Analysing Media Texts (with particular focus on film)
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Analysing media texts, with focus on film. MC 100 (Media Literacy), Mass Communication Department, Ateneo de Davao University.
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Analysing Media Texts (with particular focus on film)
- 1. Analysing Media Texts Mick Basa Ateneo de Davao University
- 2. If you are a creative artist and you don’t know what you’re doing, everything you do is…an accident. Arthur Asa Berger
- 3. 3
- 4. Semiotics is a study of signs; it is used to analyse media texts.
- 9. Meanings are not hardwired to objects
- 10. Money or okay?
- 11. Okay or to hitchhike?
- 12. Christmas icon?
- 16. is that it’s generally not obvious.
- 18. Signifiers Signifieds Atenean wearing fashionable clothes every Wednesday, but no good command in any language. He or she values fashion over education. Student has an expensive purse, but 2 years old. Student hasn’t a new purse, suggesting decline in fortune.
- 19. Signs tell a lot of meaning
- 20. And we appreciate quality media texts because they contain lots of it
- 21. “Are you frightened?” “Not of death. But of dying, the stones - the pain.” The Stoning of Soraya M (Iran) https://www.youtube.com/watch?v=Q58nLi5eA-I
- 22. “Is it possible that we can love someone and never be afraid of losing them?” Love of Siam (Thailand) https://www.youtube.com/watch?v=d9sC7nFCLok
- 23. “When I say I love you, it’s not because I want you, or because I can’t have you. It has nothing to do with me. I love what you are. What you do. How you try. I’ve seen your kindness, and your strength. I’ve seen the best and the worst of you, and I understand, with perfect clarity, exactly what you are.You’re a hell of a woman.You’re the One, Buffy.” Buffy the Vampire Slayer (USA) https://www.youtube.com/watch?v=63JZVK-WCB0
- 24. Vladimir Propp (1895-1970) analysed basic components of Russian folk tales.
- 25. Initial situation Members of family or hero introduced Absentation One of the members of the family absents himself from home. Interdiction An interdiction is addressed to the hero Violation An interdiction is violated Reconnaisance The villain makes an attempt at reconnaisance Delivery The villain receives information about his victim Trickery The villain attempts to deceive his victim Complicity The victim submits to deception, unwittingly helps his enemy Villainy The villain causes harm or injury to a member of a family Lack One member of a family lacks something or wants something Mediation Misfortune is made known, hero is dispatched Counteraction Seekers argue to decide on counteraction Departure The hero leaves home 1st function of donor Hero is tested, receives magical agent or helper Hero’s reaction Hero reacts to actions of the future donor Receipt of magic agent Hero acquires the use of magical agent Spatial transference Hero is led to object of search Struggle Hero and villain join in direct combat Branding Hero is branded Victory Hero is defeated Liquidation Initial misfortune or lack is liquidated *Propps functions. You’re welcome.
- 26. Return The hero returns Pursuit A chase: the hero is pursued Rescue Hero is rescued from pursuit Unrecognised arrival The hero, unrecognised, arrives home or in another country Unfounded claims A false hero presents unfounded claims Difficult task A difficult task is proposed to the hero Solution The task is resolved Recognition The hero is recognised Exposure The false hero or villain is exposed Transfiguration The hero is given a new appearance Punishment The villain is punished Wedding The hero is married and ascends the throne *Propps functions. You’re welcome.
- 27. 7 Seven dramatis personae in Propp’s scheme:
- 28. Villain Fights with hero Donor Provides hero with magical agent Helper Aids hero in solving difficult tasks, etc Princes Her father Sought for person. Assigns difficult tasks Dispacher Sends hero on his mission Hero Searches for something or fights with villain False hero Claims to be hero but is unmasked
- 30. The ship can take different identities... The ship cut through the waves. (The ship is like a knife.) The ship danced through the waves. (The ship is like a dancer.) The ship raced through the waves. (The ship is like a race care.) The ship pranced through the waves. (The ship is like a horse.) The ship plowed through the waves. (The ship is like a plow.)
- 31. Analysing film
- 32. It’s difficult to explain films because we are used to view films uncritically
- 33. Basta nice talaga ang movie. Manood ka na lang gud.
- 35. Film provokes thoughts and feelings. It alters our awareness. It provides an experience that transcends the time actually sitting before the screen.
- 36. Films can become a springboard for meaningful discussions ;)
- 37. They should.
- 38. Themes Persepolis (France) Broad ideas and allusions that are established by repetition of technical and linguistic means throughout the film. (Alienation, power and control, transcendence through romantic achievement, etc.) Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 39. Intent/message Sometimes, filmmakers aren’t sure of their message. Audience may have their own interpretation. Frozen America and Global Warming. (True love, in this context, is when biggest polluters stop emitting large amounts of C02.) This is only my personal interpretation. Frozen (USA) Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 40. Metaphor & metonymy Metaphors and metonyms only gain relevance if they are repeated in significant ways or connected with the larger meaning of the film Sex and Lucia (Spain) Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 41. Subtext Messages beneath the surface; sometimes intended, often unintended, and sometimes conveying a different or contradictory message than the intended message. Usually developed through metaphor and metonymy. Eternal Sunshine of the Spotless Mind (USA) Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 42. Basic elements of a film Title/opening credits Story/plot/narrative Motivation Motif Parallelism Characterisation Point of view Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 43. Title Titles are chosen carefully. The opening credits establish a tone, and often are used to foreshadow events, themes, or metaphors—pay careful attention from the beginning. Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 44. The Stoning of Soraya M opening
- 45. Story/plot/narrative The narrative provides the basic structure by which a feature film is understood. The narrative consists of the story and the plot. The story consists of all of the information conveyed by the film (either directly or by inference) assembled in chronological order to communicate the overall sense of what occurred in the film. Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 46. Motivation Failure to provide proper motivation challenges the sense of "cinematic realism" in a film. (Why did the antagonist gun down the protagonist? The film showed no plausible explanation) Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 47. Motif The repetition of an element in ways that acquire symbolic meaning for the element. An motif can be a technical feature (a shot angle, a lighting set up), a sound or piece of dialogue or music, or an object. Maniac (France) Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 48. Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm Parallelism Lola Rennt (Germany) Two or more scenes that are similar to each other but which gain meaning because of their differences.
- 49. Point of view Is the film in general told from a particular character's point of view, or is it “objective”? Is the film's perspective primarily intellectual or emotional, visionary or “realistic”? Within the film, is a particular shot viewed from a character's point of view ("subjective shot"), and how does the camera technically reinforce the point of view? Who is the audience meant to be focusing on at a particular moment? Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 50. Mise-en-scène [mizɑ̃sɛn] Everything going on within the frame outside of editing and sound Mary and Max (Australia) Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 51. Mise-en-scène Setting and sets is the scene shot in a studio sound stage or “on location”? How is the setting integrated into the action, both the larger background and particular props? How is the setting used in composing the shot (verticals and horizontals, windows and doors, the ever popular slats of shades, mirrors, etc.)? How do particular settings (vast mountain ranges, cluttered urban setting) function as signs in order to convey narrative and ideological information? How are colours used? Acting style Are the characters more obviously mannered (“classical”); intense and psychologically driven (“method”); less affectations and more “natural”? Do particular actors have their own recognisable style or type, and how do the filmmakers use the audience's expectations, either by reaffirming or challenging these expectations? What expectations do "stars" bring to their roles? Do they fulfil or challenge these expectations (playing against type)? Costumes Lighting Note contrasts between characters, changes within film; use of colours. This also includes physiques, hair styles, etc. Key Light: main lighting, usually placed at a 45 degree angle between camera and subject. Low Key Lighting is when one or more of the fill lighting is eliminated, creating more opportunity for shadows. Etc. Mary and Max (Australia) Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 52. Cinematography Each shot represents many choices made by the film makers Le Fabuleux Destin d'Amélie Poulain (France) Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 53. Tone Persepolis (France) Bright, sharp colours; grainy and black and white: hazy? If black and white when colour was available, why would the film makers make this choice? Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 54. Film speed Slow or fast motion used? Film speed reversed? The Matrix (USA) Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 60. Sound Carefully created and edited sounds (including the use of silences) creates a rich aural images the same way that mise en scene, shot composition, and montage create visual images. Note that sound is both part of the mise-en-scene and is a separate category of editing (since the audio track is separate from the video track).
- 61. Dialogue Sound effects Is it overlapping, mumbled, very soft or loud? both the effects themselves (a doorbell ringing) and the manipulation of the sound (stereo effects which move sounds across the sound spectrum, or balance sounds on one side or the other; filtering and manipulating sounds) Score The score often maintains and manipulates a similar theme at various times (especially in older films), and is often used in relation to the narrative structure. Particular motifs or themes may be used in relation to particular characters. Sound bridge Connects scenes or sequences by a sound that continues through the visual transition. Direct sound Sound that is recorded at the time the scene is shot (usually dialogue, although audio inserts are possible. All audio inserts would be postsynchronous sound Diegetic sound Off-screen sound Non-diegetic sound Heard within the film's diegesis Appears within the film's diegesis but not within the frame (extending off-screen space) Heard outside of the film's diegesis (such as film scores and voiceovers) Prof. Michael Goldberg, University of Washington Some suggestions on "how to read a film" http://faculty.washington.edu/mlg/students/ readafilm.htm
- 62. “Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.” ― Ingmar Bergman
- 64. reference Berger, A.S. (2012). Media Analysis Techniques. 4th ed. London: Sage. Goldberg, M. (2000). How to Read a Film. University of Washington. Retrieved from http://faculty.washington.edu/mlg/students/ readafilm.htm on17 January 2014.