Exam 1 b audience
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The document discusses several theories of audience: 1) The Hypodermic Needle Model from the 1920s which viewed audiences as passive receivers who were easily manipulated by media creators. 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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Exam 1 b audience
This document discusses several theories of audience, including:
1. The hypodermic needle model which views audiences as passive receivers of media messages.
2. Reception theory and Stuart Hall's work on encoding/decoding media messages, including dominant, oppositional, and negotiated readings.
3. Uses and gratifications theory which sees audiences as active consumers seeking diversion, social interaction, identity formation, and information from media texts.
The document provides questions about understanding audience in media work and constructing texts to target specific audience needs.
Stuart hall reception theory
This document provides an overview of Stuart Hall's reception theory, which proposes that media texts can be decoded or interpreted in different ways by audiences. It discusses the three main ways an audience can understand a text: the dominant reading, where the audience interprets it as intended; the negotiated reading, a compromise interpretation; and the oppositional reading, where the audience rejects the preferred meaning. The document aims to help students understand and apply reception theory by creating an advert and considering how different audiences may interpret it dominantly, negotiatively, or oppositionally. It provides examples and guidance for students to complete tasks analyzing their own and others' adverts through this theoretical lens.
Reception theory (1)
Reception theory focuses on how the audience perceives and interacts with a work of art or media. It was originally a method for literary criticism but can be applied to other art forms like film. Reception theory explains that meaning comes from the interaction between the audience and the work, not from the work itself. The theory is relevant when creating media for both passive and active audiences, who will have different levels of engagement. Uses and gratification theory also examines audience reception but looks at why people choose certain media and what needs they fulfill, such as identity, education, entertainment, or social interaction. Understanding audience reception is important for creating successful products targeted at both active and passive groups.
Reception theory
This document provides an overview of reception theory, which emphasizes how audiences receive and interpret media texts. It explains that producers encode texts with intended meanings or messages, but audiences can decode them in different ways - either correctly understanding the message, rejecting it, or misunderstanding it. The document outlines Stuart Hall's three types of audience decoding: dominant/preferred, where the audience agrees with the producer's message; negotiated, where the audience selectively accepts or refines the message; and oppositional, where the audience recognizes but rejects the dominant meaning. Examples are given of each type of decoding for a hypothetical media production on cyberbullying.
Reception theory - Stuart Hall
Stuart Hall developed reception theory to explain how media texts are encoded by producers with intended messages but are subject to different interpretations by audiences. Audiences may have a dominant, negotiated, or oppositional reading: a dominant reading accepts the producer's message; a negotiated reading accepts and questions the message; an oppositional reading rejects the intended message and develops their own. Reception theory emphasizes that meanings are made through the interaction between texts and readers rather than being fixed.
Hall's Reception theory
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.
Reception theory
Reception theory proposes that media texts are encoded with meanings by their producers but are decoded by audiences in potentially different ways. Audiences may decode meanings in the dominant way intended by producers. However, audiences may also negotiate meanings that only partially align with producers or take oppositional positions that reject producers' meanings. Factors like life experiences, beliefs, age, culture, gender affect how audiences decode meanings.
4. audience reception
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.
- How audience consumption has changed from mass audiences of broadcast media to narrowcast and peer-to-peer sharing as audiences fragment across multiple platforms.
Recommended
Exam 1 b audience
This document discusses several theories of audience, including:
1. The hypodermic needle model which views audiences as passive receivers of media messages.
2. Reception theory and Stuart Hall's work on encoding/decoding media messages, including dominant, oppositional, and negotiated readings.
3. Uses and gratifications theory which sees audiences as active consumers seeking diversion, social interaction, identity formation, and information from media texts.
The document provides questions about understanding audience in media work and constructing texts to target specific audience needs.
Stuart hall reception theory
This document provides an overview of Stuart Hall's reception theory, which proposes that media texts can be decoded or interpreted in different ways by audiences. It discusses the three main ways an audience can understand a text: the dominant reading, where the audience interprets it as intended; the negotiated reading, a compromise interpretation; and the oppositional reading, where the audience rejects the preferred meaning. The document aims to help students understand and apply reception theory by creating an advert and considering how different audiences may interpret it dominantly, negotiatively, or oppositionally. It provides examples and guidance for students to complete tasks analyzing their own and others' adverts through this theoretical lens.
Reception theory (1)
Reception theory focuses on how the audience perceives and interacts with a work of art or media. It was originally a method for literary criticism but can be applied to other art forms like film. Reception theory explains that meaning comes from the interaction between the audience and the work, not from the work itself. The theory is relevant when creating media for both passive and active audiences, who will have different levels of engagement. Uses and gratification theory also examines audience reception but looks at why people choose certain media and what needs they fulfill, such as identity, education, entertainment, or social interaction. Understanding audience reception is important for creating successful products targeted at both active and passive groups.
Reception theory
This document provides an overview of reception theory, which emphasizes how audiences receive and interpret media texts. It explains that producers encode texts with intended meanings or messages, but audiences can decode them in different ways - either correctly understanding the message, rejecting it, or misunderstanding it. The document outlines Stuart Hall's three types of audience decoding: dominant/preferred, where the audience agrees with the producer's message; negotiated, where the audience selectively accepts or refines the message; and oppositional, where the audience recognizes but rejects the dominant meaning. Examples are given of each type of decoding for a hypothetical media production on cyberbullying.
Reception theory - Stuart Hall
Stuart Hall developed reception theory to explain how media texts are encoded by producers with intended messages but are subject to different interpretations by audiences. Audiences may have a dominant, negotiated, or oppositional reading: a dominant reading accepts the producer's message; a negotiated reading accepts and questions the message; an oppositional reading rejects the intended message and develops their own. Reception theory emphasizes that meanings are made through the interaction between texts and readers rather than being fixed.
Hall's Reception theory
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.
Reception theory
Reception theory proposes that media texts are encoded with meanings by their producers but are decoded by audiences in potentially different ways. Audiences may decode meanings in the dominant way intended by producers. However, audiences may also negotiate meanings that only partially align with producers or take oppositional positions that reject producers' meanings. Factors like life experiences, beliefs, age, culture, gender affect how audiences decode meanings.
4. audience reception
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.
- How audience consumption has changed from mass audiences of broadcast media to narrowcast and peer-to-peer sharing as audiences fragment across multiple platforms.
Audience Theory
A2 Media Studies Audience Theory Research.
Disclaimer: Information collated from the work of KippMajors.
Reception theory-audience-response-stuart-hall-1980
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.
Reception theory
Reception theory proposes that media texts are encoded by their creators but decoded by audiences in potentially different ways. Audiences can have dominant, negotiated, or oppositional readings of a text based on their agreement, partial agreement, or disagreement. The theory sees audiences as active interpreters based on their own cultural backgrounds rather than passive receivers of meaning. Critics argue it gives audiences too much credit and does not consider the intentional encoding of messages by media creators.
Stuart hall (1980) audience reception theory
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.
Audience reception theory
The document discusses different theories of audience reception, including the effects model which argues media has negative influence over passive audiences, and the uses and gratifications model which argues audiences actively use media for their own gratification. It focuses on audience reception theory developed by Stuart Hall, which proposes that media producers encode meanings in texts, while audiences can decode them in three ways: dominant/preferred if they agree with the producer's meaning, negotiated if they refine elements based on prior views, or oppositional if they recognize but reject the dominant meaning.
1. an introduction to audiences
The document discusses audiences for media texts. It defines an audience as individuals or groups that consume media. Audiences can be mass or niche. Mass audiences consume mainstream popular texts, while niche audiences are smaller but influential groups with unique interests. Categorizing audiences is important for targeting advertising and understanding who consumes what types of media texts. New technologies have fragmented audiences across multiple platforms. Researchers use both quantitative and qualitative methods to measure and understand audience sizes and characteristics.
The Media Reception Theory:
This theory focuses on the idea that audiences are active in interpreting media rather than passive. Research in the 1980s and 1990s looked at how individuals receive and understand texts differently based on their personal characteristics like gender, age, class, and ethnicity. Stuart Hall's encoding/decoding model proposed that a text is encoded by its producer but decoded by audiences, who may interpret it differently. Hall identified three potential reception models: dominant/hegemonic readings that accept the preferred meaning, negotiated readings that modify the meaning somewhat, and oppositional readings that reject the preferred meaning using an alternative perspective.
G235 1b) Audience
The document provides guidance for answering an exam question about analyzing a media production using audience theories. It summarizes five key audience theories:
1) The Hypodermic Needle Model which views audiences as passive receivers of media messages.
2) Stuart Hall's Encoding/Decoding model which sees audiences interpret media through dominant, oppositional, or negotiated readings.
3) Uses and Gratifications theory which views audiences as actively choosing media to fulfill needs like diversion or social interaction.
4) Effects theory which examines potential impacts of violent media on aggressive thoughts and behaviors.
5) Moral panics which argue media scares can reveal adult anxieties more than real threats.
Students
Audiance reception theory
Stuart Hall developed encoding/decoding theory to explain how audiences receive media messages differently based on their own experiences and viewpoints. Encoding refers to how media producers develop messages, while decoding is how audiences interpret and make meaning from those messages. Hall argued that the intended meaning is not fixed, as audiences can decode messages in preferred, negotiated, or oppositional ways depending on their sociological factors. Examples like Disney princess films often elicit a preferred reading where the audience agrees with the producer's encoding, while the Teletubbies television show decoding led to some oppositional readings that disagreed with the initial encoding.
Audience
The document discusses theories about how media texts target audiences and how audiences interact with media. It describes several theories:
1. Target audience theory which holds that media producers identify an intended audience during planning and design media texts to appeal to that audience.
2. Uses and gratifications theory which suggests that audiences are active and choose media to fulfill needs like information, entertainment, social interaction rather than being passively influenced.
3. Hypodermic syringe/mass audience theory which argues media directly influences passive audiences like ideas being injected, but this view is now seen as too simplistic.
Stuart Hall’s Reception Theory
The document discusses three ways that an audience can decode media texts:
1) Dominant/preferred reading: The audience decodes the text as intended by the producer.
2) Negotiated reading: The audience accepts the producer's views but also has their own interpretation.
3) Oppositional reading: The audience rejects the producer's intended meaning and creates their own interpretation, often opposing the producer's messages and ideology.
Reception theory
This document discusses reception theory and the idea of an active audience. It explains that early theories viewed audiences as passive receivers of media messages, but research has shown that audiences are more active. Audiences selectively choose media texts for different purposes like entertainment, information, or identity exploration. Reception theory looks at how individual factors like gender, class, and ethnicity influence how audiences interpret and make meaning from media texts. The document also discusses Stuart Hall's encoding/decoding model and the idea that producers aim to position audiences to have a preferred reading through using recognizable codes and conventions, but audiences may decode messages differently than intended.
The reception theory
Stuart Hall developed an approach to audience analysis in the 1970s that considered how media texts are encoded with meaning by producers and then decoded by audiences. Hall identified three types of audience decoding: dominant/preferred, where the audience agrees with the producer's message; negotiated, where the audience accepts or refines parts of the message; and oppositional, where the audience recognizes but rejects the dominant meaning for their own reasons.
Audienceforq1b
This document discusses audience and reception theory in media studies. It explains that reception theory views the audience as active interpreters of media rather than passive receivers. The key concept discussed is Stuart Hall's encoding/decoding model, which proposes that audiences can take preferred, negotiated, or oppositional readings of a media text based on their own experiences and perspectives. The document uses Hall's model to analyze how different audiences might interpret representations in a TV drama trailer differently.
5. active and passive audiences
This document discusses different types of media audiences and theories about how audiences interact with media. It addresses television and film audiences, techniques used to appeal to audiences, and whether audiences are passive or active. It also covers several media effects theories: the hypodermic needle theory which sees audiences as entirely passive; the two-step flow theory which involves opinion leaders influencing others; and cultivation theory which proposes media shape beliefs over long periods of exposure. The document also discusses uses and gratifications theory and its limitations, as well as defining target audiences.
Audience theory
This document discusses various theories about how audiences engage with and are impacted by media texts. It presents early theories that viewed audiences as passive receivers, versus more active models where audiences seek to engage with and make meaning from media. It also covers effects theories like hypodermic needle theory, cultivation theory, and copycat theory. Additionally, it introduces uses and gratification theory, which examines what needs and gratifications audiences seek from different media, such as cognitive needs, affective needs, tension release, personal identity, and social issues. Reception analysis and ethnography view audiences as active meaning-makers based on their social identities and positions.
Owl persuasive writing
This document provides guidance on effective persuasion and developing persuasive documents. It discusses understanding the audience, researching the issue from multiple sides, supporting your own perspective with credible sources, establishing your credibility, and avoiding certain tactics like lecturing or threatening the audience. The key steps are to understand your audience, support your opinion with strong evidence, address counterarguments respectfully, find common ground, and establish your credibility through professional language and citing reputable sources accurately.
Section A audience
The document discusses several theories of media audiences, including reception theory which states that audiences interpret media texts in different ways based on their own experiences and perspectives, rather than just accepting the producer's intended meaning. It also examines the hypodermic needle theory, which suggests audiences passively accept messages from media, and uses and gratifications theory, which proposes that audiences actively engage with media to fulfill various needs and desires.
Audience 2013
The document discusses audiences for media products. It explains that media institutions categorize audiences based on demographics like age, gender, socioeconomic status to target specific groups. Producers develop a profile of their intended target audience, whether it be teenagers, families, etc. The document also discusses how audiences can interpret media texts in different ways depending on their own perspectives and backgrounds. Media producers are aware that the same content can have polysemic meanings for different audience groups. Overall, the document outlines how media institutions analyze audiences and aim their products at specific target demographics.
Audience Positioning Unit 1 Representations
The document discusses how audiences are positioned when consuming media texts. It identifies several elements that help define audience positioning, including the camera position, mode of address, and whether the gaze is from a male or female perspective. It provides examples of different modes of address and the implied audience roles and relationships that result. The document also discusses reception theory and how audiences can have preferred, negotiated, or oppositional readings of media texts. It concludes by defining open, closed, and polysemic texts and how they allow for varying levels of interpretation.
Evaluation question 5
The document summarizes the design choices made for a music magazine, including:
1) Choosing to feature the influential band Nirvana and using a circle to highlight articles.
2) Naming the magazine "Morning Glory" because it's amusing and appeals to the target audience of teenage boys.
3) Using large features like exclusives to attract fans to buy the magazine.
Rhys qu 1
The document discusses how the media product of a music magazine challenges conventions of real magazines. Specifically:
- The masthead and central front cover image were styled after "Classic Rock" magazine for simplicity and an engaging look.
- The double page spread layout resembles one from a 2012 issue of "Classic Rock" with large central images.
- Camera shots and angles mirror those of "Classic Rock" to demonstrate conventions, such as medium shots of models looking at the reader.
- Elements like contents page lettering and model styling were chosen for readability and a rock aesthetic. The goal was to mirror real magazine conventions while using a simple style.
More Related Content
What's hot
Audience Theory
A2 Media Studies Audience Theory Research.
Disclaimer: Information collated from the work of KippMajors.
Reception theory-audience-response-stuart-hall-1980
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.
Reception theory
Reception theory proposes that media texts are encoded by their creators but decoded by audiences in potentially different ways. Audiences can have dominant, negotiated, or oppositional readings of a text based on their agreement, partial agreement, or disagreement. The theory sees audiences as active interpreters based on their own cultural backgrounds rather than passive receivers of meaning. Critics argue it gives audiences too much credit and does not consider the intentional encoding of messages by media creators.
Stuart hall (1980) audience reception theory
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.
Audience reception theory
The document discusses different theories of audience reception, including the effects model which argues media has negative influence over passive audiences, and the uses and gratifications model which argues audiences actively use media for their own gratification. It focuses on audience reception theory developed by Stuart Hall, which proposes that media producers encode meanings in texts, while audiences can decode them in three ways: dominant/preferred if they agree with the producer's meaning, negotiated if they refine elements based on prior views, or oppositional if they recognize but reject the dominant meaning.
1. an introduction to audiences
The document discusses audiences for media texts. It defines an audience as individuals or groups that consume media. Audiences can be mass or niche. Mass audiences consume mainstream popular texts, while niche audiences are smaller but influential groups with unique interests. Categorizing audiences is important for targeting advertising and understanding who consumes what types of media texts. New technologies have fragmented audiences across multiple platforms. Researchers use both quantitative and qualitative methods to measure and understand audience sizes and characteristics.
The Media Reception Theory:
This theory focuses on the idea that audiences are active in interpreting media rather than passive. Research in the 1980s and 1990s looked at how individuals receive and understand texts differently based on their personal characteristics like gender, age, class, and ethnicity. Stuart Hall's encoding/decoding model proposed that a text is encoded by its producer but decoded by audiences, who may interpret it differently. Hall identified three potential reception models: dominant/hegemonic readings that accept the preferred meaning, negotiated readings that modify the meaning somewhat, and oppositional readings that reject the preferred meaning using an alternative perspective.
G235 1b) Audience
The document provides guidance for answering an exam question about analyzing a media production using audience theories. It summarizes five key audience theories:
1) The Hypodermic Needle Model which views audiences as passive receivers of media messages.
2) Stuart Hall's Encoding/Decoding model which sees audiences interpret media through dominant, oppositional, or negotiated readings.
3) Uses and Gratifications theory which views audiences as actively choosing media to fulfill needs like diversion or social interaction.
4) Effects theory which examines potential impacts of violent media on aggressive thoughts and behaviors.
5) Moral panics which argue media scares can reveal adult anxieties more than real threats.
Students
Audiance reception theory
Stuart Hall developed encoding/decoding theory to explain how audiences receive media messages differently based on their own experiences and viewpoints. Encoding refers to how media producers develop messages, while decoding is how audiences interpret and make meaning from those messages. Hall argued that the intended meaning is not fixed, as audiences can decode messages in preferred, negotiated, or oppositional ways depending on their sociological factors. Examples like Disney princess films often elicit a preferred reading where the audience agrees with the producer's encoding, while the Teletubbies television show decoding led to some oppositional readings that disagreed with the initial encoding.
Audience
The document discusses theories about how media texts target audiences and how audiences interact with media. It describes several theories:
1. Target audience theory which holds that media producers identify an intended audience during planning and design media texts to appeal to that audience.
2. Uses and gratifications theory which suggests that audiences are active and choose media to fulfill needs like information, entertainment, social interaction rather than being passively influenced.
3. Hypodermic syringe/mass audience theory which argues media directly influences passive audiences like ideas being injected, but this view is now seen as too simplistic.
Stuart Hall’s Reception Theory
The document discusses three ways that an audience can decode media texts:
1) Dominant/preferred reading: The audience decodes the text as intended by the producer.
2) Negotiated reading: The audience accepts the producer's views but also has their own interpretation.
3) Oppositional reading: The audience rejects the producer's intended meaning and creates their own interpretation, often opposing the producer's messages and ideology.
Reception theory
This document discusses reception theory and the idea of an active audience. It explains that early theories viewed audiences as passive receivers of media messages, but research has shown that audiences are more active. Audiences selectively choose media texts for different purposes like entertainment, information, or identity exploration. Reception theory looks at how individual factors like gender, class, and ethnicity influence how audiences interpret and make meaning from media texts. The document also discusses Stuart Hall's encoding/decoding model and the idea that producers aim to position audiences to have a preferred reading through using recognizable codes and conventions, but audiences may decode messages differently than intended.
The reception theory
Stuart Hall developed an approach to audience analysis in the 1970s that considered how media texts are encoded with meaning by producers and then decoded by audiences. Hall identified three types of audience decoding: dominant/preferred, where the audience agrees with the producer's message; negotiated, where the audience accepts or refines parts of the message; and oppositional, where the audience recognizes but rejects the dominant meaning for their own reasons.
Audienceforq1b
This document discusses audience and reception theory in media studies. It explains that reception theory views the audience as active interpreters of media rather than passive receivers. The key concept discussed is Stuart Hall's encoding/decoding model, which proposes that audiences can take preferred, negotiated, or oppositional readings of a media text based on their own experiences and perspectives. The document uses Hall's model to analyze how different audiences might interpret representations in a TV drama trailer differently.
5. active and passive audiences
This document discusses different types of media audiences and theories about how audiences interact with media. It addresses television and film audiences, techniques used to appeal to audiences, and whether audiences are passive or active. It also covers several media effects theories: the hypodermic needle theory which sees audiences as entirely passive; the two-step flow theory which involves opinion leaders influencing others; and cultivation theory which proposes media shape beliefs over long periods of exposure. The document also discusses uses and gratifications theory and its limitations, as well as defining target audiences.
Audience theory
This document discusses various theories about how audiences engage with and are impacted by media texts. It presents early theories that viewed audiences as passive receivers, versus more active models where audiences seek to engage with and make meaning from media. It also covers effects theories like hypodermic needle theory, cultivation theory, and copycat theory. Additionally, it introduces uses and gratification theory, which examines what needs and gratifications audiences seek from different media, such as cognitive needs, affective needs, tension release, personal identity, and social issues. Reception analysis and ethnography view audiences as active meaning-makers based on their social identities and positions.
Owl persuasive writing
This document provides guidance on effective persuasion and developing persuasive documents. It discusses understanding the audience, researching the issue from multiple sides, supporting your own perspective with credible sources, establishing your credibility, and avoiding certain tactics like lecturing or threatening the audience. The key steps are to understand your audience, support your opinion with strong evidence, address counterarguments respectfully, find common ground, and establish your credibility through professional language and citing reputable sources accurately.
Section A audience
The document discusses several theories of media audiences, including reception theory which states that audiences interpret media texts in different ways based on their own experiences and perspectives, rather than just accepting the producer's intended meaning. It also examines the hypodermic needle theory, which suggests audiences passively accept messages from media, and uses and gratifications theory, which proposes that audiences actively engage with media to fulfill various needs and desires.
Audience 2013
The document discusses audiences for media products. It explains that media institutions categorize audiences based on demographics like age, gender, socioeconomic status to target specific groups. Producers develop a profile of their intended target audience, whether it be teenagers, families, etc. The document also discusses how audiences can interpret media texts in different ways depending on their own perspectives and backgrounds. Media producers are aware that the same content can have polysemic meanings for different audience groups. Overall, the document outlines how media institutions analyze audiences and aim their products at specific target demographics.
Audience Positioning Unit 1 Representations
The document discusses how audiences are positioned when consuming media texts. It identifies several elements that help define audience positioning, including the camera position, mode of address, and whether the gaze is from a male or female perspective. It provides examples of different modes of address and the implied audience roles and relationships that result. The document also discusses reception theory and how audiences can have preferred, negotiated, or oppositional readings of media texts. It concludes by defining open, closed, and polysemic texts and how they allow for varying levels of interpretation.
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Evaluation question 5
The document summarizes the design choices made for a music magazine, including:
1) Choosing to feature the influential band Nirvana and using a circle to highlight articles.
2) Naming the magazine "Morning Glory" because it's amusing and appeals to the target audience of teenage boys.
3) Using large features like exclusives to attract fans to buy the magazine.
Rhys qu 1
The document discusses how the media product of a music magazine challenges conventions of real magazines. Specifically:
- The masthead and central front cover image were styled after "Classic Rock" magazine for simplicity and an engaging look.
- The double page spread layout resembles one from a 2012 issue of "Classic Rock" with large central images.
- Camera shots and angles mirror those of "Classic Rock" to demonstrate conventions, such as medium shots of models looking at the reader.
- Elements like contents page lettering and model styling were chosen for readability and a rock aesthetic. The goal was to mirror real magazine conventions while using a simple style.
Luke question 5
The document discusses design choices for the front cover of a magazine. It explains that black and red colors were used to give the magazine style and vibrancy. Larger images and text are used to draw attention to key stories and the main subject of the cover. Different formatting of text, sizes, fonts, and colors are intended to highlight important information and grab readers' attention.
Mode magazine 3
This magazine article discusses the band 30 Seconds to Mars, including their formation in 1998, early struggles to gain recognition, and breakthrough success with their 2005 album "A Beautiful Lie". The band is known for their high-energy live performances and fusion of different music genres. They have attracted a wide audience, especially among teenagers, with their spiritual and philosophical lyrics. The article also previews their new world tour and includes an interview excerpt from brothers Jared and Shannon Leto on how they worked hard to promote their music before achieving fame.
Poppy question 7
The document summarizes the learning and improvements the author has made from an original preliminary task to creating a magazine in Photoshop. Some key lessons learned were using gridlines to keep layouts neat and tidy, filling all spaces with text or images, cropping photos clearly, and understanding how to fully utilize Photoshop tools. The author felt their contents page and double page spread were stronger because they incorporated more design elements, kept a consistent color scheme, used bold formatting to draw the eye, and arranged elements in a visually engaging manner that followed magazine conventions. Overall the author's Photoshop and design skills grew significantly from their initial task to the final magazine project.
Poppy question one evaluation
The document discusses the design choices made for various elements of a magazine mock-up. For the masthead, the designer was inspired by the Harley Davidson logo and adapted its shape and colors to create their own unique design. For the double page spread, they based it on a Florence Welch spread but changed elements like the model's pose and added a new photo. Fonts and positioning were also altered while keeping a column format. Color schemes of gold, black, and red were chosen to create a "metal feel" and were reflected throughout elements like an image edit and a model's top color.
Nathan evaluation q1
My magazine is based on the conventions of Kerrang magazine. The masthead, bold lettering on the front cover, and color scheme using red are similar to Kerrang to signal the metal genre. The contents page layout matches Kerrang by using photos at the top and listing contents at the bottom with a similar number of columns. A double page spread is also modeled after another magazine by featuring an interview with the person on one side and their Q&A on the other, though the colors for questions and answers are reversed. The magazine challenges conventions by using darker colors instead of Kerrang's bright yellow tone.
Poppy question 4
The document discusses the target audience for a rock music magazine. It describes the audience as middle class individuals who are into rock music and often wear dark or red clothing. The models featured in the magazine are shown wearing similar styles of plain clothing and facial expressions to reflect this target audience. While maintaining the core rock style with colors like black and red, one page features a slightly different color scheme like another magazine to potentially attract a broader audience. Consistency in the magazine's color palette and house style is important to attracting the intended target readership.
Evaluating questionnaire
The document summarizes the responses from a survey about ideas for a romantic comedy (rom-com) movie trailer. Key points:
- The survey respondents were mostly female and asked about their interest in rom-coms.
- Popular rom-com movies like "Love Actually" and "Notting Hill" were cited as favorites.
- Respondents seemed open to a typical rom-com storyline and showing the downsides of love.
- Filming on school premises may be difficult since most said no. Music preferences were for pop and indie genres.
Exam 1 b narrative
This document provides an overview of various narrative theories and concepts, including:
- Plot vs narrative and how audiences decode narrative
- Time and location manipulation techniques
- Propp's approach of 31 possible narrative stages and 7 character roles
- Todorov's 5 stages of narrative equilibrium disruption and restoration
- Levi-Strauss' concept of narratives being organized around binary opposites
- Barthes' action and enigma codes
It concludes by posing questions about applying these concepts to analyzing one's own work.
Question 1
The document summarizes the design conventions used in the student's rap magazine project. For the masthead, conventions from another rap magazine were used, including a bold black masthead to portray the strong and violent nature of the rap genre. Names on the contents page are written in bold, colorful fonts for noticeability and importance. The double page spread layout layers a picture on one page and writing on the other, similarly to conventions in another rap magazine, with a pull quote the student created themselves about Eminem.
Analysing double page spreads
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Exam 1 b audience
- 1. Learning Objectives: • Learn a variety of theories on audience. • Understand how to answer question 1b on audience. • Decide which of your productions you would write about for a question on audience.
- 2. The Hypodermic NeedleModel The Hypodermic Needle Model • 1920s attempt to explain how mass audiences might react to mass media • Audiences passively receive the information • Audiences do not process or challenge the data so the information is unmediated .
- 3. The Hypodermic Needle Model • As an audience, we are manipulated by the creators of media texts, and our behaviour can be easily changed by media- makers • Audience are passive and heterogenous • This model is quoted during moral panics
- 4. Stuart hall and reception theory
- 5. McDonalds want you to think....
- 6. You may agree Or..... You may disagree
- 7. Or..... You may think that big macs do taste good, but I’ll only have them every now and again
- 8. So here we have three separate readings of that one advert
- 9. The preferred or dominant reading is the reading media producers hope audiences will take from the text.
- 10. The audience may reject the preferred reading, receiving their own alternative message. This is an opposition reading.
- 11. Negotiated reading is when audiences acknowledge the preferred reading, but modify it to suit their own values and opinions – a compromise.
- 12. Stuart Hall – Encoding/Decoding • Dominant – ‘flag waving patriot who responds to George Bush’s latest speech’. • Oppositional – ‘the pacifist who understands the speech but rejects it’. • Negotiated – ‘the viewer who agrees with the need for a response to Sept. 11th but doesn’t agree to the military means announced’.
- 13. Uses & Gratifications • 1960s – generation had grown up with TV • audiences make choices about what they do when consuming texts • audiences made up of individuals who actively consume texts for different reasons and in different ways
- 14. Uses & Gratifications Blumer and Katz (1974) state a text might be used for the following purposes: • Diversion - escape from everyday problems and routine. • Personal Relationships - using the media for emotional and other interaction, eg) substituting soap operas for family life • Personal Identity - finding yourself reflected in texts, learning behaviour and values from texts • Surveillance - Information which could be useful for living eg) weather reports, financial news, holiday bargains
- 15. Audience • How useful is the concept of audience in understanding your work? • Who is your target audience? How did you develop your target audience? • How does your production appeal to your target audience? • What uses and gratifications will the target audience get from the production?
- 16. Sample Question “Media texts will never be successful unless they are carefully constructed to target established audience needs or desires.” Evaluate the ways that you constructed your media text to target a specific audience.