Laboratory High School. † We would like to request for your permission in order for us to conduct our survey in the campus. The students would be the respondents of our study. This would be of great help in our research. Rest assured that we will take charge in this survey. We are hoping for your cooperation. Yours Sincerely, Erl Chak S. J. Navalta Group Researcher BULACAN STATE UNIVERSITY College of Arts and Letters S. Y. 2011-2012 Santa Maria, Bulacan March 22, 2012 Dr. Agnes Crisostomo Psychology Professor College of Social Science and Philosophy Bulacan State University Dear Madam: We, the students of Bulacan State University-College of Arts and Letters will be conducting a study entitled, â€Å"Effects of Effects of Exposure to Media Violence to the Psychological Development of the High School Students of Bulacan State University- Laboratory High School. This is in partial fulfillment of the requirements in the course English 123-Communication Arts 2 thesis proposal. In this regard, we respectfully request for your participation to be the subject of our study. We would assure that any information gathered would be handled properly and with strict confidentiality. Thank you very much! Yours truly, ________________________ Justine Mary Robert A. Men doza Researcher BULACAN STATE UNIVERSITY College of Arts and Letters School Year 2011 004 Tabon Malis, Guiguinto, Bulacan March 22, 2012 Lolita S. P. Santos Social Worker City Social Welfare and Development Malolos Bulacan Dear Mrs. Santos Greetings! We, the Mass Communication students of Bulacan State University, are humbly requesting to your office to allow us to conduct an interview that will give us pertinent information regarding on behavioral aspects of youth and juvenile delinquency here in Bulacan, particularly in the city of Malolos. The said information will suffice to our thesis proposal entitled â€Å" Effects of Exposure to Media Violence to the Psychological Development of the High School Students of Bulacan State University- Laboratory High School. † Rest assured that all information will remain confidential and shall be used only for the said thesis proposal. We are looking forward to your kindest cooperation and consideration. Yours truly, __________________ Jeaneth D. P. Panti Researcher BULACAN STATE UNIVERSITY College of Arts and Letters School Year 2011 754 Kabilang Bacood, Sta. Rita, Guiguinto, Bulacan March 22, 2012 High School Students Laboratory High School Bulacan State University Dear Respondents: Greetings! We are the Insiders, a group of first year Mass Communication students from the College of Arts and Letters are currently writing our research proposal. We are kindly asking for you to answer the following questions that will be vital to the completion of this proposal. Rest assured that all information will remain confidential and shall be used only for the said thesis proposal. We are looking forward to your kindest cooperation and consideration. Yours truly, __________________ Jerica Mae S. P. Calara Researcher EXPERTS’ PROFILES PERSONAL PROFILE Name: Lolita S. P. Santos Address: Malolos Bulacan E-mail address: lolitasantos. govt@yahoo. com Age: 23 Gender: female Nationality: Filipino Place of birth: Bulacan Civil status: married Religion: Catholic EDUCATIONAL BACKGROUND Tertiary: University of the Philippines Diliman, Quezon City Secondary: Holy Spirit Academy Malolos Bulacan PROFESSION Currently serving as a social worker at the City Social Welfare and Development here at Malolos Bulacan, which provides social programs especially to indigenous families in Malolos, provides livelihood projects, child labor programs and other social services that caters the welfare of the people PERSONAL PROFILE Name: Agnes Del Rosario Crisostomo Address: Malolos, Bulacan E-mail address: agnescrisostomo@yahoo. om Age: 40 Gender: Female Nationality: Filipino Place of birth: Paombong, Bulacan Civil status: Married Religion: Catholic EDUCATIONAL BACKGROUND Tertiary 2009PhD in Psychology University of the Philippines 2005MA in Psychology University of the Philippines 1987BA Psychology University of the Philippines (Diliman) Secondary Paombong High School PROFESSION 4th year Associate Professor in Bulacan State University Employee at Women of Malolos Foundation Incorporation INTERVIEW GUIDE Questions: 1. How much education did you have to go through to become a (field)? 2. Is there a significant relationship between exposure to television violence and aggressive behavior? 3. Is this relationship causal? 4. How does it impact teenagers? 5. Are there any psychological problems that can be caused by television? 6. Why do you think television violence is bad for teenagers? Or why do you think it is okay to let them watch? 7. Do you think the effects of television violence are very serious to the teenagers today? Why? 8. What do you think their behavior would be? 9. In your opinion, what ages are safe to watch television violence? 10. Is there anything wrong with letting a young child watch TV? 1. What do you think about always keeping teenagers away from television so that they can not watch violent television programs or shows? 12. Can teenagers adjust good and bad side of violent television programs or shows themselves? Why? CURRICULUM VITAE JERICA MAE SAN PEDRO CALARA 754 Kabilang Bacood, Sta. Rita, Guiguinto, Bulacan Mobile Number: 09157990046 Telephon e Number: Email Address: jericamae. calara@yahoo. com PERSONAL DATA Nickname :Jerica, JM Status:Single Birth Date:May 24, 1995 Citizenship:Filipino Skills:Communication Skills, Computer Literate EDUCATIONAL BACKGROUND TertiaryBulacan State University City of Malolos, Bulacan, Philippines BA Mass Communication Major in Broacasting S. Y. 2011 – 2012 Secondary Holy Spirit Academy of Malolos Sta. Isabel, City of Malolos, Bulacan S. Y. 2007 – 2011 SEMINARS ATTENDED 1st SemesterCommGuild Seminar AFP Theater Camp Aguinaldo Quezon City August 7, 2011 2nd Semester4th Media Summit BSU Hostel Bulacan State University February 16, 2012 JUSTINE MARY ROBERT AQUINO MENDOZA 277 N. Mendoza St. , San Gabriel, Sta. Maria, Bulacan Mobile Number: 09179917850 Telephone Number: (044) 641-03-77 Email Address: justine_mendoza16@yahoo. om PERSONAL DATA Nickname :Justine Status:Single Birth Date:February 26, 1994 Citizenship:Filipino Skills:Communication Skills, Computer Literate EDUCATIONAL BACKGROUND TertiaryBulacan State University City of Malolos, Bulacan, Philippines BA Mass Communication Major in Broacasting S. Y. 2011 – 2012 Secondary Saint Paul College of Bocaue Bocaue, Bulacan S. Y. 2007 â€⠀œ 2011 SEMINARS ATTENDED 1st SemesterCommGuild Seminar AFP Theater Camp Aguinaldo Quezon City August 7, 2011 2nd Semester4th Media Summit BSU Hostel Bulacan State University February 16, 2012 ERL CHAK SAN JOSE NAVALTA 85 Sapphire St. Perez, Bulakan, Bulacan Mobile Number: 09274308912 Telephone Number: (044) 668-74-93 Email Address: officialec14@yahoo. com PERSONAL DATA Nickname :Erl, Chak Status:Single Birth Date:October 14, 1995 Citizenship:Filipino Skills:Communication Skills, Computer Literate EDUCATIONAL BACKGROUND TertiaryBulacan State University City of Malolos, Bulacan, Philippines BA Mass Communication Major in Broacasting S. Y. 2011 – 2012 Secondary Immaculate Conception School for Boys Second Year- Fourth Year Poblacion, City of Malolos, Bulacan S. Y. 2008 – 2011 Assumpta Academy First Year San Jose, Bulakan, Bulacan S. Y. 2007 – 2008 SEMINARS ATTENDED 1st SemesterCommGuild Seminar AFP Theater Camp Aguinaldo Quezon City August 7, 2011 Pandayang Lino Brocka Valencia Hall Bulacan State University 2nd Semester4th Media Summit BSU Hostel Bulacan State University February 16, 2012 JEANETH DELA PAZ PANTI 004, Tabon Malis, Guiguinto, Bulacan Mobile Number: 09351860944 Telephone Number: N. A. Email Address: jeanethpanti@yahoo. com PERSONAL DATA Nickname :Jeaneth Status:Single Birth Date:September 12, 1994 Citizenship:Filipino Skills:Communication Skills, Computer Literate EDUCATIONAL BACKGROUND TertiaryBulacan State University City of Malolos, Bulacan, Philippines BA Mass Communication Major in Broacasting S. Y. 2011 – 2012 Secondary Guiguinto National Vocational High School Guiguinto, Bulacan S. Y. 2007 – 2011 SEMINARS ATTENDED 1st SemesterCommGuild Seminar AFP Theater Camp Aguinaldo Quezon City August 7, 2011 Pandayang Plaridel BSU Hostel Bulacan State University Pandayang Lino Brocka Valencia Hall Bulacan State University 2nd Semester4th Media Summit BSU Hostel Bulacan State University February 16, 2012 MA. NEREN ENRIQUEZ VILLALON 611, Calle Hagonoy St. San Pablo, City of Malolos, Bulacan Mobile Number: 09066250818 Telephone Number: (044) 760-75-68 Email Address: nerenvillalon@yahoo. com PERSONAL DATA Nickname :Neren Status:Single Birth Date:September 4, 1994 Citizenship:Filipino Skills:Communication Skills, Computer Literate EDUCATIONAL BACKGROUND TertiaryBulacan State University City of Malolos, Bulacan, Philippines BA Mass Communic ation Major in Broacasting S. Y. 2011 – 2012 Secondary Holy Spirit Academy of Malolos Sta. Isabel, City of Malolos, Bulacan S. Y. 2007 – 2011 SEMINARS ATTENDED 1st SemesterCommGuild Seminar AFP Theater Camp Aguinaldo How to cite Thesis: Violence and Mass Communication, Papers

Bromden And His Changing Mind Essay Example For Students

Bromden And His Changing Mind Essay Thesis: In One Flew Over the Cuckoos Nest by Ken Kesey, Chief Bromden is a character who has to work his way back to being and acting like a real human after so many years of being dehumanized Porter 49 into a machine created by the evil Nurse Ratched. I. Bromden in the beginning A. Dehumanized by Nurse Ratched 1. structured 2. forbids laughing 3. controlling B. The effect that the Nurse and the ward has on Bromden 1. could not smell 2. thinks of himself as little 3. hides in the fog 4. fears everything 5. sees himself as comic 6. hallucinates II. Bromden in progress A. Gives up deaf and dumb B. Great turn around C. Begins to smell things D. Regains his laugh E. Loosens up III. Bromden at the end A. Bromden escapes B. Bromden is a hero C. McMurphy is death; Bromden strength D. Bromden becomes big IV. Conclusion A. Modern world; machines destroy B. Nurse Ratched the machine C. Modern world is the combine Bromden and his Changing Mind In One Flew Over the Cuckoos Nest by Ken Kesey, Chief Bromden is a character who has to work his way back to being and acting like a real human after so many years of being dehumanized Porter 49 into a machine created by the evil Nurse Ratched. Bromden begins to change as soon as McMurphy tries to get the guys on the ward to open up and Bromden is the one who gets the most out of Mr. McMurphys therapy 97. Chief Bromden finally beats the evil nurse Miss Ratched by escaping from the institution. So Broken men however frightened, beleaguered, splintered, and dehumanized can be restored to manhood and wholeness 95. A six foot seven inch Indian named Chief Bromden pretense to be a deaf mute after he watched his father, Chief Tee Ah Millatoona, get ruined by his white wife. Government agents often came to visit his father about his property. The agents would walk right past Bromden like he was not even there. When people stopped reacting to Bromden, he stopped reacting to the people. At the Combine which was the name for the ward, Bromden underwent treatment for his medical condition. The Combine split the patients into two categories, the Acutes and the Chronics. The Acutes were the patients that had the ability to getting better while the Chronics had no chance of getting better because of how serious their medical condition is. In the Combine everybody definitely considers Bromden as a Chronic. While in there and everybody thinking he is a deaf mute, Bromden hears information from other peoples conversations that he is not suppose to hear. Throughout the novel Chief Bromden feels small and he is very easily intimidated. Without the help of the newest guy on the ward, Randel Patrick McMurphy, he would of never been able to gain up enough strength to feel good about himself again and escape the ward like he did in the end of the novel. McMurphy helps Bromden tremendously plus everybody else that is on the ward. He guides everybody to be human. McMurphy says Miss Ratched, the Nurse of the Combine, gains her power by making others feel like they have less. She controls everything they do from when they wake up to when they go to bed. McMurphy rebels against Miss Ratched and tries to get the guys on the ward to stand up for themselves too. The patients on the ward are not aloud to laugh loosely according to Miss Ratched. McMurphy says when a man loses his ability to laugh he is not a man anymore. Most of the patients on the ward are dehumanized by Nurse Ratched controlling and orderly attitude. In the novel Bromden shows the most change from McMurphys help. Enough change to come back after escaping and retell the story. In the beginning of the novel Bromden was at the point where he was completely dehumanized by Nurse Ratched. Miss. Ratched was the main cause of his dehumanization, but not the start of it. It began is his early childhood with the conflict between his father, the Indian chief, and his white mother that had control over his father. As it says in the Discovering Authors Modules: Mrs. Bromden was a domineering women who cared little for her husbands Indian heritage and was instrumental in selling his land to the government. . Miss Ratched is in a way just like Bromdens mother. The way his mother wore down his father by making him feel small and little is the same thing Nurse Ratched is doing to Bromden while on the ward Wallace 8. After Bromdens father was dehumanized by his wife it is Bromdens turn, assuming from Discovering Authors Modules that this novel is a fictionalized account of his childhood experience 8. If the story Bromden told us about his early childhood background is true and sit is parrallel to the plot of the novel then we can assume that Bromden is going to get dehumanized by Nurse Ratched. So this is how Bromden starts out the novel, dehumanized and feeling smaller and weaker. While Bromden is feeling dehumanized and small Miss Ratched has the ward well structured and running smooth. She has everything running on time and if something is out of place she will fix it right away because to her there is no such thing as unorganized Kesey 26. As Porter points out, since Miss Ratched is an ex-army nurse she is used to the high demands on order. Her life was always structured and she expects everybody and everything else to be the same way 48. With structure there comes control, because structure is highly unlikely to exist without some sort of control. If there was no control over the patients on the ward then there definitely would be no structure because that is what the patients are there for, a little structure in their lives. Throughout the beginning of the novel Bromden was always complaining that Nurse Ratched has too much control over things. For example, in the novel, Bromden says Nurse Ratched can speed up time or slow down time depending what she wanted to do Kesey 73. He also says that she is controlling a fog machine when she sits behind the window at her control panel and sometimes it could last hours on end 75. So with all the control she has over the ward the patients really feel pressured to do what ever she says. The one thing that Nurse Ratched has control of that really hurts the Combine is laughter. As Porter says, everybody sees Miss Ratched as a machine and not as a human. They think she is dehumanized herself along with them. To Bromden the tip of each finger was the same color as her lips. Funny orange. Animal Farm: Communism Through The Eyes Of George EssayMcMurphy told the aid just to forget about him and move on to the next guy. When the aid refuses McMurphy starts a fight with him. One of the black aids pin McMurphy down to the floor 261. Right now Bromden sees himself in a different light then he did before. He begins seeing this when McMurphy is pinned on the floor by one of the black aids McCreadie 505. Bromden joins in the fight to help McMurphy defeat the black boys. After more of the aids got the situation under control, McMurphy and Bromden were sent up stairs to receive shock therapy. After the shock therapy McMurphy through a party for the patients just so they would have some fun before he escapes the next morning. When morning came McMurphy forgot to leave because he fell asleep and later on he finds out that one of the patients had killed themselves Kesey 304. Nurse Ratched blames his death on the whole ward making everybody fell like it was their fault by them playing God 304. McMurphy gets so angry that he breaks down her door and ripped her shirt off so her big breast would be shown 305. Nurse Ratched then orders for McMurphy to have a lobotomy. The next time the patients see McMurphy is when he is brain dead. At this point Bromden is fully back to strength again. It is symbolically represented when Bromden tries to put McMurphys hat on and it does not fit because he has grown to full size. Peter Fish said at the end of the book the chief has switched places with McMurphy 17. This means McMurphy is now becoming weak and he is beginning to lose against the Big Nurse while Bromden is making progress. McMurphy ultimately loses against Nurse Ratched when she gave him a lobotomy. When Bromden saw this he felt that since McMurphy helped him out by teaching him to become more of a human being, he would help him out and not let hum sit there in bed for the rest of his life and suffer. So Bromden smothered McMurphy with his own pillow. Ronald Wallace said in Discovering Authors Modules that Bromden is comic, and he is also a hero. I kept getting this notion that I wanted to sign the list. And the more he talked about fishing for Chinook salmonthe more I wanted to go. I knew it was a fool thing to want; if I signed up itd be the same as coming right out and telling everybody I wasnt deaf. If Id been hearing all this talk about boats and fishing itd show Id been hearing everything else thatd been said in confidence around me for the past ten years. And if the Big Nurse found out about that, that Id heard all the scheming and treachery that had gone on when she didnt think anybody was listening, shed hunt me down with an electric saw, fix me where she knew I was deaf and dumb. Bad as I wanted to go, it still made me smile a little to think about it: I had to keep on acting deaf if I wanted to hear at all Kesey 197. The quote from the novel above proves since Bromden has written the novel, it is Bromden himself who exposes his own comedy. The plot traces Bromdens growth toward the kind of comic perspective that enables him to write such a novel. When he can turn the combine into a comedy, he has defeated it. In the novel during the fishing trip Bromden wanted to go, but he had no way of signing up because he did not want to give up his deaf and dumb role. Bromden learns to look at his life as a comic fiction and then to transform that fiction into art. After Bromden had smothered McMurphy he lifted the control panel which McMurphy tried to lift previously in story. When he picks up the control panel he is overcoming the control that the ward had on him. He is taking all that control they had over him for so many years and he is throwing it out of the window. When Bromden escapes he does not see the dog that has always been around the window, but only the footsteps. Leeds explains that when Bromden escapes, he is associated with the geese that were flying overhead. The dog that was not there, but only the footsteps was associated with McMurphy. He says this means that when Bromden escapes he is really flying over the cuckoos nest following in McMurphys footsteps 29. So by the end of the story it is evident that Bromden did overcome the control, gained his strength, and returned to his true size. From when McMurphy arrives at the Combine, to when Bromden makes his escape he is changing all the time. He is changing for the better. He started out as a machine that just respond to stimuli in the ward, then he slowly progressed until he had enough strength to make his escape. Bromden defines the combine as a modal of the world. Miss Ratched wants to robotize the men in the ward so when they leave they are an example to society Leeds 20. So no matter how bad Bromden got dehumanized he succeeded to come back strong. In the modern world, machines destroy nature, efficiency comes before beauty and robot-like cooperation is more valued then the individual freedom 15. This is the same thing Nurse Ratched is trying to do to the Combine. She wants everything to run how it is suppose to first, then if there is free time that comes last. People today are the same way. They want everything to run perfect with no error. That is why people now build robots to do the work for us because they realized that people arent perfect. Now since the robots are now getting all the jobs allot of people are out of work which means they are now low on money. Without money you cant do anything in this world because nothing is for free.

Movie Review Fight Club

Movie description An adaptation of a novel of the same name authored by Chuck Palahniuk in 1996, the American film â€Å"Fight Club† was released three years later in 1999. This uniquely grotesque storyline was brought to life on the big screen by director David Fincher and some of Hollywood’s most profound actors; Brad Pitt, Edward Norton and Helena Bonham Carter. The box office disappointment raised the eyebrows of critics as â€Å"Fight Club† became the most controversially talked about films. According to academic critics, the 1999 film portrays instances of consumerism and European fascism.Advertising We will write a custom essay sample on Movie Review: Fight Club specifically for you for only $16.05 $11/page Learn More The film’s main characters; the nameless narrator (Norton), an employee of a travelling automobile company suffers from insomnia, Tyler Durden (Pitt), a soap salesman, who is a figment of the nameless narr ator’s imagination and Marla Singer (Carter), a drug addict who ends up as the narrator’s love interest. The doctor of the nameless narrator refuses to treat his insomniac condition with medication, but instead refers him to visit support groups to watch other people’s suffering. The narrator did just that, he went to a variety of support groups inclusive of a group for testicular cancer victims. He pretended to be a victim and to his surprise found emotional relief. It was at one of these meetings that he came across Marla Singer who was an imposter like himself. He negotiated with her to avoid meeting at the same place (Fight Club Film). Upon his return from a business trip, he discovered that his condo had been destroyed by fire. He was devastated. Luckily for him, he had met Tyler Durden on the flight home, a homemade soap salesman who was able to host the homeless narrator at his rundown apartment. Twistedly, the severity of the narrator’s illness ma de him unaware that Tyler was a personality he created in his head and that this personality was on a mission to put an end to commercialism by whatever means. They are in fact disassociated personalities trapped in the same body. The minute the narrator is asleep; Tyler takes advantage and begins to dominate his body. In one scene, outside a club, Tyler requested that the narrator hit him and they both engaged in a fist fight. It started to get habitual for both men to have fist fights outside the club which started to draw spectators who later became members. That was the birth of the fight club and all the mayhem of this movie (Kozlowski) Sociological Concepts of the movie The many concepts of sociology are related to the many interactions and development of people. The movie provided a lot of occurrences where sociological concepts were expressed and this gave the movie some amount of substance. Five most represented sociological concepts of the movie includes; violence, groups, consumerism, commercialism and fascism.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 Violence The concept of violence was an ever present in the movie. It was used to convey and at the same time act as a symbolic metaphor of the conflict between generations and the advertised norms and folkways of society. In other words, the conflict between the generations and what is ‘expected’ of them. During the movie, the narrator knows no happiness and engages in the underground men-only boxing club, which may get really violent as a means of expressing himself. Viewers may notice also that at the start of the movie, the mentally ill narrator killed his parents, and with the influence of Tyler Durden â€Å"killed† his God and then he killed Tyler Durden who was his teacher. Groups The narrator never ideally fit into any groups in society. He felt somewhat alienated and defeated. He is desperately trying to fit in by being something he is not. This explains why he was so riveted in the establishment of the fist fighting group. In this group, shirtless men beat each other in messes of blood. His life was boring and without meaning, he spent his days at a job he despised and nights ransacking mail order catalogs feverishly trying to give his life some meaning. His illness also leads him to promote the fight club as a way to feel powerful. (Fight Club Fascist). Consumerism According to Matthew Briggs’ review on the movie, the concept of consumerism was conveyed at the time of the explosion of the narrator’s condo. The narrator related that the destruction of his condo is not just the destruction of a bunch of things but the destruction of himself as well. The movie addressed the excessive consumerism as a sign of emotional emptiness and self distinction. The movie portrays him as someone who buys things to fill his emotional voids, because he didnâ €™t have any friends or family. His possessions defined him thus giving him a consumer identity. Tyler tried to teach the narrator (who by the way is sometimes referred to as Jack) that his possessions and his job doesn’t define him as an individual. The film also asserted the fact that many individuals in society seek to replace spiritual happiness with material possessions.Advertising We will write a custom essay sample on Movie Review: Fight Club specifically for you for only $16.05 $11/page Learn More Commercialism Fincher’s adaptation of the novel showcased wildly issue of how commercialism and consumerism affected our societies. One of Tyler’s main goals in the film was to put an end to commercialism. Viewers will notice that the character’s aim had him moving rampantly about in the movie, desperate to and destroying buildings which contained financial records for credit cards in an effort to eliminate societyâ€⠄¢s debt (Interpretations of fight club). Fascism A fascist concept was also prevalent in the film ‘fight club’ and according to newspeak dictionary, the film is fascist in a sense that the violence portrayed is ideal and above the pre-existing forms of civilizations. This concept is relative to the character Tyler whose vision of the future was to return to an idealized past, not taking into consideration, the problems which that era underwent. He considers the past as an era that had no corporations; therefore there was no promotion of consumerism. To achieve this, he utilized methods such as violence and destruction. Sociological value of the movie Not the typical action movie of everyday life, â€Å"Fight Club† incorporates many of the sociological issues societies are facing. If the film’s messages are interpreted correctly, the movie can have notably and high sociological value. The storyline can be related to by many individuals who are seeking to f ind their true identity, are materialistic or even narcissist. The concepts may not always be expressed positively, but they all flowed cohesively to convey the many messages of the film. Critics bashed the movie because it overstressed the fact that the society was consumerist, but for many people who watch the film, it helps them to feel less inferior to the more accomplished classes of people. It also teaches them that their identity is not defined by their fine Giorgio Armani suit, real estate banker job title, posh condo or their extra fine Lamborghini but instead by who they are inside. Works Cited Briggs, Matthew. â€Å"America’s consumer club†, n.d. Web. https://writing.colostate.edu/gallery/talkingback/issue1/briggs.htmAdvertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More â€Å"Fight Club Fascist.†, Newspeakdictionary.com, 2005. Web. â€Å"Fight Club Film†, Wikipedia.org, n.d. Web. https://en.wikipedia.org/wiki/Fight_Club â€Å"Interpretations of fight club†, Wikipedia.org., n.d. Web. https://en.wikipedia.org/wiki/Interpretations_of_Fight_Club Kozlowski, Jaime. â€Å"The fight club†, Dompse.org, 2007 Web. https://www.domspe.org/fight_club/soc_fightclub.html This essay on Movie Review: Fight Club was written and submitted by user Jorge Robinson 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.

Teenage Conformity essays

Teenage Conformity essays Teenagers today face many issues. One of the most common but often overlooked is that of finding their own true identities. Although some teens will find themselves, most simply choose to conform. To conform means "to be or become of the same form". They become like everyone else is. In other words they become like sheep, following and never leading. Instead of being an entirely unique entity with their own mind and thoughts, they become a carbon copy of numerous others. Take clothes for example, teenagers will buy incredibly overpriced clothing. They are willing to pay any price for clothing made by Calvin Klein, Tommy Hillfiger and Gap. They are willing to spend all the money they make from their jobs on these clothes instead of doing something much wiser like saving for college. Some teenagers will even go as far as having more than one job in order to have enough to purchase those $120 jeans. Why? Is it that these clothes are of better quality? More durable? No, they purchase them simply because they don't want to be different or stand out. The people they conceive to be their friends or those they wish to be friends with are wearing these labels and so they feel compelled to wear them too. They see the ads in magazines, on television and hear them on the radio. We also can't forget the fact that the stars are wearing these labels, and if famous people are wearing them they must be cool, right? Teenagers need to step back and say to themselves, "Is it really that important that I dress like my friends? Would it be that big of a deal if I dressed the way I wanted to?". In the past the next issue has been primarily focused toward girls, although recently it is becoming an increasing concern for young men. Teenagers today open a magazine and see skinny models, so thin in fact that many of them are forced to maintain unhealthy habits to remain that way. They watch TV and again, on ...

MONEY and BNKING Essay Example | Topics and Well Written Essays - 1000 words

MONEY and BNKING - Essay Example Trade deficit among other effects makes a country spend or export a lot of its currency to the foreign market, which may create shortage of the currency in the local market. Cause of trade deficit may attribute to the practices of by foreign markets or countries lowering the cost of their export to the affected country and increasing cost of importing goods and services from the affected country. This means that the affected country will have to spend a lot of its currency to export goods and services, and spend very little to import goods from the competitor country. From the analysis, it means that trade deficit literally increases supply of a country’s currency in the foreign market making the currency depreciate. This means that it impossible and practical difficult to maintain the value of local currency with negative balance of trade. For example, if supply of US dollar in the Euro market increases, the number of Euro required in buying one dollar will decrease. When the number of Euro required in buying one unit of dollar decreases, the demand for dollar in the foreign Euro markets will increase due to the low prices of dollar. This means that many foreigners in the European countries will be holding large quantities of dollars, as they will not be in demand for the American goods. This effect will result to decrease in the supply of dollar in American economy and subsequent rise in demand for dollar in the same American economy. The general effect of such market trend on the American economy will sharp deflation as locals will be not be willing to spend the little dollars they have in their custody. Economic recession occurs due to scarce supply of local currency in the local market, which affects demand among the local consumers. To correct the shortage, a country can resort to borrowing from foreign countries to spur its production and manufacturing activities. A country can also review its market and monetary policies to attract foreign invest ors who be returning local currency lost to the foreign markets. The best way that countries exercise control over their value of their respective currencies in the international market is through intervening the foreign exchange market. Foreign exchange market specifically deals with daily and periodical valuation of all international currencies depending on the international flow of the specific country’s currency. Intervening in such a market may mean that an interested country buy its own currency from the international exchange and create shortage of the same in the international market. A country can also intervene by selling its currency in the international market with aim of acquiring another currency with high value. In so doing, the buying country shields it domestic economy from any economic shifts in the foreign market country. This kind of economic practice is common among the developing countries but rare in the stable and industrialized countries. Industrializ ed countries do not like intervening in the foreign exchange market or various reasons. One of the reasons why industrialized countries do not intervene in the foreign exchange market relates to their developed statuses that makes them perform many manufacturing and production activities that earns them foreign income when exported. This means that they are always in situation of competition for the international market where they export their goods and services. Attempts by anyone of

Corparate finance Essay Example | Topics and Well Written Essays - 2500 words

Corparate finance - Essay Example The Company also had been operating in a country with under-developed stock of exchange. There has been therefore the need to carry out research to look into the ways that the firm can maintain its development to a high level. The research is therefore expected to look into an alternative capital sources for the company and analyze the impacts of dividend policy and level of debt on the value of the firm. The firm having been operating under economy with under-developed stock of exchange limited its goals towards adjustments. Risks diversification opportunities were therefore limited for the company. The company’s investment decision was influenced by high diversification costs, making it to avoid financial market use. The technological adjustment is therefore limited as the company end up choosing production technologies that are less capital intensive subject to short-term risk. The company was therefore unable to adjust up to the latest technologies which were more capital intensive. The under-developed stock exchange market prevents the company from structuring their financial packages optimally (Levine, 2002). Conflicts of interest usually exist between the managers of the firms and its suppliers and customers, and also between different firm investors. Hoad Company if having high debt levels had increased its possibility of bankruptcy sufficiently which may put them into risky projects harming their creditors. The company, if highly leveraged, could be unable to get additional credit due to incentives created by debt financing to the taking of greater risks. Availability of well-developed stock of market exchange would allow for equity issuance. This issuance would mitigate problems of incentives providing room for more borrowing to the company. Stock market has always played an important role in the provision of information. A well-developed stock markets gathers information concerning prospects of companies that had their shares traded availing

History Discussion ch22 Assignment Example | Topics and Well Written Essays - 250 words

History Discussion ch22 - Assignment Example The U.S. said that the reason for their action towards Cuba is primarily for humanitarian purposes and to help the country improve and develop their welfare from their liberation from Spain. However, it is also inevitable to consider that the U.S. sees a big economic potential from the country and they want to use it for their own benefit. Through this, they will not only gain economic power but also supports their notion of expansionism. 2. The factors that shaped the American foreign policy in the late 19th century were based on the different rationales for imperialism. It includes the racism and social Darwinism, righteousness, Mahanism and economics. For racism and social Darwinism, they believed that the Anglo-Saxon race is superior to any other race and their influence must be imposed to other countries for these countries to develop and ascertain national stability. For righteousness, they see to it that their religion, with American influence, should be propagated to other co untries as well. Mahanism refers to the belief that the national security of the U.S. needed a substantial military, economic and territorial expansion. And lastly for economics, the policies to be made should provide outright access for the U.S. to foreign markets, raw material and investment opportunities.

Methods To Prevent Barre In Knitted Fabric

Methods To Prevent Barre In Knitted Fabric In textile production, one of the most common and perplexing quality issues is barrà ©. The factors that can cause or contribute to barrà © are varied and diverse. For this reason, when a barrà © problem is detected, the skills of a sleuth may be required to expose the problem and eliminate its cause. Once a cause is identified, steps can be taken to minimize or eliminate the barrà ©, and better quality fabrics can be produced. This discussion will center on knitted fabrics. DISCUSSIONS The noun barrà © is defined by ASTM1 as an unintentional, repetitive visual pattern of continuous bars and stripes usually parallel to the filling of woven fabric or to the courses of circular knitted fabric. In a warp knit, barrà © normally runs in the length direction, following the direction of yarn flow. Barrà © can be caused by physical, optical, dye related differences in the yarn, geometric differences in the fabric structure, or by any combination of these differences. A barrà © streak can be one or several courses wide. A typical characteristic of barrà © is that it generally consists of stripes that repeat. Isolated or intermittent defects may or may not be barrà ©. 1 ASTM D123-96a Standard Terminology Relating to Textiles 1 Various aspects of barrà © are important for consideration and discussion. The first is the identification of barrà ©. Secondly, how can barrà © be analyzed? What are the causes of barrà ©, and finally, how can it be prevented? IDENTIFICATION OF BARRÉ The first step in a barrà © investigation is to observe and define the problem. Barrà © can be the result of physical causes that can usually be detected, or it can be caused by optical or dyeability differences that may be nearly impossible to isolate in the fabric. Barrà © analysis methods that help to discriminate between physical barrà © and barrà © caused by other reasons include Flat Table Examinations, Light Source Observation, and the Atlas Streak Analyzer. Flat Table Examination For a visual barrà © analysis, the first step is to lay a full-width fabric sample out on a table and view both sides from various angles. Generally, if the streaky lines run in the yarn direction that is in the course direction, apparent color differences can be seen by looking down at the fabric in a direct visual line with the yarn or course direction, and the defect can be positively identified as a barrà © defect. Viewing the fabric with a light source in the background will show if the barrà © is physical. Light Source Observation After completing an initial Flat Table Examination, a Light Source Examination may provide further useful information. Full width fabric samples should be examined 2 under two surface lighting conditions, ultraviolet (UV) and fluorescent light. Observations that should be made while viewing under lights are: 1. the frequency and width of the barrà ©, 2. whether the streaks are dark or light, and 3. the total length of pattern repeat. Ultraviolet light, commonly referred to as black light, allows the presence of mineral oils to be more easily detected, due to their radiant energy (glow). When observed under UV light, fabrics with streaks that exhibit glow suggest improper or insufficient preparation. A change in composition or content of oil/wax by the spinner or knitter without appropriate adjustments in scouring can create this problem. Fluorescent lighting simulates the mode of observation that is common to most inspection tables in mills and will highlight whether the barrà © is perceivable in an industry quality control setting. Atlas Streak Analyzer The function of the Atlas Streak Analyzer is to isolate barrà © caused by physical differences. A fabric swatch is combined with polystyrene sheet film, and the Atlas Streak Analyzer produces a plastic impression of a fabric surface by incorporating specific conditions of pressure and heat. The absence of color on the plastic impression ensures that only physical streak effects will be seen. The plastic impression is examined to determine whether the streak alignment matches the 3 streaks observed on the fabric. However, impressions made from spun yarns such as cotton can be difficult to read due to the inherent yarn variation characteristic of spun yarns. Also, a too rapid cooling of the test specimen after making an impression can produce a moirà © pattern. From a valid plastic impression, the barrà © source can be identified as: 1. physical with all streaks showing on the impression, 2. optical or dyeability variations where none of the color streaks are aligned on the impression, and 3. a combination of physical and dyeability differences where some streaks align with those on the impression, and some do not. Fabrics with combination causes present the greatest challenge for analysis. If the streak analyzer indicates the same barrà © pattern as seen in the fabric, then the barrà © stripes are physical in nature. This can relate to several physical causes such as yarn tensions, stitch length, yarn count, twist differences, etc. Yarn tension causes can be found by raveling adjacent courses and measuring the lengths of yarn removed from each course. If all the lengths raveled from the fabric are the same, the pieces can be weighed to determine if the yarn counts are the same. 4 If the plastic replica shows no stripes, then the barrà © is due to chemical causes or to light reflectance differences. Chemical causes relate to improper preparation, and light reflectance differences relate to non-uniform dyestuff penetration or reflectance. The next step is to remove the color and evaluate the stripped sample before re-dyeing to determine if the removal of dye was complete and if the barrà © is still present. An uneven or incomplete stripping can indicate an additional strip. If the color is stripped uniformly and the barrà © is gone, then the sample should be re-dyed. If after stripping and over dyeing the fabric no longer has barrà ©, then the barrà © was caused by improper preparation. If the barrà © remains, then the problem is related to optical or light reflectance problems. PHYSICAL BARRÉ ANALYSIS When the cause of barrà © is determined or presumed to be physical in nature, physical fabric analysis should be done. Physical barrà © causes are generally considered to be those which can be linked to yarn or machine differences. Methods of physical barrà © analysis include fabric dissection, microscopy, and the Roselon Knit Extension Tester. Fabric Dissection To perform accurate fabric dissection analysis, a fabric sample that contains several barrà © repetitions is required. First, the barrà © streak boundaries are marked by the placement of straight pins and/or felt markers. Individual yarns are removed from light and dark streak sections, and twist level, twist direction, and cut length 5 weight determinations are made and recorded. For reliable mean values to be established, data should be collected from at least two light/dark repeats. After compilation of yarn information, the numbers can be compared individually to adjacent yarns as well as by groupings of light and dark shades. Microscopy Microscopic examination is useful for verifying yarn-spinning systems. Yarns from different spinning systems can have different light reflectance and dye absorption properties resulting in barrà © when mixed. Ring-spinning produces yarn that is smooth with all fibers twisted in a tight helix. Open-end spinning produces yarn with wrapper fibers that form a belt around the diameter of the yarn at irregular intervals. Air jet spinning produces yarn with more wrapper fibers that form a continuous spiraling band around the inner fibers that are more parallel to the axis of the yarn. Microscopy can also reveal a shift in loop formation in knitted fabrics when twist direction (S and Z) differences are present. Roselon Knit Extension Tester2 Barrà © produced by knitting machinery is relatively common, is the easiest to see in the greige, and is the easiest to correct. Often uneven yarn tension during knitting may be a cause. To test for uneven tension, the Roselon Knit Extension Tester can be used. For this test, a fabric sample is cut and raveled to yield yarn samples from light and dark streak areas. The yarn ends are taped and clamped 2 Source: Spinlon Industries Incorporated, 18 S. Fifth Street, Quakertown, Pennsylvania 18951 6 to the tester. As each yarn is stretched to the maximum extension point, the points are plotted on graph paper. Comparisons are usually made visually rather than mathematically. CAUSES OF BARRÉ The varied and diverse causes of barrà © can generally be summed up in one word INCONSISTENCY. An inconsistency that leads to barrà © can originate in one or more of the following categories: ! fiber quality/raw material management, ! yarn formation/supply management, ! knitting processes, and ! preparation and dyeing techniques Fiber Quality/Raw Material Management 1. Failure to control fiber diameter (micronaire or denier) from laydown to laydown. 2. Too high a C.V. of micronaire in the laydown for a given mills opening line blending efficiency. 3. Failure to control the fiber color in the mix (grayness Rd, yellowness +b). 4. Failure to control maturity/fineness in a laydown 5. Most, if not all, fiber barrà © can be controlled by the above four items; however, under certain unusual circumstances, it may be beneficial to also select mixes using ultraviolet reflectance information for each bale of cotton. 7 Micronaire Average micronaire must be controlled within a laydown and from laydown to laydown. Controlling average micronaire in the laydown may not be sufficient to completely eliminate barrà ©. Other micronaire related causes of barrà © are: ! > 0.2 difference in micronaire. ! > 0.1 change in mix-to-mix average micronaire. ! > 12.0 % CV of micronaire within the laydown. It may be necessary to change the laydown averages periodically to make use of all the bales in the warehouse. This must be done slowly with no more than a 0.1 change in mix-to-mix averages. Figure 1 shows acceptable changes in micronaire from laydown to laydown. No barrà © from micronaire differences should show in knitted fabrics when yarns are mixed on the knitting machine from consecutive laydowns. However, if laydowns vary more than 0.1 micronaire, for example laydowns #1 (4.3 mic.) and #6 (4.6 mic.) in Figure 1, then barrà © is much more likely to occur. 8 Figure 1: Slowing Changing Micronaire Average in Laydown Acceptable Change in Micronaire From Laydown to Laydown3.53.63.73.83.94.04.14.24.34.44.51234567891011121314Laydown NumberMicronarie Figure 2 shows a high CV% in the micronaire for bales within a laydown. The laydown shown has 24 bales with an average of 4.1 micronaire and a CV% of 17.7. The change in micronaire from bale to bale is more than a 0.1 change. Also, the CV% is more than 12.0% and would probably result in barrà ©. High Micronaire CV% in Laydown3.53.73.94.14.34.54.7123456789101112131415161718192021222324Bale NumberMicronaireAvg. 4.1 CV% 17.7 * Figure 2: Results of Changing the Micronaire Average too Rapidly Max +/- 1.0 mic 9 Maturity and Fineness Although micronaire gives an indication of fiber maturity, it does not directly measure that property. Maturity and fineness related causes of barrà © include: ! Blending cotton from different growth areas or seed varieties. ! Immature fiber content such as white specks, neps, etc. Yarn Formation/Supply Even with proper fiber selection to reduce raw material effects on barrà ©, techniques in the opening, cleaning, blending, and carding areas can have an impact on barrà ©. These variations can occur at carding where different amounts of non-lint content removal from card to card can be a problem. Poor blending of fiber from opening through finisher drawing cannot be overlooked. In ring spinning, the running of different types of spindle tapes and the use of different cots or new and used cots mixed together on the same frame can create barrà ©. Faulty management in the spinning plant can result in the following yarn related causes of barrà ©: 1. Yarn count variations. 2. Yarn twist variation. 3. Wrong yarn size, color, blend level, twist direction. 4. Mixed yarn lots. 5. Mixed shipment dates of same dye lot. 10 6. Uneven waxing or oiling of yarn 7. Improper conditioning. Knitting Processes and Yarn Management The set-up and operation of a knitting machine is complex and requires precision settings to produce first quality goods. Machine related causes of barrà © include: 1. Different stitch settings (stitch lengths). 2. Improper tension at a feed. 3. Faulty cylinder or dial cam settings. 4. Malfunctioning of storage or tape feeders. 5. Improper threading of yarn. 6. Variations at take-down or spreader system. 7. Machine vibration. 8. Dirt, lint, and/or yarn fragments in the camming system, tricks, needles, or sinkers. 9. Variation in oil content. 10. Worn needles, which generally produce length direction streaks. 11. Uneven cylinder height needles (wavy barrà ©). 12. Worn cylinder and/or dial. Even with a properly set-up machine, barrà © can still occur at knitting due to poor yarn management. Examples of poor yarn management at knitting include: 11 1. Mixing yarns of different counts. 2. Mixing yarns from different spinning systems. 3. Mixing yarns with different blend levels. 4. Mixing yarns from different suppliers. 5. Mixing yarns with different twist level/twist direction. 6. Mixing yarns with different degrees of hairiness. 7. Mixing yarns with different amounts of wax. 8. Mercerization differences. 9. Excessive backwinding or abrasion during this process. 10. If yarns are conditioned, then each lot must be uniformly conditioned. Preparation and Dyeing Techniques Normally, dyehouses have standard preparation procedures and formulas that work very well in terms of removal of non-fibrous contaminants and natural fiber pigmentation. However, some fabrics can exhibit barrà © that is caused by either optical or dyeability issues. Often, the barrà © is not created in dyeing, but can be highlighted. In this scenario, the dyeing is not the cause but the messenger of the problem. Typically, barrà © is not a problem in whites, only in dyed fabrics. Therefore, if a fabric is known to have barrà ©, then that roll should be processed into a white. 12 Preparation can help mask barrà ©, but cannot and will not eliminate it. The cause of the barrà © must be eliminated for future rolls to be free of the defect. The scour and/or bleach procedure can be intensified to mask the barrà ©. This can be done by combinations of using a higher temperature or longer processing times. Usually the chemistry will remain the same; however, in some cases, it may have to be increased or changed. If any changes are made in the preparation procedure, the fabric and resultant shade will possibly change in whiteness, strength, and appearance. In fact, the whiteness will almost always change. If whiter, the old dye formula will need to be adjusted. The strength of the fabric may be affected to the point where it becomes a problem. Finally, the surface of the fabric may change so that it may not match previous lots. As a result of more aggressive preparation to cover barrà ©, it is important to evaluate such changes on small samples in the lab or a sample machine. Tension can play an integral role in not only the formation of the fabric, but also during preparation, dyeing, and finishing. As with all variables, it must be controlled to known parameters and be consistent. Any inconsistencies in tension could change the morphology of the cotton (i.e. during mercerization), level of dye pick- 13 up, or surface appearance (i.e. during mechanical finishing such as brushing or sanding). PREVENTION OF BARRÉ As discussed in the text, barrà © is caused by inconsistencies in materials, equipment, or processing. To prevent barrà © from occurring, consistency must be maintained through all phases of textile production. Stock yarns should be properly and carefully labeled to avoid mix-ups. Fugitive tints and/or marked cones can be useful for accurate yarn segregation. Inventory should be controlled on a first in/first out basis. All equipment should be properly maintained and periodically checked. In spinning and knitting before beginning full-scale production, sample dyeings can be done to check for barrà ©. Knit machine operators should be trained to look for barrà © as it occurs in the greige. If spotted, the machine should be stopped until the cause is eliminated. Salvaging a fabric lot with a barrà © problem may be possible through careful dye selection. Color differences can be masked by using shades with very low light reflectance (navy blue, black) or high light reflectance (light yellow, orange, or finished white). Dye suppliers should be able to offer assistance in this area. Also, if the cause of the barrà © is an uneven distribution of oil or wax, a more thorough preparation of the fabric before dyeing may result in more uniform dye coverage. 14 With close cooperation between production and quality control personnel, barrà © problems can be successfully analyzed and solved. Recommendations to minimize barrà © include: ! Knit an entire dye lot from the same knitting machine. ! Use only yarn from the same spinning lot. ! Use only from the same shipment date if possible. ! If yarn shipment dates must be mixed, then use consecutive shipment dates. ! Determine through laboratory analysis and experience if the preparation procedures are sufficient or can they be modified to eliminate the problem. ! Determine if some shades and dyestuffs are less susceptible to showing barrà ©, and apply those to problem fabrics. ! Make use of yarn/fabric analysis systems such as CYROS ®. ! Identify those rolls within a dye lot that have mixed yarn shipment dates so that it is known when the fabrics go through the dyehouse. ! Identify dye lots that have rolls from different yarn shipments before dyeing. CASE STUDY IN BARRÉ A 100% cotton, ring-spun single jersey style T-shirt is knitting in production with a yarn that does not have a barrà © problem. This style has been knitting for numerous days and no more of the yarn is available for creeling on the machine as the yarns are knitting out. Some yarn packages are skinners and others are full five-pound packages. The machine is 24-inch diameter with 80 feeds. 15 When the new yarn is creeled onto one of the 80 positions, the mixing of yarn shipment dates begins to take place. For this discussion, we will assume that this new yarn will cause barrà © when mixed with the old yarn. Once all positions are knitting the new yarn, there will be no barrà ©. How many rolls of fabric will have barrà © when both these yarns are present in the rolls? If the knitter is making 50 pound rolls, then each yarn package will supply 1/80th of the 50-pound roll or 0.625 pounds of yarn. Therefore, the new yarn will make 8.0 rolls of fabric with barrà © (5-pound package divided by 0.625 pounds per package for a 50 pound roll). It is important to realize that while this new package is knitting, other old yarn positions on the creel are also being replaced by new yarns. By the time the first new package has knitted out, all feeds will be using the new yarn. When the last old package is replaced and all positions have new yarn, the barrà © will disappear. Often, many machines will be knitting the same style. If ten machines are knitting this style and are using the old yarn and new yarns are placed on these 80 feed machines, then the total number of rolls knitted with barrà © will be 80. A total of 4,000 pounds of fabric will be made with barrà ©. If the style in question weighs 5.8 ounces per linear yarn, then a total of 11,035 yards of fabric will be made. Further, if it can be assumed that each yard of fabric can make 1.2 shirts, then a total of 13,240 defective T-shirts will be made. This is 1,103 dozen 16 garments. If the cost per shirt is $2.05 per unit, then a loss of $27,142 plus is realized. If open-end yarn was used for this case study instead of ring-spun yarns, then 8-pound packages of yarn could be used. This would result in 128 rolls containing 6,400 pounds and 17,655 yards of fabric. From this, 21,186 T-shirts (1766 dozens) would have been made. Based on a cost per shirt of $1.86, the loss would be $39,405. The result is that bigger packages mean bigger losses. The best methods to reduce the possibility of this catastrophe are listed below: 1. When mixing yarn shipment dates of only one week, try to reduce the number of machines using the old and new yarns. 2. As more machines are expending the old yarn, consolidate the old packages to fewer machines. This means removing the yarns from one creel and using them on other machines that are still knitting the old yarn. 3. Knit dye lots from a single machine if possible. 4. When a roll is known to have mixed yarns, a laboratory dyeing should be done on a swatch from the roll to determine if barrà © is present. If not, then proceed as normal. If barrà © is present, then the roll should be processed in 17 shades that are not known to be barrà © sensitive or prepared with more aggressive chemistry. CONCLUSIONS It is evident that barrà © is a problem that results from inconsistencies and is a result of poor management of fiber, yarn, and/or related knitting processes. The spinner, the knitter, and the dyer must communicate and work as a team to reduce the potential for barrà © to occur. A well planned and executed system of monitoring the spinning, knitting, dyeing, and finishing systems in the mill can provide for defect free fabrics. 18