Sample Solution
Karl Marx, Max Weber, and Emile Durkheim are all known for their theories which describe the transition from traditional to modern society. Throughout this process, individuals faced numerous frustrations in attempting to adjust and adapt to this major shift in social structures and norms.
Marx’s theory of alienation highlighted how the capitalist system created a lack of control among working-class people who were no longer able to rely on pre-existing communal values or relationships (Allen & Thomas 2015). In addition, he argued that capitalism was responsible for creating a new form of class oppression wherein the wealthy owners of capital reaped benefits while worker’s labor became commodified (Klaiss 2017).
Weber also noted how modernization caused increased individualization as well as increased levels of frustration due to its emphasis on competition rather than cooperation (Allan 2003). He further explained that this shift led individuals to feel trapped by bureaucracy and anomie – situations where there is a sense of disconnection with societal expectations or norms.
Finally, Durkheim described how during modernization religious beliefs declined leading to feelings of insecurity because individuals had lost one source of security that provided them with guidance (Durkheim 1933). He believed that when religion loses its authority it can cause feelings such as fear due to its absence leaving uncertainty about what should be accepted morally.
In conclusion, Karl Marx, Max Weber, and Emile Durkheim all contributed significantly towards our understanding regarding the transition from traditional society into modernity and how during this period individuals felt frustrated over lack autonomy or certainty in regards various aspects such as ethical/moral behavior.
This paper explores the likenesses and contrasts in the purposes of wistfulness inside film, design and its impact on brands. Concentrating on brands consistent impact from wistfulness, with “Brands have started entering into the nostalgic yearning clients have, perceiving ‘the worth of sentimentality in publicizing, as an approach to persuading clients to leave behind their well deserved cash” (Harvey 2017). Using wistfulness brands make a feeling of dependability and solace in their items. Thusly impacting the client to put resources into the brand. Ongoing examinations have proposed buyers buy the items to acquire a prompt return in the delight of the memory it gives. (Harvey 2017). This has thusly made brands notice that sentimentality in promoting assists construct a relationship with the client. Moreover, the impact of film on design will be investigated, “film and style have consistently had a synergetic relationship, both utilizing the innovation of the camera and that of the body and execution. Outfit is necessary both to the entertainer’s exhibition and to the entire artistic version of visual accounts and experience.”(Paulicelli, Drake ,Wallenberg p8 2017)) The utilization of ensemble inside film portrays the story, accordingly showing how significant design and apparel is inside film. Style and film depend on one another, with film advancing various patterns and assisting with restoring past designs. This should be visible with Programs, for example, Lunatics which has caused an enormous move in the craving for the 1960s style. Style and film both use sentimentality to draw in the client or crowd, the utilization of dress to recount a story should be visible inside the film the Stepford Spouses, with the functioning solid disapproved of housewives first showing up in ‘innocent’ clothing, then, at that point, changing into ladylike housewives with motivation from Dior’s New Look present. The ‘dramatic show ‘made on the catwalk will likewise be analyzed, concentrating on originators like Orla Kiely and Chanel, changing the catwalk into grocery stores showing areas of strength for the among design and the impact of film, for example, The Stepford Spouses. Through concentrating on both design and movies utilization of wistfulness, the sentimentality for the homegrown housewife is clear. This always present housewife should be visible all through “well known promoting and style symbolism: the natural 1940s or 1950s “classic” lady or housewife,” (Bibby L) Addressing assuming that the freedom and progress of females place in the public arena is being appeared through design and film. Besides, looking at the purposes of the 1950s housewife inside style and on the off chance that this is impeding to the advancement of ladies’ portrayal in design and film. Originators, for example, Orla Kiely and her motivation for the homegrown stylish assortments are investigated, As expressed to the Design Transmit “My motivation has forever been midcentury. I love the manner in which the ladies dress in all the Kitchen Sink shows, and movies like Rosemary’s Child and Shoeless in the Recreation area,” she told fashion.telegraph.co.uk (TYZACK 2013). This not just backings the explanation that sentimentality si a wellspring of motivation for originators yet additionally film, drawing motivation from the 1950s and 1960s ensembles fe
