心太軟

聆听了一段挣扎无奈的故事，突然很想听这首歌，试试自己清唱几回，体会其中的意境。
虽然很不搭，当时曲子很符合。或许我应该自己填词。

让我想起<梧桐雨>这部戏。在保守的社会，母亲当家，男主角有志但余力不足， 把自己的才华给淹没，把自己给毁了，只因他逃不出母亲的监控。
虽然事因有异，但是心境类似。
但我并不希望看到剧里这样的结局。

我认为通常起因就是多情。
而多情的人通常最痛苦。挣扎到死，可能也不会有结果。


人生就是这么无奈矛盾，鱼与熊掌不能兼得。
但是又有几个人愿意放手，到手的就应该牢牢握住。
也许会回心转意。
就算机会再渺小也无所谓。
毕竟都等了这么久，那个人都还没有结论，不是吗？


覆水难收，曾经有的快乐欢笑早已逝去。
剩下的就是介于亲密朋友之间的友情。
爱情早已不复存在。
何不放手，让我们各自去追寻自己的幸福。
用余生去度过安心自在的每一天。
这样是奢求吗？

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心太软
你总是心太软心太软

独自一个人流泪到天亮

你无怨无悔的爱着那个人

我知道你根本没那么坚强


你总是心太软心太软

把所有问题都自己扛

相爱总是简单相处太难

不是你的就别再勉强

夜深了你还不想睡

你还在想着他吗


你这样痴情到底累不累

明知他不会回来安慰

只不过想好好爱一个人


可惜他无法给你满分

多余的牺牲他不懂心疼

你应该不会只想做个好人

喔,算了吧

就这样忘了吧该放就放

再想也没有用

傻傻等待他也不会回来

你总该为自己想想未来

人事已非

在我最低潮的时候，偶然我的mp3正在播这首歌，让我觉得很符合我的心境。
可能有人会认为我很戏剧化(dramatic), 这可能是人生的一部分，又或许是小山丘，别人的小菜一碟。
也可能是我把坏的情绪放大十倍。

但是感受就是感受，我并不想骗人。

再回想剧情，感觉像是历尽沧桑，依然脱离不了噩梦和现实的摧残。
日出日落，现实的发展已不在掌控之中，然而我仍然在此红尘中煎熬挣扎，为的是什么？
历练不足吗？
舍不下同患难的同袍战友？
放不下自己打下的江山？
还是不愿踏出自己已经好不容易筑起的暖窝？
如果是这样，我觉得自己太傻了。
没有什么是永恒的。
人会变，物已非。
这方面的执著是不可取。
我宁愿先行，也不愿是最后一个留下来，品尝已经酸掉的咖啡。
脑子和心毕竟是不同器官。
一再的延迟挪后究竟是为了什么？
——————————————————————————————————

新上海灘(主題曲)作詞：何厚華　作曲：顧嘉耀　編曲：鄭平昌　演唱：葉麗儀

浪奔　浪流　萬里江海點點星光耀 

人間事　多紛擾　化作滾滾東逝波濤 

有淚　有笑　浪裏浮沉著悲喜煎熬 

鴻飛　泥沼　轉眼間誰人能記牢 

愛你恨你　有誰知曉　情似水無處可逃 

走千山　繞千道　直到天上萬里雲霄 

人生路　路迢迢　誰道自古英雄多寂寥 

若一朝看透了　一身清風爭多少

愛你恨你　有誰知曉　情似水無處可逃 

走千山　繞千道　直到天上萬里雲霄 

人生路　路迢迢　誰道自古英雄多寂寥 

若一朝　看透了　一身清風爭多少

若一朝　看透了　一身清風爭多少

Local firms leverage on social media

No longer is the advertising and rand recognition an uneven playing field, all thanks to social media like Facebook.

In this article, it talks about local companies having the same recognition as famous brand giants like LV.
I think the new technology has brought about a drastic change in terms of competition globally.
New and small companies use the social media to their advantage, leveraging on the concept of one site reaching out to many users.
In the past, the playing field used to be whoever has the biggest share of resources will win the brand recognition.
Nowadays, it seems that bulk can no longer beat savvy counterparts.
Who says that the society is technically deterministic?
It is the human who decides how things are used.
Let's hope with more brand recognition, we can boost the local companies to the next level.

Time taken to consider new post

I feel this is quite importance in terms of developing potential in the future.
Of course the main idea is never to burn the bridges, but when is the indicator to reject other job offers.
I thought this is a rather useful article to read to get an idea.

King's Speech

Now this is the second good movie of the year 2011. I finally know why the BAFTA awards go to this movie. Splendid work! Classic work!

The script is marvellous. Short and simple, easy to understand.

This being a British script, I thought can be conservative. But it is very revealing and direct. 

This is a great movie for motivational purpose and hypnotherapy together with NLP.

Firstly, the acting skills of Colin Firth and the former "Pirate of Carribbean" Capt Barbossa were fantastic.

The emotions portrayed were nice and apt.

Next, the context was kept relatively simple and clean. More on the heroic journey of King George VI. His transition becoming a king, the feelings of unworthiness as a king and his own handicap of stammering which was actually a mental handicap.

Once he surpassed it, it was brilliant. 

IT was more about self-confidence and the ability to self-trust.

More of a Enneagram Type 5 movie.

Painfully moving towards the dreams or the desired state. Bearing the brunt well, the shame and the ridicules from others.

Makes my heart wrenches.

A touching story indeed.

How to write a 1-min elevator speech

Did some research for a friend of mine and i think it will be relevant to those who are selling their svcs or products.

See how...
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How to Craft an Effective Elevator Speech
by Chris King

I know that at this moment, you are wondering what I’m talking about. Who gives a speech in an elevator anyway? What I mean by an “elevator speech” is a short description of what you do, or the point you want to make, presented in the time it takes an elevator to go from the top floor to the first floor or vice versa. In this article you will find out what, why, where, when, to whom, and how to prepare that “elevator speech.” 
What exactly is an “elevator speech”? I believe the name was actually coined from the idea that we sometimes meet the important people in our lives in elevators. The odd situation we encounter in most elevators is that nobody speaks to or looks at anyone else, and yet we have a captive audience for that short period of time. Very few people are ready to interact in case someone does speak. The idea of an “elevator speech” is to have a prepared presentation that grabs attention and says a lot in a few words. What are you going to be saying? By telling your core message, you will be marketing yourself and/or your business, but in a way that rather than putting people off will make them want to know more about you and your business.Why prepare an “elevator speech”? In previous articles I have continually mentioned the importance of preparation, and it is no different for an “elevator speech.” Actually, it is imperative to work on this two to three minute presentation until it is perfectly crafted. This is the one kind of speech that I do suggest memorizing. Make it such a part of you that if someone woke you up from a sound sleep in the middle of the night, and asked you what you do, you would smoothly and without hesitation tell them your “elevator speech.” This speech will serve as your introduction to others, so it has to be good!
Where and when do I use this “elevator speech”? Of course, if you meet someone who shows interest in the elevator, you can be literal and use it there. But usually it comes in handy when you attend an event, a conference, a convention, or some other type of meeting with networking opportunities. You will notice that one of the first questions people ask is, “And, what do you do?” “Oh, I’m a lawyer … or an accountant … or a consultant … or an artist…” It doesn’t matter because they will often say, “Oh, that’s nice,” and immediately label you in their mind with all of the stereotypes they perceive those occupations carry with them. However, if you turn your message around and start with an answer like, “I work with small businesses that are grappling with computer problems,” right away — especially if they own a small business — their ears will perk up and they will want to know more. The reason I suggest working on this speech and memorizing it is that our natural reaction to the question, “What do you do?” is to answer with a label. Then, we continue to describe the process we go through instead of sharing the benefits they will get from working with us. Rather than thinking of ourselves as “solution providers” we picture ourselves as doing our occupation.
To whom do I present my “elevator speech”? The more often you give your short speech, the better it will become. You will have so much fun experiencing the unique reactions to what you are saying, you will easily be able to add enthusiasm and energy to the telling. I suggest taking advantage of a wide variety of gatherings and networking events. And, don’t worry, if your “elevator speech” isn’t smooth, easy, or natural in the beginning. If you stick with it, you will find that it gets better and better, and before long, you will be getting a surprising amount of business — or, at least a number of contacts who want your business card and to stay in touch. You will also be remembered.
Must remember your Unique selling proposition

n 20 seconds or less, clearly and quickly explain 
your business in terms of problems it solves for customers, what it does best, and/or what you want the listener 
to remember about your business. To show rather than tell, you may choose to give an example of a project that 
illustrates your capabilities by saying something like “My last project was . . .” or “One of my most interesting 
projects was . . .”

How do I craft my elevator speech? What are the ingredients? Before I go any further, I want to credit the man who turned me on to how to market using a strong core message, which I am calling my “elevator speech.” It is Robert Middleton who calls himself an InfoGuru and who has developed an Action Plan Marketing Manual — which is not only reasonably priced, but loaded with incredible information. You will find him HERE. Even if you don’t get his online manual, be sure to subscribe to his weekly newsletter, which is excellent. To start your “elevator speech” determine your niche market, what problem(s) do they have that you can help solve and what solution is the outcome? What makes you unique? What short story illustrates a successful outcome that you have produced?
For example, this is my elevator speech: Everyone has a story. I help small businesses and non-profits tell their story to the people who need to hear it. You see, when someone knows our story, they can’t help but like us, and we support and do business with those we like. So, together, we craft your story and start telling it to your employees, the media, potential clients, and to the world. I know it sounds like marketing, but what makes me unique is that first and foremost, I am a storyteller. I also have a technical, art, writing, and design background which I combine to tell your story in a special, get-their-attention way. I recently completed a sixteen-page publication with an additional 15,000 copies that appeared in the March issue of Cleveland Magazine telling the stories of Cleveland’s community development corporations. They were so delighted with the outcome that I am now in the process of designing an extensive website for them.

Consider in advance what your networking goal is to help you focus your USP. The one-minute marketing 
speech you gave earlier in the program is a good starting point in developing your USP, which is shorter and 
focused to accomplish your networking objective. Prepare your Unique Selling Proposition below.
My networking goal is:
My one-minute marketing speech is:
My Unique Selling Proposition is:





ou don't get a second chance to make a good first impression on potential clients. Make it a positive one with a focused and interesting elevator speech.
Can you sell yourself — and your legal services — to a stranger in only half a minute? Marketing experts say that in this small amount of time, you should be able to give a so-called “30-second elevator speech” that outlines who you are, what makes your services unique, and what you can offer potential clients.
Lawyers meet potential clients in a wide variety of places, including cocktail parties, social gatherings, conferences or conventions. And sometimes they meet people in more unlikely places, when they least expect to meet a future client. Having a short prepared speech can grab someone’s attention right away and hopefully will make him think of you in the future when he needs a lawyer. That means those few sentences should be well thought-out and rehearsed.
A typical elevator speech should consist of several components: a memorable introduction, the benefits and solutions you provide, and what makes you unique. Your pitch can then be adjusted to the individual, depending on who they are. Define yourself in a way that will elicit interest, such as increasing profits, saving money, specific expertise, prompt service or solving a particular problem. Use whatever sets you apart.
Having a prepared speech and being able to launch into it at a moment’s notice are key factors in making this a successful marketing tool. Unfortunately, although the 30-second elevator speech seems simple enough, it’s surprising that many lawyers don’t have something prepared.
“Most people don’t do a good job of this,” says Lonny Balbi, a family lawyer at Balbi & Company in Calgary. “Lawyers typically just say, ‘I’m a lawyer,’ or ‘I do divorce law,’ or, ‘I’m a corporate lawyer,’ or something like that.” That’s a lost opportunity to do business with a potential client.”
Balbi, who refers to his speech as a “laser talk,” speaks to potential clients wherever he goes. “It can be funny, it can be serious, you can do it many different ways, but the idea is to just expand upon what you do, to talk about the kind of clients that you deal with and to explain the benefits of using you. Why would you use me over the next person?”
And although that person may not be a potential client, they can refer you to others, says Balbi. “In my business, just about everybody’s a referral source.”

Hook 'Em

Grab people’s attention with a unique statement that they’ll remember, something that resonates. Family lawyer Balbi sometimes uses the line: “I deal with people who are in the Third World War,” to get someone’s attention.
Try to develop a speech that’s natural and that comes off smoothly. Some people think that practising what to say puts you at risk of sounding trite or overly polished, but when you’re well-prepared it can seem more natural and believable. And keep it short and to the point. When people say, “What do you do?” you’ve got to swing into action.
 “You’ve got a very short period of time, and people get bored very easily. No one likes to talk to somebody who’s always talking about themselves,” says Bob Teskey, managing partner of Field LLP in Edmonton. “You may have a minute or a minute and a half at the most, but you don’t have very long … I think if lawyers make a mistake, it is that they talk too much.”
Create a bond with the person you’re speaking to. “More than anything, people hire lawyers based on trust,” says Teskey. A relationship of trust isn’t created by merely talking about yourself. Sometimes lawyers put too much emphasis on describing their expertise rather than on creating a bond with someone. “Talk about the things that are common to us all,” says Teskey.
There can be a risk of doing a hard sell, so keep things at a personal level. “If they ask you something that is law-related, I think that there’s always a tendency to view that as an opening for a university lecture,” says Teskey.
Focus on the person you’re speaking to. If you have time, ask questions to assess what they need and what you can offer them.
“Often lawyers are viewed as being detached and really not identifying with the needs of the client,” says Teskey. “You have to get to something that’s meaty; you can’t talk about, ‘We’re the best in the land,’ because everybody’s going to say the same thing. So what you’re trying to do is to identify something that you believe sets you apart; that the people that you’re addressing can identify with.”
Scott Norton, Q.C., a partner at Stewart McKelvey in Halifax, tries to tailor his pitch to his audience.
“If it happened to be that the person was an insurance adjuster that I didn’t know, then I’d launch into, ‘I’ve been doing insurance defence work for 25 years. Do you know so-and-so?’ depending on where they said they were working. So I’d make it more personal, if it was obvious from the introduction that this was somebody who worked in my circle … In 30 seconds you can hopefully make an impression that they remember you and pass along a business card.”

Build Your Firm’s Brand

When he’s introduced to new people, Norton asks what they do for a living, then inquires as to who handles their legal work. Unless they happen to need a lawyer who does insurance defence work, he uses the meeting as a cross-selling opportunity to put them in touch with a lawyer from his firm who does work in whatever area of business they’re in.
Giving a short elevator speech not only sells your own services, it also provides a great opportunity to build the brand awareness of your firm and help position it in the marketplace. All staff members should be aware of what the firm has to offer so they can pass it along to others.
“There’s tremendous strength in basically advertising your position or your brand and the uniqueness of your firm’s services or abilities through the words of staff and professionals, as they interact with many, many people on a daily basis,” says Ron Currie, Gowlings LLP’s national marketing director, who is based in Toronto. “For us, it’s 1,800 staff and professionals combined; that’s a lot of people basically advertising what this firm is about … This kind of process is really one that should be embraced by the executive level of the firm.”
Once you’ve finished talking, make sure to exchange business cards. David Varty, of Varty & Company in Vancouver, says one of the keys to giving an effective elevator speech is to “make an assumed close,” which can be as simple as saying “let’s keep in touch.” You can go further and ask them to lunch to discuss how you can help them. Better yet, offer to drop by their office to discuss ways you can be of service.
“Because you’re coming to their office there’s no problem for them; they don’t have to go and do something,” he says. The good thing about doing that is that there’s very little cost involved. “Taking them out to an expensive lunch, they start feeling a little uneasy about feeling pressured or obliged.”
Every lawyer should be able to launch into a 30-second elevator speech at a moment’s notice. It’s fast, it’s simple and it can be highly effective.
Balbi advises lawyers to “sit down and think about this and develop something that works well for your personality. Think about the types of people you represent, what is it that you do for them, what are you committed to doing, and why do you make a difference for people? You could be a corporate lawyer and you’re trying to help people grow their business — you’re there to help people become multimillionaires.” And what potential client wouldn’t want to hear that story?

Sample 30-Second Elevator Speeches That Work Know Your Audience Serious Topic, Humorous Approach Lonny Balbi’s “laser talks” are tailored to the situation he finds himself in. “I have a funny one and a more serious one. The funny one I use more often just because it kind of breaks the ice and people remember it. For example, ‘I represent people with a complicated financial situation who found themselves in a relationship that did not work, and we want to keep people from killing each other.’ You might say something kind of a little bit funny like that and it usually gets a little bit of a laugh. Most people have a good sense of humour, so you try to talk about that.”Another humorous speech Balbi uses is: “I’m a lawyer, but my busy day is actually Saturday. I don’t really work much Monday through Friday.” When the person asks why, say, “Well, I actually have to go from wedding to wedding handing out my business card!” Balbi says “they remember that and it usually gets a good chuckle, ‘Oh! You’re a divorce lawyer!’ It depends on your personality; it depends on the client you’re talking to … And so what you try to do is you just try to gather your laser talk, make it so it’s a little more pointed and try to make it interesting for people to ask more questions.” Same Topic, Straight Delivery A more serious talk for Balbi would be: “I represent high-net worth individuals who are going through a very difficult time in divorce and they want to keep their kids out of the middle and that’s my specialty. We have a unique position in the market because we specialize in custody and access, for example.” Or… “I represent people who hate each other. And what they want to do is keep the children out of the middle of the divorce. I try to resolve matters in every way I can, but if needed, I’ll go to the wall for them. If it means we have to go to court, I’ll go to court. But we really try to keep things out of court and try to resolve things. And we do spend a lot of money on training our staff to be astute resolution experts. We look at all sorts of new techniques to settle disputes. Some of the newer ones are something called collaborative family law; all of our lawyers are trained in that area. So we really try to work on areas, to resolve things in a least-cost, very effective way for people so that they can more on with their lives.” Make a Connection Bob Teskey at Field LLP tries to have people identify with him and feel a connection. “We see ourselves as being part of the local market and the way that we identify with our clients is to try to make ourselves a part of their team. We don’t see ourselves as being detached, we see ourselves as working along with them, getting to know who they are and what their needs are so that we can give them practical and workable advice.” The speech he would give a potential client would be along the lines of: “I’m the managing partner of Field. We’re a large locally based law firm. We have a mixed set of institutional and private clients. We have deep roots in the community because we’ve been here for a hundred years and all of our lawyers are people who are very much part of the community.” He also says to people, “‘If I had to hire a lawyer, knowing all of the lawyers that I do, here is the person that I would hire.’ My goal as the managing partner here is to have a firm made up of lawyers that I can say that about in every instance.” Ask Questions After introducing himself, Clemens Mayr of McCarthy Tétrault in Montreal starts asking questions: “What do (you) know about McCarthy? Are (you) an American company? A Canadian company? Are (you) public? Are (you) private? Where do (you) have operations? How big? How small?” Once he has that information, he tries to make a more personal connection: “‘You must know so-and-so,’ or, ‘We have offices in Vancouver where you have your big plant,’ or something to show the ability of the firm to configure itself to satisfy a need.” Show Off Your Expertise Sole practitioner Brian Maude, of Maude Law Office in Moncton, N.B., says he emphasizes to potential clients his technology expertise, his flexibility and the fact that he is not tied down to a traditional lawyer role. “Everybody who does any corporate law realizes how big companies work, but I also know how small companies work because I run my own. I tend to say: ‘Look, we’re in a service industry and that’s what I’m here to do. So if you need, for whatever reason, me to come to you, I’ll come to you. If you need me to be available on either really short notice, then that’s something we can talk about right away. But I can be as flexible as you need me to be, because I have the opportunity to create my own flexibility in that regard. What you’re getting is all my advice, but you’re getting my advice in whatever way that you need it. My office is very heavily computerized, so I have the ability to access anything from anywhere and to have the ability to work anywhere. That allows me to say if you need me to come to your office, do up a document and have access to it, and e-mail it to you right there, I can do that.’” Focus on Your Unique Strengths Dale Doan of Cleveland Doan LLP in White Rock, B.C., tells potential clients that with a firm of just four lawyers “We are able to give hands-on assistance to clients using a team approach in most instances. We highlight with our clients the fact that they will enjoy a professional, while at the same time friendly and open, experience working with us. Their visits will be enjoyable, not painful…they can expect responsive lawyers and staff who may be relied upon to get the job done economically and in a timely manner, all within reason, of course.”

Taken from (http://www.cba.org/cba/practicelink/mt/30second.aspx)

Betrayal quotes

I saw the picture of a friend who was betrayed by her bf, well, now ex-bf. It spurned me to find some quotes of wisdom that were left by the Forebears.

This is how they described betrayal.

Each betrayal begins with trust. - Phish

Comments: Totally agree that these two goes hands in hand.

Love is what ever you can still betray. Betrayal can only happen if you love. - John LeCarre

Comments: Once again these are partners in crime. Like the chinese saying “有爱就有恨，有恨就有爱。” A shorter chinese version would be “爱恨交织”. To translate it literally, it means love and hatred are intertwined.

Every betrayal contains a perfect moment, a coin stamped heads or tails with salvation on the other side.

- Barbara Kingsolver

Comments: True. Because of the everlasting impression of the perfect moment, it sharply reminds one of the betrayal moment. It is a jocular irony.

Trust can take years to build, but only a second to break.- Author Unknown 

Comments: Similar accumulation as habits. Not surprising how fragile trust is even though it takes years to build. It is like those near extinct soil formation in the National Parks of Utah.

Then you should have died! Died, rather than betray your friends, as we would have done for you !

- Joanne Kathleen Rowling

Comments: Yeah. But how many would have done that for friendship? May be in the past where morals are of a higher value than material things like boyfriends, girlfriends,money and status.

No one who has ever known what it is to lose faith in a fellow-man whom he has profoundly loved and reverenced, will lightly say that the shock can leave the faith in the Invisible Goodness unshaken. With the sinking of high human trust, the dignity of life sinks too; we cease to believe in our own better self, since that also is part of the common nature which is degraded in our thought; and all the finer impulses of the soul are dulled.

GEORGE ELIOT, Romola

Comments: How apt!

Be certain that he who has betrayed thee once will betray thee again.

JOHANN CASPAR LAVATER, Aphorisms on Man

Comments:  Not surprising. If there is once, there will be second and third time. After the third time, a habit is formed and  many countless times will follow from thereafter.

"It is easier to forgive an enemy than to forgive a friend."

— William Blake

Comments:s This is a build up on the accumulation of trust. 

"If you're betrayed, release disappointment at once. By that way, the bitterness has no time to take root."

— Toba Beta (My Ancestor Was an Ancient Astronaut)

Comments: A bit tough. Not sure if workable.

"Most friendship is feigning, most loving mere folly."

— William Shakespeare

Comments: This sums it up quite nicely.

Relationship maintenance

I am very happy and proud of myself today,acknowledging myself that I make time to keep a friendship ongoing. I used to believe that relationship is like the technological innovation development. There will be a time of critical mass using the system just like in a relationship, there is a honeymoon period where we will see each other all the time.
After a period of time, the relationship developed till a mature stage where everyone is so used to having each other around, having the other person to partner for activities.
Then comes a point where relationship will slow down to a mundane thing.
Then people will slowly drift apart.
This is where maintenance of relationship comes in.
If you cannot get the kind of communication you want, you change the way you communicate.
That is what I did.
I know a friend I have known for over 20 years but recently she had a lot on her plate so we meet less and less.
She has little time to spare so I ask her out for dinner near her house.
Anyway, people has to eat.
Luckily she agreed.
I feel that before any releationship is drifted away, there must be telltale signs.
Just heed the sign and adjust.
I feel before any relationship is given up or let it drift away, one must make an effort to prevent and maintain it.
If there is the inevitable fact that has to be given up,at least I did something and will not regret it.

The Green Hornet - 2D

Frankly speaking, I went to watch it due to 2 reasons - my friend and to get out of house to experience the CNY spirit in Orchard.

As far as I know, it is a spawn off from a comic book and that Jay Chou went into Hollywood due to this film.
Here are some of the highlights that I observed:

a) It is one of those laugh it off movie. It invokes a lot of gaffaws and mirth. Of course, my friend is embarrassed again as my laughter is among those which permeated the large threatre.

b) Jay Chou's command of English is not bad. However, when he is emotional, it becomes incoherent.

c) Jay Chou's acting is well-maintained as in the past.

d) During the promotion of this film, the Orientalism theory comes out prominently. When have you heard a reporter asking a western celebrity like Seth Rogen how is it like working with Jay Chou, an Asian?

e) Cameron Diaz is once again reprising similar role like the one in The MASK. Though her character is depicted to be more intelligent and sassy, the role itself is meant for vase.

f) The storyline is not very memorable, at least not to me.

Still, it is worth the laughter and for the sake of festive mood.

Organised crimes - development

Since school, organised crimes have been part of every culture where there is presence of man. For man likes to gather in groups for protection, support and wealth.
It is interesting to see how many groups of the organised crimes are there out in the world. As far as I remember,  there is Yakuza in Japan, Mafia in Italy, Mafia in Sicily, Russian Mafia, Irish Mob, Cosa Nostra in US and Chinese triads.
In fact, they showed us how globalisation is possible with their transnational crimes. The logic goes if they are able to sell homegrown vices in other countries, why not normal product and services?
I chanced upon this interesting map which piqued my interest in organised crimes once again. Follow the link in the blog title and you will see it.

Street Photography tips

Chanced upon this from a friend's link.
Thought that friends who are interested in photography can take a look at it.

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101 Things I Have Learnt About Street Photography

1. Don’t worry about the camera so much, just take the damn photo.
2. Ditch the zoom lens and screw on some primes
3. Carry your camera gear in a messenger bag  (it makes your camera & lenses easier to access).
4. Go for the candid look.
5. Go for the shock factor.
6. Smile often.
7. When shooting from the hip, your first 1000 shots will be terrible.
8. Don’t make eye contact with your subjects when trying to be discrete.
9. Imagine that the world is your stage and people are your actors.
10. Feel free to ask people to take their portraits.
11. Try to refrain from taking photos of the homeless (as most shots can be considered as merely exploitation).
12. Crouch when taking your shots, it often makes for more interesting photos.
13. Get close. Now take two steps closer.
14. Shoot with an all-black camera with your logos taped up with black tape (to make your camera look more discrete).
15. Go explore—serendipity is key.
16. The less planning, the better.
17. Ideal exposure for a bright sunny day: f/16, ISO 400, 320th/second.
18. Pretend like you’re taking a photo of something else.
19. Be respectful.
20. Change your lenses to re-inspire.

21. Follow your own style, not trends.
22. Don’t worry about the fear of shooting in public. It will go away over time.
23. In my 4 years of street photography, I have only had two people to ask me not to take a photo of them. (Your experiences will most-likely be similar)
24. Most people like getting their photo taken.
25. If a policeman asks you to delete a photo, tell him that you know your rights and refuse to do so.
26. There are no rules in street photography.
27. Always bring your camera with you everywhere you go. EVERYWHERE.
28. Don’t take photos, tell stories.
29. Limit the number of street photographs you see from the internet. The more you see, the less you will value your own.
30. You will be called by others as “weird” for your street photography. Ignore them.
31. Look for the beauty in the mundane.
32. Take photos that make people laugh.
33. Street photography is best experienced alone.
34. Constantly experiment and innovate.
35. Street photography doesn’t always have to be in black and white (although sometimes it does look better).
36. Grain is beautiful.
37. Hold your camera with your hand, not your neck.
38. Don’t be afraid of offending people. Most likely you won’t.
39. “The night is often more vivid than the day” – Van Gogh
40. Some of the meanest looking people can be the nicest.

41. Don’t make excuses. Make photos.
42. Never delete any of your photos. Some of the technically-off images make the best street photos (think blurry, grainy, or dark images).
43. Always keep your eyes open for the “Decisive Moment”.
44. If you think your photos are boring, they most likely are.
45. Street photography summed up in one sentence: “I could have taken that photo but I didn’t”
46. The quieter your camera, the better.
47. Don’t be sneaky.
48. Wide Angle > Telephoto for street photography
49. Everybody in the streets has a story to tell.
50. Street photography is not just about the photos, but the experiences.
51. You don’t need to be in Paris to take great street photographs. Your backyard is equally as good.
52. See life through the eyes of your subjects.
53. A well-cropped image can often tell a better story.
54. Juxtapose.
55. Look for the light.
56. Go off the beaten path.
57. Have the mind of a child and wander. This is how you will find your best photographs.
58. Only show your best photographs. This will strengthen your images.
59. If someone says that you are “really lucky,” slap them.
60. The more photos you take, the better.

61. Your subjects are people, not prey.
62. Spread the love of street photography with your friends and family.
63. Less is more.
64. Get meaningful critique of your street photography from an online community. It will help you tremendously.
65. Street photographs are subjective.
66. Look at what other people aren’t looking at.
67. Do not stress over amazing shots that you may have missed. Simply more on and strive to take a better shot.
68. Create a series or a theme for your street photographs. They will help create a style for you.
69. See with your eyes, not your camera.
70. There is no such thing as the “perfect photo”.
71. Timing is key.
72. You don’t have to take a photo of everything. Don’t feel guilty for just enjoying the moment.
73. If you are a beginner, don’t worry about the settings too much. Just toss your camera on auto mode and go shooting.
74. Don’t look for photo opportunities. Have them find you.
75. Children cannot see your camera.
76. If you ask to take a portrait of a stranger on the street, ask them for their email so you can send them their image. (they will love it).
77. Don’t forget to look up and down.
78. No subject is too ordinary to shoot.
79. Always carry a spare battery and memory card on hand. This has saved my ass half a million times.
80. Don’t be afraid to push your ISO higher.

81. Learn how to shoot without using the viewfinder and make it a second-instinct. Thus also…
82. Practice shooting from the hip.
83. You will never encounter the same shot twice. Now swallow that fact and digest it.
84. Street photography is a lot like swimming. You have to do it to truly learn it.
85. Draw inspiration from other photographs, don’t steal them.
86. Street photography is a lot like fishing. Sometimes you catch a whole bunch, sometimes you catch none.
87. Getting one or two keeps from an entire day of shooting is a good number.
88. If someone asks you to delete a photo of them, just do it. It isn’t worth the trouble.
89. Be smart: ie don’t go shooting in the hood by yourself at night with hundred dollars worth of camera gear.
90. Some street photographs just look better in color. Don’t overlook this.
91. There are always photo opportunities regardless of where you are.
92. Less is more.
93. A street photograph is worth an essay.
94. Public transportation is a gold mine for street photography. Learn how to use it.
95. Always keep at least two backups of all your images. Technology is unreliable.
96. Keep a journal of your shooting experiences. Track your thoughts and development as a street photographer.
97. Get lost in your photography and lose track of time.
98. Think before you shoot.
99. Have fun.
100. Live life.
101. Just do it.

Media studies Terminology

I had such a headache finding the media studies terms. I search online and found one suitable.

Take a look.

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A

• aberrant reading – the interpretation of a text in a manner different from the way its author intended it to be decoded.   For example, people who think that Severus Snape from Harry Potter is cool and desirable, rather than cruel and bullying.
• alternative – outside or on the edge of the mainstream.  Independant film and music are examples of alternative media.
• agenda setting – the practice among news organisations of frequently selecting certain topics for publishing in order to influence the views of their audience.
• anchorage – additional information designed to “anchor” the text to one specific reason, reducing polysemy and, consequently, reducing the risk of aberrant readings.  For example, if you put a caption on a photo, people will interpret the photo in a way that relates to that caption.
• angle – the viewpoint from which a story is told.  May relate to the interests of the target audience, or simply the ideologies of the author.  For example, different newspapers may tell the same stories from either a left wing or right wing angle.
• antagonist – the opposition to a hero.  Usually, the antagonist is a character, probably a villain, but they may also be a force of nature or an abstract concept.  The antagonist is the force that disrupts the equilibrium of the narrative.
• appeal to emotion - an advertising technique when advertisers appeal to those emotional needs experienced by all humans
• archetype – a type, which most other examples of that type may be seen to be facets of.  For example, the heroic archetype may be seen in Gilgamesh, Perseus, Beowolf, Superman, Luke Skywalker, Harry Potter, Neo, and many more characters.  Archetypes are easily recognised, much like stereotypes.
• art film – an independant film that targets a well-educated niche audience.  Art films are typically not shown in mainstream cinemas, and may feature little known actors.  They are also typically low budget.  Art films are known to tackle controversial themes ignored by the mainstream film industry, and to challenge traditional cinematic form, for example, through use of surrealism and non-sequiturs.
• association - an advertising technique whereby products are associated with the people, values, and lifestyles depicted in the ads
• audience – the people who read a media text; traditionally the consumers of media.  When you create a work, you usually target at a specific audience. recipient of the intended communication
• audience reception theory – a theory as to how audiences recieve media.  Examples include the hypodermic needle model, the two step flow model and the uses and gratifications model.

B

• binary opposition – the construction of a text around opposing values, such as good and evil, or Star Wars‘ Jedi and Sith.
• brand extension - extending the brand name to other products
• brand equity - money earned by brand name
• broadcasting – the transmission of texts to an audience using TV or the radio.  Broadcasting is sometimes contrasted with narrowcasting, in which case it means transmitting specifically to a large mass audience.
• broadsheet – the largest newspaper format.  Broadsheets are widely perceived as more reliable than tabloid papers, adopting a more serious tone.  An example would be The Sunday Times.  Some papers are still considered to be broadsheets because they have retained the tone of a broadsheet but have changed paper sizes, for example, The Guardian.

C

• camera angles - the angle, high, straight, or low that a shot is taken
• camera shots - the distance between the camera and the subject
• camera movement - the movement of the camera position from left to right, forward or backward, up or down, stationary left or right, and zoom in or out.
• caption – writing that describes the contents of a picture.  Captions may be used to provide anchorage. a phrase, sentence, or short paragraph describing the contents of an illustration such as photos or charts. Photo captions are usually placed directly above, below, or to the side of the pictures they describe.
• celebrity – a famous person whom many people know, commonly called a “star”.  Celebrities include actors, presenters, singers, musicians, models, sporting personalities, writers, directors, producers, royalty or political figures and businesspeople.  Celebrities are symbols in that they have their own connotations – for example, Elton John is commonly associated with music, big glasses, homosexuality, songwriting, Princess Diana’s funeral, glam rock, etc.  Nowadays, plenty of people can become celebrities of sorts due to their online exploits, for example, Neil Cicierega a.k.a. Lemon Demon, singer/songwriter and creator ofPotter Puppet Pals.  Notably, actress Jessica Lee Rose’s career was launched by her starring in web series lonelygirl15.  Meanwhile, participants in reality TV shows can gain minor celebrity status pretty much overnight.
• censorship - the removal of information from a media text, on the basis that that information is undesirable.  For example, governments have been known to censor information which may be a threat to national security, or television companies may censor footage for reasons of decency.  Protestors like Mary Whitehouse and Jack Thompson are known for requesting the censorship of sex and violence from media texts.
• chauvinism – the promotion of one concept over another.  Examples include nationalism and male chauvinism.
• chiaroscuro – lighting with a high contrast between light and dark.  May be used to emphasise or draw attention to certain aspects of the text, or simply create a desired atmosphere.
• chromakey – filming against a blue or green backdrop, then replacing all blue or green footage in that film with an alternative background.  Examples: weather reporters often use this to make it look like they are standing in front of a map.  Employed frequently in fantasy and science fiction films to create improbable settings.
• Cinéma Vérité – an influential, French documentary movement from the 1960s which aimed to capture “truth” by provoking interviewees.
• claim - the verbal or print part of an ad that makes some claim of superiority for the product
• clip – a short piece of footage.
• close up – a shot which provides a very close view of a character or object.  Handy for showing expressions, or allowing the audience to read onscreen writing.
• code – a sign which must be decoded to create meaning.  Codes can be very obvious or hidden, and can be created by camera techniques, visual images, spoken words, connotations of signs, etc.  Decoding a text in a manner that differs from the manner the producer of that text intended it to be decoded produces an aberrant reading.
• codes and conventions - the familiar and predictable forms and techniques used by the media to communicate certain ideas or to convey a desired impression. Technical codes include camera angles, sound, and lighting. Symbolic codes include the language, dress, and actions of characters.
• conglomerate – a large media organisation with worldwide influence and interest in broad areas, consisting of many smaller organisations.  EMI Group and Time Warner are examples of conglomerates.
• connotation – meaning created through association.  For example, fig leaves have connotations of modesty, horns have connotations of demons and the colour red has connotations of passion and rage.
• consumer – the audience recieving a media text.  Traditionally distinct from producers, new media have allowed many consumers to become producers.  This is known as participatory culture.
•  constructed - built, formed, or devised by fitting parts or elements together systematically
• convention – the usual way to do something.  This may be to do with form (songs being around 3 minutes long, paintings being rectangular) or stock elements (gore is a convention of the horror genre, the ”meet cute” is a convention of the romantic comedy genre).  Producers of media texts often have to tread a line between keeping to conventions in order to make a work identifiable and accesible, and defying conventions in search of originality.
• convergence – the combination of several media technologies into one medium.  For example, current mobile ‘phones can do all sorts of things beside simply telephoning people – they can send texts, or play music, or take photographs, etc.  The ultimate example is probably the Internet – practically every form of traditional media has an online equivalent.
• copy - text including advertiser's name, sales message, trademark or slogan
• cult following – a niche audience that, whilst relatively small, is exceptionally loyal towards a text.  Cult works are often science fiction or fantasy.  Twin Peaks andThe Prisoner are examples of texts attracting a cult following.
• cut – the most basic type of transition between shots.  A cut is where one shot ends, and another usually begins.  More complex types of cuts include fades and dissolves, which may be used to indicate scene changes.

D

• deconstruct - to take apart, analyze, or break down a media text into its component parts in order to understand how and why it was created
• demographic – audiences categorised by specific features, such as working class females or 5-7 year old American children. common characteristics used for population segmentation including age, gender, post code, and income
• denotation – the simplest way to create meaning.  For example, if I were to paint a picture of a tree, it would denote a tree.
• diegesis – the (fictional) universe of a work of fiction.  Much of what happens on screen in a movie or TV show is diegetic.  Non-diegetic elements are those that characters won’t be aware of, such as the logo or the soundtrack.  For comparison, diegetic music is music that the characters acknowledge, whilst non-diegetic music will be completely ignored and not made by anything onscreen.  Some films will play around with this - for example, music that is playing in the background in one scene, and then gets played on the radio in the next scene.
• Direct Cinema – an American documentary style from the late 1950s.  Mainly filmed using handheld cameras, Direct Cinema aimed to objectively capture events without the intrusion of the documentary makers themselves.
• discourse – an argument presented in a way that prevents other ideas from being brought into the argument.  What one discourse might refer to as cruelly imprisoning people, another might refer to as bringing criminals to justice  For example, an article about “chavs” and “yobbos” would not be likely to argue that the people it describes are unfairly persecuted victims of the British class system.
• dolly – a device for moving a camera along on wheels.    Used for tracking shots.

E

• equilibrium – stability within a story.  Over the course of the narrative, equilibrium is disrupted, and restored by the end of the story.  For example, in The Legend of Zelda, equilibrium is disrupted when the princess is kidnapped, and returns to normal once she has been rescued.
• establishing shot – a shot shown at the the start of a scene to establish the location.  This is often a wide angled shot, so as to reveal as much of the location as possible.  Interior scenes may be established by an exterior shot.  Additionally, establishing shots may include famous landmarks to make their location recognisable.  For example, a movie set in Paris might show an establishing shot of the Eiffel Tower.

F

• fad - a custom, style, etc., that many people are interested in for a short time; passing craze
• fear tactic - an advertising technique whereby products are sold based on our fears
• format – the form which a text conforms to.  A standalone movie is a vastly different format from a television serial, for example.

G

• gatekeeper – anyone within an organisation who decides what items will be published.  Usually used to describe journalism, but it technically applies to other industries too, such as the music industry.
• gender identity - the sex group (masculine or feminine) to which an individual biologically belongs
• gender role - the set of behaviors that society considers appropriate for each sex
•  gender stereotype - an oversimplified or distorted generalization about the characteristics of men and women
• genre – a category which media texts are divided into.  This is useful when trying to reach a specific audience, but can be quite awkward when people attempt to shoehorn a text into a genre it doesn’t fit.  Examples would be science fiction, hip hop music, Western, and documentary programme. kind or type
• genre fiction – fiction written within a specific genre.  Often disparaged by literary critics, although perhaps injustly, since it is arguable that even the best literature will fit the conventions of some genre or other.  Dracula, The Lord of the Rings andPride and Prejudice have all been termed genre fiction.  Genre fiction is an important aspect of popular culture.
• globalisation – the way that global media results in world wide cultures becoming more and more similar to one another.

H

• headline - the short lines of emphasised text that introduce detail information in the body test that follows
• hegemony – the practice among powerful groups of dominating the media, asserting their ideology and dissuading audiences from other ideologies, through use of propaganda.
• high culture – the culture associated with the upper classes, which is purportedly superior to popular culture.  High culture is associated with traditional media forms such as newspapers (where we have the contrast between high culture - broadsheets, and popular culture – tabloids), music (high culture – classical music, and popular culture – pop music) and books (high culture - classic literature, popular culture – the sort of books you can buy in airports).  Good luck finding a high culture video game, though.  It should be noted that high culture is not the same thing as cult popularity, even though fans of cult shows might call Star Trek: The Original Series or the original Doctor Who “classics”.
• high key, low contrast lighting – lighting that has little contrast between dark and light areas, and tends to be brightly lit.  High key, low contrast lighting is normally used to create a cheerful, upbeat mood, as in old sitcoms.
• hypodermic syringe model – an audience theory which holds that when an audience views a media text, they will act in a manner that is directly influenced by it.  For example, according to this theory, watching a film about being nice to people might cause the viewer to do an act of kindness in imitation of that film.  Likewise, listening to a radio broadcast about aliens might cause the listener to panic about the threat of alien invasion.  This theory has been criticised because it assumes that audiences will passively consume whatever text is thrown at them, without possibility of (e.g.) switching off the television, or even disliking the programme.

I

• ideology – the values or beliefs which the producers of a text hold.  These are often very obvious in the text - for example, C.S. Lewis’ Christianity in The Chronicles of Narnia, or Russell T. Davies’ condoning of homosexuality in the revived Doctor Who.  An ideology can be held by an individual, a group or a society.  Reading a text which conflicts with one’s own ideology can provoke an aberrant reading, or even outright dislike of a text. the doctrines, opinions, or way of thinking of an individual, class, etc.; specifically, the body of ideas on which a particular political, economic, or social system is based; a set of beliefs about the world
• inoculation model – a specific variant of the hypodermic syringe model which suggests that if audiences are exposed to a media text for long enough they get used to it and it ceases to have any effect upon them.  For example, according to this model, an audience that has watched a significant number of violent films will become desensitised to violence and fail to be shocked by the concept.  Further more, the theory argues that the desensitised viewers will then happily accept real life violent acts as normal.
• interactivity – the ability of two things or people to respond to one another.  There are two ways in which new media can incorporate interactivity: a person can interact with a technology (such as a video game) or with another person using that technology (such as email).
• intertextuality – the way multiple texts draw upon one another to create meaning.  For example, shows like Dawson’s Creek have their own associated websites, and the Matrix series has all those spin-off games and stuff.

J

• jingle - verse or song that repeats sounds or has a catchy rhythm
• jolt - a new jolt occurs each time a camera shot changes
• juxtaposition – the placement of two or more utterly distinct concepts in direct proximity to one another.  When done deliberately, juxtaposition is a valid tool used to create effect.  For example, Pink Floyd’s The Wall juxtaposes uplifting melodies with bleak or angry lyrics to conjure up a tone of insanity.  When accidental, however, juxtaposition can be jarring and off putting for audiences.  For example, showing a cheery comedy film followed by a bleak documentary would not be likely to impress audiences.

I

•  line extension - new products in the same product category using the same brand name
• low key lighting – lighting that features many shadows to create a chiaroscuro mise en scène.  Common in film noir. 

M

• marketing -  the process of promoting and selling a product or service based on decisions about what the product image should be and who is most likely to buy it
• mass media – media targeting a mass audience, the largest possible audience there is.  It is questionable whether the term serves any useful function nowadays, given that television shows mainly target niche audiences and even personal blogs now have the potential to be viewed by a very large number of individuals. :the methods of communication used to reach large numbers of people at the same time - TV, newspapers, radio, magazines, films, books, the internet
• media imperialism – the strong influence exerted by Western media upon developing countries, which may result in the Westernisation of those countries.  This is what the term “globalisation” usually describes.
• media studies - repeat after me: the study of “who said what to whom, through which channel and to what effect.”  A Google search tells me that this is actually a paraphrasing of a Harold Lasswell quotation referring to communications, but it sums up media studies.
• media text - any form of reproduced communication, from a book, film, or CD, to an ad, a toy, or a T-shirt
• mise en scène - pretty much everything you see on screen.  It includes properties, costumes, lighting, actors, and just about everything else really.  For example, if you wanted to make a Western film, your mise en scène would include a dry setting, with wooden stores and saloons and revolvers and wide brimmed stetson hats.
• moral panic – put simply, a lot of fuss.  Something (rock ‘n’ roll, communism, gun crime, etc.) is perceived to be a threat to today’s society.  Consequently, the significance of the problem is blown out of proportion by the media, which provokes widespread hysteria.  Sometimes, governments pass legislation to to cope with the supposed problem.  The Video Recording Act (1984) was a reaction to the moral panic over “video nasties”, for example.

N

• narrative – story, pretty much.  A narrative typically starts with stable equilibrium, which is then disrupted.  The narrative ends when the equilibrium is returned to.  Narratives are common in books, plays, TV shows and films, and may also be present in music videos, albums and video games, and many other media.
• narrowcasting – the targeting of a broadcast to a specific “narrow” audience - in other words, a niche or target audience.  Channel 4 has demonstrated the value of aiming programmes at small, wealthy audiences as opposed to mass audiences.  More recently, a number of channels have sprung up to cater specifically to certain narrow audiences (e.g. the Sci-Fi channel and Cartoon Network), although these are becoming steadily more broad in their audiences.
• new media – new media.  What it sounds like.  It’s actually quite a vague term, but it tends to be media which includes elements of convergence, digital technology and interactivity, as opposed to the traditional media.  New media include websites, video games and mobile phones, in contrast with old media like television and newspapers.
• niche – a small specific target audience.  Finding a niche audience that is not currently catered for and targeting a text at it can result in success.

P

• pan – a basic camera movement.  The camera turns left or right on a horizontal axis.
• parity product - products in which all or most of the brands available are identical
• participatory culture – the culture where audiences are directly involved in the production of media, rather than simply consuming it passively.
• podcast – a web media file that is syndicated over the Internet.  Basically the online equivalent to radio, although podcasts have a variety of other uses.  Video podcasts also exist.
• point of view shot - a shot that shows the audience the scene from the perspective of a character.  For example, Jaws features several moments the audience can see from the shark’s viewpoint.
• polysemy – the way that all images may be interpreted in a variety of different ways.  By extension, this can apply to other forms of text.  The more anchorage a text is given, the less open it is to polysemy.
• popular culture – the culture of the people.  Popular culture is sometimes considered “low culture” in contrast with high culture, which looks down upon it, despite the two being obviously linked.  Popular culture consists mainly of concepts that enter the consciousness of the majority of people, spread by the media.  MTV,The Da Vinci Code and Xbox games are all examples of pop cultural concepts. (mainstream culture) the arts, artifacts, entertainments, fads, beliefs and values shared by large segments of the society
• positioning - based upon what the product does and who it is for
• postmodernism – a broad cultural movement that sprung up as a reaction against modernism.  Postmodernist works are typically characterised by their frequent referencing of earlier works and their playing around with the conventions of their genre.  Pulp Fiction is an example of a postmodern work.
• preferred reading – the way in which the creator of a text intends it to be read.  Any other reading is an aberrant reading.
• producer – the creator of a media text.  As the Internet becomes popular, the line between producers and consumers is becoming steadily more blurred.
• production values – the quality of a production - sets, script, properties, acting and all.  Generally speaking, the bigger the budget, the higher the production values.
• propaganda – a text that aims to alter the ideology of its audience, turning it into something resembling the ideology of the creator of that text, who is known as the propagandist.  Propaganda is common in war time.  Well known examples would be the posters distributed during the First and Second World Wars which depicted characters like Uncle Sam and John Bull asking for help and kids saying, “What did you do in the Great War, daddy?”
• property – commonly abbreviated to props, these are items that are used on stage or screen.  For example, an egg, a sword or a book.
• protagonist – the main character of a work of fiction, also called the hero.  Commonly the character the audience is expected to sympathise with, the protagonist is opposed by the antagonist.  Protagonists are normally some sort of heroic archetype; when this is not the case, the protagonist is called an anti-hero.
•  psychographics - an analysis of people's attitudes, beliefs, desires, and needs.
• PVR – a personal video recorder.  PVRs record television digitally, allowing audiences to watch programmes timeshifted.  Sky+ is an example.

R

• read - to analyze for meaning
• representation – the depiction of something in a media text.  The way in which people or concepts are represented in a text will normally reflect the views of the author of that text. the way groups are presented in the media and popular culture, often through stereotypical images that affect our views of gender, race, class, age, and ability

S

• semiology – the study of signs and the way in which they create meaning.  A sign which may outwardly be merely a symbol is frequently given meaning beyond its outward appearence.  Words are symbols too – so the word ”cow” has the obvious meaning of a domesticated bovine, but it also has additional connotations.  These connotations will differ depending on the views and experiences of the individual, so that where one person sees a dog to have the connotations of cuteness, loyalty and intelligence, another person will perceive it to have connotations of aggression and stupidity.
• serial – a media text which is released in episodes or installments, which, when experienced in order, tell one ongoing narrative, rather than being standalone stories in their own right.  Eastenders, Ugly Betty, Cardcaptor Sakura and Heroesare all examples of serials, as were Charles Dickens’ novels when they were first published.
• series – a media text which is released in episodes or installments, each of which tells its own self-contained narrative.  Continuity may be maintained, or it may be ignored completely.  The Simpsons, Recess, Monty Python’s Flying Circus and The Twilight Zone are all examples of series.
• sex role - a person's sex role is defined partly by genetic makeup but mainly by the society and culture in which the individual lives
• signature - contact information
•  slogan - short, memorable advertising phrase. When a product or company uses a slogan consistently, the slogan can become an important element of identification in the public's perception of the product.
• stereotype - a prejudicial assumption about what a type will resemble.  Stereotypes are not necessarily negative – for example, perceptions of the French as being great lovers, blacks as being cool and women as being more efficient and competent than men.  However, even positive stereotypes can be perceived as offensive by some people.  Like archetypes, stereotypes are used often by writers to create an easily recognisable character. an unvarying form or pattern; specifically, a fixed or conventional notion or conception, as of a person, group, idea, etc., held by a number of people, and allowing for no individuality, critical judgment, etc.; over-simplified images or representations of people or groups of people based on race, gender, occupation, or age, which can be used to justify our popular attitudes and beliefs
• storyboard - a series of sketches of the frames of an event, with the corresponding audio information, and shot list.
• subgenre – a genre within a genre.  For example, Spider-Man may be broadly defined as an action movie, but it is more specifically an example of the superhero fantasy genre.
• subheads - mini-headlines that appear lower in the print ad making the copy easier to readm making the ad more appealing, and helping direct the reader's attention
• synergy – the use of one product to make another more successful.  Like the film?  Buy the toothpaste!  Common in large franchises such as Doctor Who, The Simpsons and Harry Potter.

T

• tabloid – a half sized newspaper.  Tabloids are often much less serious than broadsheets, known for printing speculation and rumours about celebrities and television shows, and highly melodramatic crime stories.  The Sun is a famous example of a tabloid.
• tag line - a phrase that follows the brand name and it is often at the end of a commercial or the bottom of an ad.
• target audience - the audience which a specific work or product is aimed at.  For example, Doctor Who is pitched towards a UK family audience, whilst its spin-off The Sarah Jane Adventures is aimed at a target audience of children. specific groups of people that media producers or advertisers want to reach
• text – an item of media that can be “read”.  In a media studies context, this does not apply solely to written words.  Books, photographs, films and television shows are all “texts”. anything that is read. listened to, or viewed
• tilt – A basic camera movement.  Moving the camera up or down on a vertical axis.
• timeshifting – recording a programme using a PVR and watching it at a later time.  Naturally, this makes advertising companies worried, since it means audiences may skip advertisements.
• tracking shot – a shot where the camera moves horizontally.  Although basic, this can be difficult to pull off neatly, so a dolly may be used.
• trend - to have a general tendency: said of events, conditions, opinions,etc.
• two step flow model – an audience theory which suggests that initially only a small portion of an audience will be directly affected by a text, but then a wider group of people will act in imitation of that portion.  According to this theory, for example, if a mass audience watches an advertisement for can openers, a small number of opinion leaders will buy them.  Gradually, more individuals will decide that, on second thoughts, they want one too, in imitation of those leaders.
• uses and gratifications model – an audience theory which suggests that, rather than absorbing all media, audiences will seek out and respond to texts that meet their needs.  For example, an individual who is curious about shark fishing in the 18th Century might search for a website that is about shark fishing in the 18th Century, or a individual who wants to fit in with all his teenage emo friends might listen to Senses Fail.

V

• values - the social principles, goals or standards held or accepted by an individual, class, society, etc.
• viral marketing – advertising that relies on word-of-mouth to spread the news of a product, commonly using the Internet.  Examples include Cloverfield, Snakes on a Plane, and any arc word or phrase in a TV show such as Lost or Heroes.
• visual - photo or graphic
• voyeurism – deriving pleasure from watching someone who doesn’t know you’re watching.  Not necessarily for perverted reasons, although it often is.  Reality shows such as Big Brother rely on this, and it’s a major feature of many works of fiction, particularly those where we are shown details of the characters lives.

W

• wiki – a collaborative website which users can easily edit.  Wikipedia and TV Tropes Wiki are both examples of wikis.  Wikis are a good example of participatory culture in action.

Z

• zoom – a rapid movement from a distant shot to a close up.  May be achieved through use of a zoom lens or digital zoom.  A slow zoom can be an alternative to a tracking shot, although it is not difficult to spot the difference between the two.  Often used to draw the audiences attention to a particular object on screen.