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1 b revision
1. Session 2: Introduction to G325
Section A 1b
Audience
Genre
Representation
Narrative
Media Language
Thriller/
Music Video
EAA- Understanding application of theories
EGS- Examples from own work
TERM-Terminology
1a) Producer of a Media
Text
1b) Analyst of a Media
Text
2. Easy steps to a perfect 1b answer
Intro-what is the concept? What piece
of coursework will you apply it to?
POINT: Lead with the theory- what is it? How
can it be applied to your work?
Explain: how are they relevant
Evidence: Give 2/3 examples from
your work
Next One!!!
Point:
Roland Bathes semiotic theory is relevant
when discussing the media language in
our music video.
Evidence:
The use of key signifiers such as the guitar
and low key lit rehearsal space create
meaning for the audience by representing
the rock genre. This further signifies the
band are concerned with creating music as
opposed to image/style.
Explain:
Bathes suggests that signs work together
in system of signs therefore the close ups
of the guitar restricting the face of the star
further anchor our intended meaning of
the music being at the forefront of the
bands image.
5. Richard Dyer Star Persona
Stereotypes are often used as a ‘shorthand’ to communicate these
representations to an audience.
These may also influence audiences perceptions of the real world.
6.
7. Laura Mulvey and the male gaze
The female body is often
‘fragmented’ and the identity of
the female is irrelevant.
8. Empowerment and Post-Feminism
Women are sexually
in control. They are
dominant and can
take charge.
They do not need a man
and can be sexy and
powerful-empowered
9. David Gauntlet
Representation of stars now function as
‘role models’
As audiences we are encouraged to
‘identify’ with these representations-
they can make the audience ‘recongise’
who they are or challenge themselves.
Identities are not given but are CONSTRUCTED and MEDIATED
10. Representation: The construction of people
and places to present reality
• Laura Mulvey
• Richard Dyer Star Persona
• David Gauntlett
• Empowerment and Post
Feminism
For film
Binary Opposites
Propps character types
Remember as Gauntlett says
‘Representation is always a CONSTRUCT
and is MEDIATED’
Can also discuss:
Social class
Ethnicity
Sexuality
Age
Places/locations
Genre
11. REPRESENTATION
Who and what is represented?
People/places/genre
How and why are they represented
in this way?
Relevant theories applied with egs
12. Narrative
Define the following
terms:
Omniscient
Restricted
Linear
Non linear
Action Codes
Enigma Codes
Binary Opposites
Propps character types
Terminology
Protagonist, antagonist, voyeurism,
red herring, flashback, simultaneous
action, equilibrium, disequilibrium,
cross cutting POV, high angle, low
angle, restricted, fragmented, action
code, enigma code, non-linear,
montage
13. Conventions of a
film opening
• Conventions of
music video
• Conventions of
music genre
• Conventions of
film genre
Which did you employ?
14.
15. Theories to apply
Levi Strauss- Binary Opposites
Roland Bathes- Enigma Codes
Laura Mulvey-The Male Gaze
Andrew Goodwin- Types of video/relationship with
lyrics
Repeatability/Advertising
Dyer and Star Persona
Intertextuality and post modernism
16. Genre Theories
Steve Neale
• REPETITION and DIFFERENCE
• Genres work by using codes and conventions
that are expected by the audience to allow the
work to be categorised. However differences
are essential to provide audience pleasure and
allow genres to evolve.
18. Stuart Hall-Reception Theory
Encoding and Decoding
A media text is encoded by the producer and decoded
by the reader.
However, the readers way of decoding the text is not
passive and way be interpreted in different ways based
on their own cultural background and experiences.
This means that the meaning of the text is created
through the relationship between the text and reader,
rather than being within the text itself.
It is a process of ‘negotiation’ and ‘opposition’ from
the audience.
19. Intended/Preferred-
Miley is sexy and powerful
Negotiated-
She is sexy but objectified
Oppositional-
She is exploited and
manipulated by the
producers of the media- she
is indecent
20. Key Audience Theories/ Definitions
Uses and Gratifications- Bulmer and Katz
John Stuart/Julia Kristeva. - Intertextuality
21. Stuart Hall-Reception Theory
Encoding and Decoding
A media text is encoded by the producer and decoded
by the reader.
However, the readers way of decoding the text is not
passive and way be interpreted in different ways based
on their own cultural background and experiences.
This means that the meaning of the text is created
through the relationship between the text and reader,
rather than being within the text itself.
It is a process of ‘negotiation’ and ‘opposition’ from
the audience.
23. Definition
The shaping of texts' meanings by other texts.
• Notion introduced by Julia Kristeva.
• Kristeva argued against the concept of a text as a
isolated entity which operates in a self-contained
manner and states that:
"any text is the absorption and
transformation of another"
24. Definition
• Every text (and we can insert any cultural object
here: image, film, web content, music etc.) is a
mosaic of references to other texts, genres, and
discourses.
Where a text alludes to, or references, another text
25. Intertexuality
• Some texts refer directly to each
other – such as in 'remakes' of
films, extra-diegetic references to
the media / society in the animated
cartoon The Simpsons, and many
amusing contemporary TV ads.
• The interpretation of these
references is influenced by the
audiences’ prior knowledge of
other texts.
26. Intertextuality – Music Videos
• John Stuarts description of the music video as
“incorporating, raiding and reconstructing” is essentially
the essence of intertextuality.
• Using something familiar to the audience may generate
both potentially nostalgic associations and new
meanings- provides pleasure in recongition.
• It is perhaps more explicitly evident in the music video
than in any other media form, with the possible
exception of advertising (and the Simpsons!)
28. Heavy Theory
• In 1968 Barthes announced 'the death of the
author' and 'the birth of the reader', declaring
that 'a text's unity lies not in its origin but in
its destination' - in other words there is no
longer such a thing as an original text – very
postmodern.
• This highlights how interpretation lies with the
audience – that it is subjective - it is the
audience that creates meaning.
