Wednesday, February 27, 2008


Recently I watched this movie "BorderTown," Starring Jennifer Lopez. I was really moved by the subject the movie protrays and how this movie's storyline falls so close to our home, El Paso. This film defines the reality of our border and the truths our border divides between Mexico and the United States. This flim is shocking in depicting the lies and corruption even murder that local authorites cover up and still continue today for the fact of reproduction in factories and consumption of money. I have decided to research this subject that so many try to cover up to make aware that these actions and murders and poverty are happening across the border that we pass or glance by on our way to work or Utep. It is a struggle everyday for the people of Mexico. While here in the United States we are open to opportunity and have laws and rights that help us shape our economy and lifestyles making it managable to excell and provide for our families! This will be my research topic...please feel free to comment and give me your opinion....I highly recommend you watch this movie because it is happening today as I write this and we should be so lucky to be living here in the United States as American citizens, having rights that others wish they could have!

Claim: "BorderTown," a film production inspired by true events, is a powerful as well as inspirational story depicting the border's truth in dividing two types of "realities," between the United States and Mexico, making it rhetorical.


1) The border dividing the United States and Mexico is very rhetorical because it depicts two different "realities"/ "Truths." The government is different, the ecomomy is different, education is different. Women are more accessible to work in factories, making low wages, endagering their lives because of late hours, and poor security as well as benifits.

2) No Stable government because Mexico does not require you to pay taxes. In the United States our taxes pay for our government. We have rights unlike Mexicans/Latinos across the border.

3)We have "Freedom of Speech," "Protection," and "Benifits." We have those rights as American citizens. The border divides those rights. Mexico does not entitle or enforce these rights. Mexico is very corrupt with high poverty. No opportunities unlike the United States. The government is run with the mentality consisting of two laws in Mexico 1) money and influence 2) everyone else. Here in the United States we regulate laws, we are well educated and know how to use the rights we have to provide opportunity and power.

Warrant: How film productions such as, "BorderTown," change its viewers prospective about the border.

Saturday, February 23, 2008

A Day Without A Mexican

Rhetoric is an epistemic art (creates knowledge) that forges a reality for an audience by a persuasive and informed rhetor, who wants to incite action or further discourse in order to alter perceptions of change.

Film Productions depicting the Mexican/ Latino culture, specifically, “A Day without a Mexican,” is rhetorical.

Reason: Because the film seeks to persuade it’s viewers that…

1) People take for granted the work Latinos, legal or illegal, do in the economy.

2) The film depicts Latinos as housekeepers while at the same time showing them having jobs such as teachers, doctors, and executives that are a major part in shaping our economy.

3) The film narrows the positive and negative retrospect both cultures Latino/Anglos have in our economy.

Warrant: How Latino film productions change its viewers prospective in society.

Friday, February 22, 2008

Research Topic

Claim: Spanglish, a multicultural movie, is rhetorical.

Reason: Because it seeks to persuade its viewers of the struggle in class, race, success, parenting, ambition, pride, and disappointment between two women, Deborah Clasky, a laid off Los Angeles wife, and Flor, the Mexican single mom she hires to be her housekeeper. It compares the way Mexican culture is protrayed in the media's eyes, as well as the American culture.

Warrant: The viewer's prospective of Mexican and American culture is altered when the media twists the reality of Mexican and American culture, making it rhetorical.

Definition: Rhetoric is an epistemic art (creates knowledge) that forges a reality for an audience by a persuasive and informed rhetor, who wants to incite action or further discourse in order to alter perceptions of change.

I had not really thought about rhetoric or knew what is was or ment until last semester when I took English with Mrs. Ramirez, where she introduced me to rhetoric and what it represented. I am amazed as to how many things in life that we encounter or hear is rhetorical. I chose the movie "Spanglish" as my research topic because I feel that it represents many rhetorical observations. It depicts the way Mexican/Latino culture is viewed in society as well as the traditional American culture, and all of life's struggles.

Friday, February 15, 2008

Writer's Three-Month Walkout Ends

“Writer’s Three-Month Walkout Ends”

Analyzing an article written by The Associated Press, “Writers Vote to End 3-Month Walkout,” February 13, 2008. As working citizens, should we not be paid for the labor we put in? Hollywood writers believe they should be paid for the hard work they put into writing scripts for producers, giving them credibility for their hard efforts.
The article introduces its (logos) as a crucial, three month walkout bringing the entertainment industry to a standstill ending when Hollywood writers voted to lift their union’s strike order allowing them to return back to work. Residuals for TV shows and movies distributed online was the most contentious issue in the bitter dispute involving 12,000-member union and the world’s largest media companies and other producers. The author is focused more on the writers at this point because they are the main focal point in this issue concerning media companies and other producers. It is assumed in the article that producing companies were withholding monies from TV shows and movies distributed online. After an approved contract by the union’s board of directors, writers would get a maximum flat fee of about $1,200 for streamed programs in the deal’s first two years and then get 2 percent of a distributor’s gross in year three, a key union demand. Other provisions included increase residual payments for downloaded movies and TV programs. The author presents the argument of writers not being compensated with pay for aired or downloaded TV shows or movies directly online. He then presents a solution to the problem by stating that the union’s board of directors approved a contract to insure writers get paid for their work whether it be aired on television or downloaded online.
Patric Verrone, president of the guild’s West Coast Chapter states, “These advances now give us a foothold in the digital age.” “Rather than being shut out of the future of content creation and delivery, writers will lead the way as television migrates to the Internet.” Patric Verrone’s statement in this article ensures that writers now hold more power to how much money will be made since the new generation era deals with more technology and relies more on internet usage and digital devices, streaming up revenue for the internet as well as for writers, producers, and actors.
The publisher introduces its (pathos) in the article by stating that the writers who voted in New York and Beverly Hills were overwhelmingly in favor of ending the strike with a value of 3.492 voting yes, with only 283 voting to stay off the job. As statistics show most writers were happy about the outcome and eager to return back to work. Chris Mundy, co-executive producer of CBS’ drama “Criminal Minds,” stated “It will be all hands on deck for the writing staff.” He hopes to get some scripts written and aired right away, with about seven episodes airing by the end of May. Although, writers were ecstatic about returning back to work, not all shows will get back on the air. The article states that networks might not resume production of low-rated programs that have a questionable future. Sid Ganis, president of the Academy of Motion Picture Arts and Sciences, which stages the Oscars, expressed relief when the strike ended. Ganis states, “I am ecstatic that the 80th Academy Awards presentation can now proceed full stream ahead,” without “hesitation or discomfort” for the nominees he said.
The article referring back to Hollywood writers concerns, states that writers did not vote on whether to accept the tentative deal, which was reached after a Feb. 1 breakthrough between union negotiators and studio executives. The guild will mail contract ratification ballots to members over the next few days. Writers may vote at meetings. All ballots must be cast by Feb. 25. The effect of the walkout stopped work for dozens of TV shows. The strike took a $ 3.2 billion toll in direct and indirect cost on economy of Los Angeles County, the home of most of the nation’s TV and film production, according to a new estimate from Jack Kyser, chief economist for the Los Angeles Economic Development Corp. Pressure to reach an agreement mounted after the studio alliance reached a tentative contract Jan. 17 with the Directors Guild of America. The deal also brought improved payment for content offered on the internet. With saying so, the (ethos) is presented giving credibility to the writer’s work because of the deal made by the union’s board of directors. Michael R. Perry, a writer for “Persons Unknown and other TV dramas stated that the deal made him hopeful the guild and studios could be “partners in a growing pie” of Internet revenue. Although, “Hollywood’s labor pains may not be over,” states Jonathan Handel, an entertainment attorney with the Los Angeles firm of TroyGould and a former associate counsel for the writers guild. He points out that the contract between studios and the Screen Actors Guild is due to expire in June.
The article sends mixed signs as to whether this argument will arise again to another difficult negotiation. The actors face all of the new-media issues that writers as well as directors face.

Wednesday, February 6, 2008

Unfairness in the Work industry...."reality check"

How many of us have come across some form of unfairness in the work industy? Well if you have you are not alone. A current study showed that about $64 billion dollars are spent yearly on matters concerning unfairness in the work industry after inproper management. After reading an article in "The Boston Globe," titled "Use emotional intellegence to handle workplace Unfairness," by Elaine Varelas, it stated many personal entries that people encounter in their workplace concerning race, gender, age, and religion. Here is what someone had to say about a personal experience of unfairness in his/her workplace ...."I just read an article on an emotionally unstable employee. My question is what if the employer has provoked an incident, such as a dishonest, insulting performance review ? I have had an excellent work record for 11 years, but I am not promoted, not because of my skills, but for not sucking up to the boss. I took my complaint all the way to HR and the CEO, and was told that all my previous reviews mean nothing even though they indicate I should be advancing. My boss said to me in front of HR and the CEO that I have too high an opinion of myself and I should think less of myself. What kind of a man or manager does that and expects some kind of respect in return? How much can an employee take?"

Elaine's response to this question stated ...."Difficult people are everywhere. In the workplace, they come in all forms: coworkers, customers, even bosses. How difficult a person is for you to deal with depends on your self-respect, self-confidence, and emotional intelligence. Dealing with difficult people is easier when the person is just generally offensive or when the behavior effects other people. Dealing with difficult people is much tougher when you feel you are under attack, when you feel demoralized at work, and when the person you perceive as difficult is in a position of power. Practicing emotional intelligence, as outlined by best-selling author Dr. Daniel Goleman, involves self awareness, self-control, empathy (understanding others), and conflict management.
You have exercised your option to disagree with your performance review. Your challenge is to continue this difficult and crucial conversation in a positive way.
Sue Penchansky, senior HR consultant for KGA, a Framingham firm specializing in employee assistance programs, suggests not to "have this conversation until you have done your homework first." She also recommended consulting additional conflict resolution resources such as "Crucial Conversations: Tools for Talking When Stakes are High," by Kerry Patterson, Joseph Grenny, Ron McMillan, Al Switzler, and Stephen R. Covey -- a well respected resource on how to keep your own cool while encouraging others to do the same. According to the authors, you have three choices about such conversations: You can avoid them, face them poorly, or face them well. You will be more successful, and probably enjoy your job a whole lot more, if you face them well."

As it is plain to see, it all depends on how you handle the situation at hand when you come across it at work and prosume it as unethical or unfair. My advice is not to handle an unfair situation at work "emotionally" but "professionally" and direct. Try not to take the situation to a level where it affects you emotionally and you react on the way you feel rather than on your intellegence, because the truth of the matter is that business does not rely or function on your emotions or the way you feel about a certain "unfair" situation, but rather the business and how to make the situation dissolve.