Answer each of the following questions roughly according to each word count.
1. Describe three health problems affecting Native Americans in terms of its impact on their morbidity/mortality – 450 words
2. Review current health services available to native Americans – 200 words
3. Examine the current use of these services by native Americans in terms of utilization and access – 200 words
4. Analyze/identify the barriers to access and utilization of these services – 250 words
5. Propose recommendations to improve health service utilization and access – 250 words
Henry Giroux, in his article Animating Youth: The Disnification Of Children’s Culture, alludes to Disney films as one of the essential establishments building youth culture in the United States. In any case, by the nineties, even the urban Indian kid approached the quality of guiltlessness and healthy experience that Disney energized includes as far as anyone knows displayed. Tall tale adjustments, for example, Sleeping Beauty and Snow White and The Seven Dwarfs(1937), turned out to be massively prominent and as the 22 Billion Dollar Disney undertaking advanced it’s endeavors, Disney films wound up synonymous with all around adored Children’s motion pictures, both abroad and at home. The goal of Disney films was to transport it’s watchers to a mysterious domain of charm and interminable probability. Disney offered an assumed substitute worldview in which there was the guarantee of a “Joyfully Ever After”. It went for engaging groups of onlookers youthful and old and would have liked to locate a general market. Walt Disney once expressed that “Of the majority of our creations for mass correspondence, pictures still talk the most generally comprehended dialect.” And despite the fact that it reached groups of onlookers far and wide, for a youthful Indian young lady viewing The 1937 Disney adjustment of Snow White and The Seven Dwarfs, it gave her next to no to relate to or identify with. Snow White, the first on-screen Disney Princess was rendered “With lips as red as rubies” and “skin as reasonable as snow”. Glaringly encapsulating Western thoughts of womanliness and excellence, films like Snow White distanced the Non-western watcher. It was a dream that was focused on settled prime examples of magnificence and allure which took into account the white, western populace and had no space for any other person. In the long run, the industry was reprimanded for its emphasis on a particular ethos and racial introduction. In this way, the most recent decade of the twentieth century saw Walt Disney Pictures discharge films that were currently gone for expanding its social range. Alladin, appeared as Disney’s first endeavor to investigate an alternate social landscape. Discharged in 1992, it was later trailed by other culture particular movies like Mulan and Pocahontas which opened in films in 1998 and 1995 individually. Despite the fact that this new brand of movies wanted to build up a feeling of social inclusivity by wandering past the Western World, what turned out to be obviously clear simultaneously, was a substantial reliance on Notwithstanding a clear enthusiasm for spreading the information of far off societies, these movies drew exorbitantly on racial generalizations and created a to a great extent misshaped thought of the way of life they portrayed. Elena Di Giovanni, in her article “Disney Films: Reflections of the Other and the Self”, noticed that Disney’s choice of specific societies which it depicted, was not a decision that was self-assertive and spontaneous. As per Di Giovanni, the purposes behind choosing these societies can be attributed to exact social and ideological procedures. The way of life delineated in these movies are either expectedly thought to be some way or another “second rate” whenever compared with present day Western Civilisations and to the “describing” American culture specifically, as proposed by the Saudi Arabian-conceived researcher Ziauddin Sardar. Otherwise,they allude to earlier phases of social and social improvement in contrast with the contemporary American benchmarks. These movies depend only on traditional social metonymies to construct the portrayals of “the Other”. In chronicled terms, the convention of speaking to otherness through a separated Look discovers its foundations in Western expansionism. With combined endeavors made by the colonizers to force their very own social, etymological parameters on the enslaved populaces of the alleged East, forming the picture of the Other as indicated by their possess needs was a way to strengthen their very own character and matchless quality. The spread of one-sided portrayals of non-Western societies prospered even past the times of pioneer development, showing itself in different diverse structures, going from popular culture to universal relations. One of the primary researchers to give a sharp record of these one-sided social experiences was Edward Said in Orientalisrn(1978). Despite the fact that principally worried about following the historical backdrop of the Orientalist state of mind by the West in writing, Said does not neglect to consider the significance of new advances and the media in the expansion of this treacherous convention: “One part of the electronic, post-current world is that there has been a support of the generalizations by which the Orient is seen. TV, movies, and every one of the media’s assets have constrained data into an ever increasing number of institutionalized molds”. All the more as of late, Ziauddin Sardar has resounded comparable thoughts in his 1999 distribution of Orientalism, a book he composes, as arrange of tribute to Said’s work, subsequently titling it the equivalent. The principle enthusiasm of Sardar’s book, whose methodology is considerably harsher than Said’s, lies in his nitty gritty reflections upon the new, present day routes by which the Orientalist state of mind shows itself is as yet spreading these days. By method for prologue to his work, Sardar announces that despite the fact that the venture of Orientalism has way passed its “offer by date”, it is colonizing new domains, “such new regions “being identified with the new geologies which are molded – and controlled – by contemporary methods for mass cornmunication like the film.” An entire section of Sardar’s work is committed to Orientalism in movies, where the creator embarks to investigate the treatment and control of different societies inside the talk of film, crosswise over various classes, including kid’s shows, and where he makes sufficient reference to the American authoritative control of the artistic medium. Sardar states that otherness>