Wrecking ball
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The document provides a list of elements to analyze in music videos, including the artist's intentions, representation of the artist, relationship between the music and visuals, relationship between lyrics and visuals, voyeurism, intertextuality, genre conventions, target audience, and appeal to target audience. It then lists the music video for Miley Cyrus's "Wrecking Ball" and includes two YouTube links to sections of the video for analysis.
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This document discusses the codes and conventions of music videos. It identifies the main conventions as the style, camera work, editing techniques, sound, mise-en-scene elements like props, lighting and costumes, and notions of looking or stereotyping. Music videos can take the form of a performance, narrative, or mixture of both. An example music video analyzed is "Black Magic" by Little Mix, which uses a combination of performance and narrative elements to tell a story and convey its message through visuals.
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This document provides guidance on answering exam questions about television shows:
1. It recommends spending 1.7 minutes on each mark to accurately complete a paper in the allotted time of 120 minutes for a 110 mark exam.
2. It outlines grade boundaries for percentages and corresponding total marks out of 70.
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This document provides guidance on answering a question about long-form television dramas (LFTVD). It breaks down the structure of the question and how to plan a response. The first bullet point always asks about considering the social, cultural, historical and economic contexts of LFTVD production and consumption. The question will then focus on either media language/genre or representation in the two chosen texts. Responses should compare the texts, analyzing similarities and differences. Outlines are provided for introducing context, using evidence from the texts in PETAL paragraphs, and concluding by directly answering the original question.
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This document provides guidance on answering exam questions about television shows:
1. It recommends spending 1.7 minutes on each mark to accurately complete a paper in the allotted time of 120 minutes for a 110 mark exam.
2. It outlines grade boundaries for percentages and corresponding total marks out of 70.
3. It advises focusing analysis on representation of social, cultural and historical contexts rather than individuals. Apply communication theory and compare representations between shows rather than just characters. Explain the theory briefly, give examples, note limitations, and conclude.
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The document discusses representations of gender, culture, society, history, politics, and economics in the TV shows Stranger Things and Deutschland 83. For Stranger Things, it summarizes that the show reflects 1980s American gender roles and social anxieties about science, as well as cultural icons of small town life. For Deutschland 83, it summarizes that the show reflects the social contradictions and divided past of East and West Germany in the 1980s. It also briefly discusses the economic factors influencing programming for streaming and cable television platforms.
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3) Newspapers have editorial freedom but owners can still influence content through close relationships with politicians, as the Leveson Inquiry found.
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The document provides guidance for students preparing to answer exam questions on news representation. It outlines the key areas students need to study, including different newspapers, their online counterparts, and related theories. It provides examples of potential exam questions and identifies the assessment objectives targeted. The document also gives advice on how to structure answers, with examples of how to analyze representations using different theories and how to write effective paragraphs using a PETAL structure. Overall, the document aims to help students understand what will be required to perform well in the news representation section of the exam.
Paper 1 feedback
This document provides timing guidelines for a 100 minute exam broken into sections worth various marks. It recommends spending 1.7 minutes on each mark, totaling 117 minutes to complete the exam. It also includes a grading scale from A to U, and notes for a listening exam discussing representing contexts, audience responses, and examining realism in shows.
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Fans of long-form TV dramas actively participate in online communities to discuss and share content from shows. They act as "textual poachers" that create their own culture by taking elements from the media texts. This generates "collective intelligence" as audiences are creative participants rather than passive consumers. For example, fans of Deutschland 83 have created wikis and archives to synthesize, discuss and expand the show's narrative. However, these theories of participatory culture may be limited in fully explaining long-form TV fandom, as behaviors vary across different shows and platforms.
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The document provides a framework for rating one's understanding of various media theories. It lists several common media theories and asks the reader to rate their knowledge of each theory as either: R (little knowledge), A (some knowledge but wants to review), or G (confident in knowledge and ability to apply the theory). The goal is to self-assess understanding of the theories and how well each can be applied to analyzing a specific text, in this case LFTVD. Over a dozen influential media theories are listed, spanning areas such as semiotics, genre, structuralism, narratology, postmodernism, representation, identity, feminism, gender, post-colonialism, media industries, regulation, cultural industries,
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Cultural industries follow normal capitalist patterns of concentration and integration, with production owned by a few conglomerates. Risk is high due to the difficulty of predicting success and high costs of production against low costs of reproduction, making media "public goods." As a result, cultural industries rely on popular hits to offset failures and use repetition of stars, genres and formats to sell to audiences. Governments and industries impose scarcity through copyright laws. The internet has created new corporations and not transformed cultural production in a liberating way, rather speeding up work and commercializing leisure while increasing surveillance.
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The document discusses representation in long form TV dramas through the use of signs and signifiers. It explains that producers construct representations to communicate intended meanings to audiences. Signs can have a denotative literal meaning and connotative associated meanings. Producers use signs through elements like camerawork, editing, sound and mise-en-scène to represent characters, groups and issues and reinforce dominant ideology. The document provides tasks to analyze how signs are used to construct representations in a drama sequence and evaluate the messages and values presented.
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The document provides guidance for answering an exam question about evaluating the relevance of Todorov's theory of narratology to long form television drama. It notes that the question focuses on evaluating the theory in relation to television drama, not analyzing examples. Students should evaluate the theory's relevance using exemplification from television drama where needed, and aim to write for around 15 minutes or approximately 10 marks.
The document also provides sample guidance for a question involving evaluating the relevance of Hall's theory of representation to long form television drama. It briefly outlines some key aspects of Hall's theory, such as the idea that meaning is constituted through representation and can be contested, and strategies for creating or contesting meaning. It prompts planning a response
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The document provides an introduction to narrative structure in long form TV dramas. It discusses different types of narrative structures such as linear vs fragmented, restricted vs omnipresent point of view, and closed vs open endings. It also summarizes Todorov's equilibrium theory of narratives and Strauss' concept of binary oppositions that drive narratives. The document poses questions about applying these concepts to analyze the narrative structure of the first episode of a chosen drama.
Fandom Henry Jenkins
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RPMS TEMPLATE FOR SCHOOL YEAR 2023-2024 FOR TEACHER 1 TO TEACHER 3
RPMS TEMPLATE FOR SCHOOL YEAR 2023-2024 FOR TEACHER 1 TO TEACHER 3
Pollock and Snow "DEIA in the Scholarly Landscape, Session One: Setting Expec...
Pollock and Snow "DEIA in the Scholarly Landscape, Session One: Setting Expec...
South African Journal of Science: Writing with integrity workshop (2024)
South African Journal of Science: Writing with integrity workshop (2024)
How to Manage Your Lost Opportunities in Odoo 17 CRM
How to Manage Your Lost Opportunities in Odoo 17 CRM
বাংলাদেশ অর্থনৈতিক সমীক্ষা (Economic Review) ২০২৪ UJS App.pdf
বাংলাদেশ অর্থনৈতিক সমীক্ষা (Economic Review) ২০২৪ UJS App.pdf
Wrecking ball
- 1. Analysing Music Videos • Intentions • Representation of the artist • Relationship between the music and the visuals • Relationship between the lyrics and the visuals • Voyeurism (notions of looking) • Intertextuality • Genre conventions (typical of genre) • Target audience • Appeal to target audience
- 5. https://www.youtube.com/watch?v= 0-EF60neguk – just before 4 mins