#Framing in Media

[snailspng]

Sunburst mirror PNGs.

(source)

[creativemedianews]

The Role of Media in Shaping Public Opinion: How Media Coverage Influences Decision-Making

The Role of Media in Shaping Public Opinion: How Media Coverage Influences Decision-Making #Agenda-SettingTheory

[katsinspats]

Thematically appropriate comic for Make a Terrible Comic Day!!

I saw the original post this morning and it made me get out of bed to make something, so thank u Pseudonym Jones mission accomplished

[foundfamilywhump]

the question, you see, is not ‘is it too ooc for this character to cry’ but rather ‘what circumstances would push this character to cry’

this is the whump wisdom, go forth and make that character cry

[mlobsters]

jared padalecki and jensen ackles spn dc con 2024 - main panel (youtube)

Q: In season 5 episode Dark Side of the Moon, Sam and Dean found out that they were soulmates and it was never really addressed after that, so what did they think when they found that out? Jared: I think they knew.

[arcanegifs]

Arcane Gif Requests: anon ↳ "I heard the bathysphere has a nice view. That could be a good way to get a lay of the land."

[mychapel-004]

FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!

i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.

i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.

in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.

this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable

it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.

then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.

he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.

finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.

it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.

in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.

[muzsmocsing]

Svsss is the funniest book ever written and I'm tired of pretending it's not

Chapter 17 is a ride. Shen Qingqiu's non-threesome fiasco was fantastic. But while all that was happening Liu Qingge was on a whole Liam Neeson Taken journey and we need to discuss that because I can't fucking breathe:

Luo Binghe kidnaps Shen Qingqiu, Liu Qingge goes "count your days bitch", powers up to the max and singlehandedly massacres his territory.

He doesn't find his beloved frenemy coworker there but he runs into Shang Qinghua. He's about to interrogate him in the only language he's fluent in (violence) but he doesn't even get to raise a fist before he frantically spills every last detail of Shen Qingqiu's whereabouts.

After he's satisfied he's like "Nice. I shall strangle the traitor now." But the guy just falls on his knees?? And clings to Liu Qingge's thigh and just starts sobbing?? Gets snot all over his robes???

Before he can put an end to that mess, PLOT TWIST apparently Shang Qinghua has domesticated Mobei-jun while no one was looking?? All the crying and the clapping of his asscheeks alerts the demon that something's up and he comes do defend his pet hamster.

It's kind of a holdup on the rescue mission but they fight and they fully level half of Luo Binghe's crib in the process.

After that, he gets to the southern border. Fights some disgusting blood clot animals and successfully snatches his shixiong back, time for quality quiet time together! Perhaps some sparring!

But NO. The mission is too successful and got an unfortunate add-on: the weirdo bitch who slept with Shen Qingqiu's corpse for 5 YEARS came along??? The one he battled for just as long to get it back??? And now they're attached??? And trust each other???

Too tired to fight this reality he watches as the demon bastard peacefully naps on Shen Qingqiu's shoulder. Grinding his teeth.

ALL THIS IN THREE (3) PAGES.

[superbat-love]

“I wanted to create a dialogue about equality by taking the two most alpha male superheroes and placing them in this embrace.” — Rich Simmons

“It shouldn’t matter who a person is, who they love, what they believe or where they come from, being a hero transcends all that. We should judge our fellow humans by the way they treat others and not by who they share a bed with."

Works on canvas

Mural in London

@createscene

[communistkenobi]

The deeply moralist tone that a lot of discussions about media representation take on here are primarily neoliberal before they are anything else. Like the shouting matches people get into about “purity culture” “pro/anti” etc nonsense (even if I think it’s true that some people have a deeply christian worldview about what art ought to say and represent about the world) are downstream of the basic neoliberal assumption that we can and must educate the public by being consumers in a market. “Bad representation” is often framed as a writer’s/developer’s/director’s/etc’s failure to properly educate their audience, or to educate them the wrong way with bad information about the world (which will compel their audience to act, behave, internalise or otherwise believe these bad representations about some social issue). Likewise, to “consume” or give money to a piece of media with Bad Representation is to legitimate and make stronger these bad representations in the world, an act which will cause more people to believe or internalise bad things about themselves or other people. And at the heart of both of those claims is, again, the assumption that mass public education should be undertaken by artists in a private market, who are responsible for creating moral fables and political allegories that they will instil in their audiences by selling it to them. These conversations often become pure nonsense if you don’t accept that the moral and political education of the world should be directed by like, studio executives or tv actors or authors on twitter. There is no horizon of possibility being imagined beyond purchasing, as an individual consumer in a market, your way into good beliefs about the world, instilled in you by Media Product 

[badnewswhatsleft]

i know the cunty yap is iconic now but i have a soft spot for the earlier bitchy “bullying us with his glasses” choreo [1, 2]

[mangosaurus]

Jurassic World: Chaos Theory - Cabin Attack Clip ☆

[slutforpringles]

hope those extra pesos make up for it @ red bull 😌🙃🤗

[cosmicalls]

i'm no film or visual arts expert but ☝️ one little detail i like in dead poets society is how often there are shots of todd looking up at neil. often in admiration, i'd assume--

--which is of course mirrored in the shot of neil looking up at todd after he does his poem;

also,

looking up towards the sky after The Incident. what does this say? i don't know actually. but it feels like something. don't know what

not to mention when neil is finally on stage. everyone in the audience is looking up at him in that case, but i'd say it still makes sense?

they hjust admire each other so much i think. Ouuhg

[september-skeleton]

andrew garfield chicken shop date video of all time to ME. somehow simultaneously has the most (seemingly) romantic and natural chemistry while ALSO being the one that most blatantly acknowledges and almost criticises the pretence and orchestration fundamental to the format of the show. like it’s inherently paradoxical which makes it so FASCINATING. despite their flirting and dropping lore of their real life previous encounters (quote unquote meet cutes thanks for that one mr garfield) they also explicitly mention the facade of the show AND break the fourth wall- when he repeatedly touches the boom mic between them, and when they keep looking at the camera.

they deliver more successfully than ever on the central idea of the show while also actively deconstructing it! while breaking its established conventions! absolutely insane media experience 10/10

[torchstelechos]

I love that In Stars and Time gives the nonconsensual kiss a proper horrified reaction, by the way. Most media where a character can kiss someone out of no where either make it a funny thing or the "romantic" thing, but here Siffrin kisses without permission out of no where and Isabeau reacts correctly! He pushed them away! Because thats surprising, and fucked up to do to someone with no lead up and no permission! Isabeau had no context, and at the time when the kiss happened, was under the impression that Siffrin didn't like touch which can have a variety of horrible reasons for it. Not only that but... We don't know what face Siffrin was pulling and I don't think it was a nice one. Which, again, means that we don't have all the context either! This is a horrible event that has horrible consequences and I love that it does. Because it's something that is horrible and objectively one of the worst things Siffrin did to one of the others in the loops, so I'm just!!! So excited it had bad consequences!!!