theoretical research

1. G E N R E T H E O R Y
A U D I E N C E T H E O R I E S
R E P R E S E N T A T I O N T H E O R I E S
Theoretical research

2.  Genre hybridity is a feature of postmodern media.
Look at specific postmodern theory; in this
Slideshare, look at the definition of genre by Fiske
(slide 2) Derrida (slide 5), Genette (slide 8) and Levi-
Strauss (slide 7) and the slide 9 on postmodern
theory. Your production could be read as
postmodern because it combines so many genre
references:

3. Genre hybridity
 Theories of genre. Genre hybridity is a feature of
postmodern theory here are different definitions of
genre by different philosophers and structeralists.

4. John Fiske
 Fiske is an American professor of communication arts.
According to his model we make sense of something we have
not had experience in eg a Gun fight by turning it into another
text which we would also understand in terms of what we have
seen on our own screens. For example we have knowledge on
gun fights but this knowledge only comes from other gun
fights we have watched in movies. this idea of having only
watched one gun fight on screen means the viewer decodes
another gun fight he/she is watching by what he/she has
learnt about the first gun fight they watched. This idea would
be used in my production if i where to show some sort of club
event i would take photos of what i believe a club to look like
from what i have seen in other photos and videos as i have
never been into a club before.

5. Jacques Derrida
 Jacques derrida proposed that a text cannot not
belong to no genre, it cannot be without... A genre.
Every text participates in one of several genres, there
is no genreless text. A good explanation for what
derrida means is when those that overlooked the 911
attack said that it was like a movie. This is also what
Fiske meant when he said “we make sense of it by
turning it into another text”.

6. Claude Levi-Strauss
 Levi Strauss developed a concept where he saw
writers construct text from other text through the
process of Addition, Deletion, Substitution,
Transposition.

7. Gerrard Genette
 Was a French structuralists he developed the word
transtexuality and made 5 group for it. These four apply
to film
 Intertextuality- quotation, plagarism, allsuion
 Architextuality- designation of the text as part of genre
by the writer or by the audience
 Metatextuality- explicit or implicit critical commentary
of one text on another text
 Hypotextuality- the relation between a text and a
preceding hypotext – a text or genre on which it is based
which it transforms modifies elaborates or extends.

8. Postmodernist theory
 Postmodernist theory grows out modernist and
structural thinking
 Postmodernists extend their work into pure
intertextuality that extends the bounds of genre. My
production could be read as postmodern because it
combines so many different genres references it
“extends the bounds of genre”.

9. Genre Theory
 Genre is defined as the separation of different media
types. Media types are put into different categories
dependent on the content of such media type. Genres
help within the media industry as they separate out
different groups creating a fan base for different
genres. This fan base I commonly associated with
sci-fi films with events such as Comicon that are
heavily branded around the sci-fi image. Due to a
strong fan base around genres changes within genres
can affect the audience society.

10. Genre theory
 Genres can be changed with the intervention of a
different genre within the main genre this is known
as hybrid genres.
 Hybrid genres often form subcultures to the main
culture that is attached to the genre.
 Mass market genres play a large part in the
construction of differences and identity's particularly
through sexual differences and identity's.

11. Audience theories
 Audiences come under two generic titles
 Passive
 Active
 The higher the income bracket the more active the
audience is.
 The lower the income bracket the more passive the
audience is.

12. Audience theory
 The hypodermic syringe
 This theory see the audience as being injected with
ideologies which they blindly accept. This theory
links with hegemony's theory.
 The theory suggests that the media text works as a
drug, almost manipulating the audience.

13. Audience theory
 Uses and gratification
 This theory portrays the audience as active using the
text and not being used by it. The audience uses the
media text for their own uses and gratification.
 The audience is seen to be free to do what they want
whether that is rejecting the text or accepting it.
 The power relies completely within the audience.

14. Audience theory
 Reception analysis
 The theory sees the audience as the most active and
independent. The audience are said to have complete
independence over what they read.
 Dominant
 Negotiated
 oppositional

15. Reception theory
 Oppositional
 This is when the reader rejects the media due to
political or cultural reasons .
 Dominant
 This is when the audience reads the media product
the way the producer wanted to.
 Negotiated
 When you recognise an understand what the
producer wants you to do but adjust it to suit
personal circumstances

16. Representation theories
Representation theory is the belief that all media products re-
present the real world to us, Only showing one version of
realty. This can also be shown through how a group of people
or person are being presented to the audience.
Representation sees us making decisions and judgements on
what we see.
Stereotyping is used by the media to sell products to a certain
group of people by agreeing with the stereotypes.

17. My piece
 This research will help me produce my magazine as
it tells me what sort of content I should be
producing. As a piece that is looking to target itself at
a wide range of audiences it is important to know
what the audience will be thinking when reading the
magazine. Because my audience is B-E i could
assume a more passive audience at the bottom,
unsophisticated end and a more active audience at
the top.

18. Dyers star theory
 Dyers star theory is constructed of three elements: a jigsaw
construction, saleabilty and ideology.
 We relate to the star because they have a deature that we
admire or sare with them. This can develop from
admiration to idolisation. Such stars are artificaial images
experiencing real emotions. Thre image can be made over
one item such as Kim Kardashions curves. Stars promote
ideologies and if a audience interest in these values increase
so does the stars persona.

19. Morleys theory
 Morleys theory suggested that audience theory would be done easier if
it where genre based hypothesis. The aim was to explore the positive
parts of televisual texts. Investigations proceeded where by different
audiences interpreted the program. Two episodes where shown to 12-18
groups from diverse social backgrounds. Morley also looked at Halls
findings in typology of decoding and tried to relate them to cultural
backgrounds of the viewers. Morleys research showed how there where
effects on different social conditions such as class gender race and age.
CRAGS

20. Stuart Hall
 Hall said that there are there theoretical ideological positions of
audience members. The first wa the dominant hegemonic position in
which the message was encoded and decoded or interoperated by the
viewer like in Fiskes model.
 The negotiated person was when the viewer privileged the dominant
ideological definitions in the abstract but reserved the right to
negotiated specific situations.
 In the third case viewers that took the opposing positions dismantled
the broadcast message.