SlideShare a Scribd company logo

ASY1 Media Studies C1SA Kiss of the Vampire: language and representation

K
KBucket

ASY1 A Level Media Studies (Eduqas) Compoenet 1 Section A Advertising & Marketing Kiss of the Vampire Media language and representation

1 of 39
Download to read offline
Component 1
Section A
Advertising & Marketing
Media Language &
Representation
Case Study 3:
Kiss Of The Vampire
What type (genre) of media
product is this?
How can you tell?
What are the codes (and
genre conventions) that are
present?
Which decade is this media
product from?
Which clues suggest the
decade to you?
Kiss of The Vampire: Language
Kiss of The Vampire
Product Context,
 Produced by Hammer Film Productions and
distributed by J. Arthur Rank and Universal,
 Kiss of the Vampire was intended to be the
second sequel to 1958’s Dracula, although
the film’s script actually makes no reference
to Stoker’s character.
 This is perhaps to distance itself
from unfavourable comparisons to the
superior Christopher Lee who starred in the
original film.
 In addition to Dracula, Hammer had, by
1963, success with other ‘monster movie’
franchises such as The Mummy and
Frankenstein.
 Distributers Universal also saw early
success with films in this genre.
Kiss of The Vampire: Historical
Context
The film was released in 1963.
What other significant cultural and social
developments were happening at this time?
Kiss of The Vampire: Historical
Context - 1963
The early stages of ‘Beatlemania’ and
The ‘swinging sixties’,
the assassination of JFK and
the Soviet Union launching the first woman into space.
The (contraceptive) pill (1960)
Kiss of The Vampire
Cultural Context,
 The 1960s audience for this
advert could be assumed to be
familiar with the codes and
conventions of ‘monster movie’
film posters – such as its
composition, fonts and
representations of ‘the monster’
and its (usually female) victims.
 Consider the following posters.
Identify and note down the genre
conventions of horror film
posters at this time.

Recommended

Kiss of the vampire analysis
Kiss of the vampire analysisKiss of the vampire analysis
Kiss of the vampire analysisbenjijohnoo10
 
AS Level Media Studies C1SA Wateraid case study - language and representation
AS Level Media Studies C1SA Wateraid case study - language and representationAS Level Media Studies C1SA Wateraid case study - language and representation
AS Level Media Studies C1SA Wateraid case study - language and representationKBucket
 
A level media studies y2 C1SA Kiss of The Vampire media language and represen...
A level media studies y2 C1SA Kiss of The Vampire media language and represen...A level media studies y2 C1SA Kiss of The Vampire media language and represen...
A level media studies y2 C1SA Kiss of The Vampire media language and represen...KBucket
 
Black panther AL media Studies C1SB
Black panther AL media Studies C1SB Black panther AL media Studies C1SB
Black panther AL media Studies C1SB KBucket
 
Eduqas GCE Media Studies AS (Y1) Component 1 Section A Exam Walkthrough Jan 2...
Eduqas GCE Media Studies AS (Y1) Component 1 Section A Exam Walkthrough Jan 2...Eduqas GCE Media Studies AS (Y1) Component 1 Section A Exam Walkthrough Jan 2...
Eduqas GCE Media Studies AS (Y1) Component 1 Section A Exam Walkthrough Jan 2...KBucket
 
Theory and Theorist For Media Studies A2
Theory and Theorist For Media Studies A2Theory and Theorist For Media Studies A2
Theory and Theorist For Media Studies A2MissOzzy
 
ASY1 Media Studies C1SA Tide Language and Representation
ASY1 Media Studies C1SA Tide Language and RepresentationASY1 Media Studies C1SA Tide Language and Representation
ASY1 Media Studies C1SA Tide Language and RepresentationKBucket
 
EDUQAS MEDIA STUDIES A LEVEL COMPONENT ONE SECTION B AUDIENCE AND INDUSTRY SE...
EDUQAS MEDIA STUDIES A LEVEL COMPONENT ONE SECTION B AUDIENCE AND INDUSTRY SE...EDUQAS MEDIA STUDIES A LEVEL COMPONENT ONE SECTION B AUDIENCE AND INDUSTRY SE...
EDUQAS MEDIA STUDIES A LEVEL COMPONENT ONE SECTION B AUDIENCE AND INDUSTRY SE...GemmaHugill
 

More Related Content

What's hot

C1SA Beyoncé Formation A2Y2 A level Media Studies
C1SA Beyoncé Formation A2Y2 A level Media StudiesC1SA Beyoncé Formation A2Y2 A level Media Studies
C1SA Beyoncé Formation A2Y2 A level Media StudiesKBucket
 
I Daniel Blake A2Y2 Media Studies (Eduqas) C1SB
I Daniel Blake A2Y2 Media Studies (Eduqas) C1SBI Daniel Blake A2Y2 Media Studies (Eduqas) C1SB
I Daniel Blake A2Y2 Media Studies (Eduqas) C1SBKBucket
 
ASY1 C1SB Late Night Woman's Hour
ASY1 C1SB Late Night Woman's HourASY1 C1SB Late Night Woman's Hour
ASY1 C1SB Late Night Woman's HourKBucket
 
EDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION C ZOELLA AND ATTITUDE
EDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION C ZOELLA AND ATTITUDEEDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION C ZOELLA AND ATTITUDE
EDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION C ZOELLA AND ATTITUDEGemmaHugill
 
Film Poster Analysis
Film Poster AnalysisFilm Poster Analysis
Film Poster AnalysisToniL21
 
emeli sande heaven analysis
emeli sande heaven analysis emeli sande heaven analysis
emeli sande heaven analysis elleguyan
 
AS Media Studies Lesson 14 - mediation
AS Media Studies Lesson 14  - mediationAS Media Studies Lesson 14  - mediation
AS Media Studies Lesson 14 - mediationElle Sullivan
 
C1SA Beyoncé Formation ASY1 A level Media Studies
C1SA Beyoncé Formation ASY1 A level Media StudiesC1SA Beyoncé Formation ASY1 A level Media Studies
C1SA Beyoncé Formation ASY1 A level Media StudiesKBucket
 
Industry and Hesmondhalgh
Industry and HesmondhalghIndustry and Hesmondhalgh
Industry and HesmondhalghTomEccles4
 
EDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION A LIFE ON MARS AND THE BRIDGE
EDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION A LIFE ON MARS AND THE BRIDGEEDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION A LIFE ON MARS AND THE BRIDGE
EDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION A LIFE ON MARS AND THE BRIDGEGemmaHugill
 
Codes and conventions in the horror genre
Codes and conventions in the horror genreCodes and conventions in the horror genre
Codes and conventions in the horror genreamberloo20
 
Media Theory - Curran and Seaton
Media Theory - Curran and SeatonMedia Theory - Curran and Seaton
Media Theory - Curran and SeatonMsJMcLeod
 
Media messages paper walkthrough
Media messages paper walkthroughMedia messages paper walkthrough
Media messages paper walkthroughMrs Downie
 
Applying theory media industries
Applying theory media industriesApplying theory media industries
Applying theory media industriesMrs Downie
 
Kiss of the vampire
Kiss of the vampireKiss of the vampire
Kiss of the vampireMichael Daly
 
C1 sb assassins creed iii liberation AL media studies
C1 sb assassins creed iii liberation AL media studiesC1 sb assassins creed iii liberation AL media studies
C1 sb assassins creed iii liberation AL media studiesKBucket
 
Audience and Industry
Audience and IndustryAudience and Industry
Audience and IndustryYvonne44
 
I, Daniel Blake Marketing
I, Daniel Blake MarketingI, Daniel Blake Marketing
I, Daniel Blake MarketingMsJMcLeod
 
Industries introduction for The Bridge and Life on Mars
Industries introduction for The Bridge and Life on MarsIndustries introduction for The Bridge and Life on Mars
Industries introduction for The Bridge and Life on MarsKStockwell
 

What's hot (20)

C1SA Beyoncé Formation A2Y2 A level Media Studies
C1SA Beyoncé Formation A2Y2 A level Media StudiesC1SA Beyoncé Formation A2Y2 A level Media Studies
C1SA Beyoncé Formation A2Y2 A level Media Studies
 
I Daniel Blake A2Y2 Media Studies (Eduqas) C1SB
I Daniel Blake A2Y2 Media Studies (Eduqas) C1SBI Daniel Blake A2Y2 Media Studies (Eduqas) C1SB
I Daniel Blake A2Y2 Media Studies (Eduqas) C1SB
 
ASY1 C1SB Late Night Woman's Hour
ASY1 C1SB Late Night Woman's HourASY1 C1SB Late Night Woman's Hour
ASY1 C1SB Late Night Woman's Hour
 
EDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION C ZOELLA AND ATTITUDE
EDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION C ZOELLA AND ATTITUDEEDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION C ZOELLA AND ATTITUDE
EDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION C ZOELLA AND ATTITUDE
 
Film Poster Analysis
Film Poster AnalysisFilm Poster Analysis
Film Poster Analysis
 
emeli sande heaven analysis
emeli sande heaven analysis emeli sande heaven analysis
emeli sande heaven analysis
 
AS Media Studies Lesson 14 - mediation
AS Media Studies Lesson 14  - mediationAS Media Studies Lesson 14  - mediation
AS Media Studies Lesson 14 - mediation
 
C1SA Beyoncé Formation ASY1 A level Media Studies
C1SA Beyoncé Formation ASY1 A level Media StudiesC1SA Beyoncé Formation ASY1 A level Media Studies
C1SA Beyoncé Formation ASY1 A level Media Studies
 
Industry and Hesmondhalgh
Industry and HesmondhalghIndustry and Hesmondhalgh
Industry and Hesmondhalgh
 
EDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION A LIFE ON MARS AND THE BRIDGE
EDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION A LIFE ON MARS AND THE BRIDGEEDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION A LIFE ON MARS AND THE BRIDGE
EDUQAS MEDIA STUDIES A LEVEL COMPONENT TWO SECTION A LIFE ON MARS AND THE BRIDGE
 
Codes and conventions in the horror genre
Codes and conventions in the horror genreCodes and conventions in the horror genre
Codes and conventions in the horror genre
 
Media Theory - Curran and Seaton
Media Theory - Curran and SeatonMedia Theory - Curran and Seaton
Media Theory - Curran and Seaton
 
Media messages paper walkthrough
Media messages paper walkthroughMedia messages paper walkthrough
Media messages paper walkthrough
 
Applying theory media industries
Applying theory media industriesApplying theory media industries
Applying theory media industries
 
Feminism film theory
Feminism film theoryFeminism film theory
Feminism film theory
 
Kiss of the vampire
Kiss of the vampireKiss of the vampire
Kiss of the vampire
 
C1 sb assassins creed iii liberation AL media studies
C1 sb assassins creed iii liberation AL media studiesC1 sb assassins creed iii liberation AL media studies
C1 sb assassins creed iii liberation AL media studies
 
Audience and Industry
Audience and IndustryAudience and Industry
Audience and Industry
 
I, Daniel Blake Marketing
I, Daniel Blake MarketingI, Daniel Blake Marketing
I, Daniel Blake Marketing
 
Industries introduction for The Bridge and Life on Mars
Industries introduction for The Bridge and Life on MarsIndustries introduction for The Bridge and Life on Mars
Industries introduction for The Bridge and Life on Mars
 

Similar to ASY1 Media Studies C1SA Kiss of the Vampire: language and representation

Similar to ASY1 Media Studies C1SA Kiss of the Vampire: language and representation (20)

hkkhjbkyutuyktfkt
hkkhjbkyutuyktfkthkkhjbkyutuyktfkt
hkkhjbkyutuyktfkt
 
Theorytheorists 130909144713-
Theorytheorists 130909144713-Theorytheorists 130909144713-
Theorytheorists 130909144713-
 
Media Theory
Media TheoryMedia Theory
Media Theory
 
Representation
RepresentationRepresentation
Representation
 
Media Theorists
Media TheoristsMedia Theorists
Media Theorists
 
Representation A2
Representation A2Representation A2
Representation A2
 
Representation2ppt
Representation2pptRepresentation2ppt
Representation2ppt
 
Mass communication & media literacy 06
Mass communication & media literacy 06Mass communication & media literacy 06
Mass communication & media literacy 06
 
Representation
RepresentationRepresentation
Representation
 
2.3 - Representation (pre-Avatar).pptx
2.3 - Representation (pre-Avatar).pptx2.3 - Representation (pre-Avatar).pptx
2.3 - Representation (pre-Avatar).pptx
 
Semiotics In That 70S Show
Semiotics In That 70S ShowSemiotics In That 70S Show
Semiotics In That 70S Show
 
Fuze Shape Persuasive Speech
Fuze Shape Persuasive SpeechFuze Shape Persuasive Speech
Fuze Shape Persuasive Speech
 
Television: Semiotics and Story Structure
Television: Semiotics and Story StructureTelevision: Semiotics and Story Structure
Television: Semiotics and Story Structure
 
Inbetweers & Fish Tank
Inbetweers & Fish TankInbetweers & Fish Tank
Inbetweers & Fish Tank
 
MediaFilmExchange.co.uk Powerpoint
MediaFilmExchange.co.uk PowerpointMediaFilmExchange.co.uk Powerpoint
MediaFilmExchange.co.uk Powerpoint
 
Representation theory
Representation theoryRepresentation theory
Representation theory
 
Representation in the media
Representation in the mediaRepresentation in the media
Representation in the media
 
Critical Perspectives Question 1b
Critical Perspectives Question 1bCritical Perspectives Question 1b
Critical Perspectives Question 1b
 
Lp8 representation
Lp8 representationLp8 representation
Lp8 representation
 
1b) Genre
1b) Genre1b) Genre
1b) Genre
 

More from KBucket

AL Media Studies - Editing.ppt
AL Media Studies - Editing.pptAL Media Studies - Editing.ppt
AL Media Studies - Editing.pptKBucket
 
L6 Media Studies 1 Introduction.pptx
L6 Media Studies 1 Introduction.pptxL6 Media Studies 1 Introduction.pptx
L6 Media Studies 1 Introduction.pptxKBucket
 
Component 3 NEA 2023 Overview.pptx
Component 3 NEA 2023 Overview.pptxComponent 3 NEA 2023 Overview.pptx
Component 3 NEA 2023 Overview.pptxKBucket
 
Component 3 NEA 2023 Brief TV.pptx
Component 3 NEA 2023 Brief TV.pptxComponent 3 NEA 2023 Brief TV.pptx
Component 3 NEA 2023 Brief TV.pptxKBucket
 
UAL Creative Media Production L3 Unit 12 Specialist Study
UAL Creative Media Production L3 Unit 12 Specialist StudyUAL Creative Media Production L3 Unit 12 Specialist Study
UAL Creative Media Production L3 Unit 12 Specialist StudyKBucket
 
A2 feminism and the media 2021
A2 feminism and the media 2021A2 feminism and the media 2021
A2 feminism and the media 2021KBucket
 
UAL Creative Media Production L3 Unit 2 research skills
UAL Creative Media Production L3 Unit 2 research skills UAL Creative Media Production L3 Unit 2 research skills
UAL Creative Media Production L3 Unit 2 research skills KBucket
 
Component 3 Non Examined Assessment: TV Brief (for 2022)
Component 3 Non Examined Assessment: TV Brief (for 2022)Component 3 Non Examined Assessment: TV Brief (for 2022)
Component 3 Non Examined Assessment: TV Brief (for 2022)KBucket
 
Component 3 Non Examined Assessment: Overview (for 2022)
Component 3 Non Examined Assessment: Overview (for 2022) Component 3 Non Examined Assessment: Overview (for 2022)
Component 3 Non Examined Assessment: Overview (for 2022) KBucket
 
Asy1 media c2 sc online zoella introduction language and representation
Asy1 media c2 sc online zoella introduction language and representationAsy1 media c2 sc online zoella introduction language and representation
Asy1 media c2 sc online zoella introduction language and representationKBucket
 
A1 C1SB LNWH Late Night Womens Hour
A1 C1SB LNWH Late Night Womens Hour A1 C1SB LNWH Late Night Womens Hour
A1 C1SB LNWH Late Night Womens Hour KBucket
 
A2 C1SB LNWH Late Night Womens Hour
A2 C1SB LNWH Late Night Womens Hour A2 C1SB LNWH Late Night Womens Hour
A2 C1SB LNWH Late Night Womens Hour KBucket
 
UAL L3 Creative Media Production Unit 4 Audience Categories
UAL L3  Creative Media Production Unit 4 Audience CategoriesUAL L3  Creative Media Production Unit 4 Audience Categories
UAL L3 Creative Media Production Unit 4 Audience CategoriesKBucket
 
C1SA Newspapers Daily Mirror (2021 onwards) context language representation a...
C1SA Newspapers Daily Mirror (2021 onwards) context language representation a...C1SA Newspapers Daily Mirror (2021 onwards) context language representation a...
C1SA Newspapers Daily Mirror (2021 onwards) context language representation a...KBucket
 
A2 Media Studies: Post colonialist Theory (2020)
A2 Media Studies: Post colonialist Theory (2020)A2 Media Studies: Post colonialist Theory (2020)
A2 Media Studies: Post colonialist Theory (2020)KBucket
 
Asy1 media language theory structuralism binary opposites
Asy1 media language theory structuralism binary oppositesAsy1 media language theory structuralism binary opposites
Asy1 media language theory structuralism binary oppositesKBucket
 
UAL Media Language Theory Postmodernism
UAL Media Language Theory Postmodernism UAL Media Language Theory Postmodernism
UAL Media Language Theory Postmodernism KBucket
 
Media Studies Moving image analysis sound
Media Studies Moving image analysis   soundMedia Studies Moving image analysis   sound
Media Studies Moving image analysis soundKBucket
 
UAL Media Unit 4" Structuralism - Narrative
UAL Media Unit 4" Structuralism - NarrativeUAL Media Unit 4" Structuralism - Narrative
UAL Media Unit 4" Structuralism - NarrativeKBucket
 
UAL Media Unit 4: Structuralism - binary opposites, genre and narrative
UAL Media Unit 4: Structuralism - binary opposites, genre and narrativeUAL Media Unit 4: Structuralism - binary opposites, genre and narrative
UAL Media Unit 4: Structuralism - binary opposites, genre and narrativeKBucket
 

More from KBucket (20)

AL Media Studies - Editing.ppt
AL Media Studies - Editing.pptAL Media Studies - Editing.ppt
AL Media Studies - Editing.ppt
 
L6 Media Studies 1 Introduction.pptx
L6 Media Studies 1 Introduction.pptxL6 Media Studies 1 Introduction.pptx
L6 Media Studies 1 Introduction.pptx
 
Component 3 NEA 2023 Overview.pptx
Component 3 NEA 2023 Overview.pptxComponent 3 NEA 2023 Overview.pptx
Component 3 NEA 2023 Overview.pptx
 
Component 3 NEA 2023 Brief TV.pptx
Component 3 NEA 2023 Brief TV.pptxComponent 3 NEA 2023 Brief TV.pptx
Component 3 NEA 2023 Brief TV.pptx
 
UAL Creative Media Production L3 Unit 12 Specialist Study
UAL Creative Media Production L3 Unit 12 Specialist StudyUAL Creative Media Production L3 Unit 12 Specialist Study
UAL Creative Media Production L3 Unit 12 Specialist Study
 
A2 feminism and the media 2021
A2 feminism and the media 2021A2 feminism and the media 2021
A2 feminism and the media 2021
 
UAL Creative Media Production L3 Unit 2 research skills
UAL Creative Media Production L3 Unit 2 research skills UAL Creative Media Production L3 Unit 2 research skills
UAL Creative Media Production L3 Unit 2 research skills
 
Component 3 Non Examined Assessment: TV Brief (for 2022)
Component 3 Non Examined Assessment: TV Brief (for 2022)Component 3 Non Examined Assessment: TV Brief (for 2022)
Component 3 Non Examined Assessment: TV Brief (for 2022)
 
Component 3 Non Examined Assessment: Overview (for 2022)
Component 3 Non Examined Assessment: Overview (for 2022) Component 3 Non Examined Assessment: Overview (for 2022)
Component 3 Non Examined Assessment: Overview (for 2022)
 
Asy1 media c2 sc online zoella introduction language and representation
Asy1 media c2 sc online zoella introduction language and representationAsy1 media c2 sc online zoella introduction language and representation
Asy1 media c2 sc online zoella introduction language and representation
 
A1 C1SB LNWH Late Night Womens Hour
A1 C1SB LNWH Late Night Womens Hour A1 C1SB LNWH Late Night Womens Hour
A1 C1SB LNWH Late Night Womens Hour
 
A2 C1SB LNWH Late Night Womens Hour
A2 C1SB LNWH Late Night Womens Hour A2 C1SB LNWH Late Night Womens Hour
A2 C1SB LNWH Late Night Womens Hour
 
UAL L3 Creative Media Production Unit 4 Audience Categories
UAL L3  Creative Media Production Unit 4 Audience CategoriesUAL L3  Creative Media Production Unit 4 Audience Categories
UAL L3 Creative Media Production Unit 4 Audience Categories
 
C1SA Newspapers Daily Mirror (2021 onwards) context language representation a...
C1SA Newspapers Daily Mirror (2021 onwards) context language representation a...C1SA Newspapers Daily Mirror (2021 onwards) context language representation a...
C1SA Newspapers Daily Mirror (2021 onwards) context language representation a...
 
A2 Media Studies: Post colonialist Theory (2020)
A2 Media Studies: Post colonialist Theory (2020)A2 Media Studies: Post colonialist Theory (2020)
A2 Media Studies: Post colonialist Theory (2020)
 
Asy1 media language theory structuralism binary opposites
Asy1 media language theory structuralism binary oppositesAsy1 media language theory structuralism binary opposites
Asy1 media language theory structuralism binary opposites
 
UAL Media Language Theory Postmodernism
UAL Media Language Theory Postmodernism UAL Media Language Theory Postmodernism
UAL Media Language Theory Postmodernism
 
Media Studies Moving image analysis sound
Media Studies Moving image analysis   soundMedia Studies Moving image analysis   sound
Media Studies Moving image analysis sound
 
UAL Media Unit 4" Structuralism - Narrative
UAL Media Unit 4" Structuralism - NarrativeUAL Media Unit 4" Structuralism - Narrative
UAL Media Unit 4" Structuralism - Narrative
 
UAL Media Unit 4: Structuralism - binary opposites, genre and narrative
UAL Media Unit 4: Structuralism - binary opposites, genre and narrativeUAL Media Unit 4: Structuralism - binary opposites, genre and narrative
UAL Media Unit 4: Structuralism - binary opposites, genre and narrative
 

Recently uploaded

Persuasive Speaking and Means of Persuasion
Persuasive Speaking and Means of PersuasionPersuasive Speaking and Means of Persuasion
Persuasive Speaking and Means of PersuasionCorinne Weisgerber
 
Digital Footprints to Career Pathways - Building a Strong Professional Online...
Digital Footprints to Career Pathways - Building a Strong Professional Online...Digital Footprints to Career Pathways - Building a Strong Professional Online...
Digital Footprints to Career Pathways - Building a Strong Professional Online...Sue Beckingham
 
Group_Presentation_Gun_Island_Amitav_Ghosh.pptx
Group_Presentation_Gun_Island_Amitav_Ghosh.pptxGroup_Presentation_Gun_Island_Amitav_Ghosh.pptx
Group_Presentation_Gun_Island_Amitav_Ghosh.pptxPooja Bhuva
 
A LABORATORY MANUAL FOR ORGANIC CHEMISTRY.pdf
A LABORATORY MANUAL FOR ORGANIC CHEMISTRY.pdfA LABORATORY MANUAL FOR ORGANIC CHEMISTRY.pdf
A LABORATORY MANUAL FOR ORGANIC CHEMISTRY.pdfDr.M.Geethavani
 
2.22.24 Black Nationalism and the Nation of Islam.pptx
2.22.24 Black Nationalism and the Nation of Islam.pptx2.22.24 Black Nationalism and the Nation of Islam.pptx
2.22.24 Black Nationalism and the Nation of Islam.pptxMaryPotorti1
 
Diploma 2nd yr PHARMACOLOGY chapter 5 part 1.pdf
Diploma 2nd yr PHARMACOLOGY chapter 5 part 1.pdfDiploma 2nd yr PHARMACOLOGY chapter 5 part 1.pdf
Diploma 2nd yr PHARMACOLOGY chapter 5 part 1.pdfSUMIT TIWARI
 
SOCIAL JUSTICE LESSON ON CATCH UP FRIDAY
SOCIAL JUSTICE LESSON ON CATCH UP FRIDAYSOCIAL JUSTICE LESSON ON CATCH UP FRIDAY
SOCIAL JUSTICE LESSON ON CATCH UP FRIDAYGloriaRamos83
 
2.20.24 The March on Washington for Jobs and Freedom.pptx
2.20.24 The March on Washington for Jobs and Freedom.pptx2.20.24 The March on Washington for Jobs and Freedom.pptx
2.20.24 The March on Washington for Jobs and Freedom.pptxMaryPotorti1
 
Decision on Curriculum Change Path: Towards Standards-Based Curriculum in Ghana
Decision on Curriculum Change Path: Towards Standards-Based Curriculum in GhanaDecision on Curriculum Change Path: Towards Standards-Based Curriculum in Ghana
Decision on Curriculum Change Path: Towards Standards-Based Curriculum in GhanaPrince Armah, PhD
 
Organic Synthesis and Estimation of Functional Groups
Organic Synthesis and Estimation of Functional GroupsOrganic Synthesis and Estimation of Functional Groups
Organic Synthesis and Estimation of Functional GroupsDr.M.Geethavani
 
Barrow Motor Ability Test - TEST, MEASUREMENT AND EVALUATION IN PHYSICAL EDUC...
Barrow Motor Ability Test - TEST, MEASUREMENT AND EVALUATION IN PHYSICAL EDUC...Barrow Motor Ability Test - TEST, MEASUREMENT AND EVALUATION IN PHYSICAL EDUC...
Barrow Motor Ability Test - TEST, MEASUREMENT AND EVALUATION IN PHYSICAL EDUC...Rabiya Husain
 
Food Web SlideShare for Ecology Notes Quiz in Canvas
Food Web SlideShare for Ecology Notes Quiz in CanvasFood Web SlideShare for Ecology Notes Quiz in Canvas
Food Web SlideShare for Ecology Notes Quiz in CanvasAlexandraSwartzwelde
 
VPEC BROUCHER FOR ALL COURSES UPDATED FEB 2024
VPEC BROUCHER FOR ALL COURSES UPDATED FEB 2024VPEC BROUCHER FOR ALL COURSES UPDATED FEB 2024
VPEC BROUCHER FOR ALL COURSES UPDATED FEB 2024avesmalik2
 
BTKi in Treatment Of Chronic Lymphocytic Leukemia
BTKi in Treatment Of Chronic Lymphocytic LeukemiaBTKi in Treatment Of Chronic Lymphocytic Leukemia
BTKi in Treatment Of Chronic Lymphocytic LeukemiaFaheema Hasan
 
Personal Branding Exploration- Anny Love
Personal Branding Exploration- Anny LovePersonal Branding Exploration- Anny Love
Personal Branding Exploration- Anny Loveaslove5
 
ICSE English Literature Class X Handwritten Notes
ICSE English Literature Class X Handwritten NotesICSE English Literature Class X Handwritten Notes
ICSE English Literature Class X Handwritten NotesGauri S
 
Ideotype concept and climate resilient crop varieties for future- Wheat, Rice...
Ideotype concept and climate resilient crop varieties for future- Wheat, Rice...Ideotype concept and climate resilient crop varieties for future- Wheat, Rice...
Ideotype concept and climate resilient crop varieties for future- Wheat, Rice...AKSHAYMAGAR17
 

Recently uploaded (20)

Persuasive Speaking and Means of Persuasion
Persuasive Speaking and Means of PersuasionPersuasive Speaking and Means of Persuasion
Persuasive Speaking and Means of Persuasion
 
Digital Footprints to Career Pathways - Building a Strong Professional Online...
Digital Footprints to Career Pathways - Building a Strong Professional Online...Digital Footprints to Career Pathways - Building a Strong Professional Online...
Digital Footprints to Career Pathways - Building a Strong Professional Online...
 
Group_Presentation_Gun_Island_Amitav_Ghosh.pptx
Group_Presentation_Gun_Island_Amitav_Ghosh.pptxGroup_Presentation_Gun_Island_Amitav_Ghosh.pptx
Group_Presentation_Gun_Island_Amitav_Ghosh.pptx
 
A LABORATORY MANUAL FOR ORGANIC CHEMISTRY.pdf
A LABORATORY MANUAL FOR ORGANIC CHEMISTRY.pdfA LABORATORY MANUAL FOR ORGANIC CHEMISTRY.pdf
A LABORATORY MANUAL FOR ORGANIC CHEMISTRY.pdf
 
2.22.24 Black Nationalism and the Nation of Islam.pptx
2.22.24 Black Nationalism and the Nation of Islam.pptx2.22.24 Black Nationalism and the Nation of Islam.pptx
2.22.24 Black Nationalism and the Nation of Islam.pptx
 
Diploma 2nd yr PHARMACOLOGY chapter 5 part 1.pdf
Diploma 2nd yr PHARMACOLOGY chapter 5 part 1.pdfDiploma 2nd yr PHARMACOLOGY chapter 5 part 1.pdf
Diploma 2nd yr PHARMACOLOGY chapter 5 part 1.pdf
 
SOCIAL JUSTICE LESSON ON CATCH UP FRIDAY
SOCIAL JUSTICE LESSON ON CATCH UP FRIDAYSOCIAL JUSTICE LESSON ON CATCH UP FRIDAY
SOCIAL JUSTICE LESSON ON CATCH UP FRIDAY
 
2.20.24 The March on Washington for Jobs and Freedom.pptx
2.20.24 The March on Washington for Jobs and Freedom.pptx2.20.24 The March on Washington for Jobs and Freedom.pptx
2.20.24 The March on Washington for Jobs and Freedom.pptx
 
Decision on Curriculum Change Path: Towards Standards-Based Curriculum in Ghana
Decision on Curriculum Change Path: Towards Standards-Based Curriculum in GhanaDecision on Curriculum Change Path: Towards Standards-Based Curriculum in Ghana
Decision on Curriculum Change Path: Towards Standards-Based Curriculum in Ghana
 
Organic Synthesis and Estimation of Functional Groups
Organic Synthesis and Estimation of Functional GroupsOrganic Synthesis and Estimation of Functional Groups
Organic Synthesis and Estimation of Functional Groups
 
Barrow Motor Ability Test - TEST, MEASUREMENT AND EVALUATION IN PHYSICAL EDUC...
Barrow Motor Ability Test - TEST, MEASUREMENT AND EVALUATION IN PHYSICAL EDUC...Barrow Motor Ability Test - TEST, MEASUREMENT AND EVALUATION IN PHYSICAL EDUC...
Barrow Motor Ability Test - TEST, MEASUREMENT AND EVALUATION IN PHYSICAL EDUC...
 
Food Web SlideShare for Ecology Notes Quiz in Canvas
Food Web SlideShare for Ecology Notes Quiz in CanvasFood Web SlideShare for Ecology Notes Quiz in Canvas
Food Web SlideShare for Ecology Notes Quiz in Canvas
 
VPEC BROUCHER FOR ALL COURSES UPDATED FEB 2024
VPEC BROUCHER FOR ALL COURSES UPDATED FEB 2024VPEC BROUCHER FOR ALL COURSES UPDATED FEB 2024
VPEC BROUCHER FOR ALL COURSES UPDATED FEB 2024
 
first section physiology laboratory.pptx
first section physiology laboratory.pptxfirst section physiology laboratory.pptx
first section physiology laboratory.pptx
 
BTKi in Treatment Of Chronic Lymphocytic Leukemia
BTKi in Treatment Of Chronic Lymphocytic LeukemiaBTKi in Treatment Of Chronic Lymphocytic Leukemia
BTKi in Treatment Of Chronic Lymphocytic Leukemia
 
Capter 5 Climate of Ethiopia and the Horn GeES 1011.pdf
Capter 5 Climate of Ethiopia and the Horn GeES 1011.pdfCapter 5 Climate of Ethiopia and the Horn GeES 1011.pdf
Capter 5 Climate of Ethiopia and the Horn GeES 1011.pdf
 
Personal Branding Exploration- Anny Love
Personal Branding Exploration- Anny LovePersonal Branding Exploration- Anny Love
Personal Branding Exploration- Anny Love
 
Lipids as Biopolymer
Lipids as Biopolymer Lipids as Biopolymer
Lipids as Biopolymer
 
ICSE English Literature Class X Handwritten Notes
ICSE English Literature Class X Handwritten NotesICSE English Literature Class X Handwritten Notes
ICSE English Literature Class X Handwritten Notes
 
Ideotype concept and climate resilient crop varieties for future- Wheat, Rice...
Ideotype concept and climate resilient crop varieties for future- Wheat, Rice...Ideotype concept and climate resilient crop varieties for future- Wheat, Rice...
Ideotype concept and climate resilient crop varieties for future- Wheat, Rice...
 

ASY1 Media Studies C1SA Kiss of the Vampire: language and representation

  • 1. Component 1 Section A Advertising & Marketing Media Language & Representation Case Study 3: Kiss Of The Vampire
  • 2. What type (genre) of media product is this? How can you tell? What are the codes (and genre conventions) that are present? Which decade is this media product from? Which clues suggest the decade to you? Kiss of The Vampire: Language
  • 3. Kiss of The Vampire Product Context,  Produced by Hammer Film Productions and distributed by J. Arthur Rank and Universal,  Kiss of the Vampire was intended to be the second sequel to 1958’s Dracula, although the film’s script actually makes no reference to Stoker’s character.  This is perhaps to distance itself from unfavourable comparisons to the superior Christopher Lee who starred in the original film.  In addition to Dracula, Hammer had, by 1963, success with other ‘monster movie’ franchises such as The Mummy and Frankenstein.  Distributers Universal also saw early success with films in this genre.
  • 4. Kiss of The Vampire: Historical Context The film was released in 1963. What other significant cultural and social developments were happening at this time?
  • 5. Kiss of The Vampire: Historical Context - 1963 The early stages of ‘Beatlemania’ and The ‘swinging sixties’, the assassination of JFK and the Soviet Union launching the first woman into space. The (contraceptive) pill (1960)
  • 6. Kiss of The Vampire Cultural Context,  The 1960s audience for this advert could be assumed to be familiar with the codes and conventions of ‘monster movie’ film posters – such as its composition, fonts and representations of ‘the monster’ and its (usually female) victims.  Consider the following posters. Identify and note down the genre conventions of horror film posters at this time.
  • 12. Defining Genre  Write down what you understand by the term genre on a post it note and stick to the board at the front. How do you think genre benefits media industries (producers) and audiences?
  • 13. How do audiences benefit from genre? • Enjoy the familiarity of genre texts, we like to know what to expect. • We know certain texts will fulfill different gratifications, expectations & evoke different response. • BUT variety is needed or we will become bored. • Can exploit a winning formula & minimise taking risks • Helps institutions budget & plan • Can find out what audiences currently enjoy & offer something similar. How do producers benefit from genre?
  • 14. Professor Stephen Neale & Genre Theory Credited with the following ideas: • Genres may be dominated by repetition, but are also marked by difference, variation, and change • Genres change, develop, and vary, as they borrow from and overlap with one another • Genres exist within specific economic, institutional and industrial contexts.
  • 15. Kiss of The Vampire Genre?  What are the genre codes and conventions for this media text?
  • 16. Kiss of The Vampire: Textual Analysis How has the text been constructed to create meaning? Remember – use denotation/connotation. Apply the following terms:  Visual Codes (colour, gesture, costume, design and layout, iconography, etc)  Technical Codes (Camera - framing, angle, image editing & composition).  Verbal Codes (Lexis, mode of address, rhetorical devices, typography, etc.)  Narrative: Barthes’ Codes (Hermeneutic, proairetic, semantic, symbolic, cultural), Characters – archetypes, protagonist/antagonist, audience positioning  Representation: Stereotypes – reinforced/challenged, simple/complex
  • 17. Kiss of The Vampire: Semiotic Analysis The capitalised, serif font of the title creates connotations linked to the vampire film genre with its ‘wooden’ styling (referencing the vampire’s coffin or the stake needed to kill him perhaps) and the blood dripping from the letter V’s ‘fang.’
  • 18. Kiss of The Vampire: Semiotic Analysis The use of a ‘painted’ main image is highly conventional of films of the period and links to the poster for Christopher Lee’s Dracula, but the fact that it’s in colour (anchored by the text “In Eastman Color”) connotes that this is a modern telling of an older story.
  • 19. Kiss of The Vampire: Semiotic Analysis The gloomy grey, black and brown colour palette reinforces the film’s dark, scary conventions while the red highlight colour draws attention to the attacking bats, the vampire and the blood – all key visual signifiers for the genre.
  • 20. Kiss of The Vampire: Semiotic Analysis Conventionally, the stars are listed with the more highly paid male actors first and in order of fame, Clifford Evans having starred in Hammer’s 1961 hit Curse of the Werewolf.
  • 21. Kiss of The Vampire: Semiotic Analysis Suspense is created through the enigmas surrounding the connoted relationship between the male and female vampires (emphasised by the “kiss” of the title) and the fate of their two victims (Barthes’ Hermeneutic Code).
  • 22. Kiss of The Vampire: Semiotic Analysis Barthes’ Semantic Code could be applied to images of the bats and their conventional association with vampirism and horror in general.
  • 23. Kiss of The Vampire: Semiotic Analysis The Symbolic Codes (Barthes) of horror, darkness and fear are more widely reinforced through signifiers such as the moon and the male gesture code.
  • 24. Kiss of The Vampire: Representation
  • 25. Kiss of The Vampire: Representation: Social and Cultural Context The 1960s is often seen as a period of societal change including the start of women’s sexual liberation, aided by events such as the introduction of the contraceptive pill in 1960.
  • 26. Kiss of The Vampire: Representation: Social and Cultural Context More women than ever were entering the paid workforce and sixties feminists were campaigning for equal pay, an end to sexual harassment and more equality between men and women in wider society. In America, equal pay legislation was passed in 1963.
  • 27. Kiss of The Vampire: Representation: Social and Cultural Context ‘Older’ stereotypes of women as passive victims of men and more modern ‘male fears’ of women challenging male dominance could both be seen to be encoded in this film poster.
  • 28. Kiss of The Vampire: Representation What parts of the ‘world’ (i.e. groups of people, places, ideas, etc) are portrayed? Are these representations stereotypical? Do they go against stereotype in any way? How is media language used to construct these representations? What values and beliefs (ideologies) are present within the representation? What factors do you think have impacted upon this representation?
  • 29. Kiss of The Vampire: Representation Older’ stereotypes of women as passive victims of men and more modern ‘male fears’ of women challenging male dominance could both be seen to be encoded in this film poster. Stereotypical: Both women wear pale dresses made of light materials and these dress codes serve to reinforce their femininity by highlighting the curves of their bodies and revealing the flesh of their upper chests and arms. The gesture code of the woman on the left is that of the stereotypical passive victim of the ‘monster’. His power highlighted by the fact that he’s holding her by just one arm.
  • 30. Kiss of The Vampire: Representation Non-stereotypical: Baring her teeth and with her arm almost fist-like as she’s being bitten by the bat, the second woman’s gesture codes are more aggressive, and the submissive pose of her male ‘victim’ (including being on his knees with his head back and throat exposed) represent her in a non-stereotypically dominant way.
  • 31. Kiss of The Vampire: Representation What values and beliefs (ideologies) are present within the representation? What factors do you think have impacted upon this representation?
  • 32. Kiss of The Vampire: Applying Theory Stuart Hall & Representation Credited with the following ideas: Representation is the production of meaning through language, with language defined in its broadest sense as a system of signs The relationship between concepts and signs is governed by codes Stereotyping, as a form of representation, reduces people to a few simple characteristics or traits Stereotyping tends to occur where there are inequalities of power, as subordinate or excluded groups are constructed as different or ‘other’ (e.g. through ethnocentrism) How might you apply these ideas? How are signs and codes used to produce meaning? What codes form part of a ‘shared conceptual road map”? Are the representations stereotypical? Does the use of stereotypes reflect the power held by groups in society?
  • 33. Kiss of The Vampire: Applying Theory Stuart Hall & Representation Credited with the following ideas: Representation is the production of meaning through language, with language defined in its broadest sense as a system of signs The relationship between concepts and signs is governed by codes Stereotyping, as a form of representation, reduces people to a few simple characteristics or traits Stereotyping tends to occur where there are inequalities of power, as subordinate or excluded groups are constructed as different or ‘other’ (e.g. through ethnocentrism) How might you apply these ideas? The images of a castle, bats, the vampire’s cape and dripping blood form part of the “shared conceptual road map” that give meaning to the “world” of the poster. The audience is actively encouraged to decode this familiar generic iconography. Stereotypes of sexualised, female victims are familiar to audience but also challenged by stronger, countertypical representations, reflecting the rising power of women in society at this time.
  • 34. Kiss of The Vampire: Applying Theory David Gauntlett & Identity Credited with the following ideas: The media provide us with ‘tools’ or resources that we use to construct our identities In the past the media tended to convey singular, straightforward messages about ideal types of males & female identities The media today offer audiences a more diverse range of stars, icons and characters from whom we may pick and mix different ideas How might you apply these ideas to this text? Are there examples of ‘role models’ within the text audiences could base their identities on? Are these identities straightforward and singular or diverse and complex?
  • 35. Kiss of The Vampire: Applying Theory David Gauntlett & Identity Credited with the following ideas: The media provide us with ‘tools’ or resources that we use to construct our identities In the past the media tended to convey singular, straightforward messages about ideal types of males & female identities The media today offer audiences a more diverse range of stars, icons and characters from whom we may pick and mix different ideas How might you apply these ideas to this text? The female vampire could be seen to act as a role model for women struggling against male oppression or desperate to be seen as the equals of men, whatever the narrative or environment.
  • 36. Kiss of The Vampire: Applying Theory Stephen Neale & Genre Credited with the following ideas: • Genres may be dominated by repetition, but are also marked by difference, variation, and change • Genres change, develop, and vary, as they borrow from and overlap with one another • Genres exist within specific economic, institutional and industrial contexts. How might you apply these ideas to this text? What are the generic repetitions which are used across the posters (images, text, character roles, themes etc)? What does Kiss of the Vampire offer to audiences which is new?
  • 37. Kiss of The Vampire: Applying Theory Stephen Neale & Genre Credited with the following ideas: • Genres may be dominated by repetition, but are also marked by difference, variation, and change • Genres change, develop, and vary, as they borrow from and overlap with one another • Genres exist within specific economic, institutional and industrial contexts. How might you apply these ideas to this text? Neale argues that audience pleasures are derived from generic repetition and difference. This film poster repeats much of the symbolism associated with Hammer and Universal horror films and the wider ‘monster’ and vampire genres, but adds difference through the connoted power of the female protagonist and the implied romantic narrative.
  • 38. Professor Stephen Neale & Genre Theory Credited with the following ideas: • Genres may be dominated by repetition, but are also marked by difference, variation, and change • Genres change, develop, and vary, as they borrow from and overlap with one another • Genres exist within specific economic, institutional and industrial contexts. How might you apply these ideas to this text? What are the generic repetitions which are used across the posters (images, text, character roles, themes etc)? What does Kiss of the Vampire offer to audiences which is new?
  • 39. Professor Stephen Neale & Genre Theory How might you apply these ideas to this text? What are the generic repetitions which are used across the posters (images, text, character roles, themes etc)? Familiar horror genre conventions: iconography (bats, castle, blood), vampires, What does Kiss of the Vampire offer to audiences which is new (variation/difference)? Varied representations of gender – women both as victim and threat, men both as vampire and victim – reflective of changing gender roles in society