Key Concepts in Media Studies Lecture 3 SemioticsMarcus Leaning
An introductory lecture on semiotics covering concepts such as the sign, signifier, signified, referent, paradigmatic and syntagmatic analysis, indexical, iconic and symbolic signs.
Given as part of the Key Concepts in Media Studies 1st year module of the BA (hons) Media Studies at the University of Winchester in the UK.
Examining Media and Ideology. Our starting point "media and Ideology" chapter from the book Media society: industries, images, and audiences
by David Croteau, William Hoynes.
Key Concepts in Media Studies Lecture 3 SemioticsMarcus Leaning
An introductory lecture on semiotics covering concepts such as the sign, signifier, signified, referent, paradigmatic and syntagmatic analysis, indexical, iconic and symbolic signs.
Given as part of the Key Concepts in Media Studies 1st year module of the BA (hons) Media Studies at the University of Winchester in the UK.
Examining Media and Ideology. Our starting point "media and Ideology" chapter from the book Media society: industries, images, and audiences
by David Croteau, William Hoynes.
EX)My ConclusionI have suggested that we should engage and be en.docxmodi11
EX)
My Conclusion
I have suggested that we should engage and be engaged by those persons who see and understand the world differently from those who sit comfortably within a dominant we society so that we might (re)imagine or discover a new place for democratic politics. And as film-goers who find ourselves more susceptible emotionally to the stimuli presented in a movie theatre, we can at times experience vicariously, yet deeply, the events, the stories, the lives of those who are different from ourselves. As individuals living in a multicultural and diverse society we should consider opening ourselves up to and welcoming such engagement and the possibilities for personal transformation in our individual sensibilities. Such a transformation might occur when one considers and compares the experiences of his or her life and the impact of those experiences on his or her identity next to those raw materials that make-up or construct the identity(ies) of those who are different from them, specifically those who have been marginalized, disregarded, and silenced by a dominant we society. I have suggested that when one truly sees Other, sees and hears the stories of difference crafted and told by the Other in film, one might come to respect the different voices and stories of those lives and thus allow him or herself to see and experience life from a new position, a transformed sensibility, where politics transcend convention. In other words, when we consider our lives next to those who are different from us, when we frame those different human stories next to our own personal human narrative we may come to understand how a particular human uncertainty and vulnerability informs all of our lives.
Question)
In 300-500 words share whether or not you believe film has the potential to transform one’s political sensibilities.
And if you believe that your personal sensibilities have been (re)shaped or transformed by a particular film, say so.
The objective here is to share your thoughts pertaining to the major thesis presented in Democracy and Difference.
It should be original work and no citation!!
It should be done within a day!!
...
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
2. Overview of Theory
– Representation in TV drama is different to that in Film and News
due to the formal conventions of TV drama:
• series & serials / mid shots, close ups, 2 and 3 shots to establish
identities and camera movement to focus on individuals
– The actors become physical embodiments of the characters they
play (can be difficult to distinguish between the actor and
character) and blur reality
– The repeated representation of the characters invites audience
members to identify with the different characters
– Which characters we identify with will depend on our own social
and cultural experience and background
– This process of identification surpasses TV representations as
simply ideological (repressive dominant ideology) and allows
active audience participation
• Audiences make meaning from their reading of characters based upon
their own individual experience – do they identify with the
characters? Are they like them or different to them?
3. Idea 1
TV audiences have unique relationships with the
representation of characters compared to other Media forms
due to the structure of TV series, stylistic conventions and
developed familiarity with a programme’s characters:
“the constant repetition of a character means that characters “live” in
similar time scales to their audience. They have a past, a present and a
future that appear to exceed their textual existence, so that audience
members are invited to relate to them in terms of familiarity and
identification…this offers the viewer a quite different relationship to the
character from that offered by film, where the end of the film is normally
the end of the character.”
4. Idea 2
“The representation of characters in TV drama is a complex form of
representation” for it is constructed by:
– the text (use of mid shots, close ups, two and 3 shots etc…)
– the narrative (role of the character in the way the plot develops)
– the body of the player (what the actor looks like), and
– The performance of the actor.
“Reading character requires the viewer to negotiate…that boundary
between the representation and the real and the ideological
relationship between them”
• This negotiation must be conducted in two ways:
1. the relationship between the real world of the player and the
represented one of the character and
2. the real world of the viewer and that of the character /player they
watch
5. Idea 2 model
Stereotypical
individual
characteristics
of represented
character
Social values &
ideology
embedded in
representation
of the character
Constructed Representation by the writers & producers
Physical
appearance
of actor
playing the
character
Audience Readings of Representation
THE CHARACTER
6. Idea 3
TV audiences are invited to see characters as ‘real’.
Individual characters are given some stereotypical
characteristics, they may be like someone we know or
have known and we gain pleasure from seeing how they
experience their ‘lives’:
“Realism proposes that a character represents a real person.
The text provides us with adequate pointers to the
characteristics of the person being portrayed: we, the
viewers, then call upon our life experience of understanding
real people…to fill out the characteristics in our imagination
so that we make the character into a “real” person whom we
“know” and has a “life” outside the text”
7. Idea 4
Characters in TV drama are read as individuals but also the representation of social
positions and the values embodied in them. Audiences are made up of different
people with different viewpoints so how they read a representation of young people
will depend on their own experience of young people.
“understanding of character is polysemic…a character is a set of values
that are related through…similarity and difference to other characters.
“Many viewers report that one of the main sources of the pleasure of
television is the opportunities it offers to identify with certain other
characters, to share their emotions and experiences…Imagining how he or
she would have behaved had they been in a character’s shoes at a
particular moment [is] an active identification that has the reader sharing
the role of the writer.”
“The viewer is less a subject of the dominant ideology and more in
control of the process of identification through his or her own meanings.
Finding pleasure in TV is connected to liking and disliking…the real and
unreal. [Audiences] judge characters on how real they seemed but the
characters they like appear more real than those they dislike”
8. Idea 5
Any viewer may find in her / himself a number
of points of relationship with the personal /
social and ideological values seen in any
character:
“A viewer implicates him / herself with a character when that
character is in a similar social situation or embodies similar social
values to the viewer, and this implication offers the reward of
pleasure. They allow space for the viewer to read character and
incident as bearers of social value and thus to negotiate readings
that relate to his or her social position