AS revision booklet 2012 updated

AS Revision SECTION A Booklet MAY 2012Ms McCabe

MEST 1 Exam Tuesday 15th May PM2HrsSection A 48 marksFour compulsory questionsForms (Language, codes and conventions)AudienceInstitutionRepresentationsRead the short description of the media text. Circle important points.Watch the unseen 1 time then make notes. Watch it 2 more times.Organize your notes using the grid planning method (1 point or term per box) or bynumbering your notes according to each question.Spend 15 minutes writing your answer to each questionSection B 32 marksTwo questions choose 145minutesCross-media case StudyChoose 3 texts in either Lifestyle, film, music, news, documentary, sportThey should be from different institutions and have a presence across the platforms.Choosing two from 1 platform allows you to compare and contrast with your third froma different platform.The model agency BBC Six o’clock News Big BrotherAmerica’ Next Top Model Sky News The only way is EssexLooks magazine The Independent Chat magazineLifestyle News Lifestyle

PART 1 – Media Forms 1) Print News 2) TV News 3) Reality TV 4) Print Advertising 5) TV Advertising 6) Viral Advertising 7) Documentary 8) Opening sequence 9) Web 10) Game show 11) Charity Appeal 12) Magazine Articles 13) Sport 14) Music video 15) TV or Film TrailersPART 2 – Applying Theory Form Institution Audience Representation 1) PRINT NEWS CODES & CONVENTIONS  Text assumes significant amount of cultural knowledge and understanding  Photography uses either direct or indirect mode of address  Emotive language and bias  Masthead, captions (anchorage), boxes, banners, byline, lead, secondary lead  More frequent use of bullet points for condensed ‘news’  Colour ‘echo’ for branding  Variable image to text ratio depending on paper

AUDIENCE • What is the audience demographic? Who is the text aimed at? • Look at the price. Does the text suggest value for money? How? Or does it suggest quality and depth of information? • Audiences loyal to the newspapers ideology • Are audiences encouraged to participate and interact with the text? • Are audiences encouraged to share the content with others? • Are audiences delivered to advertisers through co-promotion?INSTITUTION  What is the political stance of the text?  Look for statements the text makes about the product. What does this suggest about the institution?  What links does the text make to new technology and multi-platform use? How does the text position itself in the digital age?  What range and breadth of stories feature? What clues does this give about the ideology of the text? How does this fit with the dominant ideology of the wider culture?  What class or power structures are apparent? Can you apply Marxist theory of powerful, minority ‘elite’ over the mass? Or Hegemony, that the mass negotiate this power and accept that the opinion leaders and primary definers know what is best for them – this power structure is necessary to maintain order, community and the ‘Status Quo’.  Are the stories furthering an existing sense of Moral Panic over an issue? What brand values are being communicate by the text from the Daily Mail below?Socialnetworking teenagers more likely to become addicted to drink and drugs’ By CHRISMURPHY 26th August 2011 Teenagers that use internet social networking sites like Facebook are more likely toend up addicted to drink and drugs, according to researchers. Scientists at theNational Center on Addiction and Substance Abuse (Casa) at Columbia University,surveyed more than 1,000 children aged between 12 and 17 via an online poll and

another 1,000 by telephone.Peer pressure? 40 per cent of all teenagers had seen images of people getting drunkon social networks. They found those who spent any time on social networks each daywere five times as likely to smoke than those who didnt visit them.The nationally-representative survey suggested peer pressure was playing a largerole, with 40 per cent of all teenagers seeing pictures of friends getting drunk on siteslike Facebook and MySpace. Half of the youngsters who said they had seen picturesof people being drunk, passed out, or using drugs first saw such images when theywere just 13 or even younger. Those who saw these images were more than twice aslikely to be able to get alcohol in less than a day .Joseph Califano, Jr is CASA Columbias Founder and Chairman and former U.S.Secretary of Health, Education, and Welfare.He said: The relationship of social networking site images of kids drunk, passed out,or using drugs and of suggestive teen programming to increased teen risk ofsubstance abuse offers grotesque confirmation of the adage that a picture is worth athousand words. The time has come for those who operate and profit from socialnetworking sites like Facebook to deploy their technological expertise to curb suchimages and to deny use of their sites to children and teens who post pictures ofthemselves and their friends drunk, passed out or using drugs.‘Continuing to provide the electronic vehicle for transmitting such images constituteselectronic child abuse.He said parents are often in the dark when it comes to the risks. He said anaccompanying survey of nearly 500 parents found 86 per cent did not think socialnetworking sites would increases the risks of drinking alcohol.REPRESENTATION  Representation of groups, cultures, places or concepts  Look carefully at photographs and images – the composition, the lighting, the tone, the mode of address?  Look at the anchorage and how it fixes meaning to create the representation  Examine the word selection and the suggestion it makes.  Consider the syntagm and how the chain of codes creates meaning (image, word choice, anchorage etc) and what possible codes exist in the paradigm.  Use of Stereotypes – consider Perkins  Use of Binary Oppositions.

2) TV NEWSCODES AND CONVENTIONS  Music to signify sense of drama or urgency  MS rather than Close up  Opening sequence with icons of importance such as clocks and globes  Use of props such as tables, technology etc.  Formal presenters/formal dress  Sequence of clips  Spectacle – audience as spectators of ‘large’ events  Journalism from ‘inside’ the action – hand-held cameras.  Direct mode of address  Enigma code – coming up ‘teasers’  Primary definers – expert opinionAUDIENCE  Look at the audience demographic according to the channel of broadcast  What assumptions are made about audience knowledge of news events?  Do the stories further or add to an ‘already constructed’ view of the world in terms of stereotypes, panics, hierarchy etc.? Is this the Cultivation of audiences – the repetition of ideas over time having a lasting effect?  Is the audience segmented? How does it differ from the mainstream audience (eg. BBC3 News from BBC1 News)

 Is the audience invited to participate? What does this tell you about the news programme?  What ‘triggers’ are in the broadcast to provoke audience response – preferred reading (Emotive language or images? Sensational stories and celebrity?) and what kind of response is expected (two- step theory sharing of content, Uses and Gratifications)  How are the audience persuaded to continue to watch the news as a ‘product’?INSTITUTION  What are the brand values of the broadcast channel?  Which stories have been selected? How do they fit with ideology of the broadcast channel?  How do the selected stories fit with the dominant ideology in wider society?  Can Marxist theory be applied? How does the news further the interests of the elite few?  Can Hegemony be applied? How does the news further the ‘status quo’, the ‘natural’ order of power?  Overall, is the comment and expert opinion in favour of the government or does it challenge government policy?  How does the news programme link itself to new technology?REPRESENTATION  Consider the representation of both the ‘News’ and the people presenting or featuring on the news.  How is the programme encoded to create meaning - do the codes in the opening sequence suggest the seriousness and importance of ‘news’? look specifically at the headline stories and images which have been featured.  How are presenters constructed? Does this fit with convention?  How are individuals within the stories constructed?  Use of Binary Opposition to simplify events and on-going ‘saga’ stories  Are any of Propps character types identified? Heroes, villains, princesses etc.?

3) REALITY TVCODES AND CONVENTIONS  Realism and constructed reality (or Hyperreality - the expectation of the audience to believe that the constructed world is ‘real’ – a world within a world)  ‘Still to come’ moments – the culture of anticipation  Voice-over narration to construct narrative  ‘Confessional’ video-diary scenes or access to ‘private’ behind-the- scenes moments – Televisual intimacy through choice of shots (CU) and camera movements (zooming in and hand held)  ‘Humilitainment’ of Others (Schadenfreude)  Voyeurism and Scopohilia  Involvement of Celebrity  Hybrid forms – reality documentaries, reality game shows etc.  Equilibrium, Dis-equilibrium and Resolution (New-equilibrium) both within the programmes and throughout the series.  Music had symbolic value – using beat and crescendo to add drama and tension  Ironic juxtaposition of two clearly opposed elements together to create a contrasting or ironic meaningAUDIENCE  Is Spectacle or ‘Shock and Awe’ a feature of the programme?  What responses are expected – the preferred reading? How might audiences respond? (sharing content with family and friends? Online?)

 To what extent are audiences expected to participate? Are the audience (public) the stars of the show? Or does the audience have an elevated ‘God-like’ role in judging and manipulating events?  How are the audience rewarded for their loyalty in watching and continuing to watch to the show?  Are the audience ‘sold’ to advertisers?INSTITUTION  What are the brand values of the broadcasting institution?  On a wider Institutional level (society) who has power and control in the programme? Who in the text production process has power and control over the final product? What does this suggest about wider power structures? Apply Marxist theory or Hegemony  What narrative is shown in the text does it have a moral, ethical message?  What links are made to new technology and more specifically to social networking?  How does the text link to advertisers? Is it a mutually beneficial partnership?REPRESENTATIONS  How are the people, places or ideas in the programme represented? How is the meaning shaped to construct a ‘preferred reading’?  How do the representations fit with the Institutions ideology? How do they fit with the wider, dominant social ideology?  Are Stereotypes reinforced? Are Binary Opposites are used to simplify and clarify meaning? Are Counter-types used?  Propps character types?

4) PRINT ADVERTISINGCODES AND CONVENTIONS  High Image to text ratio  Negative space used to very strong effect  Clear slogan or textual message  In absence of slogan – brand may be dominant  Colour coding very important in identifying audience quickly or product groups (primary colours for mums, teens, children. Earthy colours for some cars, environmental and natural products. Neons for older teens and young adults. Pastels for girls etc.)  Colour also suggest properties of the goods (metallics for luxury products, Monchrome for timeless, classic products, bright or primary colours for new, innovative or cheap products)  Branding often bottom-right of poster as we read top to bottom, left to right. Brand (most important information) comes at the ‘end’ of the poster.  Narrative is often embedded in the advert through image plus the copy (slogan plus other textual messaging). This anchors the meaning for the reader  Intetextuality – using other icons or images universally known to us to promote familiarity and recognition.  Analyse the mode of address used in the image. Is it direct or indirect? Why  Consider the editing effects on the image. Has it been heavily manipulated? Why? Why not?

 Consider the lighting and tone used. What has it been constructed to suggest?AUDIENCE  Audience identified quickly through strong visual clues  Lines of appeal used. These include the appeal of Celebrity Endorsement and experts, of Aspiration (and a rich, luxurious lifestyle), of successful Romance and Love, of a functional Happy Family, of a successful Career, of Knowledge and Culture, of Travel and exotic destinations, of our contribution to the Natural World and Environment, of gazing at Beautiful Women, of Comedy and Humour, and of Childhood – our instincts for nostalgia and nurture of our own sense of self-importance and status in the world.  Advertisements sell more than just the product. Look for visual and textual clues for what else is promised to the Audience by consuming the product.  Does the advertisement lead the audience to participate or further engage with the product through other platforms?  Is there an element of ‘Shock and Awe’ or Visual Spectacle encouraging the audience to pass the message on (two-step theory)?INSTITUTION  What are the brand values of the producing institution?  How are these values communicated through the advertisement?  Does the advertisement promote the institution through other platforms or co-promote other products?  What messages about wider institutions (society) are being constructed in the advert?REPRESENTATIONS  What gender or age group is being represented through the advertisement? How?  How is the advert encoded for a preferred reading?

 How do these representations fit with the producing institution and their brand? How do these representations fit with the wider, dominant ideology? Analyse the Panasonic Television print advertisement using the prompt questions on the 4 key concepts.

5) TV ADVERTISINGCODES AND CONVENTIONS  As above for Print advertisements  Music used to position and establish the audience quickly  Music used to co-promote bands within the music industry  Music used to create narrative structure, providing the text with clearly defined beginning, middle and end.  TV adverts often lead an integrated campaign echoed in print and web content  Conflict and resolution structure usually very swift with the product providing the resolution  Editing will compliment the nature of the product and brand identity  Animation has been revived over recent years and becoming more popular due to digital possibilities  Use of stereotypes as a simplified short-hand to communicate message in a condensed form – characters must be recognized instantly.AUDIENCE  As above with Print Advertisements  Adverts carefully selected to appeal to audiences of individual programmes  May be rewarded for their brand loyalty with links to other platforms or additional content, special offers.  Audiences may also be rewarded for viewer loyalty with adverts providing the next installment in a series of similar adverts (like the Lynx ads, Guinness or Sainsbury’s ads) This familiarity increases audience enjoyment.

INSTITUTION  As above with Print Advertisements  May use TV ads to promote other platforms more heavily  Mini-narratives and sagas in moving image more powerful than print advertising  The mini world of the advert exposes dominant ideology and issues regarding power structuresREPRESENTATIONS  As above with Print Advertisements  Consider other elements such as regional accent and level of formality of speech  Consider how music adds to the representation  Consider how narrative voiceover or text anchors and constructs meaning 6) VIRAL ADVERTISINGCODES AND CONVENTIONS  Content (narrative) of the advert has higher importance than the promotion of the product itself.  Relies of audience belief in it’s Realism  Advertising of product is often almost subliminal  Has a ‘Shock and Awe’ or Spectacle factor to encourage social, online sharing

 Longer than television advertisements and have the ‘feel’ of a film short.  Mainly products and brand are aimed at young adults and young professionals who are heaviest users of social networking sites.AUDIENCE  Typically younger (18-35yrs) due to the platform used  Audiences may be invited to participate in a number of ways, across platforms  Audiences rewarded for watching through narrative or ‘experience’ of watching  Text may be polysemic and encourage multiple readings or interpretationsINSTITUTION  Often innovative, technologically advanced or a brand leader in terms of the product being advertised  Viral ads are clear conscious statements made by the producing institution  Consider the scale of the text producing institution and the scale of the viral text. Is there a difference? Why has this been constructed?REPRESENTATIONS  Viral advertising may be more likely to be subversive, revolutionary or rebellious in its nature. Does the text defy or challenge conventional representations?  How do the representations fit with dominant ideology

7) DOCUMENTARYCODES AND CONVENTIONS  Expository - Authoritative voiceover and narration, documentary to persuade audience of a particular point of view  Observational – no interviews, hand-held cameras, no voiceover. Audience observes the behaviour of the subjects  Participatory or Interactive – documentary maker participates in the action and is seen in front of the camera interacting with subject  ‘Real’ footage even though it may be mocked up for the purposes of telling the ‘story’  Use of ‘natural’ environmental or diegetic sound to add to the realism  Use of non-diegetic sound to create drama or tension or for ironic juxtaposition  Anchorage to give meaning to the images  A-Roll footage of the primary subject often the interviewee’s  B-Roll footage to explain what the voiceover or interviewee is saying  Montage of images under voice over narration also typicalAUDIENCE  Audience as observer, watching the story unfold  Audiences encouraged to participate with multi-platform content to further engage in the topic  Text is often constructed to lead the audience into a preferred reading

INSTITUTION  Broadcast channel’s ideology may be clear and apparent  Experts and narrative voice may help to maintain the Marxist ‘Status Quo’ from within the text  Text may add to existing concerns held by the audience  The documentary needs to ‘sell’ itself as a product to gain audience attention. How does it do this? What content of the documentary is made most prominent?  Is the text being delivered as an expose, uncovering truth or as a carefully considered debate, examining both sides of an issue?  Does the text or the producing institution place a high value on audience entertainment?  Text may demonstrate strong links to new media technologyREPRESENTATIONS  Look at groups being represented. How does it fit into existing ideology?  What is left out of the representation?  Who benefits from the representation? 8) OPENING SEQUENCE

CODES AND CONVENTIONS  Music used for dramatic effect to engage interest of the audience  Computer graphics and animation to enhance visual images through effects and transitions  Used as a narrative device to introduce central theme and characters’ traits  Establishing shots used to position the audience within the ‘world’ that has been constructed  Character shots often show them at their best. This presents audiences with a ‘frame of reference’ for the characters, which they can refer back to as their fictional lives unfold.  Studio shot opening sequence often used in Reality TV  May include a ‘Previously on….’ MontageAUDIENCE  Audience may already be loyal to the text (in a series) or the concept of the text through having chosen it to watch  Audience established quickly through music and images – genre is made clear  Audience ‘teased’ by the opening which helps to build excitement and anticipation. Audiences are rewarded for watchingINSTITUTION  Look at the producing institution and the size of the budget or scale of the production. How is this reflected in the scale of the narrative and complexity of the ‘world’ which has been created?  What power structures seem apparent through the opening sequence?  How does the text fit with power structures in the wider world?REPRESENTATION  How are characters represented in the opening sequence for quick identification by audiences?  Are Stereotypes used or challenged ?  How does the music and other media codes construct the representation?

9) WEBCODES AND CONVENTIONS  Animated elements  Boxes  Navigation bar  Side bar  Advertising  Often higher text to visual image ratio but text featuring in smaller ‘chunks’  Colour branding throughout site  Page read from top left to right – most advertising appears on right hand side bar  Page may include co-promotion for other products, often presented as ‘services’ for the user.AUDIENCE  Audience have short attention span, often visiting a site for between 10-20 seconds and reading less than one quarter of the content.  Audiences either look for specific information or briefly browse and move on  Advertising is key on web content and hopes to draw audiences away from their original search intentions.  Audiences encouraged to access content through multi-platform – increasingly through mobile applications  Audiences encouraged to make use of the co-promotion  High expectation for audience interaction and participation in numerous ways  Audiences rewarded for their web interaction

INSTITUTION  Institutional links are often unknown other than the dominant organizations (Facebook, Twitter, Amazon, IMDB, Spotify etc)  Co-promotion may give further clues about institutional values  Consider which pieces of information are made most prominent by the page. What does this suggest about the brand values of the web site?REPRESENTATION  Look at the branding and colours used. What does this suggest about the  Look at the images used. How are people represented?  What preferred reading is apparent from the representations on the page?  Does the representation confirm or challenge stereotypes? 10) GAME SHOWCODES AND CONVENTIONS  Music used for dramatic effect and to create tension  Luxury, lavish studio sets which create the game world  Presenter to guide the ‘drama’  Public participants and some details of their ‘story’ to position the audience as sympathetic and in favour of the game-player  Narrative structure of enigma, action and disequilibrium reaching final resolution.

 A final challenge which is the crescendo of the programme and represents the hardest challenge – heightened emotional tension.  Audience members often featured as onlookers to the drama and add to the pressure on the participant  Direct mode of address from the presenter or host  Usually formal dress code of the host – to suggest impartiality and distance from fate of the contestants  Dark studios with bright directional spotlights  MS of Host and CU used to convey emotion and moments of tension/dramaAUDIENCE  Audience reactions may be frequently shown as part of the show. This helps to shape the home audience reaction and response.  Home Viewing audiences may be invited to participate in a number of ways through a variety of platforms  Audiences are subject to co-promotion either before, during or in the prize segment of the show  Audiences enjoyment through uses and gratifications – sharing content at homeINSTITUTION  Institutional values differ according to broadcasting channel  High entertainment value depending on the broadcast channel  What wider institutional power structures are replicated in the world of the game?REPRESENTATION  How are the representations constructed – of the host? The contestants? The game itself?  Binary opposites used – the contestant vs the game, the winner vs the loser and knowledge vs ignorance  Are stereotypes confirmed or challenged?

11) CHARITY APPEALCODES AND CONVENTIONS  Celebrity endorsement of the charitable cause  Pre-recorded footage of celebrities engagement with the charitable causes  Luxurious studio set signifying an exceptional, star studded event  Close up of celebrities to convey emotion – televisual intimacy  Numerous celebrities – whole channel participation  Repetition of phone numbers, web address etc.  Repetition of total raised  Coming up montages – culture of anticipationAUDIENCE  Audience as part of the studio – a prop used for participation  Audience at home encouraged to participate and interact through donation, emotional response etc.  Audience gratified and rewarded for their loyalty through extra- ordinary sketches and mini-programmes  Audience emotionally manipulated through content?  AudienceINSTITUTION  The television event acts as a flagship for the Producing institution – showcasing their talent

 Promotion of event may go on for many weeks or even months before through other programmes or other platforms linked to the channel  What does the text suggest about the values of the producing institution?REPRESENTATION  Consider the representation of the Hosts – usually male and female, glamorously dressed in evening wear to suggest the sense of ‘occasion’.  Representation of those affected by the cause  Representation of audience members 12) MAGAZINESCODES AND CONVENTIONS  Colour used with effect to position and identify audiences  Magazine front covers are crowded with contents to suggest value for money  Cover models usually uses a direct mode of address  Magazine has a clear ‘house’ style which includes font, tone of voice and even language (Heat’s use of terms such as R-Patz)

 text to image ratio depends on the target audience. Magazines for younger readers include greater use of bullet points, boxes and banners in the presentation  Covers contain mastheads, headlines and cover lines.AUDIENCE  How is the text encoded to produce a preferred reading in the audience?  Does the text encourage audience sharing of the content?  Is the audience invited to participate through the content?  Audience is delivered to advertisers through the magazine. How are audiences encouraged to consume?  What Uses and Gratifications can be assumed through the content?INSTITUTION  What are the brand values of the institution?  What links does the text make with other products? With other platforms? What does this communicate about the text?  Does the text fit with wider ideology through suggested narrative?REPRESENTATION  Look specifically at Gender representation in Gendered magazines. How is the concept of gender constructed?  Are stereotyped used? Confirmed or challenged?  Are Binary Oppositions used? Analyse the BLISS Magazine cover using the prompt questions above.

13) SPORTCODES AND CONVENTIONS  Professional, celebrity experts  Studio set location or at site of sporting event  Music used for dramatic effect and to add tension  Medium shots for expert discussion  Discussions informal and conversational but using key terminology of the sport  Live audio to convey the atmosphere of the event  Use of replay, slow motion  Footage of behind the scenes narrative to enhance audience support  InterviewsAUDIENCE  Audiences are encouraged to participate and interact in a number of ways  Audiences delivered to advertisers  Audiences part of the expert teamINSTITUTION  Large sporting events are flagship, high –budget broadcasts for institutions. They should be representative of the best on offer by the channel

REPRESENTATION  Often males represented. Consider the representation of males in the domain of sports coverage.  Binary oppositions – Winners vs Losers, Us vs Them, Champions vs Underdogs 14) MUSIC VIDEOCODES AND CONVENTIONS  Aspirational showing a model lifestyle  Sexualised images of women more frequently shown than men  Group locations and settings –clubs, parties etc.  Narrative structure to parallel lyrics or autobiographically represent the artistAUDIENCE  Audiences encouraged to share contentINSTITUTION  Some artists expected to produce groundbreaking, innovative videos

REPRESENTATION  Different musical genres represent different groups in different ways 15) TV OR FILM TRAILERS CODES AND CONVENTIONS  Music used for pace and mood  Fast cutting/ editing to maintain pace  Narrative structure usually parallels the films’ narrative structure  Snippets of dialogue  Text provides anchorage as does voice over narration  Quick identification of genre through encoding  Trailer is no longer than 2 minutes  Teaser trailer is usually 30-60 seconds and relies heavily on the audience recognition of the film ‘brand’ itself AUDIENCE  Trailer is an extended advertisement for the product  Audiences invited to engage with the product ‘the film’ on many different platforms  Audiences encouraged to share content

1) Media FormsGive detailed examples of the codes and conventions used in relation tothe target audience.Describe angles, shots, framing, colours, sound, anchorage, typographyand the desired or intended effect on the audience.Theory to support your points:Barthes came up with the theory of sign, signifiers and icons‘If the text is analysed according to Barthes theory of signs, the audiencecould read the red cloak as a symbol of anger and conflict.’Hall came up with denotation, connotation, encoding and readings.‘Using Hall’s theory of readings, it seems that the preferred reading of thetext is….. However, it could also be argued that an oppositional readingwould see the More Four sequence as highly sexist.’Todorov came up with the theory of narrative structure of equilibrium,disequilibrium and new equilibrium.‘The narrative structure of the sequence shows the pattern of Todorov’sdisequilibrium and new equilibrium.’Levi-Strauss came up with binary opposition in characters and narrative(e.g good vs evil, rich vs poor)‘Katie Price is clearly positioned as Andre’s opposite, in terms of LeviStrauss’ theory of character types’.Propp came up with a more detailed theory of character types.‘the female stuck in her car is presented like one of Propp’s charactertypes, the princess or damsel needing rescue’Barthes also came up with the theory of narrative codes including theenigma code.‘the trailer strongly suggests a Barthes narrative enigma leaving theaudience wanting to solve the mystery of the murders’.

Key terms to include: • Codes and conventions • Genre codes – narrative, iconography/icons, characters, settings • Technical codes - shots & views, angles, editing, fades, focus, mise- en scene, lighting, diegetic & non-diegetic sound • Symbolic codes - body language, voice tone weather, colours, clothing, montage, mise-en-scene • Written codes - typography, anchorage, transitions • Photography – direct mode of address, contrast, composition, negative space, focus • Signs, signifiers and Barthes • Denotation (to denote) connotation (to connote) Barthes • Readings – preferred, oppositional and polysemic Hall • Mediation • Narrative – structure & codes Todorov, Barthes • Syntagm and Paradigm • JuxtapositionTypes of Questions • 1) How does the trailer use media language to catch the attention of the E4 viewing public? • 2) How does the text use the conventions of an advertisement? • 3) How does the sequence catch and hold the attention of the viewer? • 4) How is the sequence constructed to engage the audience?

2) Media InstitutionsMake sure you have good understanding of the main institutions and theiroff-shoots in British media – BBC and BBC3 & 4, ITV and ITV 2, 3, 4,Channel 4 and E4, More 4 etc. Have a general understanding of whichfilm companies are Independents (Film4, Lionsgate, SummitEntertainment) and which are Majors or part of Conglomerates (MGM,Paramount, 20th Century Fox, Warner Bros, RKO). For advertising – viraland mainstream consider the global reach of the company and whetherthey are one of the major brands/companies)Link your answers on Institution to how the Institution reaches the targetaudience.Theory to support your points:Katz and Blumler came up with audience Uses and Gratifications theoryclaiming that audiences use media a variety of purposes includingDiversion (escapism), personal identity (value judgments and self-understanding), surveillance (information), personal relationships(conversation and companionship)‘Using the uses and Gratifications theory, it could be argued that theaudience use the brand for personal identity purposes, reassuringthemselves that they are wearing a quality and up market piece ofclothing’Key Terms: • Commercial, Public Service Broadcasting • Independent, conglomerate • Regulation and regulatory bodies (Ofcom, BBFC, ASA, PCC) • Ownership and control • Mission statement or key objectives • Audience – mass, target, primary, secondary, niche • Audience classification • Market segmentation • Sponsorship, synergy • Convergence • Brand identity/image – positive, negative • Dominant ideology • Mass and elite, media producers • ‘We’ media, Democratization, UGC

Types of questions: • 1) How effectively does Channel 4 promote itself as Public Service Broadcaster? • 2) What values and characteristics of BBC are evident in the sequence? • 3) How does the programme try to create a positive brand image for Levi Jeans? • 4) How is the brand image of Nike promoted in the Viral Advert?3) AudienceConsider the intended or preferred reading of the text by the targetaudience. Remember our understanding of audience classification nowtells us that psychographics (lifestyle, aspirations, values) are much moreimportant than traditional classifications (age, gender, geographicallocation).Theory to support your points:Katz and Blumler came up with audience Uses and Gratifications theoryclaiming that audiences use media a variety of purposes includingDiversion (escapism), personal identity (value judgements and self-understanding), surveillance (information), personal relationships(conversation and companionship). ‘Using the Uses and Gratificationstheory, the audience are likely to use the channel, aimed at a youngeraudience, for diversion, as most programmes are entertainment focused.Two-Step theory (no one is directly credited with this) is when opinionleaders spread the word about ‘cool’ ‘worthwhile’ media texts and peopleshare information and the texts through web, social networking, printmedia etc. ‘The trailer will encourage the two-step sharing of opinion, aspeople upload and spread it through web and social networking becauseof the ‘shock’ factor associated with it.’

Hypodermic needle outdated view that media injects messages into thebrain of the viewer. Widely disputed especially in discussions revolvingaround TV violence. ‘If we believed the hypodermic needle theory, theteenage audience will all be behaving like the characters of Skins afterwatching each episode.’Moral Panic the term was coined by Stanley Cohen to describe anescalating sense of anxiety over an issue reported on through the massmedia. Modern examples include the dangers of social networking, virus’etc. ‘The representation of the young protagonist in the text feeds into theexisting moral panic about the behaviour of teenagers’.Reception Theory that audiences are active and individualise theirunderstanding of media texts. Meaning does not exist until created by theaudience and their reading could be preferred, oppositional or negotiated.‘the text producers include typical icons of celebrity to create a preferredreading of aspiration when audiences relate to the main character.’Marxist theory is the view that the institutions, like society and the mediaare owned and controlled by the bourgeoisie ruling classes, the minorityelite. The masses are dominated buy this group who force ideals andideology upon us. Marxist theory refers to power of any kind not justpolitical. ‘A Marxist reading of Eastenders could suggest that the audienceare being told what is family life is like for the working classes in London– little aspiration, drugs, drink, murder and prostitution.’Hegemonic theory is developed from Marxist theory. It is the view that themasses agree and accept the ideology of the controlling power group. Webelieve it is common sense and ‘go along with it’ to keep society workingproperly even though we recognize there are inequalities and injustices.‘However, a hegemonic view of the text would state that we accept andparticipate in this reading, by keeping viewing figures high, believing inthis dominant ideology of the working classes’Mulvey came up with the theory of the Male gaze and feminist/post-feminist theory. She said that media (film) is created with a white,heterosexual male viewer in mind and so women are always present tobe ‘gazed’ at by men. ‘Even programmes like the How to Look Goodnaked could be argued as having the male gaze at the forefront of theirconstruction. The women still must look ‘beautiful’ to look good, accordingto the stereotypical rules of what is beauty’

Audience as Product suggests that audiences are ‘sold’ to advertisersand that they are the most powerful group in the media production.Key Terms • Classification and demographics – primary, secondary, niche • Target audience • Psychographics • Uses and gratification Katz and Blumler • Two step theory • Readings – preferred (dominant) oppositional, negotiated • Positioning of audience • Interaction and participation • Consumption • UGC, audience as text producer, ‘We’ media • Codes, icons and signs used to fix meaningTypes of Questions • 1) What features of the advert encourage the audience to pass on the marketing message to others? • 2) How does the sequence attempt to position the audience to take a sympathetic view of ______ ? • 3) How does the trailer persuade audiences that __________ ?4) RepresentationStep back from the person or place you are deconstructing and don’t justthink about how they represent themselves but how they have been ‘puttogether’ (camera angles, shots, music, clothes, body language etc) andrepresented by the text itself. Consider the intended or preferred readingof the person or place by the target audience.

Theory to support your points:Representations have four main parts to them – the thing itself, theopinions of the people doing the representing, the reaction of the viewerto the representation and the context of the society where therepresentation is taking place.To consider representation you need to ask:Who produced the text?Which person or group is being represented?How are they portrayed?Why was this specific representation selected?How are the audience being asked to identify or distance themselves fromthe representation? (due to age, gender, social status, nationality,lifestyle?)What has been left out of the representation?Stereotypes in the media are constructed through dress and appearance,behaviour, codes and conventions of construction and opposition.Medhurst argued that stereotypes more common as a shorthand for quickidentification in TV, Advertising. Soap Operas for example may begin withstereotypical characters but may develop these over time.‘The characters in the advert highlight Medhurst’s theory of stereotypesallowing quick identification. We can quickly see the roles of mum, dadand teenage son established in the opening shot’.Perkins argued that stereotypes are not always false but contain elementsof truth. The application of a general rule (the stereotype) occurs becauseof limited representations of diverse groups. They can sometimes bepositive but this is usually because it is beneficial for the dominant powergroup.‘the representation of Andre in this sequence demonstrates Perkin’stheory that not all stereotypes are false, and our belief of celebrities: thatthey do have fantastic lifestyles and only a few can achieve that status.’Baudrillard believed that in the media saturated world a state ofhyperreality exists, where our reality is based upon the reality presentedto us through the media.‘Baudrillard’s hyperreality theory would suggest that the view of teenageras lout, yob and criminal has become so normal and ‘real’ for us that it ishard to know what a teenager ‘is’ or what a teenager wants from life’.

Propp’s Character typesLevi-Strauss binary oppositionRemember stereotypes and representations change over time. They arenot static.Key Terms • Codes and conventions • Stereotypes and Countertypes • Values and Ideology (dominant ideology) • Construction of… • Readings of… • Hyperreality • Binary Opposition • Propp’s character typesTypes of Questions • 1) How is the video represented as ____? • 2) How is celebrity represented in the sequence? • 3) How is gender represented in the trailer? • 4) How is technology represented in the advert?5 New MediaYou may choose to answer a question in Section B about the impact ordevelopments in technology to the texts in your case study.PointsTypes of new media  Red button  On demand

 Interactive features Social networking pages – Facebook, MySpace, Twitter feeds iPhone/Android apps Websites Fansites and Blogs File sharing 3D technology YouTube ChannelsRemember depending on the question, your answer will probably focuson audience consumption or benefits for the institution.

Deconstructing Shots EditingMoving Image Establishing Cutaway Medium Jump cutAngles Long Match cutBirds-eye Close-up MovementWorms-eye Extreme CU Panning / trackingCanted Over the shoulder CrabHigh/low Sound tiltMiscellaneous Diegetic ZoomMise-en-scene Non-Diegetic TextComposition Pace FontLighting tempo typographyFades/wipes crescendo anchoragetransitions SFX Case – upper/lowerReality Advertising NewsHumilitainment consumerism AnchorSchadenfreude capitalism AnchorageRealism Audience as product BiasNarrative Viral ExclusiveMetanarrative Two-step BylineCulture of anticipation humiltainment CaptionSpectacle Schadenfruede Lead storyAudience gratification Lines of appeal CirculationStructured reality Aspiration readershipParticipatory culture Persuasive techniques MastheadHyperreality AgendaVoyeurism News valuesPhotography DocumentaryDirect mode of address MockumentaryContrast RealismTone Expository – to persuade audience of POV –Focus Observational – hidden narratorComposition Participatory – interaction with crewNegative space Archive footageLighting NarrativeTV Public service broadcastingIndependent Commercial broadcastingEntertainment values High culture Popular culture

Audience Institution/contextPrimary BrandSecondary Brand imageNiche EliteTarget MassAudience share ConglomerateDemographic classification Institutional contextPsychographics FranchiseUses and gratifications Political biasExpectations ConsumerismReadings - CapitalismPreferred GlobalizationOppositional Cross-cultural factorsNegotiated SynergyPolysemic‘we’ mediaUser Generated Content UGCParticpation/interactionCodes/Language/Forms New technologiesConnotation ConvergenceDenotation Banner headlineSigns banners advertSemiotics hyperlinksSyntagm Multi-platformParadigm NavigationIntertextualityGenre and Narrative RepresentationNarrative structure IdeologyNarrative codes Dominant ideologyAction code/enigma code StereotypesHybrid genre Counter-typePostmodernism MediationProtagonist SelectionBinary opposition – Levi-Strauss Male gaze – Mulveyjuxtaposition

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AS revision booklet 2012 updated

by Kate McCabe

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