Digital Marketing and Communications Essay Example | Topics and Well Written Essays - 2000 words

Digital Marketing and Communications - Essay Example This research will begin with the statement that today, the World Wide Web has thrived and expanded during the last few decades. Subsequently, the Social Media environment has grown and is gaining a rising amount of users. Hence, it becomes even more essential for a business to adopt and use Social Media to be tied closer to their customers. They require changing their thoughts from traditional working methods to the adoption and use of Social Media with the maxim â€Å"Be located where the customers are†. In the ever dynamic business world, Social media provide marketers with a voice and a way to communicate with customers and potential consumer. This can be attributed to the increasing knowledge and use of various social media. The social media are becoming one of the main sources of information for customers around the globe. Users are preferred conducting a quick online search for most the things they want, as opposed to turning the pages of newspapers and directories. Soc ial media personalize the "brand" and help marketers to spread their message in a more relaxed and conversational way. Social media are an experience that has become an essential aspect of the marketing mix and revolutionizing the way marketing companies interact with customers. The information has impacted on the business and improved their performance and the ability to achieve the objective through competitive advantage.

Feminism in American Cinema Essay Example | Topics and Well Written Essays - 1250 words

Feminism in American Cinema - Essay Example One meaning is "films made by women" and the other meaning is "films made for women" (p. 27). The first pat of her article attempts to explain how each field within these traditional definitions was transformed by feminism over time, using the "woman at the keyhole metaphor" to show how women gained status from being objects of voyeuristic curiosity and into the curious voyeurs themselves. As Mayne argues (p. 28), there is a need to consider "what relationships women have had traditionally and historically, as filmmakers and as film consumers, to the medium" in order to "understand how women make movies". Nothing could be farther from the truth, but this one-sided argument founded on masculine logic hides a basic natural fact: that men and women are different, and thank heavens that they are, and that women and their feminist representation in cinema would be a constantly evolving and a permanently complex and elusive goal. Mayne explains (p. 33-34) that while it is true that having women at the other end of the keyhole is a typical sign of masculine voyeuristic tendencies, it is also true that women love being seen, watched, and admired. They want to feel and look beautiful, not for any reason or motive that is a sign of inferiority, but because that is how they are wired, and nothing is bad about that. It is only "not good" if such a natural human tendency is associated with a (blonde-haired or beautiful-faced) lack of intellectual capacity. This knee-jerk subjective reaction, no matter how one looks at it, and whether it is applied to women or men, is more a reflection of the one who makes rash judgments based on looks and appearances and not based on interior substance. Women are the ultimate dialecticians, Mayne declares, recalling Ruby Rich (p. 40), who declared that "for a woman today, film is a dialectical experience in a way that it never was and never will be for a man under patriarchy". Like Brecht's ultimate dialectician who lives the tension of two different cultures, "women bring into the movie theater a context and a certain coding from life outside the theater". This is perhaps the reason why women love different films in different ways, and why some films made by and for women reach their audiences in unique ways. Feminism in cinema has certainly shaped the way actors act and filmmakers - both men and women - do films, making the human experience richer and more sophisticated. This is good for all, not only for men and the patriarchy to understand women a bit better, but also for women to better understand themselves and how they look at the world. Making, watching and critiquing movies are, indeed, different and complex (p. 41-42), and reflect the innate and natural differences between men and women that provide the artistic cinematic world a dialectic tension that contributes to its magic. Mayne's ambivalent view of women's cinema is carried over to the definition of the feminine aesthetic by de