For my third essay, I focused on the differentiated effects upon the consumer between print media, television, and the Internet in the era of budding cyberspace culture.
Throughout the the Y2K transition, the evolution of the internet into a blogosphere enabled by the significant push towards its usage into a true form of virtual communication through boundary lines allowed the idea of virtual communication and expression to flourish. Combined with easier access to lifestyles of excess and exploration of the idealized self, the idea of multiplicity of authorship and perspective only seems to fit organically with the essence of internet culture. The existence of additional voices to express shared experiences and ideas contributes to the idea of increasingly blurred divisions between different cultures, especially when viewed in the context of the budding internet culture unique to the Y2K timespan.
I completed some basic spreads for my zine and started collaging images together.
Attached is the first paragraph of my second essay, which focuses on conformity and recycling of social customs and trends, as well as the after effects of different rated media representation and how it impresses upon the consumer’s psyche in different ways.
In terms of the return of binary representation of gender performance and expression and expectation, hyper femininity portrayed through visual media can be attributed to the vast, industry-wide expansion of the beauty and fashion industry during the 1990s and 2000s. The glamorization of eating disorders endured a controversial reign in media representation as beauty perspectives shifted dramatically from the Rubenesque ideals of the 1960s and 50s with the induction of the waifish and chiseled aesthetic. The return of limited gender performance and bodily aesthetics is heavily marked through this transformative period of mass media marketing and the vast influx of reality television marketing towards this aesthetic.
By Allison Keenan
Created to serve the budding Polish immigrant community within Utica proper, Holy Trinity Catholic Church was first founded in 1897. Birthed out of a devout society of Polish immigrants dedicated to the idea of a concrete place of worship within the community they had entered, the worshippers of Holy Trinity have migrated multiple places within the Utica community before finally settling on the Lincoln Avenue location. Initially welcomed at S Joseph’s German parish on Columbia Street, the devoted immigrants bolstered by their faith and newfound opportunity, soon founded the fraternal aid society, The St Stanislaus Society, dedicated to polish patron saint, Saint Stanislaus, upon which the morals and standards of the current Church today was built upon.
The first official church dedicated to the St Stanislaus Society was erected in 1897. However, the influx of Polish immigrants to the Rust Belt community soon provided the need for a larger church dedicated to serving the community of faithful immigrants. The second church was finally completed in 1910 due to extended financial difficulties. Holy Trinity, no stranger to the outside struggles of war and financial hardship, was led by the fundraising efforts of second priest, Father Alselm Muszynsk, who united the divided sections of various immigrant Catholic Poles within the surrounding area.
Cut to nearly a century later in 1996, and the unfortunate loss of several small, Utica-based businesses, the shifting of living patterns, and the depletion of the parish school reduced the communal strength of Holy Trinity. However the core values of Holy Trinity and the St Stanislaus Society persevered through the hardships of the turn of the century, and into a new, prosperous era of faith and community, as the church united with the parish of St Stanislaus in 2009.
Pinterest board saves with some context!
Allison was born and raised in Indianapolis and remains largely self taught as an illustrator, inspired mainly by heavy metal album covers and promotional artwork, The Ren and Stimpy Show, Gorillaz music videos, Peter Paul Rubens, John Singer Sargent. Through her education at Pratt MWP, Allison also developed an interest in animation, motion graphics, and video arts. In terms of future career aspirations, she plans on fulfilling her dreams of designing album covers and tour posters, comics and graphic novels, as well as writing and directing her own movie and music videos.
My first zine essay focuses on setting the scene for Y2K aesthetics and social customs. I emphasize that these aesthetics and social practices then dictate the outcome of media representation for different social issues, such as gender roles and political viewpoints. Attached is the opening paragraph of this essay, explaining the essence of how different media outlets impress upon the consumer.
In terms of popular culture media outlets such as digital and film media, tabloid magazines of the early 2000s capture the absolute essence of culture through each spread, as it dissects the elements of socioeconomics, power structures, political viewpoints, and gender roles, and creates a product chock full of cultural artifacts, created with the means of mass production, implying the language to be understood by all. Print media has generally always served as a democratic utensil to educate, or entertain, or manipulate the masses. Print media which serves to document the once elusive lives of celebrities and capture the essence of elite culture appears oxymoronic, as the democratization of one element collides with the extreme exclusionary aspects of the other.