Christian metz
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Christian Metz was a French film theorist who believed genres go through four stages over their lifetime: the experimental stage where foundations are built, the classic stage where codes and conventions become iconic, the parody stage where codes can be mocked since they are widely recognized, and the deconstruction stage where genres begin to evolve, merge with others, and have their rules broken.
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This document provides an analysis of the music video for Katy Perry's song "Thinking of You" according to seven key ideas for identifying elements in music videos put forth by Andrew Goodwin. It discusses how the music video demonstrates characteristics of the pop genre through inclusion of Katy Perry's performance and use of editing techniques like fade ins and outs. It also analyzes how the video illustrates the song's lyrics through its narrative of a couple separated by war and how the cuts are timed to the music. Close-ups of Perry are used to relate her to the character and promote her artistic abilities. References are made to other works like "Dear John" and the video aims to appeal to Perry's target audience through these intertext
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This document discusses several theories of genre from film theorists Rick Altman, Steve Neale, and Christian Metz. According to Rick Altman, understanding genre requires a semantic, syntactic, and pragmatic approach. Steve Neale proposed that genres can repeat or challenge conventions. Christian Metz believed genres go through experimental, classical, parody, and deconstruction stages over time, with each stage building on conventions set in earlier stages. Examples are provided for each theorist from the thriller genre.
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This document discusses genre theory and definitions of genre. It provides perspectives from several theorists on what constitutes a genre and how genres function. Daniel Chandler defines genres based on shared conventions of content, themes and settings. Steve Neale views genres as instances of repetition and difference that provide pleasure to audiences. Genres are seen as dynamic and constantly changing rather than fixed forms. The document also discusses genre hybridization and provides examples of how genres develop over time from experimental to classic to parody to deconstruction. It examines genres as providing structure, expectations and pleasure for both audiences and producers.
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Summarised theory list
Formalist film theory analyzes the technical elements of a film like lighting, editing, sound and how they work together to create effects and communicate ideas to the audience. It looks at how individual elements or the synthesis of multiple elements like editing, shot composition and music in Sergio Leone's films build tension. Formalism embraces both ideological and auteurist criticism by focusing on style, either how socioeconomic pressures influence a style or how directors put their personal stamp on material. Alfred Hitchcock is cited as an example of an auteur with a distinct style seen in his editing, camerawork and themes.
Tipos depárrafos
El documento describe los tipos de párrafos según su estructura y contenido. Identifica párrafos analizantes, sintetizantes, sintetizante-analizantes, encuadrados y paralelos dependiendo de la ubicación y función de la oración principal. También clasifica los párrafos según las oraciones secundarias por repetición, contraste, ejemplificación o justificación. Finalmente, ofrece recomendaciones sobre la redacción y estructura de textos en párrafos.
La Escena Y La Secuencia
El documento define y distingue las unidades de acción dramática en el cine y video. La unidad mínima es la escena, que representa una acción en un lugar y tiempo determinados. Un plano es una toma de una acción, mientras que una secuencia une escenas con una idea o motivo común y representa la unidad máxima de significado. El paradigma de la estructura dramática incluye la premisa, confrontación, resolución y epílogo.
Semiótica del cine
El documento habla sobre la semiótica del cine, incluyendo los signos y códigos del mensaje cinematográfico, la narrativa cinematográfica y los diferentes géneros fílmicos. También discute aspectos del negocio del cine como la no exclusividad del consumo de películas y el público al que va dirigido el mensaje cinematográfico.
Discurso Verbal y No Verbal
Este documento presenta los conceptos fundamentales de la teoría de la multimodalidad en la comunicación. Explica que los mensajes se comunican a través de múltiples modos como palabras, sonidos, gestos y colores. Analiza cómo diferentes medios como el habla, la escritura y las imágenes visuales utilizan códigos y recursos distintos. También describe conceptos clave como la prominencia, los vectores y la composición del espacio visual para analizar cómo se construye el significado a través de la combinación de diferentes modos en los mensajes.
Revision of classic media theorists
Here are some key points about Roland Barthes' concept of mythologies:
- Mythologies refers to the ways in which cultural products and practices come to be regarded as natural and taken-for-granted.
- Barthes was interested in unpacking the unstated assumptions and ideologies behind these cultural myths.
- He analyzed how ordinary objects, gestures, and images come to take on additional layers of meaning and symbolism (their connotations) beyond their literal functions.
- For example, a BMW connotes traits like ambition and success, while a Citroën 2CV implies environmentalism - even though they serve the same functional purpose as vehicles.
- Barthes' goal was to make the implicit
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The document provides an overview of the Impressionist art movement and Spanish painter Joaquín Sorolla. It describes how Impressionism developed in France in the mid-19th century in opposition to the dominant Academic style, focusing on painting outdoors and everyday subjects using visible brushstrokes and vibrant colors. It then profiles Sorolla, describing his background, Impressionist technique of capturing bright light, subject matter depicting Spanish coastal life, international success, and major commission to paint "The Vision of Spain."
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The document discusses genre theory and Christian Metz's claims about four developmental stages of genres: experimental, classical, parody, and deconstruction. It provides examples of music videos and film trailers that exemplify each of these stages. The experimental stage establishes the foundations and codes of a genre. The classical stage sees these codes become standardized. The parody stage involves mocking or playing with established conventions. The deconstruction stage breaks genre rules and blends genres.
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This document provides information about a British and American Film Topics summer examination for a course. It outlines the three sections of the exam, with Section B focusing on British film topics taught by Mrs. Raji. This section will focus on the horror genre, key elements of narrative and representation, and expectations for understanding two detailed case study films. The document also provides definitions and explanations of genre, codes and conventions, and how they construct meaning and audience experience. Key concepts for film analysis like institutions, representations, and ideology are also introduced.
FM2 Booklet Part 1
Here are some key narrative features that are distinctive in many horror films:
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- Isolation of characters in remote/confined settings that heightens their vulnerability.
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Genre+filmgenre
The document discusses genre across different art forms including literature, visual arts, music, and film. It provides definitions and explanations of genre, how genres are formed and evolve over time. In film, genres are categorized based on various elements like setting, theme, mood, format, and target audience. However, there is no fixed or definitive way to categorize genres as many films combine elements of different genres and defy conventions.
Genre
Genre theory examines texts and audience responses by categorizing works into genres based on common elements and conventions. Some key points of genre theory include that all genres have subgenres, genres evolve over time through negotiation between creators and audiences, and hybrid genres emerge that fuse elements of multiple genres. Analyzing genres considers both semantics, or iconography, as well as syntax, or how narrative elements work together.
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Genre theory
Genres have sets of recognizable features that help audiences understand what to expect in a given text. Audiences enjoy predicting what will happen based on their knowledge of genres, but also appreciate some unexpected elements to prevent boredom. Producers rely on genres to communicate easily with audiences. However, defining genres is difficult as they are dynamic and constantly evolving as elements from different genres combine to form new genres. Genre theory proposes that genres can be understood through their semantic or syntactic elements, with semantics referring to visual conventions and syntax referring to narrative structures and relationships between elements.
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Postmodernism lesson 1 introduces some of the basic ideas and concepts of postmodernism. It discusses the origins and key themes of postmodernism, including skepticism of grand narratives, blurring of boundaries between high and low art forms, and lack of originality through techniques like pastiche and intertextuality. The document explores concepts like hybridization, bricolage, and juxtaposition that are characteristic of postmodern works. It provides examples from film and art to illustrate self-reflexivity, parody, and how postmodernism questions what is considered real. The lesson aims to help students understand some of the defining features of postmodernism.
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This document discusses several key concepts related to media studies including genre, narrative, representation, and audience. It provides definitions and theories for each concept. For genre, it discusses how genres are developed and categorized. For narrative, it outlines different narrative structures and relevant theorists like Propp and Todorov. For representation, it discusses representation in media and relevant theories from thinkers like Berger and Willis. It also discusses stereotypes, ideology, and hegemony. For audience, it outlines different audience theories like the hypodermic needle model.
Postmodernism lesson 1
This document provides an introduction to postmodernism. It begins by discussing some previous artistic movements and "isms" that preceded postmodernism. It then addresses some of the key concepts of postmodernism, including an inability to create anything truly new, experimentation with existing forms, and a loss of clear distinctions between high and low art. The document goes on to define and provide examples of several postmodern features, such as pastiche, parody, intertextuality, and self-reflexivity. It concludes by discussing how postmodern artists attempt to create new works in a postmodern world and assigns the students a homework task analyzing a postmodern text using some of the key terms and concepts covered.
Audience pleasures 2
The document discusses various audience pleasures that are provided by television comedy shows. It lists 14 pleasures such as resolving narrative problems at the end of each episode, using relatable characters and situations, escapism, and familiar conventions. It then asks how these pleasures link to episodes of The Simpsons and Room 101 that the class watched. The pleasures of resolution, relatable themes, escapism and familiarity are highlighted as being particularly relevant to those two shows.
Film Genre
Genre is useful to film producers, distributors/marketers, and audiences for several reasons:
Producers like genre because it helps them minimize risk and predict costs and revenues. Genre films are also often easier to write, fund, and market. Distributors/marketers find that genre makes films easier to target and advertise to specific audiences. Audiences enjoy genre films because they provide familiar conventions and expectations while still offering surprises. Genre allows audiences to categorize films and experience themes and resolutions to fears or issues.
Genre Theory
This document introduces genre theory and key concepts about how genres are used to categorize different types of media texts. It discusses how genres share common narrative elements, visual styles, characters, and other features to help audiences identify and make sense of different types of texts. While genres provide a useful framework, the document also notes that genres are not rigid and can evolve and blend over time as new works push genre boundaries.
Film gen1b
Genres have been used to categorize art forms since their inception. While genre theory was formally studied beginning in the 1950s, films had been marketed based on genre from the early days of cinema. During the Classical Hollywood era, genres increased production efficiency as studios could reuse sets, crews, and stars across genre films of the same type, allowing them to identify and capture intended audiences through established conventions.
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The document outlines four styles of documentaries: expository, observational, interactive, and reflective. The expository style uses voiceovers to explain scenes and is suited to historical or nature topics. The observational style films subjects without interaction "like a fly on the wall." Interactive documentaries involve direct interviews but may edit out questions. Reflective documentaries experiment with construction and make no attempt to hide the filmmaking process.
Current affairs
These documents discuss the key differences between current affairs programs and documentaries, and provide guidance on structuring a documentary narrative. Documentaries take longer to produce than current affairs programs and do not have the same deadline pressures. An effective documentary relies on a clear narrative structure with a beginning, middle, and end, focusing on characters and conflicts. It also uses techniques like music, lighting, movement and visuals to enhance the narrative and elicit emotional responses from audiences.
Stereotypes
Richard Dyer argued that stereotypes narrow down groups to a few exaggerated characteristics that are then displayed in media. Stereotypes are about power and tend to stereotype groups without power more, such as gay men, non-white races, women, and the working class. Later theorists noted that stereotypes can act as media shorthand for quick audience recognition but also oversimplify groups and are more common in genres like advertising. Perkins argued that stereotypes are not always negative and contain elements of truth but media exaggeration of minority stereotypes is problematic.
Lesson
This document discusses genre theory and how it relates to magazines. It defines genre as the classification of media texts into categories based on similar characteristics and features. Genres have identifiable codes and conventions that audiences expect. The document discusses how genres can be hybrids that borrow elements from other genres. It also examines different scholars' perspectives on genre and how genres provide expectations and pleasures for audiences while also mitigating economic risks for producers.
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Evaluation question 3
The student gathered feedback from their primary audience (classmates) throughout the process of creating their short film. They would ask classmates to watch iterations of the film and provide input on how it could be improved. Based on this feedback, the student would make changes like altering sound effects or re-shooting scenes. Gathering frequent feedback in this way allowed the student to continuously improve the film. The student found it more difficult to get feedback and make changes based on input from their secondary audience on YouTube. Overall, the frequent feedback from the primary audience helped the student create a film that better met those viewers' preferences.
Narrative theory
The document discusses several narrative theories:
1. Todorov's theory states that narratives follow a circular structure of equilibrium, disruption, recognition of disorder, attempt to repair damage, and return to a new equilibrium. More than one disruption can occur.
2. Levi-Strauss analyzed binary oppositions that offer levels of meaning, like good vs evil. Derrida recognized that these are often unequal and enforce stereotypes.
3. Barthes concluded that a text can be interpreted in many ways and has "action codes" and "enigma codes" that allow audiences to understand and be engaged by the narrative.
Key concepts
This document defines genre as a category of artistic work defined by its form, content or technique. It also discusses genre as the expression or designation of a work through terms, characters or symbols. Finally, it mentions that genre considers the regular audience that supports a media text as well as the means and types of media used to create and distribute the text.
Andrew goodwin
The document discusses several key aspects of creating an effective music video: examining the structure and lyrics of the song; considering the artist's unique voice and image; and ensuring the narrative and performance enhance repeat viewing. Technical elements like camerawork, editing, lighting and special effects are also important to hold the video together and emphasize the song. Overall, the music video needs to have a coherent relationship with the song and promote the artist's image.
Genre theory research
The document discusses genre theory research. It defines a paradigm as a typical pattern or example and iconography as visual images and symbols used in art or their interpretation. It then lists examples of iconography and paradigms one might expect to find in genres like westerns, James Bond films, romantic comedies, horror films, science fiction, and thrillers. It provides synopses of the horror film "The Exorcist" and romantic comedy "27 Dresses" as examples. Finally, it discusses why genre is important for audiences and producers to market films but can also be a limiting factor if too generalized.
Reflective post
The document summarizes the student's experience in an AS media studies course and expectations for their A2 course. In the AS course, the student gained confidence using programs like Photoshop and saw significant improvement in their work. To improve, they would stick to deadlines better and do more research for their magazine genre. For A2, the student expects a challenging course but finds the briefs exciting. They will need to be proactive, meet deadlines, and thoroughly research genre theory to succeed.
Question 6
I have learned how to construct a blog and use various technologies like Blogger, SlideShare, Bubbl, Photosnack, and Dafont to create elements of a music magazine for my coursework. These programs allowed me to upload photos, videos, documents and mind maps to plan my magazine. Using Photoshop, I became more comfortable manipulating images and laying out magazine pages. Through taking photos with my camera and using lighting techniques, I captured shots that fit the indie folk genre for my front cover and spreads.
Question 1
This document discusses how the media product uses and develops conventions of real music magazines. It summarizes that the front cover includes codes like the masthead, tagline, cover lines, main image looking at the audience, and details at the bottom. The contents page lists stories and images along the right column. The double page spread focuses on the featured artist through a large image, details, and interview questions in columns with a handwritten font. Overall, the media product aims to follow real magazine conventions while adding personalized elements to suit its indie folk genre and model.
Magazine deconstruction
The document summarizes the design elements of a magazine cover featuring Adele, including the main color palette of red, white, and black; a gold puff that stands out; the Q logo in a red box with white lettering; a seductive image of Adele engaging with the audience using thirds composition; and minimal coverlines on the left with a barcode at bottom right. It also notes design consistencies to the back cover and differences in the interior pages' simpler layout and Adele's innocent pose.
Magazine deconstruction
The magazine cover features bright Rastafarian colors and an image of Bob Marley laughing to engage readers. The main image covers up the masthead to make Marley more prominent. Inside, a montage of vintage filtered pictures creates a retro feel, while key information is presented in red boxes that stand out against the white page. Throughout, the designers employ consistent colors and fonts to tie the different elements together into a cohesive promotional package for a Bob Marley album.
My genre indie folk
This document discusses the genre of indie folk music. It lists the top 10 music magazines and then provides details about indie folk, including that it arose in the 1990s as indie rock incorporated folk and country influences. It notes the typical clothing, environments, and focus on the main artist in indie folk music videos. Instruments commonly used in indie folk are also listed.
Music magazine cover, contents page & double page spread
The document discusses various codes and conventions used in the design and layout of a magazine cover and contents page. It analyzes the use of color, images, text features, and design elements and what meanings they communicate to the audience. Specifically, it notes the color scheme and placement of images and text on the cover suggests importance and engages the reader. It also discusses how the layout, fonts, and features used in the contents page help establish the magazine's style and provide information to readers.
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- 1. C H R I S T I A N M E T Z . GENRE THEORY.
- 2. WHO WAS HE? • A French film theorist. • Around from December 12th 1931 to September 7th 1993. • Of the belief genres go through a cycle of changes during their lifetime: 1. Experimental stage. 2. Classic stage. 3. Parody stage. 4. Deconstruction stage.
- 3. EXPERIMENTAL STAGE. • This is the beginning phases of the genre. • Here the foundations are built, so the generic codes and conventions are set.
- 4. CLASSIC STAGE. • This is where the codes and conventions of a genre become seen as iconic and idealised as the guidelines for the genre.
- 5. PARODY STAGE. • Now these codes and conventions are established, widely recognised and accepted they can be parody – people can use and mock them. • This is based on the fact the audience have understood the codes and conventions from the classic stage.
- 6. DECONSTRUCTION STAGE. • Now the genre can begin to evolve and merge with others. • Genres become less clear cut and the rules can be broken.