Audience reception thery
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The document discusses Stuart Hall's Encoding Decoding Model of communication. It states that producers encode meaning and ideology into media texts. Audiences then actively decode these texts and can accept, partially accept, or reject the producer's intended meanings through preferred, negotiated, and oppositional readings respectively. The model suggests audiences' interpretations depend on their social experiences and identities. Examples show how audiences can decode ads, TV shows, and music videos differently based on factors like age, gender, and culture.
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This document discusses key questions to consider when analyzing media audiences:
- How audiences process and make meaning from media texts, including Stuart Hall's theories of encoding/decoding as preferred, oppositional, negotiated, or aberrant readings.
- How audiences are affected by media texts according to media effects theories versus being active in using media to fulfill needs as per uses and gratifications theory.
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Reception theory states that media texts are encoded by producers with intended messages and values, but audiences decode texts in different ways based on their own experiences and perspectives, which may not match the producer's intended meaning. According to Stuart Hall, audiences can have dominant, oppositional, or negotiated readings. A dominant reading accepts the producer's preferred meaning, while an oppositional reading rejects this in favor of the audience's own interpretation. A negotiated reading is a compromise that incorporates some of both the producer and audience perspectives.
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Reception theory proposes that media texts contain encoded messages from producers but audiences decode texts in different ways based on their own experiences and perspectives. According to Stuart Hall, audiences may have a dominant, oppositional, or negotiated reading of a text. A dominant reading accepts the producer's intended meaning while an oppositional reading rejects this. A negotiated reading finds a compromise by accepting some aspects but not others. How a text is read depends on individual audience characteristics and context.
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Hall's reception theory proposes that the meaning of media texts is constructed through the interaction between encoding and decoding. Encoding is when producers build signs and signals into a text based on their social context to convey a message. Decoding occurs when audiences interpret these encoded messages based on their own social position, which can result in a preferred reading that aligns with the producer's intent, a negotiated reading that involves some questioning, or an oppositional reading that rejects the preferred meaning. The specific reading depends on the audience member's demographics like age, gender, beliefs, culture, mood, and experiences.
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Realism in media representations is complex with different meanings and interpretations. Whether a representation is considered realistic often depends on the values, experiences, and perspectives of both the creator and the audience. The same representation could appear realistic to some and not to others. Realism is contextual and subjective.
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The document discusses several theories of audience:
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2) Stuart Hall's reception theory which recognized that audiences could have negotiated, oppositional, or preferred readings of media texts based on their own views.
3) Uses and gratifications theory from the 1960s which saw audiences as active consumers who use media texts to fulfill different personal needs and purposes like diversion, social interaction, or learning behaviors.
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1) Characterisation is the process of creating believable characters in a story through direct or indirect means. Direct characterisation tells the audience about the character, while indirect shows the character through their actions, speech, thoughts, and appearance.
2) The document provides examples of indirect characterisation, such as a description of a crying boy and a well-dressed man. It also discusses using appearance to indirectly characterise a character rather than directly stating their occupation.
3) Students are tasked with creating a newspaper article reporting on a signalman's encounter with a ghost. They are to indirectly characterise both the signalman and ghost through descriptions of their experience and appearance.
Yr 9 setting lesson - lesson 4
This document provides instruction and examples for understanding how setting and atmosphere can be created through text. It discusses key terms like setting and atmosphere, and provides homework asking students to choose a scary picture and describe it using adjectives to set the scene. Students are then given an excerpt from a story and asked to continue it in a sentence, capturing the gloomy atmosphere. Finally, students are given words to call out to simulate sounds in a tunnel, and examples of ghostly language to analyze descriptions of setting in a story.
Yr 9 lesson 3 - features
We use descriptive words and verbs to build vivid images and tension in stories.
Yr 9 gothic - lesson 2
The document discusses teaching materials for the Charles Dickens short story "The Signalman". It includes definitions for terms like "signalman" and "spectre" used in the story. Students are tasked with continuing to read the story, discussing what they've understood so far, and then summarizing the plot in order or acting it out in freeze frames to demonstrate their comprehension. Key Gothic genre elements present in the story are also to be identified.
Year 8 - Sherlock Holmes Board Game
The document instructs students to create a Sherlock Holmes themed board game in groups, giving them 25 minutes to design something creative that can be quiz-based, involve strategy, cards, or be interactive. Groups will then present their ideas to the class, with the winning team receiving a prize at the end of the day.
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Audience reception thery
- 1. Audience Reception Encoding Decoding Model
- 2. What is audience reception? • Audiences receive and respond to texts very differently. The different effects generate varied responses. • It is a way to characterise and group together different audience (consumer) interpretations. • Audience reception = the way we react
- 3. Encoding Decoding Theory • Stuart Hall, 1973 • Producers encode meaning/ideology into texts, which audiences decode • Audiences are active in their interpretations and can accept/reject the producers message. • ENCODE : meaning, ideology • DECODE : ???
- 4. Encoding Decoding Model Producers ‘ENCODE’ Put meaning into a text THE TEXT (Music Videos, Adverts, TV, Film) Audiences ‘DECODE’ Take meaning out of the text
- 5. Encoding Decoding Theory • Texts can be decoded by body language to understand emotion/relationships. • They have multiple meanings and can be decoded in various ways. The messages can mean something different to different people.
- 6. Encoding Decoding Theory • Preferred Reading – audiences agree and accept what the producers are encoding • Negotiated Reading – audiences partially agree with the encoded messages • Oppositional Reading – audiences reject/disagree or decode the text differently Age, Gender, Cultural Experiences David Morley
- 7. Audience Readings – Macdonald’s Advert • Preferred Reading • Intended to encourage feelings of hunger and desire. Audiences will recall these feelings when passing by the big chain and want to buy some food • Negotiated Reading • Audiences will enjoy eating the products, but those who are health- conscious may respond with annoyance, but understand eating products once a month isn’t damaging.
- 8. Audience Readings – The Teletubbies 1997 • Oppositional Reading • “He is purple – the gay pride colour; and his antenna is shaped like a triangle – the gay-pride symbol.” • “Tinky Winky also carries a magic pink bag” • “Modeling the gay lifestyle is damaging to the moral lives of children”
- 9. Audience Reading Activity Think about how the mis-en-scene may have an impact…
- 10. Encoding Decoding Music Videos • Managers encode artists (i.e. The Spice Girls, The Pussycat Dolls, JLS) with specific ideology. This is ultimately to increase financial gain. • The target audience will always have a preferred reading. They accept all messages and decode the text in the way that was intended. • Usually the secondary audience will decode a negotiated reading. • Parents/audiences who hate the music genre will have an oppositional reading.
- 11. Encoding Decoding Music Videos • Think about how the producers have encoded the music video and how it may be decoded. • What would be a preferred reading of the text? Why? • What would be a negotiated reading of the text? Why? • What would be a oppositional reading of the text? Why? • What is your reading of the text? Why?
- 12. Blog Task • What is audience theory? • What is Hall’s Encoding Decoding Model? Provide examples of how one may decode pictures differently. • Discuss Morley’s audience reception theory and use the advert examples we discussed • How is the Encoding Decoding Model relevant to music videos? Discuss the three readings in relation to two music videos. Choose a genre/artist you like/a genre/artist you don’t like.