Create a PowerPoint presentation (8-10 slides) to "show" empirical evidence (information acquired by observation) to support your theory of how the cultural value has changed. THEORIST (1) HERBERT MARSHALL MCLUHAN (July 21, 1911-Dec. 31, 1980) (Taken from the Chicago School of Media Theory) https://lucian.uchicago.edu/blogs/mediatheory/keywords/television/ Defining McLuhan’s theorization of television in Chapter 31 of Understanding Media brings to light the medium’s controversial role in media discourse. For McLuhan, television is a “cool medium,” one with which the viewer participates actively, rather than passively as one watches a movie in a dark theatre. (McLuhan 273) McLuhan then declares television the fulfillment of the romanticized notion of synesthesia: while cinema is audiovisual, television is “tactile” and “textured,” yet another way to pull the viewer into a circuit of participation. Though television is not as detailed visually as cinema, McLuhan also declares that the “TV mosaic” has the power “to transform American innocence into depth sophistication.” (McLuhan 282). Television is, ironically enough when we consider the lack of intelligent programming, the medium of “depth.” McLuhan treads into more controversial territory with this statement, leading to one of the fiercest debates of television: its valuation. Is television good, bad, or both for those 98% of Americans and billions of worldwide viewers? The nature of television: is it a tool of cultural connection that links humans in the “electronic implosion” (McLuhan) with fellow humans to create a “global village,” or is television a damaging psychological mechanism that has the potential to prey on the subconscious on a level unprecedented in other media? One difficulty in debating television is its sheer omnipresence and ability to envelop both the masses and the intelligentsia in its circuit. How can one step outside of the circuit to examine the impact of television when one’s own psyche is inevitably wound together with the television as part of culture and coming-of-age? At this point in time, we are approaching generations of adults raised on television and raising their children on television. It is a rarity to meet someone who did not watch television as a child. The rest of us, those 98% or more, felt the presence of the television shows: Sesame Street, Fraggle Rock, and older shows like Mary Tyler Moore and Cheers in our childhood as vividly as afternoons outside playing hide-and-seek. How do we step outside this influence, this massive overdose of pop culture and audiovisual stimulation since birth, to analyze television’s influence on our lives?  THEORIST (2) LAURA MULVEY (b. August 15, 1941) (Taken from: Medium-Online: Laura Mulvey — the Male Gaze by Sarah Yanacek https://medium.com/engl411final-group1/laura-mulvey-the-male-gaze-51ce98b979c3 Laura Mulvey, born August 15, 1941, is a feminist film critic. Oxford-educated, Mulvey is a highly praised and credible critic known for her theories in film and most popular for her early essay “Visual Pleasure and Narrative Cinema”. The term “male gaze” was first coined in 1975 by Laura Mulvey in her essay “Visual Pleasure”. Throughout the work, Mulvey explores the phenomenon of the male gaze, a perspective that serves to segment the female body into pieces that dehumanize the woman and subjects all viewers to a presumed heterosexual male viewpoint. At its heart, it is about portraying the woman as an object to be viewed and, by extension, the man as a subject doing the viewing and acting. One of Mulvey’s examples is the first appearance of actress Marilyn Monroe in the 1954 film, The River of No Return. During the scene, Monroe’s character is subject to the male gaze in a way that treats her like an ornamental object. Through a sexualized outfit and the lounging position she assumes, she becomes an object to be viewed, both by the audience of the film and the predominantly male audience within the room of the scene. While Mulvey’s definition of the male gaze in “Visual Pleasure” is the earliest use of the term for this concept, it has actually been applied to more than film today. It can just as easily be applied to other media such as video games and television where it can be much more subtle than panning camera angles. It can be something as simple as choices of clothing, the way a female character speaks or moves, or where a still camera angle falls that centralizes sexualized areas of the body. (Taken from: Another Gaze: Suddenly, a Woman Spectator: An Interview with Laura Mulvey) http://www.anothergaze.com/suddenly-woman-spectator-conversation-interview-feminism-laura-mulvey/ Laura Mulvey (b. 1941) is best known for the groundbreaking essay ‘Visual Pleasure and Narrative Cinema’ (1973, published 1975) in which she coined the term ‘male gaze’ and tackled the asymmetry at the heart of cinema/ Television – the centrality of the male viewer and his pleasure. The ideas developed throughout her long career as both film theorist and filmmaker have cast a long shadow, continuing to influence a host of other thinkers and makers, many of whom appear in this journal. At present, she is professor of film and media studies at Birkbeck, University of London. Another Gaze – So when did this reflectiveness kick in? Was it from watching more avant-garde cinema, where the techniques were made deliberately more visible? Laura Mulvey – No, my shift in spectatorship came very suddenly and specifically out of the influence of the women’s movement, so that I was suddenly watching films that I’d loved and films that had moved me with different eyes. Instead of being absorbed into the screen, into the story, into the mise-en-scène, into the cinema, I was irritated. And instead of being a voyeuristic spectator, a male spectator as it were, I suddenly became a woman spectator who watched the film from a distance and critically, rather than with those absorbed eyes. The Male Gaze-Laura Mulvey https://www.slideshare.net/christimothy12/laura-mulvey-the-male-gaze-26381318  Scholar (1) JULIA T. WOOD Scholars (2) H. LESLIE SLEEVES & MARILYN CRAFTON SMITH Scholar (3) IVONNE MARTINEZ-SHEPERD IVONNE MARTINEZ-SHEPERD Portrayals of Women in Prime Time Reality TV Programs by Ivonne Martinez-Sheperd Iowa State University (Taken from: Martinez-Sheperd, Ivonne, "Portrayals of women in prime time reality TV programs" (2006). Retrospective Theses and Dissertations. 1396. https://lib.dr.iastate.edu/rtd/1396 Portrayals of Females in TV History (Please use this thesis’ opinion as your guide) Throughout the decades, TV has depicted females by focusing on their physical characteristics, sexual appeal, and romantic success, whether they are housewives, mothers, or objects of desire (Ward and Harrison, 2005). In the 1950s when TV became a new form of mass entertainment, producers basically portrayed race and gender following the Hollywood ideology. This ideology generally marginalized women, portraying them predominantly as homemakers who yield to their husband's whims. African American women were relegated to the role of maids in white households (Roman, 2005). Black actresses such as Ethel Waters and Louise Beavers in the 1950s played the role of loyal domestics on the show Beulah (1950-1953) (Roman, 2005). In the 1950s, Latina women were non-existent on TV although the Ricky Ricardo character in I Love Lucy became a household name. Mostly, however, the Latino culture such as that depicted in the show Zorro, was featured in a negative light (Roman, 2005). During the 1960s and 1970s, women characters on TV were still portrayed as stay-at-home moms (Signorielli, 1991) with the exception.