Media 's Attack On Titan

Fear is justified to be an effective motive for obedience among citizens of Xinjiang and Gilead, eliminating possible forms of retaliation. In Xinjiang, their deplorable protest in July 2009 is a strong foundation of the holistic fear among citizens. In order to prevent another disaster and provoking the communist party and other authoritative institutions, citizens remain compliant to the rules the communist government has established. Cleverly, the government uses the society’s period of obedience to provide irresistible job opportunities to further decrease the chances of uprisings and protests. Moreover, by embedding appealing features into the enforced governmental policies, the citizens of Xinjiang have fewer reasons to retaliate against the unavoidable security force. The government proactively seeks the youth to perceive the substantial amount of security as ordinary, utilizing pathos by routinely playing their, “propaganda songs: a jolly children's song about obeying traffic laws, and a more somber acoustic tune that promotes core Communist values. The government

Throughout The Rape of Nanking, the brutal massacre of thousands of innocent Chinese citizens is brought forth through the invasion of this ancient city taken over by the Imperial Japanese army. Iris Chang illustrates the graphic details of the murder and rape of these victims through the perspectives of different sides of the attack. Chang; furthermore, ties in the mass genocide and destruction displayed throughout the book with the example of the Japanese government’s desperate attempt to cover up the incident and the reluctance of the survivors to discuss it. In addition, the horrifying events of The Rape of Nanking only further motivated an uncontrollable desire for aggression, violence, and imperialism in the Asian community evidently

Zhang Yimou’s To Live is a powerful indictment of communist authoritarian rule and blind patriotism. The film places the viewer in the position of an insider as the Communist Revolution alters the political and social landscape of China. By using dramatic irony, Zhang Yimou appraises communist collectivist culture, class structure and power in revolutionary China, and the Cultural Revolution. In addition, by using shadow puppetry as a symbol of indoctrination, Zhang Yimou examines the link between political change, personal tragedy, and bureaucratic incompetence.

The apex of Wong’s book is how she displays the emotional overtones in reciting her account of the Tiananmen Square Massacre of 1989. She tells of being holed up in a hotel across the street from the square and actually being able to see the violence between the protesting students and citizens, and the soldiers of the People’s Liberation Army. When she describes bodies falling from gunshot wounds, people being squashed by tanks, and the bullets ricocheting off their hotel walls, it produces multiple senses of horror, sorrow, and absolute terror. She further hammers this point across by displaying two images taken from the scene (245). The first is of a PLA platoon leader who was beaten, set afire, disemboweled, and to add further insult, positioned so that he would serve as an example of what the proletariats were capable of. The second, was of PLA soldiers examining the destruction of Tiananmen Square after they seized the square. Smoke and debris from the protestors are widely prevalent, and the image was even used in a propaganda brochure for the government.

Perhaps it is in human nature to turn to violence in turbulent times. We often overlook the violence that goes hand in hand with great historical change. And, as the victors write history, often the violence that acts as the cornerstone of societies are toned down and forgotten. During the Cultural Revolution in China, violence forced its way into the everyday life of the people. Everyday people— peaceful farmers, city folk— became the vehicle for immense violence in both a severe and widespread scope. This violence, while operating within the bounds of human nature, is motivated by a social requirement to prove one’s dedication to the CCP, “soldiers” who become carried away with newfound power and government encouragement, forcing ideology by brute force, retaliation, personal pride or protection, and human instinct to resort to violence; and can occur in any society.

The protests drew international attention through the press, specifically through the portrayal of the events with the “Tank Man” photograph, which allowed the Australian government to “justify counteractions” while warning the population that China would “be humiliated in the eyes of the world” while the protesters used the attention “to maximize public attention and sympathy” for their

Symbolism, or the representation of an object or word to signify a hidden meaning, is an inherent theme in Ishirō Honda’s 1962 film King Kong vs. Godzilla. By utilizing two of the most iconic monsters in cinematic history, Kong and Godzilla, Honda depicts the shift from one culture to another and the battle that ensued. Honda also shows the different cultures that King Kong and Godzilla represent; Kong is the embodiment of modern Japanese culture, while Godzilla represents the traditional Japanese culture. However, when comparing these two creatures, one must first look at their origins from two other supplemental sources: Merian Coopers’s 1933 film King Kong and Ishirō Honda’s 1954 film Godzilla. These films clearly reveal how each entity differs from Ishirō Honda’s 1962 film King Kong vs. Godzilla. Furthermore, by observing key elements shown throughout the movie, one will recognize the differences between the originals and the 1962 rendition.

Films are seen as an escape from pre-established reality. Films based upon actual events, however—dramatized or adapted for the screen—infringe on the relationship between viewer subjectivity and their continuously engaged reality. The result is subtle yet engrossing; a subjective visualization of the past reborn for the present. Polanski’s Chinatown echoes the sensibilities of 20th century American film movements while also being historically accurate. Through the use of a limited point-of-view, symbolism, and theme, Chinatown creates dynamic characters while restricting audience perspective.

This investigation will assess the significance of the propaganda that arose out of the student protesting Tiananmen Square in 1989. Using specifically the "Tank Man" photograph taken by Jeff Widener on the 5th of June 1989 during the protests, I will investigate the extent to which this piece of media influenced relations between Australia and China immediately after the events of the student protest. In short, the investigation will try and answer the question as to how influential western media coverage was in its representation of China and if it acted to highlight divisions in foreign relations.

In shock, the artists came to a sudden realization of their impotence in the face of real politics. Their idealism an utopian enthusiasm so typical of new art in the 1980s met its nemesis in the gun barrels of Tiananmen.’Unofficial’ culture, which was just coming out into the open, was again forced into an iconoclast position by official policy. But, ironically, this banishment in the end served creative art a good turn (Chang 1).

The innumerable symbols are an important factor in the movie Chinatown (1974) directed by Roman Polanski that contributes to the development and presentation of the story. The name ‘Chinatown’ itself is a metaphor that delivers the theme of the story in which we are living in a sinister world, a corruption society. The creation of characters like Noah Cross and Evelyn Mulwray, focus shots on specific props such as glasses and eyes, and a plot that relates to the California Water Wars are all some representative examples of how symbols are used to create a meaningful film like Chinatown. With the genius design of the plot, recognised by the Oscar for winning the Best Writing of Original Screenplay, audience could relate the aspects shown in the film in real life situations and , to gain a deeper understanding and feeling to the film.

The repressive regime of communist China had just reached a boiling point with the students in Tiananmen square and this idea of grace and stoicism in the face of utter power and injustice struck a chord with Huan. The silent power of the protester standing in front of the tank is mirrored in Huan's vulnerable but unmoving position against the ceiling. The display of the nude body is viewed as foreign and negative to censor ridden cultural norms of China and therefore serves as a reinforcing political protest within the show. The body is possibly one of the strongest cultural artifacts of Chinese culture. It's censorship by the government is a strong statement about how politics work in China. Censorship in general also brings to mind the power relationships at play in China. The government represents a communist regime focused on total control and censorship reinforces this control. Huan's disregard for that repressive control is alive in 65 Kilograms and is shows that he wants to create his own cultural meanings with his naked body that extend beyond the norm. Chinese politics and cultural issues both played pivotal roles in the meaning behind 65 Kilograms and Huan's development as an

As Japanese economy soared, its media products such as manga, TV shows, movies and music spread out across Asia. Especially, the young people in Asia began to embrace Japanese culture rather than the culture from the most dominant culture exporter- the United State, and this phenomenon was analyzed by Koichi Iwabuchi in his Feel Asian Modernities. His account of this intra-regionalization in Asia is cultural proximity that Japanese culture shares intimate similarities with other Asian countries and appeal to the audience to perceive this cultural flow.[ Iwabuchi, K(2004), Introduction: Cultural globalization and Asian media connections. Feeling Asian Modernities, pp 12.] In this way, American

The Chinese Mayor is a controversial documentary film that is from China. Datong is a historically important city in China, but it was fall into a decline. The mayor Yanbo Geng has a transformation plan for this city. The birth of the documentary is associated with the social situation of China. This documentary film shows a different mayor with his distinctive thinking in China and the things he does in his tenure of office. Creators create is because of a need to change thinking. They want to take the new ideas to challenge the old ones to push the And also, the reason of this documentary film born will be discussed clearly in this essay.

Contemporary culture, however, plays a different role. As current contemporary movies, music, visual arts and other entertainment forms produced by Vietnamese resolve around the Vietnamese “national cultural identity”, which almost always incorporates Chinese elements or Chinese influence in some ways: in its language, practiced customs, art motifs, etc., as addressed. Vietnam’s contemporary culture, in this condition, has the same low probability of dividing between the Chinese elements and “quintessentially Vietnamese”. However, in reality, the concept of “Vietnamese contemporary culture” does not only include productions by Vietnamese people. As the Vietnamese community reacts and corresponds to foreign cultural productions as engagingly as they do with Vietnamese-produced goods, this country’s contemporary culture encompasses these alien productions. In this context, culture is more easily categorizable. Additionally, making the first step in protesting with contemporary culture is a logical movement. Unlike other goods exchangeable economically, which can be manipulated to present as if from a different origin, Chinese contemporary cultural productions take significantly distinct forms. As they are very distinguishable–the use of Mandarin’s often a giveaway–differentiation of Chinese media and entertainment production becomes the simplest,