Analysis on Postmodernist Shrek

Analysis on Postmodernist Shrek Usually, in most of the traditional fairy tales, ogre is used to be the man-eating beast and the prince is used to rescue the princess and then live happily together ever after. However, in the season of the movie Shrek, especially Shrek I, the makers use decipherable devices to reverse this tradition and use three basic elements to show the idea of postmodernism, i.e. ironic interfacing, intertextuality, and self-reflexivity. Lets begin by explaining the first one, ironic interfacing. To begin with, Shrek I includes a lot of ironic interfacing and one is that its lack of a narrator. Unlike other tales, it is told in a linear custom, but not from the point of view of an omniscient narrator. The story in fact is told through the interactions and dialogue of the central characters, like in the film Shrek, we need to know what Shrek and Donkey would do by watching their action and conversation. It is non-linear narrative technique. But in those Disney movies, for example in Snow White, theres always a narrator telling the audience what is going to happen next and he is omniscient. It results the ironic interfacing between the characters and the authors. Also, at the end of the movie Shrek I, all the audiences see that Shrek, the main character discovers the camera and lots of audiences watching him. Therefore, he turns away the camera and uses his hand to block it before he kisses Fiona. It can be considered as ironic interfacing because it shows the unconventional interaction between the author and Shrek. What Shrek does in the movie lets us recognize that he can look at the audiences and the author through the known camera. So he knows how to maintain his privacy during kissing with Fiona by blocking their view. Besides, from this scene, we all can see clearly that the animation company makes use of Shrek to mock the traditional Disney stories and genre. Shrek uses the stereotypical way of Disney movies and fairytales, which is used to create the distance between the present and the reality. This acts as inviting the viewers to enter another world, a world that can only exist in the stories but not in real. Thus, the company uses it to mimic Disney by including the stories traditional beginning, which Disney always uses. This does not only mock Disney but also helps us to see the unreal world and in the realism of a fairytale. Another stronger example showing Shrek includes ironic interfacing is at the very first part of the movie. At the beginning of the movie, Shrek starts just as a typical Disney cliche fairytale by opening a book and starts with these few words Once upon a time, there is an imprisoned princess waiting for her true love this kind of old style of tales. However, theres a green hand suddenly rips a page from the book, uses it to wipe his bottom and Shrek interrupts it and said to the audiences, Yeah, right! This scene strongly shows us the ironic situation between the characters and the author. Those are the examples of ironic interfacing in Shrek. Next, we are going to talk about intertextuality. Intertextuality means that there are countless references to other movies, texts, plays, and even some parts of the other movies. Especially in Shrek III, there are several main animated Disney characters appearing in the film, but not in their usual form. By referring these Disney characters, the film requires us to have a self-conscious awareness of something that is used to be. Like Snow White and the other princess appearing in the movie, normally they are very delicate and used to be rescued. However, this time, they rescue themselves when they are imprisoned. Also, in Shrek I, Fiona is imprisoned in a castle with a dragon guarding her. In most of the Disney movies, the princesses are used to be so delicate that they cant leave and rescue themselves. But, we notice that Fiona is different from them, as she knows Karate. And the only reason why she does not leave is that she imagines the traditional fairy tale happening to her so she has to wait for her prince. It mocks the Disney movies that those princesses are not really delicate. Furthermore, Shrek has also obtained some scenes from other movies, for example: Fiona freezes in the mid-air like Neo in The Matrix; Shrek fights in a beer-covered ring, making reference to Transporter, Gladiator etc. Last but not least, lets talk about self-reflexivity. At the end of the movie, Shrek discovers that there is a camera shooting at him and Fiona and it means that hes aware of the narrative mechanics or storytelling techniques of traditional fairy tales. Besides, at the beginning of the movie, when Shrek is hunted and chase by the people, he shouts at them and whispers, This is the part you should run away. Although this scene does not directly illustrate that the character does takes notice of the filmmaking process or the camera, it is still a very strong example of self-reflexivity. What he has said does not only remind that group of people how to react, but also reminds the audiences that normally people should run after the ogre yells at them. It shows that Shrek is conscious of the traditional circumstance in fairy tales. In addition, when we focus on the menu of the movie Shrek, it contains details that recognizes you its a movie. Especially when you want to play the movie press the Play button, theres a pig coming out and shouting, Play the movie. It does let you acknowledge that it is a movie. All in all, Shrek is a very excellent example of movies showing postmodernism as the filmmakers has included ironic interfacing, intertextuality, and self-reflexivity. If you want to analyze the cartoon postmodern and feel bored of watching The Simpsons again, Shrek will be a great suggestion for you.

Looking at children’s learning

For my assignment I have chosen to reflect on the children’s learning in the video sequence entitled ‘Hospital Play’, which was filmed at St Stephen’s Nursery School in Newham, London. The sequence is based around the concept of the casualty department at the local St Stephens’s Hospital and was created jointly by the practitioners and the children. My reason for choosing this video clip is that I can directly relate it to the setting within which I work and I have created similar situations myself and can therefore reflect on what I can do differently next time, extending my development. Children do not learn in the same way as each other ‘they each have their own preferred ways of learning’ (E100, Study Topic 3, p. 64). There are many theories relating to how children learn and develop, some coming from Government frameworks but many originate from an individual’s own ideas or beliefs. One of which being Rudolph Steiner, ‘whose principles emphasise the importance of unstructured play and the role of the teacher, who ‘works’ at activities as a model for children (E100, Study Topic 3, p. 6)’, this type of unstructured play is evident in the video in that the outside area offered a free play environment where the children can chose to part take in any activity of their choice, either the role play area or the playground. The adult ‘worked’ at the activity when she joined the table offering support and extending the children’s learning through asking questions that required the children to engage further in conversation, developing their communication skills. E100 Study Topic 3, p. 62, discusses the importance of play in early years settings, with the early years curricula in each of the four UK countries embracing the role of play in a child’s learning. The frame work in England for children from birth to five, suggests that learning and teaching is about adults and children working together, to co-construct ideas and new areas of learning, it is believed that investing at this age will benefit families and children at a later stage in their life. This was evident in the construction of the role play area and its play element. In our setting we always develop our curriculum plans through group discussions with the children. Russian psychologist Lev Vygotsky was the main theorist with regards to socio-cultural aspects of children’s learning. His theory relates to the social and cultural element of a child’s learning and the importance an adult plays in conveying these areas of learning and values to the children. The adult is referred to as the more able ‘other’ (E100, Study Topic 3, p. 65), in the sequence Daksha Patel the practitioner takes on this role in that she speaks to the children in both English and Gujarati, so all children in the setting are valued and included in the activity, ensuring cultural awareness and that some children may speak a different language. Vygotsky also placed particular emphasis on the role of the adult in the transmission of culture, knowledge and language’ (E100, Study Topic 3, p. 65). Cultural values are very important in early years settings and although our setting is situated in an affluent, rural, predominately white community we always ensure other religious beliefs are shared within the setting, celebrating different cultural events in order for the children to extend their learning beyond the community within which they live. Vygotsky, also developed a concept called the ‘zone of proximal development (ZDP)’, whereby he believes a child has two development levels, where they are at now and their proximal level, what they could do next. Adults play an important role in this element of his work, in that it is them that can provide the opportunity to take the child up to their next level, it maybe that they initially offer support, but positively encourages them to try and undertake the activity (E100, Study Topic 3, p. 65). This is also evident in the sequence when Daksha Patel encourages the child to try and write the name of who’s the sample is on the bottle, she then aids them by writing it on the piece of paper for them to try and copy, which the child then does underneath where she has written. Linda Miller, one of the authors of the study topic 3 discusses a similar concept when working with the ZPD of her daughter, in that she would write her name for her, as a model for her to copy (E100, Study Topic 3, p. 66). In our setting we encourage the children to write their names on any work they undertake, aiding by writing first if necessary. Outdoor play is a very important part of the Early Years foundation stage and should according to Mclean 1991:71, be no firm distinction between the indoors and out (cited in Robson, S, p. 226). Although it is not clear on the video whether this is the case the setting certainly offers an extensive outdoor play area, with the role play area and a playground with activities that can also be seen in the sequence. The Statutory Framework for the Early Years Foundation Stage stresses that access to an outdoor play area is expected, this reinforces the importance of outdoor play in both a child’s development and in their learning. ‘Physical play is fundamental to all aspects of children’s development and learning, including the development of the child’s brain’ (Manning-Morton, J and Thorp, M, 2010, p. 100). In our setting we have an area outside that is under cover and has shutters to the main outdoor area, so it can be used in all weathers. Unfortunately staffing levels means we are not able to use our outside area as much as we’d like to, however we do try and get out in the morning, lunchtime and in the afternoon. Outdoor provision plays an important part in the health and welfare of children too, as it provides a safe environment that can provide lots of physically activities for children to enjoy, like scooters, play equipment like climbing frames, or simply an area where they can run around and express themselves. Outdoor play also meets several of the requirements of the Every Child Matters agenda, such as, being healthy, staying safe and enjoying and achieving (E100, Study Topic 6, p. 141). The practitioner, Daksha Patel, demonstrates in the video clearly how all children are included in the activity, she speaks in both English and Gujharti so all children are able to understand. The setting has also provided a wide range of stimulating items for the activity, like syringes, bandages, and sample bottles, to ensure the area is stimulating for the children. There is no discrimination or exclusion, like the girls are nurses and the boys doctors, all children are equal, they are all wearing varying dressing up outfits and they are all caring for the babies, clearly showing inclusion of all children, towards the end a child also states that ‘he’ is not sharing and the practitioner steps in and reinforces what she says and shows the girl where further similar items are. When dressing up in our nursery, which the children love to do, no distinction is made between boys and girls clothes and the boys especially like to dress up in the pink princess costumes. Everyone is included and no stereo typical comments are made and any made by the children are addressed. ‘Participation is the key element of inclusion’ (E100, Study Topic 6, p. 143). Study topic 4 (2010), p. 82 explains there are six main theories about child development, that complement each other rather than one being right and another wrong, one of which is that ‘young children are innocent until they are ‘spoiled’ by their parents and society (E100, Study Topic 4, p83)’, this is the maturationism approach, developed by Jean Jacques Rousseau. Another theory is one of social learning, when a child learns through observing others (E100, Study Topic 4 p. 99). This concept can be seen in the sequence on two occasions when the children carry out activities that they may have experienced in their lives, like syringing ears and putting a plaster on after an injection, this re-enforces the principle that children learn from their life experiences. In this situation the practitioner needs to be aware of issues that may arise with regards to safeguarding as the child may feel secure and in a play environment talk about something that is happening in their life. Study Topic 5, p. 131 details a list of indicators for possible signs of neglect, from the NSPCC, this includes being bruised or injured, a child may show bruises in a hospital role play situation or talk about injuries he or she has suffered (E100, 2010). The sequence offered many areas of learning for children, though initially child led the activity was then supported by an adult, who in turn provided extended learning in respect of writing skills, by encouraging them to write on the sample bottles and new vocabulary and cultural awareness by speaking in both English and Gujarati. The children were able to develop their own language and communication skills through imaginative play and also extend their social skills through communication with each other and an adult. Two implications for my practice from my analysis of the sequence with regards to supporting children’s learning are: 1. Although we have a fantastic outside play area it is not used for enough activities, like in the sequence. We have a climbing frame which the children love and lots of gross motor toys, like scooter and bikes, however, I have never taken out an activity like the hospital role play area. Plus, we have a great shed that is used solely for the storage of the bikes and scooters, it would provide more learning opportunities if the children were able to use it like in the sequence as a hospital or play house. 2. My second implication also focuses around the area of role play, in that we do provide fantastic role play settings, recently we have had a shop that had clothes, shoes, tills, money, price tags, bags and even a shop frontage, but I cannot recall at anytime an adult participating in or extending the learning in the area. The only time an adult was in the area was at tidy up time! It offered a whole host of learning activities like counting, communication and social skills yet all these were missed. I will ensure that in the future I will spend time in the role play area, like the practitioner did in the sequence. With regards to the official requirements on children’s welfare and provision the two implications I will take back to my setting are: 1. Key workers, although I am not currently a key worker of any children, when I am I would want to work more closely with the child and their carers. Although key workers are allocated practitioners are only responsible for keeping their records up to date there is not direct activities or contact with individuals other than during the day to day activities and running of the nursery. Although key workers aren’t evident in the sequence, the practitioner would be able to observe and assess any of her children during he activity. Part of the EYFS (DCSF, 2008) requires a setting to assign key workers as they state ‘a key person develops a genuine bond with children and offers a settled, close relationship’ (E100, Study Topic 5, p. 122). 2. I would also take back the theory and requirements on inclusion, particularly the multi-cultural aspect. As I stated previously we are a mainly white school, in our nursery we have over 50 children and only 1 black girl, who lives ov er 20 miles away in the nearest city. Although the staff and children do not discriminate against her in anyway her own cultural values and beliefs are not directly discussed in the nursery. It would be nice to approach her family and invite them into nursery to maybe discuss what the events they celebrate are and why and how they celebrate them, rather than us just playing an educational video clip; this would be a positive activity making the little girl feel valued. In the sequence the practitioner speak in both Gujharti and English ensuring all the children are included in the activity.

What is Cultural Carrying Capacity

Definition: Cultural carrying capacity is the maximum number of individuals of a species that the human population will tolerate. The number may or may not be the same as the species biological carrying capacity. Cultural carrying capacity depends on human attitudes towards a species, so it can be influenced by public education campaigns. Examples: Hunting proponents argue that the deer have not reached their biological carrying capacity, but have reached their cultural carrying capacity.

Essay on Advertising Fast Food to Children Under The Age...

How much do the fast food companies spend for advertising to children in the United States? In 2009, â€Å"The Fast food companies spent over $ 4.2 billion in the fast food industry alone to market on television, the internet, social media sites, etc† (Brownell, 2009). This amount of money demonstrated that advertising to children is big business for companies, but it affects children directly, who are innocent of future generations. The purpose of this essay is to convince legislators to consider banning the advertising of fast food to children under the age of 12 in children’s programming. First, I will briefly describe the definition of fast food and the negative effects of advertising fast food to children under the age of 12. They are†¦show more content†¦The television advertising targeted at children is harmful. The Journal of the American Medical Association has said â€Å"children between ages of two and seventeen watch an annual average of 15,000 to 18,000 hours of television, compared with 12,000 hours spent per year in school† (Beacon Press, 2000). This indicates that children watch television for too many hours, so the advertising companies target children to increase the number of people, watching their programs. We can see from the above that the fast food industry spends a lot of money to just advertise to children increase their profit. Also, based on the research of the Food Advertising to Children and Teen Scores, show that the average preschooler between the ages 2 to 5 see almost three fast food advertisements every day. The children between the ages 6 to 11 see three and a half advertisements for each day, and teenagers see almost five advertisements for every day (Yale University’s Rudd Center, 2009). 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