User:Maryamal-khalifa/sandbox

Article Evaluation Exercise on Chuck (TV series)
Content: Had some relevant things about the topic itself, but continuously moved out of topic. Instead, they were heavily focused on the stories behind the season renewals during 2009, 2010 and 2011. They kept discussing the broadcast history of the show than the series itself. They've could've improved the article in many ways especially focusing on the episodes of the shows, perhaps the seasons rather than simply summarizing the series.

Tone: The article was quite biased and critical as it constantly presented the ratings, audience reactions and the broadcast history throughout the years. The criticism viewpoint was overrepresented which clearly presented the author's bias.

Sources: There were 130 sources listed below at the page, however some links were quite irrelevant and unnecassery.

Talk page: People were modifying the external links and citations. Categories listed including low importance, C-class TV articles etc. They were also a part of a WikiProject Television article.

Adding Citation Exercise on Chuck (TV series)
Information used from citation:

Chuck was prone to cancellation very frequently as seen with it's broadcasting history, Schwartz believed that what did not allow Chuck to be the hit of the season was what kept the audiences watching, "a mash-up of genres — from spy to sci-fi to romantic comedy — with a heart devoted to its characters and a soul steeped in 1980s summer-movie geek culture. Well, ’80s everything."

Citation added to page:


 * 1) "'Chuck' creator Josh Schwartz says goodbye -- EXCLUSIVE ESSAY". EW.com. Retrieved 2019-02-09.

Topic Choice Assignment (Psychological Thriller)
Rationale: Psychological thrillers are considered a sub genre in film, I find them truly interesting to explore as they are to significant film history and have developed throughout history. I’ve looked over the information regarding the topic on Wikipedia and I realized that the article can be improved more efficiently with relevant research and information to the topic.

Annotated Bibliography

Derry, C. (2002). The Suspense Thriller: Films in the Shadow of Alfred Hitchcock. Jefferson,		 NC: McFarland.

The first source is a book published by Charles Derry and explores a variety of psychological thriller films from numerous directors including Alfred Hitchcock, Claude Chabrol and John Frankenheimer. The source shares diverse perspectives and dilemmas of what constitutes a psychological thriller. Additionally, it distinguishes between the technical conventions of suspense films and further elaborates on the characteristics and themes found in the thrillers. This source will be quite effective in collecting the necessary information to introduce the genre of psychological thriller films to my article as it will be a credible source I can refer to.

Packer, S. (2007). Movies and the Modern Psyche. USA: Praeger.

The second source is also a book but published by Sharon Packer, it overlooks the history of psychology and film intertwined. It explains in depth the relationship between film and science psychology as it states, “Film, as a medium, is inherently psychological in nature” (Packer, 2007, 1). The book conveys examples in film where psychology plays a pivotal role and identifies the characteristics it presents as well as the meaning it serves behind it. I find the source effective as it will help me understand roots of science within psychology.

Aguado, V. L. (2002). FILM GENRE AND ITS VICISSITUDES: THE CASE OF THE		 	PSYCHOTHRILLER. Retrieved from								 https://dialnet.unirioja.es/descarga/articulo/759792.pdf

The third source is a journal article by Virginia Luzon Aguado that criticizes the lack of attention on the psycho thriller genre. It focuses on the film genre theory and then shares the similar features taken from horror and thriller films in order to compose psycho thriller movies. It further discusses, “the questioning of generic boundaries together with the historical specificity of the different genres” (Aguado, 2002, 168). The source will be effective in determining psychological thrillers as a genre and will help establish that in comparison to other film genres.

Peer review articles on Cinema of Kuwait & Cinema of Middle East
Elements to look at while peer reviewing the following 2 articles:


 * A lead section that is easy to understand
 * A clear structure
 * Balanced coverage
 * Neutral content
 * Reliable sources

Cinema of Kuwait done by Sarah Al-Marri and Sara Buhadoud
From the following sandbox: User:SarahAlMarri/sandbox

Lead section

The introduction of the article has set the basis of what the article will cover including the 2 films they will mention Bas ya Bahr AKA The Cruel Sea (1972) and Urs AL-Zayn AKA The Wedding of Zein (1976). However the introduction was essential in establishing a brief History of Kuwait's film industry, there was a lack of vital information such as when it began or how it began. They mentioned Hollywood and the western influence but should consider adding genres, texts or adaptations of literature, as well as the Arab history which deeply rooted Kuwaiti film history with the inevitable effect of the Gulf War.

Structure

The structure was simple and straightforward, the article was split into headlines covering the 2 films being explored, censorship and cinema in Kuwait and the role of Women (last two points were not listed in the leading paragraph).

Coverage

The coverage was unbalanced as there was a lot of focus on the 2 films which were also prominent, but in comparison to the rest of the headlines that lacked adequate amount of information I found that the coverage was unbalanced. I believe that their topic will shed more light on the influential factors contributing to Kuwaiti cinema and shaping it to what it is today.

Content

Majority of the content was written in a neutral tone, however there were times that shared perspectives which included bias such as the following example, "Kuwait is one of the strictest countries in the MENA region when it comes to censoring film content, the strong influence that comes from religious and cultural values". It then shifts to comparing censorship with Hollywood and creates unintentional bias in between.

Sources There was a variety of sources that helped build the article such as the films referred to and a vital film journal used but when discussing the issue of censorship they used a biased point of view due to the source coming from the Tribune Business News newspaper organization which discussed the relationship with the Ministry and what they define censorship as.

Cinema of Middle East done by Tony El Ghazal and Yassine Ourhrani
From the following sandbox: User:YassineNUQ/sandbox

Lead section

There was no lead section to introduce the subject matter.

Structure

The sections are very well organized in chronological order as the authors created a section from a list of countries within the Middle East. They added a brief history of the industry of country x and created a table for each country listing prominent directors and films from the region. However I believe they should add sub-headings under each country and explore their stylistic genres and identifiable characteristics and film techniques.

Coverage

There was a great balance of coverage with the use of information covering all areas of the region. Despite not completing all the list of countries yet, there was substantial amount of information on cinema at Lebanon, Palestine, Jordan and Egypt. However, I found that some countries like Egypt and Palestine served more in depth information regarding its historical and cultural context that other countries did not. I suggest including more information in regards to the other countries to let the readers explicitly identify the differences between Cinema in the Middle East region.

Content

The content was conveyed in a neutral tone that provided a more objective stance on the subject matter. The use of languages remained constant and didn't depict any bias especially in relation to any facts involving any political affiliations.

Sources

There was a variety of highly credible sources that effectively contributed to the topic and expanded Wikipedia's horizons into the Middle East. Among the sources used were University published journals, peer reviewed articles, films, academic books. The information used from the reliable sources provided effective content that helped improve on the original Wikipedia article.

Rise of movement
The birth of Italian Neorealism, also known as the Golden Age came from living in a totalitarian society under the authority of Benito Mussolini, a nationalist, fascist leader and Prime Minister of Italy during 1922 - 1943[5]. One of the notable turning points in Italian cinema was Italy shifting from Fascism to Neorealism[5]. Mussolini has established Italy as a totalitarian state by 1925 after coming to power but it did not impact the film industry until 1926 when it took over L’Unione Cinematografica Educativa, also known as the National Institute of the Union of Cinematography and Education[6].

Neorealism depicts a modified view of reality, it gave the Italians a chance to go outside to the streets and portray the devastating effects of World War II on Italy. Italian Neorealism films mostly showcased unprofessional actors purposefully since they were considered low-budget films and shot them live on location spots[7]. Furthermore, they emphasized the use of non-professional actors to exhibit the artistic beauty and sense of realism in films[8]. This particular film movement focused heavily on the working class population of Italy as it also conveyed their problems and daily life to portray the perspective of ordinary life in pre and post world war I fascist Italy[7]. Despite the leadership, it gradually impacted Italian films throughout that era, in fact only 5% of of the fascist films were produced between 1930 - 1943[6]. Fortunately, Italian Neorealism actually introduced the world to the very first Film Festival by 1932 in Venice, it was known as, “First International Exhibition of Cinematic Art”[6]. Since the effect of fascism on the film industry was quite slow it was only during 1933 that a rule was enforced claiming 1 Italian film must be screened for every 3 foreign films presented[6].

Pre War and Post War
Before World War I Italy’s cinema was mostly dominating on a national level as a result of outstanding support from exports and the local market[9]. Italian cinema essentially began with the introduction of moving pictures in the late 1890s, in fact the first Italian film ever was a film produced during 1896 that showcased the Queen and King's visit to Florence[10]. The Avant-garde movement began at 1911 with experimental works and innovations on film and only a few films have been preserved form that time including The Last Days of Pompeii (1913) directed by Mario Caserini [10]. During 1914, Italian cinema produced 1027 films, whereas a year after during 1915 only 563 films created, almost half the amount of the year prior[6]. In the same year, Italian femme fatale was introduced to the industry and established notable film actresses and stars[10]. Eleonora Duse was a famous Italian actress who was the first featured woman and also the very first Italian in a Time Magazine[11]. Throughout the 1930s, Cinecittà, a film studio complex was built in Rome and was a home for Italy's star directors[10].

The aftermath of World War II was also known as the neorealist period since that introduced the most prominent and well distinguished filmmakers, directors and screenwriters<sup id="cite_ref-:6_5-2" class="reference">[5]. Italian neorealism was the dominant movement in world cinema after the war, in fact it was known not only for its dedicated effort to resolve and confront societal issues but also provided an optimistic scope towards the future and maintained the clash between individuals and society<sup id="cite_ref-:0_6-5" class="reference">[6]. The Italian Neorealism films mainly revolved around themes depicting life under an authoritative regime, poverty and the lower class, effects of the aftermath of the war on the Italian society <sup id="cite_ref-12" class="reference">[12]. Despite Italian cinema being considered as auteur, it was actually as good as the Hollywood films from the Box office with the graininess, limited budget size and documentary quality like films<sup id="cite_ref-:10_13-0" class="reference">[13]. Italian neorealism introduced a surge of films revolving around political and social conflicts but were cautious in conveying doctrinaires or signs against authority<sup id="cite_ref-:10_13-1" class="reference">[13]. Instead, the films were heavily influenced by literature, history, art and photography to broaden the audience's perspective and expand the horizon's of film enthusiasts<sup id="cite_ref-:10_13-2" class="reference">[13].

Styles and conventions
Propaganda film styles constituted of a variety of factors with political motives in contribution to the films being produced<sup id="cite_ref-:0_6-6" class="reference">[6]. Some of the prominent styles featured included patriotic/military films, anti-soviet films and Italy’s civilization mission in Africa of peacekeeping among other styles<sup id="cite_ref-:0_6-7" class="reference">[6]. In contrast, regular genre films exhibited melodramas, comedies and historical costume dramas<sup id="cite_ref-:0_6-8" class="reference">[6]. The term neorealism is defined as new realism<sup id="cite_ref-:8_14-0" class="reference">[14]. The meaning derived from the word is quite sophisticated as it makes the audience question the extent to what is a new vs. old film, as well as it restricts its parameters in relation to society, culture and time periods<sup id="cite_ref-:8_14-1" class="reference">[14]. Thus, Italian Neorealism has designed its own distinct characteristics that are based on social realism, historical content and political devotion<sup id="cite_ref-:1_9-1" class="reference">[9]. The films brought a surge of raw emotions between the actor and audience as a result of the relation to Marxist humanism, a concept that fulfilled the realism within the film<sup id="cite_ref-:1_9-2" class="reference">[9].

In order to better understand Italian neorealism one should view it through a lens of understanding social class struggle<sup id="cite_ref-:7_7-2" class="reference">[7]. It is essential to distinguish the lower working class minority with the wealthy high class population and perhaps compare and contrast their circumstances to truly comprehend the social realism in Italy<sup id="cite_ref-:7_7-3" class="reference">[7]. After conducting an overview analysis and looking at the years 1945 - 1953 it was interestingly noted that only 11% of the 822 films produced during that period would be considered neorealist films<sup id="cite_ref-:1_9-3" class="reference">[9]. Despite the great impact of World War II on Italy, Italian neorealism films actually rejected traditional film genres and took literary text adaptations such as Cronache Di Poveri Amanti (1954) translated as Chronicle of Poor Lovers directed by Carlo Lizzani and Senso (1954) directed by Luchino Visconti featuring romantic melodramas and historical costume dramas<sup id="cite_ref-:1_9-4" class="reference">[9]. Films made during the Italian Neorealism period portrayed a blend of routine and day to day life basis to emphasize the realistic elements as seen in numerous films including Bicycle Thieves (1948) also known as Ladri di biciclette by Vittorio De Sica. The film was an accurate vivid modern representation of the social economic system (Bondanella, 2009, 86)<sup id="cite_ref-:1_9-5" class="reference">[9]. The effects of the war were everlasting and has even shaped contemporary cinema as it provided them stories worth sharing<sup id="cite_ref-:1_9-6" class="reference">[9].

Prominent Italian Neorealism film directors:

 * Vittorio De Sica
 * Federico Fellini
 * Roberto Rossellini
 * Luchino Visconti

Famous Italian Neorealism films:

 * La Strada (1945) directed by Federico Fellini
 * Rome, Open City (1945) directed by Roberto Rossellini
 * Paisan (1946) directed by Roberto Rossellini
 * Germany Year Zero (1947) directed by Roberto Rossellini
 * Bicycle Thieves (1948) directed by Vittorio De Sica
 * La Terra Trema (1948) directed by Luchino Visconti
 * II Posto (1961) directed by Ermanno Olmi

Article Evaluation Exercise on Globalization
Link to Wikipedia page: https://en.wikipedia.org/wiki/Globalization

Lead section

The lead section was very effective and strong in introducing the topic article. It successfully structured the page with the use of the contents in order to summarize the details it will cover to the readers. It provides a guideline and clear scope to follow as the readers can take away any key points they want to go straight into and read about.

Clear structure

The page was easy to read with the help of the contents list at the top. There were numerous headings that split the topic of globalization into different areas such as Political, economic and cultural globalizations. These were broad governing headings that also had sub-headings to narrow down the information being covered. In majority of the headings there were graphs, images and even maps to refer to the text and was effective to provide a visual representation for the readers.

Balanced coverage

The entire article has useful information to introduce the meaning of globalization in multiple contexts including political, economic and cultural globalization. It also explored additional dimensions of the movement of people to shape globalization in our world. The most interesting part of the content was the history of globalization as it portrayed the change overtime and was essential to understand for viewers interested in the article. Furthermore, the globalization index also existed, a way of measuring globalization in countries including the KOF index and the A.T. Kearney Index. However, because there were so many points listed, they were not always covered fairly since some areas lacked key information that was missed.

Neutral content

The article projected a neutral objective tone towards the subject. The page was more factual and did not include many areas where an opinion is shared that included any type of bias. Some areas covering anti-corporatism and anti-consumerism, anti-global governance and environmentalist opposition projected opinions which shifted the page from an objective to subjective viewpoint.

Reliable sources

The page included 214 sources, most of them were highly credible sources such as academic peer reviewed journals and university published research. The sources were mostly related to the subject and were cited when necessary. However, there were some irrelevant sources used from Facebook, clickbait articles and some of the links didn't work.

Talk page

The talk page was quite active as there were numerous proposals of removing irrelevant information and adding new beneficial content to the page. Its history appears to have rapid changes from Wikipedia users who frequently edit and place this page in their watch lists. The last edit was done in March 9th 2019 as there were effective discussions on the talk page that propose removing or adding new content.

Rating

The article is listed as a B-Class article as its almost fully complete and is quite active. I do agree with this rating since the article does provide substantial about Globalization but needs to be reviewed carefully in order to remove unnecessary information that can get the readers lost.

What would I add or change?

Perhaps I would narrow down the important elements of globalization in the contents page and make it fixed, rather than endlessly adding irrelevant information to the subject and go around in loops. This is essential since we must provide the correct information to our readers with a clear structure to follow and an unbiased perspective. It isn’t easy since you will fall into the trap of sharing your opinion when writing a lot of sections that aren’t directly related to the topic. It makes the reader easily lost and confuses them to what is actually important about the article.

Qatari Art: selection of sources for article
https://www.visitqatar.qa - This is the official website for the Qatar Tourism Authority and is a reliable source as a guide for the country.

https://www.qm.org.qa/en - This is the official website for all Qatar museum.

Book titled "Museum of Islamic Art" written by Philip Jodidio and photographed by Lois Lammerhuber, it's a credible primary source that reveals information about the artistic achievements of Islamic Art, showcases an interview with I.M Pei the architect behind MIA.

Book titled "Education City" edited by Philip Jodidio which mainly talks about art and design in architecture focusing on Education city buildings.

Book titled "Art A Brief History" by Marilyn Stokstad which provides detailed history on art all around the and in the islamic region.

Article Evaluation on Qatari Art
Is the article's content relevant to the topic?

Yes the article's content is related to the topic however there is a lack of information regarding the sub-topics because Qatari Art is so broad and generic. I realized in the subsection of Architecture there is little focus on contemporary architecture in the modern age, especially today. I also noticed that majority of the information is not updated yet and therefore does not portray the new advancements of art in Qatar.

Is it written neutrally?

Yes but it was not written fully neutrally since there were certain points that used bias especially when discussing old Art at Qatar with phrases such as "most", specifically when the author was unsure of a certain figure or number of art works produced.

Does each claim have a citation?

No not all claims, some areas presented heavy information and had citations practically every line and some paragraphs had one citation thus, they varied in subtopics.

Are the citations reliable?

Some of the citations were reliable such as using Qatar Museums as a reference, but majority of the references came from articles rather than academic papers, peer reviewed journals etc. That perhaps can be as a reason of the lack of information online. In fact, some of the links did not work.

Talk page

Despite it being rated at a high importance start-class page, the talk page was empty.

Notes to improve Qatari Art
- Update section on Architecture, especially while discussing the booming of the Qatar skyscrapers.

- I want to mention prominent new landmarks in Qatar with the new national museum of Qatar, Musherib Museums, Mathaf, MIA etc.

- Role of Qatar Foundation and the urban architecture, I wanna present notable architects such as Arata Isozaki, Rem Koolhaus, Antoine Predock etc.

- I want to specifically talk about the change in Art sector and its rising aspect in Qatar, especially with Fire Station existing within the heart of Doha.

- I will also update the list of notable artists and even create a section dedicated to only notable architects

Sentences planned to add in Qatari Art
Qatar in the past two decades has pinpointed its place in the world map with prominent global landmarks including Education city which showcases architecture from numerous architects including Rem Koolhaas who designed the Qatar National Library during 2018 and the Qatar Foundation Headquarters back in 2014.

Among Qatar's notable architects is Japanese architect Arata Isozaki which has contributed towards designing countless buildings in Qatar including the Qatar National Convention Center (QNCC), Liberal Arts and Science Building (LAS) and the Qatar Foundation Ceremonial Court.

Qatar's Art initiatives have expanded tremendously in recent years with the opening of massive great projects including the Doha Fire Station which exhibits Art at the heart of the city.

Arts and museums have played a pivotal role in improving Qatar's tourism and inviting people to understand Qatar's history and heritage with the openings of the National Museum of Qatar, Mathaf the Arab Museum of Modern Art, Musherib Museums and the Museum of Islamic Arts.

Her Excellency Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani has played a significant role in bringing Art to Qatar, especially with the latest Art installations at the new Hamad International Airport (HIA) showcasing art in collaboration with Qatar Museums Authority to display works from numerous world Artists.

Under the guidance of the CEO of Qatar Foundation, Sheikha Moza bint Nasser, Education City has become a home for state of the art buildings ranging from worldwide architects contributing to the building of schools, universities, services, and accommodations for the community.

Architecture in Qatar Foundation/Education City


 * Qatar National Convention Center (2011) designed by Arata Isozaki
 * Qatar Foundation Ceremonial Court (2007) designed by Arata Isozaki
 * Qatar Foundation Headquarters (2014) designed by Rem Koolhaas
 * Northwestern University in Qatar (2017) designed by Antonie Predock
 * Carnegie Mellon University in Qatar (2008) designed by Ricardo Legorreta and Victor Legorreta
 * Virginia Commonwealth University in Qatar (1998) designed by Mimar Consult
 * Weill Cornell Medical College in Qatar (2003) designed by Arata Isozaki
 * Liberal Arts and Science building (2004) designed by Arata Isozaki
 * Georgetown School of Foreign Service in Qatar (2010) designed by Ricardo Legorreta and Victor Legorreta
 * Texas A&M University in Qatar (2007) designed by Ricardo Legorreta and Victor Legorreta
 * Qatar Academy (1997) designed by Al Seed Consultant and Design Studio
 * Awsaj Academy (2011) designed by James Cubitt and Partners
 * Qatar Science and Technology Park (2009) designed by Woods Bagot
 * Strategic Studies Center (2014), also known as Think Bay designed by Office for Metropolitan Architecture (OMA)
 * Qatar National Library (2018) designed by Rem Koolhaas
 * Sidra Medical and Research Center (2017) designed by Pelli Clarke Pelli Architects
 * Al Shaqab (2019) designed by Leigh & Orange Architects
 * Student Center (2012) designed by Ricardo Legorreta and Victor Legorreta
 * Qatar Faculty of Islamic Studies (2014) designed by Mangera Yvars Architects
 * Math, Arab Museum of Modern Art (2010) designed by Jean-Francois BodinQNLL qf.png designed by Rem Koolhaas ]]