3124. I am not 100% sure on this, so i apologize if i am not right
Okay thank you for the free points and let’s talk how u been how’s life and I bored
Answer: A
Explanation: The British Invasion was a cultural phenomenon of the mid-1960s, when rock and pop music acts from the United Kingdom and other aspects of British culture became popular in the United States
Answer:
Movie audience is worldwide, coming from various backgrounds and age ranges. Movies are available nearly everywhere, and the target audience is much broader and universal. The Theatre audience is focused on the local population and their interests and background. The target audience must be adapted for the specific play, interested in the production, and be able to afford the ticket. Play audience has more intention and is more participating in the experience.
Explanation:
Movies are distributed worldwide and in today’s world, they can be seen almost anywhere – from airplanes, over computers, to cinemas. Movies can be translated easily and there is a chance someone from across the globe will watch a certain movie. <u>The audience for movies is much broader and more global, so when making a movie the director should consider how will it be portrayed worldwide in different contexts and on different screens</u>. They can be adapted to be shown to all age groups, all language groups, and all cultures. The movie audience is also not as active as the theatre audience – the production team and the actors do not witness the reaction right away. Also, the movie stays available for a long period, and when developing it one should consider how will it be portrayed to the audience in a few years. Therefore, <u>the audience for the movie is global, broad, and more passive.</u>
Play is presented to the local audience, in one certain theatre for a short period. There are not many plays that are distributed in other countries and it is harder to translate a play. <u>So the audience for the play is the local audience and the director should consider who is living in proximity to the theatre when developing the idea.</u> The play shown in the US will have to be limited to the experience of the US audience, while the French audience will have different demands and understand different cultural contexts. Also, <u>people who go today to the theatre are considered more well-off and invested in the play</u> – you can’t just accidentally catch the play on TV, you have to intentionally buy the ticket for it. So the developing team should consider how to attract people to go and buy the tickets more easily. <u>The expensive plays will be shown to the more high-standing audience, and small, local theaters will attract a more niche audience</u>. The audience can react immediately – whether they laugh or leave the theatre affects the momentary experience of the play. Plays are shown only for a certain period, so the play should be adapted limited to the present day and age. <u>Therefore, the director must consider which theatre the play is performed in, who can watch them play, what exact message and marketing should they use. The audience for plays is usually more mature, more invested, immediately participating, and from the specific local context.</u>
Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
