The Effects Of Videos On Social Media

“Video art” is a new genre, not to be confused with film, and not to be viewed as entirely separate from the medium of television, which dominates the viewing experience of video artworks. There is a relentless desire evoked in art critics and viewers alike to strictly define what exactly “video art” is, and what it is doing. Video art serves as somewhat of a paradox, responding to these questions by merely turning them back on to the viewer themselves to further contemplate: what is video art? What is art?

Suicide rates have increased in teens over the past few years. Along with suicide rates increasing, mental health of teens in general has been a widely discussed topic. A huge contributor to these issues is social media. Over the past couple of years, teens have been diagnosed with mental health disorders such as anxiety and depression at a much higher rate. These issues are prevalent for teens all over the world. The increase in diagnosis of disorders is largely due to the rise in popularity of many social media platforms.

A reflection in the article says, “... we in the West are “disenchanted.” The world in which we live feels explainable, predictable, and boring.” which means that our society has become more full of reason and technological. So much that most feel that all things have been done already. That we need a way to make it more interesting and new. To tell us that there is still thing to be created and record,to add some extra interest to their surroundings.This is what makes more interesting than reality and to have things to look forward

Then, there is the viewing of a good picture. There is a “release of emotion that would accompany” the finishing of a fantastic book or a great picture (Krakauer 218). For some quite sometime, that’ll end the ceasing boredom. The intriguing stories keeping me interested. Next, the best and greatest fight against dullness is the human race. Many see others and their instinct is “we do not interfere with them and they should not interfere with others” (Roosevelt 5). Interacting with a wide range of people is fascinating. Each person is unique, there are no two people who are exactly alike, and that is astonishing.

The thought is exciting and daunting and every other electrifying synonym, a bizarre concept considering I never once imagined myself at a university surrounded by other like-minded, confoundedly optimistic individuals. I reminisce about the hazy evenings of miniature me struggling to keep my colossal handycam steady while trying to capture the sunset and think maybe I was safer then, sheltered by my gullibility and inexperience. I know it’s all malarkey, and my fervid conscience would never forgive me if I didn’t reach for higher ground. The journey has already been wondrous and spellbinding, but how exhilarating is the notion of possibly one day triggering someone else’s love for cinema the same way I was transfixed — to turn someone’s black and grey thoughts into some pink and purple

One of cinema's most unexpected, artistically fertile iterations in the 21st century is the viral video, a Warholian flash of lightning: brief, often concept-less, zigzagging across the globe on bright computer/phone screens, and then, just as quickly, vanishing from relevance. This new medium's Meliesian pioneer is a mercurial figure whose fifteen minutes of fame has miraculously protracted into a decade's-worth of cultish, vaudevillian mini-movies; their deranged comedy, hot-topic commentary, and punning, shade-infused manifestoes of give-no-fucks self-reliance are devotedly watched and shared by a small legion of loyal fans. When Chris Crocker, frail, snaggletoothed, lachrymose, uploaded a wailing defense of Britney Spears onto YouTube during

I thought that mind map was a very useful way to colect notes from the video because it puts the information in order. If the information is in order you can easily go back to the bits which you are intrested in.

The music video “Magic Position” by Patrick Wolf carries with some sense of romance while at the same time builds hopes for those who feel wretched by the tribulations of life generally. It advises people to stand up against the frustrations and setbacks facing them and take a magical position to focus ahead. As McLuhan put it, hot media is high definition, well filled with data and requires less participation (McLuhan 36), implying that there is no adequate space the audiences would need to fill in to interpret and comprehend the work. For instance, a movie often conquers optical space, gives great amount of visual information and uses chromatic senses to engage its audiences. This type of media favors systematic precision and consecutive ordering, as it often allows less audiences’ participation. Comparatively, cool media are low definition and require high participation by the audiences (McLuhan 36). Thus cool media active involvement among the audiences. Take an example of a cartoon- usually comprising a simple circle to represent the eye, some squiggles to represent the hair, and a curved line to convey a smile- this is low definition. The audiences have to fully comprehend and

Mediums of popular culture such as films and songs become more than a means of escape but rather a therapeutic resource. Films can “arise from remembered hurts which then get recast in symbolic form” (712). People may use films as an escape from their undesirable feelings but these films can then evolve to assume the form of the event. This occurs because people make an emotional connection with the theme or sentimental elements of the motion picture. For instance, a song listened to during high school can become a reminder of high school itself. When a person later watches a movie that depicts this song, they recognize the song thus fostering a nostalgic attachment to the movie. Therefore, films and other mediums of popular culture can become symbolic thus defeating their original purpose as entertainment and assuming the form as

I chose to view Shirley Clarke's experimental film, Bridges Go Round. The film would be considered experimental in today's age; it features disconnected shots of various bridges, with heavy editing and filtering on the video itself. There are two versions; one features jazz music, and the other displays primitive electronic music. When viewed back to back, the two different soundtracks create unique, distinct feelings; the jazz sounds evoke feelings of warmth and energy, while the electronic music tends to portray a more isolated, alienated feeling. The film makes use of associational form; similar colors and filtered images are grouped together, and create distinct tones at various parts of the film. There did not appear to be a concrete,

This is a work about parallel simulation. The world of this work is a parallel universes and people are survieing in parallel lives. Though the installations itself may be composed of no more than dolls and plastic toys, Cao asserts a lot of intersting details and smart references in it, and the video highlighted both the mundanity and vice of contemporary society through the creation of an obviously fake, alternate world modeled on our own. It's interesting for me to see how something so very unreal can be a source of real anxiety as soon as one realizes that there are indeed many truthful parallels in our

“Future studies could also use sentiment analysis of comments posted on online cat-related media or psychophysiological measures taken during real-time viewing to see if these techniques provide similar results” (Myrick 175). All it will take from other scholars will be to discover a new way to find the audience to take the survey. Myrick also suggested on page 175, “using interviews to get new information “as to why and to what effect internet users view cat videos and photos”. These are both great ways to improve research and find new useful information about the effect internet videos have on users. Myrick’s study has helped pave the way for similar studies as well as shows what steps to both take and avoid when conducting the next study. It makes great strides in understanding the emotional state of people as it applies to the

When you are suffering from a debilitating addiction, it 's easy to feel alone, isolated, and frightened during recovery. However, the emergence of social media has helped connect the world in a way never imagined. And you can tap into these brand new resource as a tool towards fueling our recovery and regaining a life of sobriety.

Social Media such as Facebook, Twitter, LinkedIn, and YouTube are web-based activities that provide individuals access to build a public or a semi-public profile within a confined system, connect and find users that they share a connection with as well as view and navigate the list of connections that are made by other participants of the systems (Boyd & Ellison, 2007). Social media is widely used by young adults contributing to about 84% of the total usage (Smith, 2011). Some of the popular reasons for widespread use of social media are staying in touch with near and dear ones especially with friends and family, making new friends, following famous politicians and celebrities and also in search of potential relationships (Smith, 2011). However as the use of social media becomes more widespread, we cannot help but express concerns over the effects that social media usage may have on our behavior. Over the past couple of decades, research has strongly linked social media usage with negative behavioral outcomes and is known to affect one’s overall well-being. This essay will begin by discussing some of the behavioral issues that result from social media usage, followed by criticisms of this argument. The recommendation will then highlight some ways by which the behavioural problems could be dealt with, acknowledging that self-monitoring and self-regulation are the main ways to tackle the issue.

She writes that the mechanics of early viewing apparatuses, in which spectators would turn a handle in order to drive images forward and pause them at their will, parallel cinema’s broader “titillating and terrifying” (p. 135) interact between motion and stillness. To combine Mulvey and Barker’s ideas, then, the desire for control over the filmic body harmonizes with a fear of their stillness; and while stimulating, this very uncertainty undermines the spectator’s sense of definitive “possession.” This fear of stillness can be appropriated to the act of binge-watching itself. Aired one episode a week, the TV shows, and therefore the cinematic object gets fragmented from its whole. At the same time it can be experiences as in a state of stillness for a period of time – a week, and sometimes more than a week when TV shows are in between production over holidays, before it resumes its movement and the next episode is aired. Hence, binge-viewers take control over this imagined stillness and elongate the movement of the filmic body,