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Talk Shows or Freak Shows, 2004.
An look at the history of talk shows and how they have evolved over time.
2,268 words (approx. 9.1 pages), 11 sources, MLA, $ 70.95
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Abstract
This paper describes the format of the original talk shows, as well as how the format has evolved over time to become more of a provocative freak show that harms the guests appearing on the show and promotes negative stereotypes of American society. The paper also describes how the guests are manipulated and antagonized on the show into exhibiting extreme reactions.
From the Paper
"More than half a century ago, in November 1947, the first talk show in entertainment history was broadcast on American television. Named, "Meet the Press," it had first started two years earlier as a radio show that combined news and chat (Halter). The 'chat' aspect acquired immediate popularity, motivating television producers to concentrate more on this characteristic and to produce more focused chat shows. The first of these specialized chat shows, aired in 1950, was named "The Tonight Show," (Halter). Hosted by the popular media personality, Steve Allen, this show took on "a more relaxed, conversational approach," with the guest list including both famous celebrities and ordinary citizens (Halter). Its popularity was based on the fact that viewers felt that the show appealed to their human and sociable side, in addition to informing them about the real problems of both ordinary and famous people. That is, it communicated the very simple message that life was both fun at times and difficult at others but, the important thing was to accept life as it was (Halter). This show, as with those that came later, was extremely popular among American viewers and, did present a positive and realistic picture of American society, in addition to entertaining and advising people. Despite the solid and positive foundations of the talk show, a great majority of those currently aired can only be described as unrealistic and negative, to the extent that they apparently focus on scandal and sex alone. Even though currently popular talk shows appear to be based on genuine emotional reactions and stories, they are based on extreme emotional reactions that guests are manipulated into displaying through the provocative nature of the questions asked. Guests are coached to lie and the audience is manipulated into incorrectly believing that they are watching 'real life.' The consequence is the promotion of negative stereotypes of American society."
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Witkin: Freak Show or Beauty?, 2002.
This paper explores the work of photographer Joel-Peter Witkin.
1,380 words (approx. 5.5 pages), 5 sources, MLA, $ 46.95
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Abstract
This paper explores the concept of beauty in Witkin?s photography. It looks at the techniques he uses to create pictures like paintings. It discusses some early childhood influences on his work and the difficulty of classifying him as any particular type of photographer. It studies the relationship between his work and glass (the properties of glass) and analyzes his picture entitled ?Glassman?. Next, the paper moves on to another work of Witkin?s, entitled ?Waiting for De Chirico?, discussing its comment on surrealism and use of foreground, middle-ground and background. The paper then moves on to an analysis of Witkin?s ?Daphne and Appollo?, exploring its message about love. The paper concludes by highlighting the commonalities between the three above-mentioned paintings.
From the Paper
"While Joel-Peter Witkin may well be a virtuoso technician pushing the envelope with his creative skills, it is seldom his technique that causes people to stop and stare at his work, as well as very frequently stop people from looking at his work altogether. To call him the master of the macabre is to think of him as a storyteller in the fashion of Poe. However, unlike Poe, he is no romantic; he is not interested in ironic twists but rather presents himself as a reporter on the human condition, and on the bubbling unconscious of humans trapped in this world of so many contradictions."
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"What We Talk About When We Talk About Love", 2002.
A review of the short story, "What We Talk About When We Talk About Love" by Raymond Carver.
1,493 words (approx. 6.0 pages), 4 sources, MLA, $ 49.95
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Abstract
This paper discusses Raymond Carver's short story, "What We Talk About When We Talk About Love". The paper illustrates the plot and the setting of the short story, and describes the story's conversation between two couples. The characters are analyzed and their personalities are examined with reference to their current and past marriages.
From the Paper
"The conversation involves two couples. The protagonist is Nick who is happily married to Laura; they are at the home of a cardiologist, Mel Guinness, and his wife Terri (Teresa). Mel and Terri have been married for four years; Nick and Laura, for a little more than a year. So let?s visit some of the definitions of love: According to Mel, "real love [is] nothing less than spiritual love." (Carver, p. 137) This was from his days as a seminarian before going to medical school."
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"What We Talk about When We Talk about Love", 2005.
Explain's Raymond Carver's use of sunlight as a symbol in his story, "What We Talk about When We Talk about Love".
1,061 words (approx. 4.2 pages), 1 source, MLA, $ 37.95
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Abstract
This paper shows how the author, Raymond Carver, uses "sunlight" throughout the story as a symbol of the story's progress, mood, and characters.
From the Paper
"In the story, "WHAT WE TALK ABOUT WHEN WE TALK ABOUT LOVE", one apparent symbol of this story is sunlight. The element of sunlight serves as an indicator of the mood in each scene where it is mentioned. The amount of sunlight described in this short story at any given point reflects many things. The amount sunlight reflects at what point the story is in, beginning, middle, or end. The amount of sunlight reflects the mood of the characters. The amount of sunlight also reflects the characters' willingness to discuss the topic of love."
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"What We Talk About When We Talk About Love", 2002.
Examines the theme of love in Raymond Carver's short story.
1,380 words (approx. 5.5 pages), 1 source, $ 46.95
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Abstract
In the short story "What We Talk About When We Talk About Love" by Raymond Carver, the discussion of love and the nature and relationships of the four characters reflect the same issues, the same ideas and the same difficulties. The paper shows that the discussion has the aura of something that is repeated over and over, as if these four talk about love often. They clearly know one another very well and know all about each other's loves, past and present, yet they still talk about them and their feelings endlessly, as if doing so enables them to understand those feelings and themselves. The paper examines the interaction in dialogue and relationships between the four characters, Mel, Terri, Nick and Laura.
From the Paper
"The central question raised is what constitutes love, and this is raised in terms of how certain actions and behaviors might claim to be love but really cannot be. That, at least, is Mel's point of view when Terri talks about the man she lived with before: "Terri said the man she lived with before she lived with Mel loved her so much he tried to kill her" (256). Mel takes umbrage at this characterization: "That's not love, and you know it" (256). Terri's description of what the man did to her is especially brutal, but all the while the man continued saying that he loved her even as he beat her and dragged her around the room. Underlying this talk is a certain tension between Mel and Terri that emerges in what they say about each other and what they think about this former boyfriend. Terri is indulgent with him and also understands that love may take some odd forms, while Mel pretends that love has only one definition and one manifestation, though he himself shows that this is not the case."
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Raymond Carver's " What We Talk About When We Talk About Love", 2000.
An examination of the characters' views on ideal and realistic love in this short story.
900 words (approx. 3.6 pages), 2 sources, $ 31.95
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From the Paper
"In the short story "What We Talk About When We Talk About Love" by Raymond Carver, the discussion of love and the nature and relationships of the four characters reflect the same issues, the same ideas, and the same difficulties. The discussion has the aura of something that is repeated over and over, as if these four talk about love often. They clearly know one another very well and know all about each other's loves, past and present, yet they still talk about them and their feelings endlessly, as if doing so enables them to understand those feelings and themselves.
The central question raised is what constitutes love, and this is raised in terms of how certain actions and behaviors might claim to be love but really cannot be. That, at least, is Mel's point of view when Terri talks about the man she lived with..."
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"When We Talk about Love", 2005.
This paper discusses the use of sunlight as a symbol in R. Carver's short story, "What We Talk about When We Talk about Love".
1,665 words (approx. 6.7 pages), 0 sources, $ 54.95
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Abstract
This paper explains that, in R. Carver's short story, "What We Talk about When We Talk about Love," the element of sunlight serves as an indicator of the mood in each scene, reflecting the mood of the characters and the progression of the story from beginning to end. The author points out that the amount of sunlight also reflects the characters' willingness to discuss the topic of love. The paper concludes that the story presents a picture of how alcohol can destroy relationships and cut people off from life and love, which are imminently accessible, yet impossible to reach from the perspective of darkness.
From the Paper
"In the beginning of the story, "Sunlight filled the kitchen from the big window behind the sink." This hints that on a subliminal level, the sunlight fills the room in much the same way that positive words and feelings are filling the room. The sunshine of love is imparting joy to everything it touches in the room. The feeling is relaxed, happy, and comfortable. Here, we find the couples (Mel and Terri / Nick and Laura), sitting in Mel's kitchen drinking gin and having a good time. The topic of love came up."
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Talk Shows, 2004.
Uses Tom Shachtman's "Talk Shows and the Dumbing of America" to discuss selected daytime and nightime talk shows.
675 words (approx. 2.7 pages), 3 sources, APA, $ 23.95
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Abstract
This paper discusses the point made by Tom Shachtman, in his essay "Talk Shows and the Dumbing of America", that talk shows are indicative of a dumbing down of America. The discussion focuses on talk shows such as Oprah, Jerry Springer, Maury Povich and uses the Hilton sisters as examples of the types of people to whom Shachtman is referring.
From the Paper
"Tom Shachtman, in his essay titled "Talk Shows and the Dumbing of America", makes the point that the talk shows that are featured on network and cable television tend to present a portrait of America and Americans that is indicative of a gradual dumbing down effect. It is Shachtman's thesis that despite the inherent literacy of the people who create talk shows, the vast majority of these programs present individuals, both celebrities and ordinary people, who seem to be largely illiterate, unable..."
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Talk Radio and Modern Media, 2000.
A short history of talk radio with a focus on conservative talk radio hosts of today.
1,705 words (approx. 6.8 pages), 11 sources, MLA, $ 55.95
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Abstract
This paper examines the current trend of people listening more frequently to conservative or "right wing" talk shows. It focuses on the shows of three hosts - John Carlson, Michael Savage and Rush Limbaugh and discusses how they have successfully adapted their conservative radio programs to compete with new forms of media.
From the Paper
"Imagine a view from the early 1920?s; a family huddled together in front of their brand new radio. The children are excitedly waiting for the familiar sounds of ?The Lone Ranger.? Mom and Dad sit back, enjoying not only the family time together, but their moments of quiet relaxation. Eighty years ago this was the image most Americans conjure in their minds when they pictured the early day of radio. Today, radio has changed dramatically. The word radio no longer can describe the genera?s housed under it. We have music radio, with pop, rock, country and jazz. Separate from musical radio is talk radio, which encompassed home and garden tips, health information, and, often, conservative opinion talk radio programs."
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TV Talk Shows, 2008.
An analysis of the article, "Talk Show Telling versus Authentic Telling: The Effects of the Popular Media on Secrecy and Openness" by Evan Imber-Black.
1,070 words (approx. 4.3 pages), 1 source, APA, $ 37.95
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Abstract
The paper examines the argument presented by Evan Imber-Black, in her article "Talk Show Telling versus Authentic Telling: The Effects of the Popular Media on Secrecy and Openness", that television talk shows have greatly diminished our moral views of what consequences may arise from casually revealing life-changing secrets. The paper maintains that Imber-Black fails to provide enough substantial evidence to support her argument. The paper is of the opinion that this article is a simplistic, one-sided view of those who watch TV talk shows.
From the Paper
"At first glance, and from Imber-Black's psychiatric view, this atmosphere of greater openness brought benefits. Patients were less reluctant to reveal secrets that once might not have been raised. None the less, a frightening cultural shift was taking place. With the rising popularity of "ambush" style talk shows, people began to correlate opening secrets with the belief such actions were virtuous and automatically healing. What was once deeply personal and unmentionable was becoming a popular spectacle on a grand scale and was simply assumed to be cathartic."
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Ethics, Talk-Show Hosts, and Producers, 2004.
A look at the way talk-show hosts and producers violate ethical codes of conduct in their profession.
1,578 words (approx. 6.3 pages), 7 sources, MLA, $ 51.95
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Abstract
The paper argues that talk TV shows are responsible for physical or emotional harm, as talk-show hosts and producers deliberately anger guests and shock them into extreme and unthoughtful emotional reactions.
From the Paper
"Like most media viewers realize, the media plays a large role n shaping their opinions and forming their attitudes towards issues and people. As viewers, many of us respect and admire TV personalities, believing that talk show hosts, for example, reached their positions because they have something important to say. In other words, Jerry Springer viewers can be easily influenced by his opinions and the content of his show when they look at his ratings and discover that millions are watching an listening to him. Of course there are many who know that the media should not always be listened to because the views and information offered could e prejudiced, or who realize that one should not allow the views of a talk show host to influence him as they could be subjective ones. The problem is that not all media viewers have this awareness. Therefore, it is very important that the media follow the code of ethics that was established specifically for it. In the media code of ethics there is one simple, but very important rule, which is respecting others. As "Panel: Dr. Laura Violates Ethics Code," explains, the media should not promote opinions that will, in any way, encourage discrimination, hatred or actions that will motivate people to go against the human rights of others. Quite simply, the media should not promote hatred, incite rage, or encourage people to fight with, or harm others. The media has a moral responsibility towards its viewers. Unfortunately, when one looks at the current popular talk TV shows, such as Jerry Spring, Jenny Jones, Maury Povich, Ricki Lake and others, one finds that there is a real disregard for this ethical code. Guests are encouraged to display rage, be violent, exhibit discrimination and even deliberately incited by TV hosts and producers to display extreme levels of negative emotion towards others. The consequence is that guests are often psychologically and physically harmed by other guests, with TV talk show hosts an producers arguing that it is not their responsibility but the responsibility of the guests themselves. While it is true that it is the guests who inflict harm upon one another, the fact is that the talk TV shows are responsible for the physical or emotional harm as talk show hosts and producers deliberately anger guests and shock them into making extreme and unthoughtful emotional reactions."
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Ireland Peace Talks, 2003.
This paper discusses President Clinton's involvement in the Ireland peace talks.
1,700 words (approx. 6.8 pages), 5 sources, MLA, $ 55.95
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Abstract
This paper explains that, against opposition both within the U.S. and in the countries involved in the Ireland conflict, President Clinton remained consistent and compelling in his assertion that a third party, the U.S., and a radically different approach towards peace was undeniably necessary in the Ireland Peace talks. The author points out that, during his term, he actively worked with British Prime Minister Tony Blair, convincing him finally to allow Sinn Fein leaders into the peace talks. The paper relates that Clinton's diplomacy was responsible only partially for the decline of terrorism in Ireland during the 1990's because, demographically, Ireland is tipping rapidly towards a Catholic majority, making attacks from the IRA and other Republican paramilitary groups far less frequent.
From the Paper
"President Bill Clinton became involved in 1993 after a winning presidential campaign pledging to help end the violence in Ireland. Against the past policy of the United States, Clinton stepped in, arguing primarily for the rights and demands of Catholics in Ireland. Behind the back and against the will of the British, "Rarely in the history of Anglo-American relations has the White House...supported Irish demands against Great Britain"4, he began organizing a series of peace talks, bringing together over the course of several years the leaders of Northern Ireland and the Irish Free State ('Southern Ireland'), and, countering the advice of the Irish Prime Minister, worked intensively on a network of compromises that would yield a cease-fire and eventually a level of peace between Northern Ireland, the Irish Free State and Britain."
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Talk Show Performance, 2004.
An analysis of the nature, processes and roles of the 'ritual of performance' in talk shows on American television.
2,893 words (approx. 11.6 pages), 7 sources, MLA, $ 85.95
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Abstract
This paper presents the idea that the ritual of performance has become the primary factor that determines the talk show's function and importance not only to the mass media, but most importantly, to its audience. Through this discussion and analysis, the paper carries with it the thesis that indeed, the ritual of performance is the most important process that talk shows can offer to its audience and viewers in American society today.
From the Paper
"Television, being the most accessible and audio-visually-appealing mass medium, has introduced and cultivated numerous innovations and new ideas that became part of the American popular culture. Since its inception in the 1940s, television had then invaded the homes of numerous Americans, with its commercial availability a decade later, during the 1950s. The TV has become a household necessity for the Americans in the twentieth century, becoming a constant companion of American families, providing them with the latest news and information about the America and the world, as well as entertaining them with numerous shows that range from fictional depictions (sitcoms, soap operas) to real-life discussions and illustrations of life through talk and game shows."
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"Talk to Her", 2004.
An analysis of the film, "Talk to Her" by Spanish filmmaker, Pedro Almodovar.
1,041 words (approx. 4.2 pages), 1 source, MLA, $ 36.95
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Abstract
This paper contends that Spanish filmmaker, Pedro Almodovar often presents his themes in a satiric and comic framework emphasizing certain melodramatic and exaggerated elements. The paper discusses his film "Talk to Her" and claims that it is not as darkly comedic or as exaggerated as some of his films. The paper examines how he uses the various elements of film to heighten the odd nature of his characters and to illuminate their inner states on the basis of external action, sets and camerawork. The paper explains that a primary mental state for these characters is that of audience, for life to a great degree is a spectator sport at which they are better as observers than participants.
From the Paper
"The film maintains a certain theatricality throughout, beginning with the opening shot, which is revealed as a curtain is drawn back as if for a stage play. Indeed, the first thing seen in the film is a stage play, a very odd interaction at which the main character is seated in the audience. The film ends in the theater once more, and the sense of life as a theater piece infuses the film. Two men are watching the performance, Marco and Benigno. They do not know each other, but they will become friends later and will be important to each other, serving as complements to one another."
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?Let?s Talk Gender, Baby?, 2006.
A look at the the interplay of dominant and alternative voices in Wendy Kaminer's essay, "Let's Talk Gender, Baby".
1,091 words (approx. 4.4 pages), 1 source, $ 38.95
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Abstract
In this paper, the author identifies and analyzes the multiple voices used by the author in "Let's Talk About Gender, Baby" in terms of patterns in the way the author uses those voices and in terms of how the author uses, and controls, the various voices (including her own).
From the Paper
"Throughout the essay, Wendy Kaminer's authorial voice dominates all others. As the author, Kaminer decides just when to use her own voice, and just when to use voices of others, alternatively, to offer examples of why the particular main points she makes about gender and language are valid. The essay "Let's Talk about Gender, Baby" offers a skillful, powerful, and, I believe, effective "mosaic" of voices. As its author, however, Wendy Kaminer not only creates, but controls the framework of the mosaic, as well as all of its intricate patterns."
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