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The Social Network is a 2010 American biographical drama film directed by David Fincher and written by Aaron Sorkin, based on the 2009 book The Accidental Billionaires by Ben Mezrich. It portrays the founding of social networking website Facebook. It stars Jesse Eisenberg as the Facebook founder Mark Zuckerberg, with Andrew Garfield as Eduardo Saverin, Justin Timberlake as Sean Parker, Armie Hammer as Cameron and Tyler Winklevoss, and Max Minghella as Divya Narendra. Neither Zuckerberg nor any other Facebook staff were involved with the project, although Saverin was a consultant for Mezrich's book.
On October 28, 2003, 19-year-old Harvard University sophomore Mark Zuckerberg is dumped by his girlfriend, Erica Albright. Returning to his dorm, Zuckerberg writes an insulting post about Albright on his LiveJournal blog. He creates a campus website called Facemash by hacking into college databases to steal photos of female students, then allowing site visitors to rate their attractiveness. After traffic to the site crashes parts of Harvard's computer network, Zuckerberg is given six months of academic probation. However, Facemash's popularity attracts the attention of twins Cameron and Tyler Winklevoss and their business partner Divya Narendra. The trio invites Zuckerberg to work on Harvard Connection, a social network exclusive to Harvard students and aimed at dating. Zuckerberg approaches his friend Eduardo Saverin with an idea for the Facebook, a social networking website that would be exclusive to Ivy League students. Saverin provides $1,000 in seed funding, allowing Zuckerberg to build the website, which quickly becomes popular. When they learn of the Facebook, the Winklevoss twins and Narendra are incensed, believing that Zuckerberg stole their idea while misleading them by stalling development on the Harvard Connection website. They raise their complaint with Harvard President Larry Summers, who is dismissive and sees no value in disciplinary action on the Facebook or Zuckerberg.
Joe Morgenstern in The Wall Street Journal praised the film as exhilarating but noted: "The biographical part takes liberties with its subject. Aaron Sorkin based his screenplay on [...] The Accidental Billionaires, so everything that's seen isn't necessarily to be believed."Among the film's very few negative reviewers was Nathan Heller of Slate, who described it as "rote and deeply mediocre" as well as "maddeningly generic", and believed that, "Sorkin and Fincher's 2003 Harvard is a citadel of old money, regatta blazers, and (if I am not misreading the implication here) a Jewish underclass striving beneath the heel of a WASP-centric, socially draconian culture... to get the university this wrong in this movie is no small matter."
Journalist Jeff Jarvis acknowledged the film was "well-crafted" but called it "the anti-social movie", objecting to Sorkin's decision to change various events and characters for dramatic effect, and dismissing it as "the story that those who resist the change society is undergoing want to see". Technology broadcaster Leo Laporte concurred, calling the film "anti-geek and misogynistic". Sorkin responded to these allegations by saying, "I was writing about a very angry and deeply misogynistic group of people".
Since its release, The Social Network has been cited as inspiring involvement in start-ups and social media. Bob Lefsetz has stated that: "watching this movie makes you want to run from the theatre, grab your laptop and build your own empire," noting that The Social Network has helped fuel an emerging perception that "techies have become the new rock stars." This has led Dave Knox to comment that: "fifteen years from now we might just look back and realize this movie inspired our next great generation of entrepreneurs." After seeing the movie, Zuckerberg was quoted as saying he is "interested to see what effect The Social Network has on entrepreneurship", noting that he gets "lots of messages from people who claim that they have been very much inspired... to start their own company." Saverin echoed these sentiments, stating that the film may inspire "countless others to create and take that leap to start a new business." In one such instance, the co-founders of Wall Street Magnate confirmed that they were inspired to create the fantasy trading community after watching The Social Network.
Following the close of the decade, The Social Network was recognized as one of the best films of the 2010s. Metacritic reported that it was listed on over 30 film critics' top-ten lists for the 2010s, including eight first-place rankings and four second-place rankings. Metacritic ranked The Social Network third overall, following Mad Max: Fury Road and Moonlight. Esquire named The Social Network the best of the 2010s, calling it Citizen Kane "for the Internet age" and dubbing it "the movie of our new millennium". With Facebook going "from a utopian, world-shrinking force of good to a potential threat to democracy", Esquire wrote, "Fincher seemed to sense all of this and more long before anyone else. And his brilliant, troubling film bristles with that queasy sense of prophecy and prescience." Polygon, calling The Social Network the best film of the decade, wrote, "The Social Network, by chance or by design, has become one of the most immensely relevant movies of this decade... But after nearly a decade of watching Facebook 'move fast and break things,' including news websites, social video, politics, etc., the movie's tangible sense of tension can easily be reinterpreted as foreboding for what comes after you make a billion friends." Director Quentin Tarantino called the film the best of the 2010s, singling out the script by Aaron Sorkin, whom he described as "the greatest active dialogist".
In a climate where Chinese consumers are more selective than ever, traditional advertisements and celebrity endorsements are a hard sell for consumers. Purchasing decisions are increasingly influenced by social media and especially by Key Opinion Leaders (KOL).
Women inherently value sharing, and as a consumer base, they are more incentivized to contribute detailed shopping tips on Red than other social apps including Wechat and Weibo.com. On other platforms, a behavior seen as normal on Red might be seen as bragging. Additionally, Red encourages users to share more reviews by offering reward points.
An important symbolic cue relating to social status is the color red. For example, in mandrill colonies, red color of the face and other parts of the body, including the genitals, is seen by conspecifics to indicate high status, and it therefore elicits submissive behavior in males of a lower social rank (Setchell and Jean Wickings, 2005). Furthermore, when males rise in rank they exhibit an increase in red coloration (Setchell and Dixson, 2001). Beyond signaling biologically based superior fitness and status, however, it has been suggested that in humans certain colors have become symbolically imbued with psychological meaning by way of repeated exposure of certain colors in the context of relevant social situations (Elliot and Maier, 2012).
In human society, there is long tradition that individuals use red to signal power, wealth and status at various situations (Little and Hill, 2007). For example, in ancient societies, it is common that red is used in body decoration and worn on jewelries to represent high rank in ceremonies and rituals (Pickenpaugh, 1997; Orchardson-Mazrui, 1998). Elliot et al. (2010) showed experimentally that men presented against a red background, or wearing a red shirt were perceived as more attractive by women, and this effect was mediated by an increase in social status. Similarly, men consider women to be more attractive and sexually desirable when seen in a visual context that is red (Elliot and Niesta, 2008; Pazda et al., 2012; Schwarz and Singer, 2013; but see Hesslinger et al., 2015; Peperkoorn et al., 2016). In addition, across a range of combat sports in the Olympic Games and in soccer tournaments, red uniforms were shown to be associated with an increased chance of winning the competition (Hill and Barton, 2005).
The current research tested whether the color red is also linked to high social status objects which are merely symbolic rather than attached to a specific person in a context of interpersonal attraction or competition. More specifically, we examined symbolic representations of high-status consumer goods and high-status institutions. We investigated the association between red and such social status symbols by using the Implicit Association Test (IAT) paradigm, which assesses implicit social evaluation and has been used extensively in the study of attitudes and stereotype (Greenwald et al., 1998). Using a similar implicit measure, red has been seen to be associated with anger (Fetterman et al., 2011) and danger (Pravossoudovitch et al., 2014), thus suggesting that the IAT method is a useful tool to establish color associations.
We used the RGB (red, green, and blue) color model to produce the color of shapes. The specific parameters were as follows: red (255, 0, 0), white (255, 255, 255), gray (128, 128, 128), blue (0, 0, 255), and green (0, 128, 0). To avoid the influence of authentic color on the high- and low-social status stimuli, we always presented them in gray. 041b061a72