Film had played a primary role in Soviet propaganda from the very beginning. Sergey Eisenstein pioneered a new genre, "Soviet Montage," in the 1920s. This method manipulates emotions through quick editing and contrasting images. Battleship Potemkin and Ten Days that Shook the World were his two most highly regarded post-revolutionary pieces. Unfortunately, Stalin did not find Eisenstein's work to be "real" enough to fit into the new "Socialist Realism" genre. Ten Days that Shook the World was banned by Stalin. Stalin embarked on a film tradition all his own.
Stalin had always been fascinated by the medium of film. Seeing is believing, or so the axiom goes, and to a generation new to film what was on the screen might as well have been happening right in front of them. Of course what is on film is not necessarily true, and therein lies the source of Stalin's love for film.
"Cinema is the art of illusion, yet it dictates its laws to life itself"
-Joseph Stalin
The hypodermic needle theory implied that mass media had a direct, immediate and powerful effect on their audiences. The mass media in the 1940s and 1950s were perceived as a powerful influence on behaviour change. Several factors contributed to this "strong effects" theory of communication, including: the fast rise and popularization of radio and television, the emergence of the persuasion industries, such as advertising and propaganda, the Payne Fund studies of the 1930s, which focused on the impact of motion pictures on children, and Hitler's monopolization of the mass media during WWII to unify the German public behind the Nazi party. -- http://en.wikipedia.org/wiki/Hypodermic_needle_model
. . . [Theories] simply provide an abstract understanding of communication process (Miller, 2002).Works like lens, frame, etc.: They give us a frame to make sense out of what we are experiencing.
[Communication theory is] . . . any systematic summary about the nature of the communication process.
Reference
The thing (existence) -- the thing in my mind (knolwedge) | |___ certitudes
The thing (existence) -- the thing in my mind (knolwedge) | |___ certitudes
[JPG image (9.75 KB)] | [JPG image (11.1 KB)] | [JPG image (13.45 KB)] |
Geertz states that we must proceed interpreting a culture’s web of symbols by isolating its elements, specifying the internal relationships among those elements and characterize the whole system in some general way—according to the core symbols around which it is organized, the underlying structures of which it is a surface expression, or the ideological principles upon which it is based. Culture is public because “meaning is,” and systems of meanings are what produce culture, they are the collective property of a particular people