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Interviews Assignment 2 Assignment 2 will ideally build on the background and knowledge you developed for Assignment 1

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Interviews Assignment 2 Assignment 2 will ideally build on the background and knowledge you developed for Assignment 1. It will provide you with context and background to help you: • Find a research focus • Develop relevant interview aims • Conduct a more informed and substantive interview But this is not a requirement. Exploring creative work • 4,000–4,500 words Objective: to produce a critical account of the insights which you gain from primary research about creative work. What do I mean by Interviews? • Structured / unstructured • Open / closed • Formal / informal • Individual / group ????????? ????????? So few pictures ????????? ????????? There are different kinds of interviews and ways of conducting them Structured / unstructured (Byrne, 2012: 208) Structured Unstructured • Standardise interviews • Unique interview • Aim is to generalise • Aim is to be specific • Interviewer is neutral • Interviewer co-produces data • Data collection • Data generation • A survey • A conversation From my Thesis (Ward, 2015: 86) Semi-structured interviews were undertaken… as a means to engage in a more wide-ranging discussion, allowing research participants to construct narratives and provide their own accounts of their working lives. This method has been identified as useful for teasing out valuable information, such as individual experiences and meanings, from the interviewee (Longhurst, 2003) as it promotes a more fluid conversational form (Valentine, 1997). Semi-Structured Interviews • A “conversation with a purpose” (Byrne, 2012: 208) • Encourage interviewees to speak at length • BUT guided to talk on a particular issue or range of topics • You go in with some questions and ideas – but allow the interview to develop in response to what the participant says This is the kind of interview I expect you to conduct and what I mean when I say “interview” Why do Interviews? • Allows participants to speak in their own words • More flexible and wide-ranging • Find “hidden” or hard-to-access information • Experiences and meanings • Attitudes and values • Sensitive topics • Achieve depth (Byrne, 2012; Longhurst 2003) Problems with Interviews • Time consuming / resource intensive • Finding interviewees • Traveling to and conducting interviews • Transcribing • Limited breadth • Difficult to conduct well • Exhausting Interviews can be problematic given the skill of the interviewer, their biases and the unequal power balance between interviewer and respondent can all play a role in what data are collected (Kobayashi, 1994; Longhurst, 2003) Generalisability and Validity • Limited size of sample means you it is difficult to generalise • BUT can provide valid individual accounts that can ground theory in robust empirical data (McRobbie, 1998) Semi-structured interviews are ‘high-preparation, highrisk, high-gain, and highanalysis operations’ (Wengraf, 2001 in Byrne, 2012: 215) From my Thesis (Ward, 2015: 86) Qualitative interviewing is time-consuming, both to prepare for and undertake, thus limiting the size of a sample, and means that representative sampling techniques – such as random or probability – can be impossible (Byrne, 2012: 215). In this research I could only reach a certain sections of the artist population – those attending shows, having exhibitions, or who know such people and are recommended to me by them. Getting Ready • Who do you interview (including how many people and how you contact them)? • Where do you interview them? • What do you ask them? • How are you going to record the interviews? • How will they be analysed? From my Thesis (Ward, 2015: 86) The recruitment of participants was mainly achieved through the time I spent in the creative quarters of both Margate and Folkestone… In these places I was able to visit galleries and open studios as a means by which to meet potential respondents… From these contacts I was able to snowball further participants (Byrne, 2012: 218). Who? • Limited resources restrict how many people you can interview • Representative sampling is likely impossible • Theoretical sampling is selecting people who are likely going to provide useful data • Snowball sampling – asking interviewees to recommend others – is often useful • Note that these limitations impact on what your data can say For this assignment you only need to interview one person. From my Thesis (Ward, 2015: 87) Interviewees were invited to choose an interview location convenient for them. This was so that they were on their own ‘territory’ where it was hoped they would be able to feel relatively more comfortable: additionally this often offered the chance to see them in their own studios or home working spaces (Valentine, 1997: 117). Interviews were digitally recorded to allow me to concentrate on the interview without also needing to make extensive notes, and allowing the interviewee to talk fluidly without feeling as though they had to pause or talk more slowly so that I could keep up. Where? • Face-to-face is preferable – though potentially not possible • Allows you to respond to visual cues, body language • Easier to establish rapport • Consider a venue that will allow the interviewee to feel comfortable and relaxed • Be aware of your own safety • Consider how the venue might affect conversation/recording • Teams / WeChat / telephone / email + others are possible Recording and analysing the Interview • Get permission and then use a voice recorder • Allows you to concentrate on what’s being said • Your phone may work fine, but could struggle in noisy environments • Transcription • Complete or partial? From my Thesis (Ward, 2015: 86) An interview schedule was prepared for my use, with questions to prompt further discussion from the respondent and as a means by which I could ascertain that all major themes had been covered. The themes to be covered were derived from engagement with extant literatures and policy documents. The broad themes included on my interview schedule were under the headings: Can you tell me a bit about living here? Can you tell me a bit about the arts scene around here? Can you tell me about your work? … However, as they were semi-structured interviews it was rare that those exact words would be used or that topics would be broached in this order. Instead interviews proceeded from the general chit-chat engaged in while reviewing consent forms and making cups of tea, and developed through the respondents own narratives. Questions, Questions, Questions • From your reading: • Academic literature • Background on sector/ organisation • Identify themes/topics that you might cover • Working conditions • Pay • Work intensity • Flexibility • Equality of access • Organisational cultures and values • Diversity • Free labour • How to manage/ promote creativity • The role of networks • Alternative ways of organising • Cultural/Creative Work • Self-realisation Questions, Questions, Questions • From the themes you’ve identified come up with some research questions • Crucially, think about how you can get answers to these questions from your interviewee: • Making questions intelligible • Avoiding leading questions: allow respondents to give their answer, not the answer you expect • You need to be able to modify your questions to respond to what the interviewee says The key to a good interview is to adjust your approach so that the interviewee is encouraged to talk, but crucially to talk about subjects that you are interested in researching. (Byrne, 2012: 219) Example: theme and research questions “… a modern entrepreneur tends to become increasingly a creative network operator and manager.” (Nijkamp, 2003: 395) • How important are networks for creative entrepreneurs in this sector, and how do they use them? • How do they develop their networks? • What problems do networks pose for these individuals? Example: getting ready for the interview Consider the possible kinds of answers you might expect based on your background reading • This will help you develop awareness • You will be able to identify relevant information and ask follow up questions • How important are networks for creative entrepreneurs in this sector, and how do they use them? • To find new opportunities • To access resources • To find new staff Example: developing interview questions “How do you use networks to find new opportunities?” • If you ask this then they may look for ways in which they use networks to find new opportunities, or may only consider certain kinds of networks or opportunities. • Instead, you might consider: • “Are you part of any professional organisations?” • “Do you use social media?” • In response: “How did you hear about that job?” Top Tips! • Be ready to work really hard. Interviews are exhausting. • Listen and respond to what your interviewee says. • Don’t speak too much – the interview is for your respondent to tell you things! • Avoid jargon and too much academic language. • Avoid closed (Yes/No) questions. Ethics and Consent • Above all you should respect your research participants. This includes analysing their data fairly, as well as respecting the time they have given you. • Participants must be over 18 years old. • You need to obtain written consent: template on Minerva. • You should store the consent form, recordings and any other personal information on the University provided OneDrive. Bibliography • Bryman, A. (2012). Social Research Methods (4th ed.). Oxford: Oxford University Press. • Byrne, B. (2012). Qualitative interviewing. In C. Seale (Ed.), Researching Society and Culture (3rd ed.). London: Sage. • Longhurst, R. (2003). Semi-structured interviews and focus groups. In Key Methods in Geography (2nd. Ed). • Valentine, G. (1997). Tell me about...: using interviews as a research methodology. In R. Flowerdew & D. Martin (Eds.), Methods in Human Geography (pp. 110–126). Harlow: Longman. • Ward, J. (2015). Cultural Labour in the Context of Urban Regeneration: artists’ work in Margate and Folkestone. University of Kent. Harvard referencing: quick crib sheet Book Family name, INITIAL(S). Year. Title. Edition (if not first edition). Place of publication: Publisher. Adams, A.D. 1906. Electric transmission of water power. New York: McGraw. Kane, M. and Trochim, W. 2007. Concept mapping for planning and evaluation. Thousand Oaks: Sage Publications. Chapter in edited book If you are referencing a book with chapters written by different authors, you need to give details of the chapter, and the book in which you read it: Family name, INITIAL(S). Year. Chapter title. In: Family name, INITIAL(S) (of editor). ed(s). Title of book. Place of publication: Publisher, page numbers. Coffin, J.M. 1999. Molecular biology of HIV. In: Crandell, K.A. ed. The evolution of HIV. Baltimore: Johns Hopkins Press, pp.3-40. E-book Family name, INITIAL(S). Year. Title. [Online]. Edition (if not first edition). Place of publication: Publisher. [Date accessed]. Available from: URL Hollensen, S. 2011. Global marketing: a decision oriented approach. [Online]. 5th ed. Harlow: Financial Times Prentice Hall. [Accessed 26 May 2017]. Available from: https://www.dawsonera.com/abstract/9780273726272 Journal article (print or online) Family name, INITIAL(S). Year. Title of article. Journal Title. Volume(issue number), page numbers. Pajunen, K. 2008. Institutions and inflows of foreign direct investment: a fuzzy-set analysis. Journal of International Business Studies. 39(4), pp.652-669. N.B. Use p. to reference a single page, and pp. if it is a range of pages. Website or webpage Family name, INITIAL(S) (or company name). Year. Title. [Online]. [Date accessed]. Available from: URL Hawking, S. 2000. Professor Stephen Hawking's website. [Online]. [Accessed 9 February 2009]. Available from: http://www.hawking.org.uk/home/hindex.html Environment Agency. 2013. River and coastal maintenance programmes 2013-14. [Online]. [Accessed 12 July 2013]. Available from: http://www.environment-agency.gov.uk N.B. If the source has multiple authors, you should include all of the authors in the reference. PECI 5105M Creative Work Participation Information Sheet You have been invited to take part in this research project. Before you decide whether to take part, please take the time to read this information sheet. This research is aimed at adults aged over 18 years only. Purpose of the research This research is being conducted by a student from University of Leeds. The purpose is__________________________________please add You have been selected because_____________________________please add What will I be asked to do in this research? You will be asked to take part in a semi-structured interview. You will not be obliged to answer any questions you do not wish to, however by taking part in the interview you are giving consent for the information you provide to be used in the research findings. How will my information be used and will my information be confidential? Your information will be analysed with all other results to form conclusions on the subject area. This will be used as part of the assessment of PECI5105M Creative Work. Although your name is asked for on the attached consent form, you are given the option of whether prefer to remain anonymous in the submitted work. All data will be kept securely and in compliance with relevant UK law. Can I withdraw from the research? If you feel uncomfortable at anytime during or after the interview you may withdraw from the research prior to the assessment date: __________________________________please add Thank you for taking the time to read this information sheet. Please complete the Consent Form below. If you have any queries regarding this information, please contact the module convenor: Jonathan Ward j.ward1@leeds.ac.uk PECI 5105M Creative Work Participant Consent From Tick to agree I confirm that I have read and understand the information sheet explaining the above research project and I have had the opportunity to ask questions about the project. I understand that my participation is voluntary and that I am free to withdraw at any time during data collection without giving any reason. However, I cannot withdraw from participation if the script has been submitted for assessment. I understand that relevant sections of the data collected during the study may be looked at by module staff and auditors from the University of Leeds where necessary for educational or quality assurance purposes. I agree to take part in this research. To participate you must agree to all the statements ABOVE. I am happy for my name to be used. Name of Participant Date Signature Researcher contact details: please add your details If you have any queries regarding this information, please contact the module convenor: Jonathan Ward j.ward1@leeds.ac.uk Gender Equality and Diversity in the Advertising Industry This essay aims to examine gender inequality and the lack of diversity in the advertising industry, especially in the creative department. It analyses not only the current situation of the workers but also the reasons, influences and further actions to improve it. This essay will be divided into four parts. The first part is about the necessity of diversity in the advertising industry. The second part will illustrate the gender inequality in the field of advertisement. Thirdly, it is going to examine the lack of diversity in this industry. The last part is about the measures or actions of improvement. Context The advertising industry has been considered to have a profound impact on people(Appiah and Saewitz, 2016). Cai (2019) believed that a valuable advertising product could impose a positive influence on the audiences. The contemporary advertising industry, however, less representative of people from different background and culture(Preston, 2018) and disconnection with the creativity’ s diversity (Oster, 2017), which is related to the lack of diversity in the personnel, content output and management structure (Alliance for Inclusive and Multicultural Marketing, 2018). The dilemma puts the ad industry in a controversy of credibility (Appiah and Saewitz, 2016). In addition, advertising also faces increasing demands from different audiences and customers are asking more diverse advertising content and marketing means (King, 2017). The workers who have diverse talent and values are crucial to the development of the advertising sector, especially in the creative department (Joseph, 2016). However, the structure of employers in most ad companies was still following the traditional way (Preston, 2018). At the same time, the minority workers of the ad industry were also treated with inequality (Rogers, 2016). Therefore, especially in the context of the globalisation, it is necessary to employ workers from diverse background and culture to achieve workforce diversity, produce diverse ad contents and reform the management structure of the advertising companies to create a better environment for the employers from different background, though there are many issues need to face. Gender Inequality in the Creative Department of the Ad Industry There is a paradox in the sex ratio in the advertising industry. The overall proportion of female employees is higher than that of males in the advertising industry, but men dominated the creative departments and top levels (Cai, 2019). Statistics show that women account for nearly 60% of the employment in the ad industry (Bosman, 2005), only 30% in the creative department are women (Cuneo and Petrecca, 1997) while even less at the top management ranks like the art directors (Broyles and Grow, 2008). The reality is that male nearly lay hold of all the lifelines of the advertising industry (Vonk, 2005). The ad industry of Spain shows this trends, for example, men make up 90% of the executive positions, while female employment mainly occupies in the middle-level ranks, although female workforce makes up 56% (Ayhan, 2010). Similarly, the number of female workers in the creative departments is 20% of the male workers (Grow et al., 2015). This phenomenon of the ad industry in gender is common globally (Fullerton et al., 2009). The work of women in the creative department of the ad industry was often underestimated and face the prejudices, especially from the male leaders (Sampey and Leary, 2005). However, there are some researches reveal that women perform better in openness and divergent thinking (Runco, 2004). Although these two thinkings are not generated creative thinking directly, it has the potential to make the creativity possible (Grow et al., 2015). Because the divergent thought process is beneficial to find the right way to solve problems (Runco, 2004), while openness thinking is critical to open mind to create (Helson, 1967). Therefore, it is necessary to figure out why women at an unfair disadvantage in the workplace even though they have abilities and talents. There is an argument that the creative field is Darwinian, and the male has the priorities in the ad industry (Parpis and Anderson, 2005). The reasons in different regions and countries are relatively varied, but the gendered connotation exists extensively (Grow et al., 2015). This gender dilemma also led female workforces hard to draw peer recognition in the industry (Broyles and Grow, 2008) such as in industry awards. The composition of the judging commission, in the past, was all men or a few women (Cai, 2019), which consolidate the dominant status of men and decreasing the chances of the promotion of women in the ad industry. Besides, although most of the entries in the advertising competition are team-based, the ultimate honour usually belongs to the creative directors who are mostly man (Cai, 2019). In American, for instance, the number of top creative women recognised by the Creativity Magazine was lower than 10% (Grow and Broyles, 2011). One of the explanations of this phenomenon is homophily in social networks, which means people tend to identify with people who have similar characteristics like gender, race or culture (Ibarra, 1992). Therefore, men have higher chances to win when the majority of judges are male. Thus the development of women in the ad industry is constrained (Grow and Broyles, 2011). To an extent, the establishment of the career reputation and promotion rely on professional abilities recognition (Grow et al., 2015), be more specific, like some prizes or recognised works, especially in the work-oriented ad industry. Based on the above analysis, the low possibilities of winning professional rewards make women challenging to gain peer recognition, further to developing their careers. The promising point is that the situation is changing gradually from the 2000s (Bosman, 2005). Spence (1974) believed that it is helpful to make progress if someone can see models like herself or himself within an industry. For example, the commission of the Cannes Lions International Advertising Festival established the rule of the proportion of female judges cannot lower than 25% in 2004 (Bosman, 2005). Moreover, above explanation is not intended to prove women more suitable than men in the creative field; on the contrary, both men and women play an integral role in the ad industry because of its different features and perspective of thinking. The purpose is to justify and defence the achievements and rights of women in the ad industry. In the environment of the disadvantaged femininity and prioritised masculinity, two traps for the female workforce are worth to focus. The first one is the tomboyish style (Carr, 1998), which means they have some manly characteristics and women who are manly are more tend to achieve success in the workplace (Broyles and Grow, 2008). Kazenoff and Vagnoni (1997) analysed that the tomboy might be an insurance strategy which avoids to move over to the female products, especially in the ad industry. These arguments are not intended to criticise the women of tomboyish style; on the contrary, women have rights to choose the way they want to live and work. However, it is hard to deny that the unequal environment forces some changes and make the role of women workforce more vulnerable (Grow et al., 2015). Because there has a potential assumption is that people who have femininity hard to achieve success in the field of advertisement. Instead, it is possible to acquiesce male priority (Helstein, 2003). It is also has a negative influence on the products in the ad industry if women spoke to and create advertisements from the perspective of men (Yoccato and Jaeger, 2003), which is not real diversity. The second one is ‘pink ghetto’. The pink ghetto is ‘a term used to refer to jobs dominated by women’ (Pink ghetto, 2017). This term appeared in 1983 to define the curbs female face in promoting their career development because of some invaluable and dead-end jobs (pink ghetto, 2017). In the field of the advertisements, pink ghetto represents being moved to assignments or works on the women products (Koslow and Sasser, 2003), which is hard to acquire the professional award or reputation (Grow et al., 2015). On the other hand, the pink ghetto is often related to the lower paid (The Seattle Times, 2006). Although the rewards in the ad industry usually associated with the billable hours and face time, they also rely on the awards, professional reputation and peer recognition (Grow et al., 2015). This kind of trap often appeared in the ‘pretending companies’, which means those that say many women rights and even ran women branded initiatives, but still excludes women from core positions in the executive and creative teams (Cox, 2017). There is a potential assumption behind this phenomenon that women do not have a sense of marketing orientation to different targeted customers; they can only serve the people like themselves (Rotfeld, 2003). Therefore, the situation for women becomes more difficult within the industry if trapped them in a single type of products. In this context, some people even criticise women utilise their female characteristics to achieve career progress, like establish start-ups about babies or fashion (Casserly, 2012). O’Dell (2011), for instance, argued that ‘you (women)’ re embarrassing me’. However, the question is whether it is wrong to use the characteristics of women to develop their careers. Rose objected that female combine their passion, understanding with the expertise to developing their career is no different from a man (Casserly, 2012). In the industry of the advertisement, some ad workers, especially the male workforce, feel hard to interact with women customers (Casserly, 2012). The male-dominated situation inevitably has an impact on the accuracy and validity of information to targeted female customers (Broyles and Grow, 2008). However, there is no absolute gulf between the works of men and women; the above analysis not intended to distinguish women and men entirely. All in all, the core of diversity is aims to create an inclusive and fair environment for male and female workers, which stimulate their creativity and potential. Diversity In the ad industry, diversity not only refers to gender issues but also means different races, levels, ages and minority groups (Maryville University, 2019). The reality is that there are still many ad agencies still exclude the minority groups, like single parents, disabled people or LGBT groups (Rogers, 2016). According to research from the Lloyds Banking Group, the minority people just account for 19% of the advertising workforce, with only 0.06% from disabled people or LGBT groups and 0.29% from single parents (Rogers, 2016). The hesitation about including these groups in the advertising industry usually comes from concerns about offense. (Rogers, 2016). Escape, however, cannot solve these concerns. Some people might object that there are diverse people who indeed appeared in contemporary advertisements, like blacks. However, these descriptions often showed in limited and rigid roles, which is a one-dimensional description (King, 2017). This phenomenon also appeared in other different groups, like the elderly or women. For instance, the elderly rarely described with humour or newly advanced things (Bacon, 2006). Women often closely associated with seduction or motherhood (Rogers, 2016). These problems link with the lack of diversity in the ad industry, which represents a deficiency in thinking from diverse perspectives. In addition, this problem also indicated that the agencies did not build effective communication and interaction (Sage Age Strategies, 2018). Therefore, a team of workers from different backgrounds is essential to the ad industry. On the one hand, different people can bring different ideas to stimulate creativity (Maryvlle University, 2019). Johnson (2019) added that heterogeneous could provide companies with more creativities and innovations because of cultural diversity. The neglection of minority groups would lead agencies to miss the chances to connect with the customer (Roderick, 2016), thus failed to establish a diverse brand. Lloyds report illustrated that 65% of interviewees argued that a quality brand should reflect diversity as possible and 67% of respondents aspire to the inclusive and diverse representation of ad agencies (Rogers, 2016). According to Adobe industry research, 82% of respondents believed that a majority of successful products and projects were from a diverse team. On the other hand, diversity has the potential to strengthen its competitive advantages. Workers can provide more solutions and options to companies and customers for different ideas and thinkings (Johnson, 2019). The highly diverse individuals and groups, like different races, experiences, ages or characteristics, would be a critical differentiator among agencies or companies (Alliance for inclusive and multicultural marketing, 2018). Besides, companies who are diverse are more easily to attract talented people who have a different language or social skills (Hunt et al., 2018), further extending the marketing covering (Johnson, 2019). In addition, diversity also has economic value for advertising firms. Two indicators of measuring financial performance, profitability and value creation, are directly related to diversity, especially in big companies (Hunt et al., 2018). The profitability in the ad industry links to customer satisfaction (Rogers, 2016). On the one hand, it is essential to produce various works to meet the different requirements of different customers (Maryvlle University, 2019). On the other hand, good advertising works means a good reputation that is helpful to attract more customers (Sage Age Strategies, 2018). Value creation is inseparable from a creative team, and the creative teams, in the current context, need to have inclusion and different understanding for a different culture to achieve its economic value. Possibilities of Promoting Diversity An inclusive environment is the premise of the diversity for advertising agencies or companies (Zalis, 2017) because an environment might have a significant influence on workers’ motivation and abilities (Koslow and Sasser, 2003). Stewart (1992) believed that creativity is deeply rooted in the environment and context that cultivate it. For group works, on the one hand, teams are more able to be efficient if they work in an inclusive culture (Zalis, 2017). On the other hand, a diverse team that in the inclusive environment is more likely to offer effective ideas and promoting business innovation (Zalis, 2017). Therefore, it is necessary to create an inclusive environment in the ad industry, especially in the creative department. The creation of an inclusive environment should be stereo and comprehensive, not only from external to internal but also from bottom to top. The changes in recruitment strategies are common in most companies who tend to be diversity (Joseph, 2016). It is worthwhile to listen and accept different experiences and opinions, especially in the field of advertisements rather than recruiting workers who are similar to themselves (Carrasco,2016). Therefore, the human resources department also need to be diverse. Cai (2019) suspected that it is more important to recruit people whose value similar to the company culture rather than recruiting different people blindly. Although the demand for diversity is a general trend in the contemporary advertising industries (McLeod et al., 2009; Carrasco, 2016; ), it is also worthwhile to consider the relationship between diversity and enterprise culture. In the process of promoting diversity, recruiting stage is just a start (Zalis, 2017). Taking gender as an instance, women account for a big proportion in the basic departments, while a lower proportion in the high levels (Zalis, 2017). Joseph (2016) supported that the improvement of diversity deficiency in the ad industry is not just about recruiting diverse people, owing to the useless of the increase in numbers hastily. It is more important to change the culture than increase numbers. Changing culture means that the reform should start from an ideological perspective. A key strategy is to utilise marketing to influence the way people thinking (Joseph, 2016; Zalis, 2017). The first step is to understand the differences between the different groups (Sage Age Strategies, 2018). Then, marketers try to understand their needs through desk research, in-person conversation or observation and further think about how to achieve it (Joseph, 2016). Moreover, Zalis (2017) added that marketing also useful in making sure people from different groups be portrayed in an objective, accurate and unprejudiced way to achieve comprehension among different people. A significant purpose of marketing of diversity is to break the stereotype and biased image of some minority people further to balance duties. For example, the questions about the balance between family and career are common for women, but men rarely are asked this kind of questions. The traditional image of women weakened the roles of men in their families, which is pose obstacles to the promoting of women’ career. The extensive marketing can create an environment that gives women a chance to speak for themselves (Broyles and Grow, 2008). Another important purpose is to stimulate empathy, not sympathy, which is beneficial to understanding different people and ways of thinking (Zalis, 2017). Empathy also plays a key role in the ad industry, which is not only useful in winning the recognition of customers but also helpful to create effective advertising contents, especially for emotional advertisements (Maryville University, 2019). Although marketing is useful in pushing diversity, the marketing group also need to be diverse; if not, it is unable to execute a feasible strategy of marketing interaction to cover different targeted audiences (Maryville University, 2019). Furthermore, the coverage of targeted audiences should not only include ad workforce within the industries but also involve other persons in order to fully play the effects of the advertising products from the diverse ad teams. However, this target still has many spaces to improve because many ad companies exist blindspot in developing diversity. Furthermore, making structural reform and transparent system is a crucial part of achieving diversity (Bourke et al., 2017). Embracing the inclusive and diverse environment within the industries means reviewing it systematically and regarding it as a basis of innovation from an internal perspective (Insurance, 2017). Moreover, companies where transparently solving biased issues are more likely to retain workers (Bourne and Ozbilgin, 2008). Therefore, an inclusion company managing structure and means are necessary for any companies who seek the development of their cultures and brands. However, one suspicion is whether diversity would make it difficult to manage the company. Although this question needs more evidence and researches to support, there is no doubt that leaders and managers play an important role. Managers and leaders from the top level are more likely to impose great influence on the culture of companies or organisations (Joseph, 2016). Therefore, the diversity of leadership and management would bring new approaches and ideas into companies to achieve internal unity and recognition (Johnson, 2019). Changes in the top level mean not only the improvement in the ways of leading but also the increase in the proportion of the leaders from diverse backgrounds, like women or blacks. Anotonio Lucio, for example, calls for boosting the percentage of people of colour and women at the top level, especially in the creative department (Stewart, 2016). However, the reality is that there is little evidence to show that leaders and managers regard equality and diversity as a long-term target (Joseph, 2016). Many advertising human resources complained that they do not exclude the minorities intentionally in the stage of recruitment, but there are not enough applicants from a different background (Appiah and Saewitz, 2016), which reflects the deficiencies in the advertising education. The improvement of the lack of diversity, thus, should not be limited in the field of the advertisements but also need to trace back to the schools or universities (Appiah and Saewitz, 2016). The advertising educators need to be responsible for the diversity in the ad industry and the advertising educating department should create and maintain a diverse pool of ad talents (Erba et al., 2012). In addition, they should not only recruiting students from a diverse background but also inspire them on to be inclusive and empathy. Appiah and Saewitz (2016) agreed that it is necessary to establish scholarships for the student from minority groups to encourage and to attract more racially and ethically workers of the ad industry. There are many gaps in improving the diversity of the advertising industry, like the lack of a comprehensive and systematical plan. The promising point is that many ad companies and organisations have realised the necessity of developing diversity in the workplace and implemented some projects to push it. There are 15 ad companies actively incorporate minority groups into their recruitment plans by 2007(Appiah and Saewitz, 2016); and the achievement is noticeable with 25% minorities of the ad workforce (Elliott, 2008). Channel 4, for instance, launched a competition about the Paralympics, named Superhumans Wanted, 1 billion pounds worth of advertising time, which intended to stimulate the diverse criteria of the advertising agencies (Hobbs, 2016). These measures show a desire to be diverse in the ad industry. However, Cai (2019) argued that diversity might not be beneficial to the advertising industry, especially for international ad companies or organisations. Because a diverse advertising team is more likely to generate cultural misunderstanding, which generates a counterproductive effect (Cai, 2019). In 2018, Dolce&Gabbana producing an advertisement for the Chinese market but triggered a boycott of Chinese and a criticism of racism and insensitive (Bloomberg, 2018). Cai (2019) believed that the main reason behind this controversy is the different understanding from the diverse teams caused the cultural clashes. However, this reason is unreasonable; on the contrary, the reason for this incident is from the lack of diversity and inclusion. If the advertising teams have workers who understand the Chinese culture, this clash might be avoided. Besides, Cai (2019) argued that it is impossible to achieve diversity in every advertising teams because of a tremendous amount of advertising companies. However, the diversity of the advertising agencies does not only mean the proportion of the workforce from different culture and background but also means the cultivation of the inclusive and diverse thinking of the advertising employment, especially for the workers in the creative department. Conclusion Developing diversity is complex but essential for the advertising industry, especially in the creative department, though it still exists some uncertainties. The creation of diversity is not only to bring a diverse culture but also introduce a business culture that is inclusive and understand different personalities (Joseph, 2016). The influence of diversity in the ad industry also can extend to the outside environment, which is valuable. The changes and measures are from three perspectives: recruitment, management, and thinking. The benefits of diversity can be seen in three aspects: people, industry and content output. Based on the above analysis, the women workforce struggled to strive for equality within the ad industry, while most minority groups endeavoured to enter the ad industry. For the workforce, diversity is helpful to give women a voice to express themselves and have a fair opportunity to develop their career; and it is beneficial to raise awareness of focusing on the minorities. Their biased labels are likely to be torn off and to show a more dimensional figure to the outside world. For the advertising industry, developing diversity and establish an environment of inclusion is improve not only financial benefits but also market share. In addition, it is useful to build a good connection with customers and acquire recognition of the audiences. For content output, diversity can decrease cultural clashes. Although many ad agencies have realised the necessity of diversity and try to improve it, many issues need to consider. Many problems and suspects lack enough researches and evidence to support or object it. For example, there is not enough evidence to show whether diversity can cause chaos in company management. In addition, it also needs to be critical whether the attention itself to minorities is isolation. For the specific reform means, a comprehensive and systematic plan in the ad industry is needed because the current reform progress in the different advertising agencies is scattered and fragmented. Therefore, the development of diversity in the advertising industry is at the start stage. References Alliance for inclusive and multicultural marketing. 2018. A diversity report for the advertising/marketing industry. US: Association of National Advertisers. Appiah, O. and Saewitz, D. 2016. 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Marketing Signaling: Informational Transfer in Hiring and Related Screening Process. Cambridge: Harvard University Press. Stewart, D. W. 1992. Speculations on the future of advertising research. Journal of Advertising. 34 (1), pp.7-16. Stewart, R. 2016. HP CMO pens letter to agency roster demanding more diversity in creative departments. [Online]. [Accessed 18 May 2019]. Available from: https://www.thedrum.com/news/2016/09/02/hp-cmo-pens-letter-agency-rosterdemanding-more-diversity-creative-departments The Seattle Times. 2006. Pink-collar workers fight to leave ghetto. [Online]. [Accessed 20 May 2019]. Available from: https://www.seattletimes.com/business/pink-collarworkers-fight-to-leave-ghetto/ Vonk, N. 2005. Women ad execs deserve better: Why celebrated ad gurn Neil French and sexist attitudes in the industry need to be challenged. Canadian HR Reporters. 18 (20), pp.19. Yaccato, J. T. and Jaeger, J. 2003. The 80% Minority: Reaching the Real World of Women Consumers. Canada: Indiana University. Zalis, S. 2017. Diversity and inclusion: rewriting the rules for marketing. [Online].[Accessed 16 May 2019]. Available from: https://adage.com/article/deloittedigital/diversity-inclusion-rewriting-rules-marketing/311262 assignment 1 by Tong Chen Submission date: 22-Mar-2021 02:36AM (UTC+0000) Submission ID: 147530053 File name: MORAL_DECAY_AND_CULTURAL_CHANGE_IN_THE_FILM_SECTOR.docx (29.12K) Word count: 1830 Character count: 10332 Unclear Support Claim Meaning Detail 1 Develop 2 3 4 Support Claim 5 Develop 6 assignment 1 GRADEMARK REPORT FINAL GRADE 46 GENERAL COMMENTS Instructor This paper aims to engage with questions of morality and ethics in the movies industry. It makes relevant points about the potential impacts of media on how consumers view and understand the world. However, there are a number of issues. /100 Large sections of this paper are unreferenced or include references that are very vague, or which apparently have no connection to the point under discussion. This is problematic in several ways. First, it's vital to use sources accurately and reference them correctly. This is particularly important here as the paper makes a number of contentious claims that would require careful support. Further, additional work would be required to link the central argument of the paper to assigned task more clearly, i.e. how does this impact creative work. You might have linked this to discussions about "good work" -- according to Hesmondhalgh & Baker, good work produces goods that "contribute to the common good." You could argue that producing violent and over sexualised content does not meet this. Similarly, you might have brought in discussion about individual motivations and values and how they might con?ict with the demands of contemporary markets: what issues might someone whose personal values are socially conservative face working creative sectors where social values tend to be more liberal? Consider how you might construct a critical argument -- part of which will be engaging with both sides of the argument. For example, here you might consider the point that in depicting sex and violence movies are simply representing the world around them. PAGE 1 QM Unclear The meaning here is unclear. QM Support Claim How might you support this claim? QM Meaning What does this mean in this context? QM Detail Include enough detail so that the reader can follow the points you're making Additional Comment What kinds of technology? What impacts have they had? PAGE 2 Comment 1 To what extent are "sex" and "love" going "against morals"? QM Develop Develop this point with reference to academic literature. PAGE 3 Comment 2 This book is about the cinema of Soviet Kazakhstan. How does it relate to discussing the in?uence of Hollywood? Comment 3 This reference isn't in your reference list. There is reference to a Britannica entry for a German ?lm director who died in 1931, but it's not clear how that would be relevant here. Comment 4 It's not clear how you're using this resource as it makes no reference to young people / children. QM Support Claim How might you support this claim? PAGE 4 Comment 5 You need to point to a speci?c work rather than a database. QM Develop Develop this point with reference to academic literature. Comment 6 How could we reconcile potentially very di?erent perspectives on what is or is not moral? PAGE 5 PAGE 6 RUBRIC: PGT1. SUB-ANAL-WRITTEN UNDERSTANDING FAIL 0 - 39 Marginal Fail 40 -49 Little or no evidence of engagement with subject knowledge and/or task. MARGINAL FAIL 40 -49 Articulation of subject knowledge not su?cient for the requirements of the task. PASS 50 - 59 Adequate articulation and application of subject knowledge to the task. MERIT 60 - 69 Subject knowledge is articulated and applied to the task in a convincing and coherent manner. DISTINCTION 70 - 89 Subject knowledge is articulated and applied to the task with assurance and rigour. EXCEPTIONAL 90 -100 Subject knowledge is articulated and applied to the task with assurance and rigour AND o?ers valid, original perspectives. ANALYSIS FAIL 0 - 39 Marginal Fail 40 -49 Little or no evidence of analysis. MARGINAL FAIL 40 -49 Evidence of analysis not su?cient to support judgement. PASS 50 - 59 Adequate use of analysis to support judgement. MERIT 60 - 69 Judgements are well-supported by analysis; synthesis across sources is e?ective. DISTINCTION 70 - 89 Written communication of ideas is clear and coherent; conventions are applied accurately. EXCEPTIONAL 90 -100 Judgements are astute, based on rigorous and systematic analysis AND critique existing knowledge. WRITTEN COMM FAIL 0 - 39 Pass 50 - 59 Writing does not convey ideas and understanding e?ectively; does not employ appropriate conventions. MARGINAL FAIL 40 -49 E?ectiveness of written communication is limited and insu?cient for the task; conventions are not applied adequately. PASS 50 - 59 Understanding and ideas are communicated adequately overall; conventions are mostly observed. MERIT 60 - 69 Written communication of ideas is clear and coherent; conventions are applied accurately. DISTINCTION 70 - 89 Written communication of ideas is coherent and compelling; use of conventions is assured. EXCEPTIONAL 90 -100 Written communication of ideas is coherent and compelling; use of conventions is assured AND demonstrates a sophistication that approaches publishable potential. LAW6163 SCHOOL OF LAW SPRING SEMESTER 2020/21 INTERNATIONAL BUSINESS TRANSACTIONS Submission Date: Monday 7 June 2021 by 4pm You must submit electronically via Turnitin on Blackboard This assignment is worth 80% of your marks for this module Word Limit: 2000 words Your assignment will need to be uploaded onto Blackboard via Turnitin in the assessment folder of the module LAW6163 by Monday 7 June 2021. The standard penalties will be applied to assignments which are submitted late or exceed the permitted word length. Appendices, end or footnotes, graphs/tables, diagrams, references, bibliographies, tables of statutes and/or tables of cases are not included in the word count but marks may be deducted if these are inaccurate or inappropriate. Your attention is also drawn to the rules forbidding plagiarism and collusion. All the relevant rules and penalties are set out in the Assessments area of the Law Student Community. Failure to read the guidance will not be accepted as a reason for infringing the rules on the maximum word length, late submission, plagiarism or collusion. This assessment has been adapted from the original, in line with guidelines developed by the University’s Covid-19 Learning and Teaching Sub-Group. QUESTIONS ON NEXT PAGE Answer ALL of the following questions. You work in the commercial department of an international law firm and advise a variety of clients on the terms of commercial contracts (supply or purchase) that they enter into and any legal matters that may arise for any such transactions. You are asked to advise on the following: 1. (a) Williamson Scooters Limited (`WSL`) is a company based in Liverpool which manufactures and supplies electric scooters globally. It is in the process of negotiating a sales contract with a new purchaser in Italy for the supply of 5,000 electric scooters. The scooters will be shipped from Liverpool to Naples by sea. Discussions with regard to transport terms are ongoing, but the Italian purchaser has rejected WSL`s initial proposal that the FAS incoterm® 2020 should apply to the contract. Advise WSL which alternative incoterm(s)® 2020 could be used as an appropriate commercial compromise between the parties? (30 marks) (b) As WSL have never traded with the Italian purchaser before it is unwilling to agree to the 90 day credit period that the purchaser is requesting. A number of customers have defaulted on payment recently and WSL is keen to protect itself against the risk of non-payment. Advise WSL on an appropriate payment mechanism to protect it against the risk of non-payment. (35 marks) 2. Pensby Leathers S.r.l. (`Pensby Leathers`) is a company incorporated in Italy which manufactures and supplies leather handbags. It has been trading informally with a Spanish retailer based in Madrid for several years now, agreeing purchase terms by email. Amounts due in respect of the latest delivery of handbags have not been paid however, and Pensby Leathers is owed 200,000 euros. No choice of law or jurisdiction have been agreed by the parties. Advise Pensby Leathers on: (i) where it may bring a claim in contract against the Spanish retailer, (ii) which law would apply to the merits of the dispute, and (iii) how it might enforce any debt judgment. (35 marks) END OF QUESTIONS MORAL DECAY AND CULTURAL CHANGE AND THE FILM SECTOR MORAL DECAY AND CULTURAL CHANGE IN THE FILM SECTOR By (Student’s Name): Name of the class: Professor’s Name: Institution affiliation: City and address; Date: 1 MORAL DECAY AND CULTURAL CHANGE IN THE FILM SECTOR 2 MORAL DECAY AND CULTURAL CHANGE IN THE FILM SECTOR Introduction A contemporary issue entails a prevailing event/circumstance that affects a particular individual, group of individuals, a sector, or an organization, and it is unresolved at the moment. For instance, the Covid-19 pandemic is a contemporary issue in every nation and organization. Every organization and sector must respond and find a temporal or permanent solution to prevailing contemporary issues as they will directly affect their returns. No sector has numerous issues that will merge the film industry. The film industry evolves around sensitive social issues like religion, ways of life, sexual orientation, gender roles, and social norms. The issues that affect creative work and workers are numerous. The prominent contemporary issue affecting the film sector is moral decay and cultural change. The USA culture has dominated the globe because it is the leader in film production, and the conservative cultures are disintegrating at an alarming rate. This article is going to discuss the moral issues in the film sectors in the US context, by following to address the problem which will analyse based on the cultural subject. Background of the film sector The film sector is essential, economically and socially. It is a huge source of income for the government, companies, and individual actors. The government gets millions of taxes from the film industry. Besides entertaining the populace, it creates employment opportunities. Therefore, it is prudent to address contemporary issues in the film issue. The film industry has numerous contemporary issues. The most notable is moral decay and cultural alteration. The regulation of distribution in terms of content and age varies from nation to nation. For instance, pornography is illegal in many Asian and African nations. To make the matter worse, sexual content has been slowly finding its way to normal entertainment films. Therefore, a MORAL DECAY AND CULTURAL CHANGE IN THE FILM SECTOR 3 porno ban cannot block all sexuality contents (Movie Promotional Strategies in Tamil Film Industry-the Contemporary Access, 2019). Another fact is that technology has revolutionized everything. Some laws will not effectively control the production and distribution of content. For instance, porno is illegal in some nations, but the internet facilitates individuals to access and even produce it. The film industry needs a new approach to control and monitor content. The parents are key players in controlling the content their children are consuming. The challenge is that young people are more technologically advanced than their parents and guardians. Moral problem and cultural change Movies and other pieces of art are a mirror to society. They entertain, educate, and influence the members of society by exploring and exploiting social happenings. However, many producers focus on exhibiting the happenings without paying attention to the effects of the content created. Others are profit oriented; hence they pick what can sale to generate appreciable returns, and hence they care less about how the film content will affect the society members (Fathy & Fahmy, 2020). Usually, movies with themes that go against morals are captivating, and they are likely to generate huge profits. Therefore, most producers have concentrated on sex, love, crime, and drug use. They forget that they are training the members of society to act that way. For instance, the current movies exhibit gay and lesbian themes; hence most teenagers, including conservative Africa, have embraced it. Morals like hard work, honesty, and patriotism are scantly captured. Obscenity and nudity are also explored, especially in the music industry. Further, pornography has explored and embraced immoral acts like sex with multiple individuals and anal sex against traditional sex MORAL DECAY AND CULTURAL CHANGE IN THE FILM SECTOR 4 values and norms. Incest like sex involving parents and children are addictive and tempting to the members of the society. The films have created swingers communities and open marriages across the globe. In conclusions, films are alarmingly contributing to the moral decay in our society. Cultural imperialism is also a prevailing event. Thanks to rapid internet advancement, the world is now a global village. Films can be distributed globally within minutes upon their release. As a result, American films (the film industry leader) are scattered across the globe, from Europe to Africa. The films come with American culture, in terms of dressing and the general social life. Millions across the globe, especially young people, are embracing the culture. Mass culture is on the rise, and you can find young people with American dress style, speech, and attitude. The result is a massive cultural erosion, especially in African youth. The United Kingdom is not spared as the influence is also notable. For every audience, films tend to offer different messages and provoke exclusive responses from different individuals. The impact of films on either the culture of individuals or society includes changes in interaction and social roles, especially in third world countries. Real life impact has been witnessed as various weapons get confiscated from students in various learning institutions, a habit that is developed from the films they watch. The film actors and actresses also influence the main drug users among the youths. Equally, sexual immorality amongst young people within society has been accelerated by films that are watched worldwide. These examples, amongst others, illustrate clearly the level of moral decay and cultural changes that the film sector has yielded in society (Rollberg, 2017). Real life examples include the Fight Club film, which was released in 1999. The film has led to fighting clubs in real life. It tells the story of a man who exhausts his frustrations about his boring life by getting into an underground fight club. Since its release, there has been a high MORAL DECAY AND CULTURAL CHANGE IN THE FILM SECTOR 5 number of real life fights in clubs across the United States. Actually, the fight in clubs has gone beyond the United States and across the globe, for instance, in Thai fight circuits and Moscow (Britannica, 2016). The Thin Blue Line, a movie that was released in the year 1988, is also another true-crime documentary that focuses on corruption in the justice system, particularly the case of the death of Randall Dale Adams. Accusation and conviction were made against Adams for killing a police officer, and his case depended upon the police's testimony. This true documentary's power is proved when the conviction of Adam is overturned days before the set of his execution. This film shakes the faith of the society towards the police (Schulman, 2019) Thus, films of any category, from drama to documentary, can have an intense impact on real life. This results from the fact that films are designed to capture young people's attention without holding the values that young people require to be hearing and seeing. In turn, we are left with young people who have no consciences, morals and values (DeScioli. et al, 2016) Techniques to solve moral decay and cultural change The first technique is for nations to come up with strategies that will enhance local culture. Most leaders accuse the USA of cultural imperialism through tempting and flashy Hollywood films. However, others agree that the impact of movies on culture is part of globalization which is inevitable in any nation (Fuller, 2018). The impact can also be attributed to the USA's media domination, Fame and the USA's economic power. Nations worldwide should come up with strategies that will promote local cultures, making them immune to foreign manipulation and erosion. Films awards should not be based on fame but on the relevancy of the content. The priority should be given to those movies that embrace society values and hard work. Youths need to be shown the right way to a positive life. Young men and women should be taught not to copy the MORAL DECAY AND CULTURAL CHANGE IN THE FILM SECTOR 6 actors they see in films (McLuhan, 2016). For instance, girls and women who wear mini-skirts, intending to lure and seduce men into their trap, should not be something good for young people to copy since it is a disgrace to womanhood and makes the woman gender worthless before men. Society should also correct and regulate the trend of indecent dressing in films through various governments and authorities (Chall, 2015). Sensitization of parents to monitor the content the kids consume is another appropriate strategy. It should be the responsibility of parents to teach their children moral matters through churches and community organizations. There should be that willingness to correct the habits which young people might have developed out of films without government assistance. Educational insinuations should be at the front-line in teaching moral perfection (Mitchell, 2015). Parents should have family time to educate their children about moral behaviours. Lastly, the media should take the highest responsibility in rectifying this mess. Media is the true reflection of the current society. Whatever it feeds the young people in terms of films should be something that builds their moral ways (Costello, 2003). Conclusion Contemporary issues are numerous in the film industry. They affect the creative work and film workers. Like any other organization, the film sector must respond and find a temporal or permanent solution to prevailing contemporary issues as they will directly affect the returns. The film industries evolve around sensitive cultural issues like religion, ways of life, sexual orientation, gender roles, and social norms. The film content has been highly sexualized. The return to the old code will solve some moral issues in the film issues. Besides, global collaboration, universal laws and enforcement are essential because technology has reduced the world into a global village. MORAL DECAY AND CULTURAL CHANGE IN THE FILM SECTOR 7 Parents should be sensitized to monitor their children. Besides, the film awards should embrace values like honesty, hard work and true love. References Fathy, S. and Fahmy, P. 2020. The Exposure to Animated Movies and Constructing Adolescents’ Perception towards Gender Role. Communication, Society and Media, 3(2), p96. DOI: https://doi.org/10.22158/csm.v3n2p96 Chall, L. P. 2015. Sociological Abstracts, Volume 51, Issue 6. London: Sociological Abstracts, Incorporated. ISSN: 0038-020 Faustino, M. 2020. “It’s Time to Ease Your Fears—and Your Sphincter”: Gender and Power in Contemporary Media Discourses of Heterosexual Anal Sex. Gender Issues, 37(3), pp.241-260. DOI: 10.1007/s12147-020-09250-7 Fuller, R. 2018. ‘Poking Around and Reading the Tea Leaves’: Sensemaking of Issues Affecting Film and TV Unions. Academy of Management Proceedings, 2018(1), p.11953. From: https://doi.org/10.5465/AMBPP.2018.11953abstract Costello, D. R. 2003. The Imperial Screen: Japanese Film Culture in the Fifteen Years' War, 1931–1945, History: Reviews of New Books, 32:1, 32, DOI: 10.1080/03612759.2003.10527697 International Journal of Innovative Technology and Exploring Engineering. 2019. Movie Promotional Strategies in Tamil Film Industry-the Contemporary Access. 8(11S), pp.712717. E-ISSN:2278-3075 MORAL DECAY AND CULTURAL CHANGE IN THE FILM SECTOR 8 DeScioli, P., Massenkoff, M. , Shaw,A., Petersen, M. B. and Kurzban, R.. 2016. Equity or equality? Moral judgments follow the money. Proceedings of the Royal Society B: Biological Sciences, 2014; 281 (1797): 20142112 DOI: 10.1098/rspb.2014.2112 McLuhan, M. 2001. Understanding Media: The Extensions of Man. London: CreateSpace Independent Publishing Platform. Retrived from: https://designopendata.files.wordpress.com/2014/05/understanding-media-mcluhan.pdf Britannica, T. 2021. F.W. Murnau. Encyclopedia Britannica. Retrieved from: https://www.britannica.com/biography/F-W-Murnau Rollberg, P. 2017. The Cinema of Soviet Kazakhstan 1925-1991. Texas: Rowman & Littlefield. ISBN: 9781793641748 Mitchell, L. A. (2015) ‘Integrity and Virtue: The Forming of Good Character’, The Linacre Quarterly, 82(2), pp. 149–169. doi: 10.1179/2050854915Y.0000000001. Schulman, M. (2019). dam Driver, the Original Man. The New yorker. Retrieved from: https://www.newyorker.com/magazine/2019/10/28/adam-driver-the-original-man Exploring creative work •4,000–4,500 words •Due: 2 June 2021 •65% of module mark Objective: to produce a critical account of the insights which you gain from primary research about creative work by doing an interview. Cover two issues in the previous essay, but not focus on the sector itself , focus more on the working environment, workers and working conditions. ? Please use the resources properly and use well, every argument MUST have references. 1.use the point: producing violent and over sexualised content does not meet Hesmondhalgh & Baker’s “good work produces goods that ‘contribute to the common good’” 2.develop relations between film industry and contents of social moral goodness 3.how does the point above influence the film industry and workers ?(by literature and interview) 4.interviewee: find someone working in the film industry. 5.use resources below: (including resources mentioned in pictures below) Tan, C. (2016). Understanding creativity in East Asia: insights from Confucius’ concept of junzi. International Journal of Design Creativity and Innovation, 4(1), 51–61. https://doi.org/10.1080/21650349.2015.1026943 Niu, W., & Sternberg, R. J. (2006). The philosophical roots of western and eastern conceptions of creativity. Journal of Theoretical and Philosophical Psychology, 26(1–2), 18–38. https://doi.org/10.1037/h0091265 01:25 C tu A ev.turnitinuk.com gnment 1 46 /100 ? Instructor Feedback ? X View Rubric Text Comment This paper aims to engage with questions of morality and ethics in the movies industry. It makes relevant points about the potential impacts of media on how consumers view and understand the world. However, there are a number of issues. Large sections of this paper are unreferenced or include references that are very vague, or which ? 01:27 C2 tuli O ev.turnitinuk.com View Rubric Text Comment impacts of media on how consumers view and understand the world. However, there are a number of issues. Large sections of this paper are unreferenced or include references that are very vague, or which apparently have no connection to the point under discussion. This is problematic in several ways. First, it's vital to use sources accurately and reference them correctly. This is particularly important here as the paper makes a number of contentious claims that would require careful support. ? 01:28 C ta A ev.turnitinuk.com Text Comment Further, additional work would be required to link the central argument of the paper to assigned task more clearly, i.e. how does this impact creative work. You might have linked this to discussions about "good work" according to Hesmondhalgh & Baker, good work produces goods that "contribute to the common good." You could argue that producing violent and over sexualised content does not meet this. Similarly, you might have brought in discussion about individual ? 01:37 G ta A ev.turnitinuk.com Text Comment Similarly, you might have brought in discussion about individual motivations and values and how they might conflict with the demands of contemporary markets: what issues might someone whose personal values are socially conservative face working creative sectors where social values tend to be more liberal? Consider how you might construct a critical argument -- part of which will be engaging with both sides of the argument. For example, here you might consider the point that in depicting sex and violence movies are simply representing the world 00:45 ????? C. Creative Work Interview.docx Cover two issues in the previous essay, but not focus on the sector itself, focus more on the working environment, workers and working conditions. Please use the resources properly and use well, every argument MUST have references. 1.use the point: producing violent and over sexualised content does not meet Hesmondhalgh & Baker's “good work produces goods that 'contribute to the common good” 2.develop relations between film industry and contents of social moral goodness 3.how does the point above influence the film industry and workers ?(by literature and interview) 4.interviewee: find someone working in the film industry. 5.u resources below: (including resources mentioned in pictures below) Tan, C. (2016). Understanding creativity in East Asia: insights from Confucius' concept of junzi. International Journal of Design Creativity and Innovation, 4(1), 51–61. https://doi.org/10.1080/21650349.2015.1026943 Niu, W., & Sternberg, R. J. (2006). The philosophical roots of western and eastern conceptions of creativity. Journal of Theoretical and Philosophical Psychology, 26(1–2), 18–38. https://doi.org/10.1037/h0091265 Contrasting Understandings of Creativity • Morality and goodness • Individual/collective • Novelty/appropriateness • Revolution/evolution (Niu & Sternberg, 2006; Niu, 2019; Tan, 2016) Creativity as/for Moral Good • Linked to a more collectivist (rather than individualist) society • Confucian tradition emphasises a need for moral/social goodness in creativity • Creativity in African societies places a higher value on community welfare (living in harmony or neighbourliness) (Mpofu et al. 2006; Niu & Sternberg, 2006; Tan, 2016) 00:52 ???? G < Creative Work Interview.docx Exploring creative work •4,000–4,500 words •Due: 2 June 2021 •65% of module mark Objective: to produce a critical account of the insights which you gain from primary research about creative work by doing an interview. Cover two issues in the previous essay, but not focus on the sector itself, focus more on the working environment, workers and working conditions. Please use the resources properly and use well, every argument MUST have references. ? 1.Use the point: producing violent and over sexualised ontent does not meet Hesmondhalgh & Baker's "good work produces goods that 'contribute to the common good” 2.develop relations between film industry and contents of social moral goodness 3.how does the point above influence the film industry and workers ?(by literature and interview) 4.interviewee: find someone working in the film industry. 5.use resources below: (including resources mentioned in pictures below) Tan, C. (2016). Understanding creativity in East Asia: insights from Confucius' concept of junzi. International Journal of Design Creativity and Innovation, 4(1), 51–61. https://doi.org/10.1080/21650349.2015.1026943 Niu, W., & Sternberg, R. J. (2006). The philosophical roots of western and eastern conceptions of creativity. Journal of Theoretical and Philosophical Psychology, 26(1–2), 18–38. https://doi.org/10.1037/h0091265 Contrasting Understandings of Creativity • Morality and goodness • Individual/collective • Novelty/appropriateness • Revolution/evolution (Niu & Sternberg, 2006; Niu, 2019; Tan, 2016) Creativity as/for Moral Good • Linked to a more collectivist