This document provides information about music video genre theory and audience theory for a media studies exam. It discusses various theorists' perspectives on music video genres and conventions. It also explores concepts around audience theory, such as uses and gratifications, encoding/decoding, and active/passive audiences. Examples of music videos are analyzed in relation to concepts like representation, gender, and genre. Homework assignments involve applying these theories to analyze specific music videos.
This document provides guidance for students taking a media studies exam focusing on theoretical evaluation of coursework. It discusses spending 30 minutes each answering questions about developing skills from AS to A2 levels and analyzing a coursework product using a theoretical concept. Students are advised to discuss progress, use examples and terminology for the first question and demonstrate understanding of theory, relating it to examples for the second question. The document also covers genre and representation theory for music videos, noting common conventions like focusing on the artist, voyeurism, intertextuality and linking visuals to lyrics/music. Specific music videos are listed as examples to analyze for representations of gender, stereotypes and other social groups.
This document provides guidance for answering Section A questions on the A2 Media Studies exam. It discusses the requirements for answering questions 1(a) and 1(b). For 1(a), students must discuss the development of their skills from AS to A2 in relation to aspects like digital technology, creativity, research and planning, or post-production. They should refer to specific examples from their coursework and use relevant terminology. For 1(b), students must select one of their coursework pieces and analyze it using a specified theoretical concept such as narrative, audience, genre, representation, or media language. They should demonstrate understanding of the theory and relate it to examples from their chosen piece.
This document provides tasks and theory related to analyzing music videos and genres for a media studies course. It includes tasks to analyze codes and conventions in different music video genres, examine narrative and performance approaches in sample videos, explore representation of social groups in various genres, and conduct a close analysis of a music video using relevant theory. The document also discusses theories related to genre from scholars like Robert Stam, Rick Altman, and Andrew Goodwin. Students are asked to apply these theories to their own video productions and examine how genres may be defined, conventions established, and meanings negotiated between text and audiences.
The document provides information about music video production, including the purposes of music videos, styles and techniques used, and a case study analysis. It discusses how music videos aim to entertain, promote the artist's brand, and increase sales. Common techniques include different camera shots and editing to set mood. Genre conventions also influence visual style. The case study analyzes several Katy Perry videos, noting examples of intertextuality, camerawork, and how they represent pop music conventions while challenging gender norms.
The document provides guidance for completing a case study assignment on music video production. It outlines 3 tasks to analyze the purposes of music videos, styles and techniques used, and a case study of 3-5 videos from one artist. For the case study, students must discuss camerawork, editing, intertextuality, genre conventions, and apply critical approaches. Examples and illustrative stills from videos are encouraged. The case study should compare the artist's videos to others and consider different contexts.
The document provides instructions for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions in music video production. Task 3 involves analyzing a minimum of three music videos by an artist or genre and discussing them in relation to Tasks 1 and 2. The case study should examine the videos' styles, techniques, intertextuality, camerawork, genre conventions, and be analyzed through a critical lens.
The document provides guidance on analyzing music videos from critical and contextual perspectives. It discusses examining how meaning is constructed through techniques like camerawork, editing, interpretation of the song, intertextuality, and genre conventions. The document also explores how music videos are used by artists and labels for purposes like branding, identity, and sales. Key points of analysis include the target audience, visual and technical codes, and how elements are deliberately planned.
The document provides guidance for completing a case study analysis of music videos. It outlines three tasks: 1) discussing the purposes of music videos, 2) examining styles, techniques and conventions, and 3) analyzing three specific music videos. For task 1, purposes include promotion, revenue, and entertainment. Strategies employed by artists and labels are explored. Task 2 delves into camerawork, editing, technical developments, and genre conventions. Task 3 requires selecting pop music videos for in-depth analysis of these elements, along with intertextuality.
This document provides guidance for students taking a media studies exam focusing on theoretical evaluation of coursework. It discusses spending 30 minutes each answering questions about developing skills from AS to A2 levels and analyzing a coursework product using a theoretical concept. Students are advised to discuss progress, use examples and terminology for the first question and demonstrate understanding of theory, relating it to examples for the second question. The document also covers genre and representation theory for music videos, noting common conventions like focusing on the artist, voyeurism, intertextuality and linking visuals to lyrics/music. Specific music videos are listed as examples to analyze for representations of gender, stereotypes and other social groups.
This document provides guidance for answering Section A questions on the A2 Media Studies exam. It discusses the requirements for answering questions 1(a) and 1(b). For 1(a), students must discuss the development of their skills from AS to A2 in relation to aspects like digital technology, creativity, research and planning, or post-production. They should refer to specific examples from their coursework and use relevant terminology. For 1(b), students must select one of their coursework pieces and analyze it using a specified theoretical concept such as narrative, audience, genre, representation, or media language. They should demonstrate understanding of the theory and relate it to examples from their chosen piece.
This document provides tasks and theory related to analyzing music videos and genres for a media studies course. It includes tasks to analyze codes and conventions in different music video genres, examine narrative and performance approaches in sample videos, explore representation of social groups in various genres, and conduct a close analysis of a music video using relevant theory. The document also discusses theories related to genre from scholars like Robert Stam, Rick Altman, and Andrew Goodwin. Students are asked to apply these theories to their own video productions and examine how genres may be defined, conventions established, and meanings negotiated between text and audiences.
The document provides information about music video production, including the purposes of music videos, styles and techniques used, and a case study analysis. It discusses how music videos aim to entertain, promote the artist's brand, and increase sales. Common techniques include different camera shots and editing to set mood. Genre conventions also influence visual style. The case study analyzes several Katy Perry videos, noting examples of intertextuality, camerawork, and how they represent pop music conventions while challenging gender norms.
The document provides guidance for completing a case study assignment on music video production. It outlines 3 tasks to analyze the purposes of music videos, styles and techniques used, and a case study of 3-5 videos from one artist. For the case study, students must discuss camerawork, editing, intertextuality, genre conventions, and apply critical approaches. Examples and illustrative stills from videos are encouraged. The case study should compare the artist's videos to others and consider different contexts.
The document provides instructions for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions in music video production. Task 3 involves analyzing a minimum of three music videos by an artist or genre and discussing them in relation to Tasks 1 and 2. The case study should examine the videos' styles, techniques, intertextuality, camerawork, genre conventions, and be analyzed through a critical lens.
The document provides guidance on analyzing music videos from critical and contextual perspectives. It discusses examining how meaning is constructed through techniques like camerawork, editing, interpretation of the song, intertextuality, and genre conventions. The document also explores how music videos are used by artists and labels for purposes like branding, identity, and sales. Key points of analysis include the target audience, visual and technical codes, and how elements are deliberately planned.
The document provides guidance for completing a case study analysis of music videos. It outlines three tasks: 1) discussing the purposes of music videos, 2) examining styles, techniques and conventions, and 3) analyzing three specific music videos. For task 1, purposes include promotion, revenue, and entertainment. Strategies employed by artists and labels are explored. Task 2 delves into camerawork, editing, technical developments, and genre conventions. Task 3 requires selecting pop music videos for in-depth analysis of these elements, along with intertextuality.
The document provides instructions for completing a case study assignment on music video production. It outlines three tasks to analyze the purposes of music videos, styles and techniques used, and a case study analyzing at least three music videos. For the case study, students must discuss the videos in terms of style, intertextuality, camerawork, genre conventions, and critical approaches. Guidelines emphasize using examples and images from the videos to illustrate points being made.
The document provides instructions for completing a case study assignment on music video production, which involves analyzing the purposes, styles, techniques, and conventions of music videos. It outlines 3 tasks to complete - examining the purposes of music videos, styles and techniques used, and a case study analyzing at least 3 music videos. Students are expected to submit weekly and can get guidance from their tutor if needed.
Music Video assignment 01 2019 pro forma - Case StudiesDavidLee1474
This document provides information and questions for a case study on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos from promotional and artistic perspectives and asks questions about how artists represent themselves. Task 2 discusses camerawork, editing, and technical developments in music videos and asks students to analyze examples. Task 3 involves a case study of three music videos to discuss in relation to Tasks 1 and 2. The document emphasizes using images and examples to support points and adding extra slides or pages as needed.
The document provides guidance for completing a case study assignment on music video production. It is divided into 3 tasks. Task 1 addresses the purposes of music videos and artist/label strategies. Task 2 covers styles, techniques and conventions in music video production. Task 3 instructs the student to analyze a minimum of 3 music videos by an artist or genre, discussing style, intertextuality, camerawork, editing, genre conventions and critical approaches. The student is encouraged to include illustrative images and videos in their response.
I do not have enough context to summarize the full document. The document appears to provide guidance and questions for a case study analysis of music videos. It discusses purposes of music videos, strategies employed by artists and labels, and styles, techniques and conventions used in music video production. However, without answers provided to the questions, I cannot generate a meaningful high-level summary.
This document provides a case study template for analyzing music videos. It is divided into 3 tasks. Task 1 addresses the purposes of music videos and marketing strategies. Task 2 covers common styles, techniques and conventions used in music video production. Task 3 requires analyzing at least 3 music videos and discussing their use of techniques from Tasks 1 and 2, including camerawork, editing, genre conventions, and critical approaches. The document provides guidance on completing the case study with illustrations and linking to other sources.
Mv assignment 01 2019 pro forma joy buck.JoyLucyBuck
This document provides information and questions for a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and artist/label strategies. Task 2 covers styles, techniques and conventions used in music video production. Task 3 requires the student to analyze a minimum of three music videos by an artist or genre, discussing elements like style, intertextuality, camerawork, genre conventions, and applying critical approaches. The document also provides notes on completing the case study, emphasizing showing examples from videos and linking concepts to other sources.
Mv assignment 01 2019 pro forma Joy Buck.JoyLucyBuck
This document provides information about completing a case study on music video production. It is divided into three tasks. Task 1 discusses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of three music videos, discussing their visuals, meanings, and connections to Tasks 1 and 2. The document provides guidance on thoroughly answering the questions and illustrating key points from the chosen video examples.
The document provides information about completing a case study on music video production. It outlines 3 tasks to analyze purposes of music videos, styles/techniques of production, and a case study of 3 videos. For the case study, students must discuss usage of style, intertextuality, camerawork/editing, genre conventions, and apply critical approaches to videos selected. An example is provided analyzing Iggy Azalea and Charli XCX's "Fancy" video in relation to the 1995 film "Clueless".
This document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Students are asked to analyze camerawork, editing, genre conventions, and intertextuality with examples. Task 3 requires students to conduct a case study of three or more music videos by an artist of their choice, discussing the elements from Tasks 1 and 2 through critical analysis and comparison to other artists.
The document provides instructions for completing a case study assignment on music video production. It is divided into 3 tasks. Task 1 involves the purposes of music videos and strategies of labels and artists. Task 2 addresses styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of 3 music videos by an artist of choice, considering elements from Tasks 1 and 2. Questions under each task prompt discussion of topics like the goals of music videos, techniques like camerawork and editing, genre conventions, and applying critical analysis.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 involves analyzing a minimum of three music videos, drawing on Tasks 1 and 2. Students are expected to submit responses to the questions in each section on a weekly basis during remote learning.
The document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos, such as entertainment, branding, and sales. Task 2 covers styles, techniques and conventions used in music videos, such as camerawork, editing, and how genres influence visual conventions. Task 3 requires analyzing at least three music videos, considering elements from Tasks 1 and 2 like how camerawork and editing techniques relate to the artist's branding and genre.
The document provides guidance on conventions to consider for three different media products: a music video, CD digipak, and magazine ad. For the music video, it discusses common camera shots, emphasis on the artist and concept, narrative storytelling techniques, and Sven E Carlsson's three forms of visual tradition in music videos. For the CD digipak, it outlines typical front/back cover elements and considerations like imagery, fonts, representation of the artist/genre. For the magazine ad, it mentions continuity of brand identity, representation of the band/music, and techniques like quotes and taglines.
The document provides guidance for a case study assignment on music video production. It outlines 4 tasks: 1) examining the purposes of music videos, 2) exploring common styles, techniques and conventions, 3) analyzing at least 3 music videos from an artist, and 4) discussing how the student can apply what they've learned. The document emphasizes illustrating points with examples and images from videos, and comparing analyzed videos and artists to broader genres and contexts.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies employed. Task 2 focuses on styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of three music videos by an artist of choice, considering camerawork, editing, genre conventions, and critical approaches. Notes are provided on illustrating points made and adding slides as needed. The document emphasizes applying concepts from the provided lectures and examples to fully discuss the chosen videos.
This document provides guidance for completing a case study assignment on music video production. It outlines three tasks to be completed: 1) analyzing the purposes and strategies of music videos, 2) examining styles, techniques and conventions, and 3) conducting a case study of three or more music videos. For each task, questions are provided to help structure the response. The case study portion asks students to discuss style, techniques, intertextuality, camerawork, editing, genre conventions and critical approaches for the selected videos. Tips are included to incorporate images and make connections between examples.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help alleviate symptoms of mental illness and boost overall mental well-being.
This document provides an overview of key concepts in Marxist media theory, including opposition to functionalism and liberal pluralism, the base/superstructure model, ideology, and the constitution of subjects. It discusses different schools of Marxist thought, including the Frankfurt School, Althusser, Gramsci, Stuart Hall, and the limitations and strengths of Marxist analysis. Overall, the document outlines some of the major theoretical frameworks and debates within Marxist approaches to understanding the role and power of mass media.
This document provides scriptwriting tips and examples of scripts formatted according to the tips. The tips indicate that scripts should begin with the location and time of day in all caps. Character and camera descriptions should be aligned to the right margin. Dialogue should be centered. Three short script examples are then provided from The Usual Suspects, Clerks, and Terminator 2: Judgment Day to demonstrate the formatting.
The document provides instructions for completing a case study assignment on music video production. It outlines three tasks to analyze the purposes of music videos, styles and techniques used, and a case study analyzing at least three music videos. For the case study, students must discuss the videos in terms of style, intertextuality, camerawork, genre conventions, and critical approaches. Guidelines emphasize using examples and images from the videos to illustrate points being made.
The document provides instructions for completing a case study assignment on music video production, which involves analyzing the purposes, styles, techniques, and conventions of music videos. It outlines 3 tasks to complete - examining the purposes of music videos, styles and techniques used, and a case study analyzing at least 3 music videos. Students are expected to submit weekly and can get guidance from their tutor if needed.
Music Video assignment 01 2019 pro forma - Case StudiesDavidLee1474
This document provides information and questions for a case study on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos from promotional and artistic perspectives and asks questions about how artists represent themselves. Task 2 discusses camerawork, editing, and technical developments in music videos and asks students to analyze examples. Task 3 involves a case study of three music videos to discuss in relation to Tasks 1 and 2. The document emphasizes using images and examples to support points and adding extra slides or pages as needed.
The document provides guidance for completing a case study assignment on music video production. It is divided into 3 tasks. Task 1 addresses the purposes of music videos and artist/label strategies. Task 2 covers styles, techniques and conventions in music video production. Task 3 instructs the student to analyze a minimum of 3 music videos by an artist or genre, discussing style, intertextuality, camerawork, editing, genre conventions and critical approaches. The student is encouraged to include illustrative images and videos in their response.
I do not have enough context to summarize the full document. The document appears to provide guidance and questions for a case study analysis of music videos. It discusses purposes of music videos, strategies employed by artists and labels, and styles, techniques and conventions used in music video production. However, without answers provided to the questions, I cannot generate a meaningful high-level summary.
This document provides a case study template for analyzing music videos. It is divided into 3 tasks. Task 1 addresses the purposes of music videos and marketing strategies. Task 2 covers common styles, techniques and conventions used in music video production. Task 3 requires analyzing at least 3 music videos and discussing their use of techniques from Tasks 1 and 2, including camerawork, editing, genre conventions, and critical approaches. The document provides guidance on completing the case study with illustrations and linking to other sources.
Mv assignment 01 2019 pro forma joy buck.JoyLucyBuck
This document provides information and questions for a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and artist/label strategies. Task 2 covers styles, techniques and conventions used in music video production. Task 3 requires the student to analyze a minimum of three music videos by an artist or genre, discussing elements like style, intertextuality, camerawork, genre conventions, and applying critical approaches. The document also provides notes on completing the case study, emphasizing showing examples from videos and linking concepts to other sources.
Mv assignment 01 2019 pro forma Joy Buck.JoyLucyBuck
This document provides information about completing a case study on music video production. It is divided into three tasks. Task 1 discusses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of three music videos, discussing their visuals, meanings, and connections to Tasks 1 and 2. The document provides guidance on thoroughly answering the questions and illustrating key points from the chosen video examples.
The document provides information about completing a case study on music video production. It outlines 3 tasks to analyze purposes of music videos, styles/techniques of production, and a case study of 3 videos. For the case study, students must discuss usage of style, intertextuality, camerawork/editing, genre conventions, and apply critical approaches to videos selected. An example is provided analyzing Iggy Azalea and Charli XCX's "Fancy" video in relation to the 1995 film "Clueless".
This document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Students are asked to analyze camerawork, editing, genre conventions, and intertextuality with examples. Task 3 requires students to conduct a case study of three or more music videos by an artist of their choice, discussing the elements from Tasks 1 and 2 through critical analysis and comparison to other artists.
The document provides instructions for completing a case study assignment on music video production. It is divided into 3 tasks. Task 1 involves the purposes of music videos and strategies of labels and artists. Task 2 addresses styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of 3 music videos by an artist of choice, considering elements from Tasks 1 and 2. Questions under each task prompt discussion of topics like the goals of music videos, techniques like camerawork and editing, genre conventions, and applying critical analysis.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 involves analyzing a minimum of three music videos, drawing on Tasks 1 and 2. Students are expected to submit responses to the questions in each section on a weekly basis during remote learning.
The document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos, such as entertainment, branding, and sales. Task 2 covers styles, techniques and conventions used in music videos, such as camerawork, editing, and how genres influence visual conventions. Task 3 requires analyzing at least three music videos, considering elements from Tasks 1 and 2 like how camerawork and editing techniques relate to the artist's branding and genre.
The document provides guidance on conventions to consider for three different media products: a music video, CD digipak, and magazine ad. For the music video, it discusses common camera shots, emphasis on the artist and concept, narrative storytelling techniques, and Sven E Carlsson's three forms of visual tradition in music videos. For the CD digipak, it outlines typical front/back cover elements and considerations like imagery, fonts, representation of the artist/genre. For the magazine ad, it mentions continuity of brand identity, representation of the band/music, and techniques like quotes and taglines.
The document provides guidance for a case study assignment on music video production. It outlines 4 tasks: 1) examining the purposes of music videos, 2) exploring common styles, techniques and conventions, 3) analyzing at least 3 music videos from an artist, and 4) discussing how the student can apply what they've learned. The document emphasizes illustrating points with examples and images from videos, and comparing analyzed videos and artists to broader genres and contexts.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies employed. Task 2 focuses on styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of three music videos by an artist of choice, considering camerawork, editing, genre conventions, and critical approaches. Notes are provided on illustrating points made and adding slides as needed. The document emphasizes applying concepts from the provided lectures and examples to fully discuss the chosen videos.
This document provides guidance for completing a case study assignment on music video production. It outlines three tasks to be completed: 1) analyzing the purposes and strategies of music videos, 2) examining styles, techniques and conventions, and 3) conducting a case study of three or more music videos. For each task, questions are provided to help structure the response. The case study portion asks students to discuss style, techniques, intertextuality, camerawork, editing, genre conventions and critical approaches for the selected videos. Tips are included to incorporate images and make connections between examples.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help alleviate symptoms of mental illness and boost overall mental well-being.
This document provides an overview of key concepts in Marxist media theory, including opposition to functionalism and liberal pluralism, the base/superstructure model, ideology, and the constitution of subjects. It discusses different schools of Marxist thought, including the Frankfurt School, Althusser, Gramsci, Stuart Hall, and the limitations and strengths of Marxist analysis. Overall, the document outlines some of the major theoretical frameworks and debates within Marxist approaches to understanding the role and power of mass media.
This document provides scriptwriting tips and examples of scripts formatted according to the tips. The tips indicate that scripts should begin with the location and time of day in all caps. Character and camera descriptions should be aligned to the right margin. Dialogue should be centered. Three short script examples are then provided from The Usual Suspects, Clerks, and Terminator 2: Judgment Day to demonstrate the formatting.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
This document outlines a 4 level grading system, with Level 1 being 0-3 marks, Level 2 being 4-6 marks, Level 3 being 7-8 marks, and Level 4 being 9-10 marks. Several of the levels are repeated, with Level 4 listed 3 times.
This document contains information about different levels, including level 3 which is mentioned both at a high and low level. Level 3 is referenced both with a high and low designation within the document.
Media in the Online Age - Film PromotionMissMoore866
The viral marketing campaign for The Blair Witch Project made people believe the found footage film was real. Missing posters were distributed for the actors. A website presented the film's footage and story as real events. Trailers released on college networks added to the authenticity. Details like interviews and fake crime scene photos further sold the fiction that the student filmmakers had actually gone missing.
The document provides past paper questions for media exams focusing on topics such as media ownership, production and distribution, technological convergence, and global vs national media institutions. It also lists related topics to research such as the impact of new technologies, audience targeting, synergy across media platforms, and changing audience behaviors in a converging media landscape. Key terminology is defined including niche vs mass audiences, convergence, synergy, and concepts like user-generated content, subscriptions, and active vs passive consumers.
Jenkins discusses the concept of "prosumer theory" where consumers are no longer just passive viewers of media but are active producers and contributors of content, such as by providing feedback or remixing and sharing content. As online platforms allow for more participation, the line between professional and amateur is blurred. While companies encourage prosumerism for their own aims, it could lead to audiences gaining more control over media than mass media companies.
This preliminary analysis document discusses three scenes from a film project. For the match on action technique, the shots were smooth but hair continuity between scenes was inconsistent. The shot reverse shot scene had good continuity but some jumpy editing. The 180 degree rule was followed well in some shots but continuity was challenged by different costumes in another shot. Overall, the analysis identifies issues with hair, costume continuity and editing across several scenes.
Empire Production Distribution OwnershipMissMoore866
Empire magazine is produced and distributed through both traditional and digital methods to reach its target audience. It began as a monthly print magazine in 1989 and still relies on print subscriptions as a stable revenue source. It has expanded distribution through an iPad edition, iPhone app, and website which allow on-demand access to updated content. While Empire is owned by the large global media company Bauer Media, it prides itself on showcasing British talent to its primarily UK audience.
This document discusses representation and stereotypes in music videos. It begins by listing different types of musical acts that appear in videos such as solo artists, bands, and boy/girl groups. Examples of specific music videos are provided to illustrate concepts like the "male gaze" and traditional gender representations that emphasize femininity and masculinity. The document also discusses how stereotypes can reinforce differences between social groups. While stereotypes are often negative, some research counters that they are not always false and can help audiences quickly understand meaning. Theories around mainstream vs. marginalized identities and binary oppositions are presented. Students are tasked with researching representations in their case studies and considering how to conform to or challenge conventional stereotypes in their own video productions
This document provides a preliminary analysis of a student film project. It identifies several positives, including that the film incorporated planned continuity shots and that the background sound effects enhanced the shots. However, it also notes several negatives, such as a lack of continuity in clothing and hair between scenes shot on different days, uninteresting camera angles, and a story line that was not made clear without introductory character scenes. The document concludes with recommendations for improving future projects, such as using costumes, incorporating more varied angles, focusing more on scripting, adding character introductions, and using more props.
The document provides guidance for answering exam questions for OCR Media Studies. It outlines how to structure responses for Section A questions about understanding media conventions and applying them to one's own media productions. For question 1a, it describes explaining how understanding of conventions developed over time and influenced one's work. For question 1b, it discusses analyzing a media production in relation to audience, using theories like uses and gratifications. For Section B on media and collective identity, it suggests representing British youth both positively and negatively, using examples and theorists to back up each representation. It also shares an examiner's report on common student mistakes and strengths in previous exams.
This document provides guidance for answering a question about progression in digital technology skills and media production from AS to A2 level. It instructs the student to:
- Provide examples from each production that demonstrate progression in the use of software, creativity, research/planning, and post-production skills.
- Discuss how software was used at each level and how skills improved, citing specific examples from each piece.
- Explain how conventions from other media texts were both repeated and made unique in each of their productions.
The document then provides similar guidance for answering a question about representing a key concept through one of the student's productions, instructing them to analyze representation, narrative, genre, audience and media
This document provides guidance for answering Section A of a media studies exam. Question 1(a) asks students to discuss the development of their skills from AS to A2 in relation to aspects like digital technology, creativity, research and planning, or using conventions from real media texts. For 1(a), students should spend 30 minutes answering, discuss both their AS and A2 coursework, demonstrate progress, and refer to specific examples. Question 1(b) asks students to analyze one of their coursework products in relation to a specified theoretical concept like narrative, audience, genre, or representation. For 1(b) as well, students should spend 30 minutes answering, demonstrate their understanding of theory, and relate it to specific examples from
This document provides guidance and information for a media studies assignment on applying audience theory to a music video. It includes:
1) An overview of two key audience theories - Stuart Hall's encoding/decoding model and Richard Dyer's work on star construction - and examples of how they could be applied to a student's music video.
2) Instructions for an in-class activity where students research and present different audience theories to their peers.
3) A prompt for a 30-minute written response discussing how different audiences may respond to the student's music video based on the theories covered.
Copy of intro to a2 course g325 critical perspectives in media - question bhammonda
This document provides guidance to students on completing a theoretical evaluation of their coursework for their G325 exam. It instructs students to evaluate their coursework using the concepts of genre, narrative, representation, audience, and media language. Students are asked to define each concept, relate relevant theories, and analyze how each concept was used in their coursework. The document also provides prompts for applying each concept and recommends using various digital tools to create revision documents to aid exam preparation. A deadline of 3 weeks is given to complete this task.
OCR media A level - genre, section 1 examhasnmedia
The document provides guidance for answering exam questions relating to media coursework productions. It includes potential topics for two questions:
Question 1a asks the student to discuss the development of their skills and creative decision making.
Question 1b provides options to analyze a coursework production using various critical concepts, including genre, narrative, representation, audience, and media language. The document advises analyzing one production in relation to one of these concepts, applying relevant theory and terminology.
The document provides guidance for students on how to approach section A, question 1b of the A2 media exam. It outlines the key concepts of genre, narrative, representation, audience and media language that students need to understand. It provides examples of how to apply various theories related to each concept to analyze a piece of coursework. Students are instructed to create revision documents using digital technologies that analyze their coursework through applying all five concepts and incorporating relevant theories.
The document provides guidance for answering Question 1 from a media studies exam. It begins by outlining the requirements for part a) of the question, which involves evaluating skills developed during a media production and relating it to specific production practices. It then lists examples of production activities, technologies, research methods, and conventions that could be discussed. For part b), it provides suggestions for analyzing a selected media product in relation to media concepts of audience, representation, genre, language, and narrative. Key theories are also defined that could be applied, such as Todorov's narrative theory and Mulvey's concept of the male gaze.
The document provides guidance for answering Question 1 from a media studies exam. It begins by outlining the requirements for part a) and b) of the question, including discussing production practices, digital technology used, creativity, research, conventions, and post-production. It then provides examples from the student's own media productions to address each requirement. Key theories are also summarized that could be applied to analyzing media concepts like audience, representation, genre, and media language.
The document provides guidance for answering Question 1 from a media exam. It begins by outlining the requirements for part a) and b) of the question, including discussing production practices, digital technology used, research conducted, and conventions from real media texts. It then provides examples from the student's own productions that could be discussed to address these requirements. These include progressing from basic to advanced skills and technologies. The document also summarizes key media theories that could be applied in the answer, such as narratives structures, representations, genres, and audience theory. It concludes by modeling how these theories could be used to analyze aspects of the student's own media texts.
Narrative and essay planning for section 1bhasnmedia
This document provides guidance on how to structure a response analyzing one of the student's coursework productions in relation to the concept of narrative. It recommends including an introductory paragraph stating which production will be discussed and how it relates to narrative conventions. The main body should have 4-5 paragraphs analyzing how the production conformed to and challenged narrative concepts, referring to specific examples and media theorists. The conclusion paragraph should summarize how influential narrative was in planning and producing the piece.
The document provides guidance on how to plan and structure responses for two essay questions from a June 2016 media exam.
For the first question on research and planning, the summary recommends choosing a few specific examples to discuss in detail, showing how skills developed from AS to A2 and impacted final productions.
For the second question on communicating meaning, the summary advises analyzing one production through mise-en-scene, editing, sound and camera work, using examples and a range of theorists without focusing too heavily on any one area.
The document then outlines how to answer a question on media representations of youth, suggesting focusing on limited contemporary portrayals using case studies and theories like hegemony while acknowledging alternative representations in
This document provides guidance on how to evaluate a coursework production using five key media concepts: genre, narrative, representation, audience, and media language. It instructs the reader to analyze their coursework in detail using theories related to each concept over the next two weeks. The analyses will serve as important revision aids for an upcoming exam that requires evaluating one's coursework based on one of the five concepts selected by the examiner.
The document provides guidance for answering exam questions on media studies. It discusses potential topics that could be covered, including digital technology, creativity, research and planning, and post-production. It also provides examples of questions and suggests how to structure answers. Theorists that could be referenced are mentioned, such as Barthes, Levi-Strauss, and Propp. Examiners' reports are included that address what makes a successful response, such as relating digital technologies used to the development process and final product, including a range of examples, and comparing AS and A2 work.
Intro to a2 course g325 critical perspectives in media - question bMr Smith
1) Students are asked to evaluate one of their coursework projects using theories of genre, narrative, representation, audience, and media language.
2) They should brainstorm the concepts in pairs and apply relevant theories to their project in detail.
3) Students must create revision documents using various digital technologies like Prezi, Flickr, YouTube to analyze their project through the critical concepts.
4) The documents created will be important study aids for the exam next summer.
This document provides guidance for a student to analyze one of their coursework productions in relation to genre by evaluating how they conformed to or challenged genre conventions through their creative choices and by applying genre theory and terminology. The student is instructed to consider how genre informed their production decisions and how their work fits within or diverges from the expectations of the genre.
This document provides information from the exam board on the G325 Critical Perspective in Media exam, including details on the structure, requirements, and assessed content.
The exam consists of two sections - Section A focuses on evaluating candidates' production work, requiring them to describe their skills development and critically analyze one production using a media concept. Section B requires candidates to answer one question from a choice of six topics on contemporary media issues, demonstrating understanding of the topic through case studies and debates.
The document outlines the specific criteria for questions in each section, including the production practices and media concepts assessed in Section A, and the six topic areas that will be the basis for questions in Section B. It emphasizes applying both historical and contemporary
This document contains questions, prompts, and guidance for answering questions about media skills, concepts, and collective identity in three main areas:
1. Questions 1a and 1b address skills/processes and concepts respectively, prompting analysis of conventions, creativity, research/planning, post-production, digital technology, media language, genre, narrative, and audience in relation to four coursework productions.
2. Section B addresses media and collective identity, asking how contemporary media represent nations, regions, and social/collective groups through stereotypes, dominant ideologies, and heterogeneity/homogeneity.
3. Guidance is provided on applying relevant media theories and concepts to the representations, such as those relating to gender,
G325 Question Section A – Skills and ProcessesGraveney School
This document provides information from the exam board on the G325 Critical Perspective in Media exam, including details on the structure, requirements, and assessed content.
The exam consists of two sections - Section A focuses on evaluating candidates' own production work, requiring them to describe their skills development and critically analyze one production using a media concept. Section B requires candidates to answer one question from a choice of six topics on contemporary media issues, demonstrating understanding of the topic through case studies and debates.
The document outlines the specific skills, concepts, and topics that can be addressed in the exam. It emphasizes applying knowledge of industry, audiences, texts and debates to the chosen topic, and considering historical, contemporary and future aspects. Candid
The document summarizes the representation of women in episode 1 from the perspectives of Marxist feminism. It outlines that women in West Germany are portrayed as oppressed and subject to patriarchy, comparing themselves to unrealistic standards and being passive victims. Meanwhile, women in East Germany are depicted as more independent and empowered with a greater sense of equality in both the workplace and domestic spheres due to the political focus on equality and lack of consumerism promoting unrealistic standards. The document asks how these representations are technically constructed and whether any theories can be mapped onto them.
Deutschland 83 representations for blogMissMoore866
The representations in Deutschland 83 are both positive and negative because the show depicts both East and West Germany during the Cold War era. Specifically, the male characters like Martin, Moritz, Tischbier, and General Edel are represented in complex ways that show both the advantages and disadvantages of their roles, while the female characters like Leonora and Annette are represented more stereotypically. The show also represents the ideological differences between East and West Germany during this time period in an engaging manner.
The document discusses the representation of female characters in episode 1 and asks if there are any differences between how women from East Germany and West Germany are portrayed. It also inquires about how the representations are technically constructed and if any theories can be applied to the portrayals.
Martin Rauch is a young East German border guard who is recruited by the Stasi to work undercover at a West German military base. He struggles to balance his loyalties to East and West Germany as he becomes more integrated into West German society and gains a new perspective. The series explores the tensions of the Cold War through Martin's eyes as his mission and allegiances are constantly challenged.
The document provides a scene-by-scene summary of the first episode of Stranger Things. It describes the key events and characters that are introduced in each scene, such as scientists being attacked at Hawkins Laboratory, the boys playing Dungeons & Dragons and finding Will's missing dice, Will claiming he was "taken" by the Demogorgon as he rides home, and his subsequent disappearance which prompts the search for him. The summary also covers introductions to main characters like Joyce Byers, Jim Hopper, and Eleven, who is discovered using her psychic powers after escaping from Hawkins Laboratory.
Stranger Things is a television series that explores themes of friendship and the supernatural through its narrative structure and character types presented with a distinctive visual style. The show is produced and distributed by Netflix and features a cast of actors and directors that have become associated with Stranger Things.
Mens fragrance 4 pictures paragraphs DBMissMoore866
This document analyzes and summarizes a marketing poster for a men's fragrance. It notes that the poster uses imagery of a Greek bust to imply the fragrance will make the wearer seem philosophical. The text "Pour un Homme" and a confident male model are aimed at male viewers. Descriptions like "Red means go" and "a daring new fragrance" present the product as rebellious and confident. The fine print suggests wearing the fragrance will help the user succeed with women and in relationships, as the woman in the poster is happy and affectionate toward the man wearing the fragrance. Font and other design choices are used to portray the fragrance as sophisticated yet approach
The document summarizes the key messages and themes conveyed in an advertisement for Brut fragrance. It notes that the brand name is prominently displayed in orange on a black background to catch attention. Symbols like a "tick" logo and slogans promise the product works reliably. Imagery depicts a man being attacked by himself, suggesting the scent's powerful odor that ensures the wearer will be noticed. Phrases reference the product empowering or enabling the user, with a target male audience indicated by references to strength and stereotypical masculine traits.
The document discusses different strategies used in advertisements for men's fragrances. Hugo Boss builds its brand image around masculinity and its poster reinforces the idea that wearing the fragrance will make a man more masculine. A Jimmy Choo ad uses the male gaze and implies that wearing the fragrance can help a man get a woman. A Chanel ad targets women by using the female gaze on a topless man to get women to buy the fragrance for their partners. A Montblanc ad uses a sophisticated black and white design to mirror the brand's values and improve its image as a fragrance for more upper class people.
Modernism grew out of optimism after WWII but gave way to postmodernism with its loss of faith in institutions and people. Postmodernism acknowledges consumerism and questions whether technology makes us more connected or alone. Jean Baudrillard's theories of simulacra and hyperreality, where images replace reality, are demonstrated in slice-of-life YouTube vlogging that manufactures authenticity and in Westworld where the park replicates reality. Stranger Things references the 1980s and plays with simulacra by placing itself within that period through visual and narrative cues.
The document summarizes a newspaper article. The main headline indicates that 80,000 students cannot train as nurses each year. The article is placed between pieces about David Cameron and immigration. The large photo of Cameron on holiday suggests his absence may be related to the lack of nursing students. Additionally, branding a feminist magazine on the cover implies support for equal rights. The placement of the articles fits Stuart Hall's reception theory by seeming to connect Cameron to the shortage of nursing students.
The document analyzes several front pages of the Daily Mail newspaper. It notes that the Daily Mail expresses strong views supporting Brexit and UKIP while criticizing the EU, David Cameron, and the government's immigration and security policies. Some headlines play into fears about national security or stoke anti-immigration sentiment. Soft news stories on the same front pages may lessen the seriousness of the hard news. The document also discusses how Reception Theory explains how media producers encode messages in texts and how audiences can decode them differently.
The document analyzes newspaper front pages using Stuart Hall's theory of encoding and decoding. It discusses how a Daily Mail front page about plastic waste may be encoded with a positive message by producers but decoded negatively by some readers as self-righteous. It also notes how less serious stories on the same page appeal to middle-market readers and how headlines reference popular culture to seem more relatable.
The Daily Mail uses sensational headlines and stories on their front pages to attract readers. Page 1 focuses on a black and white headline about accessing terrorist material online. Page 2 discusses a Russian spy story and a secondary story about Meghan Markle. Page 3 continues the narrative about the poisoning of the spy, his daughter, and the police officer. While the Daily Mail aims to produce a dominant message for readers, some argue it loses credibility due to its sensationalist reporting style, leading to negotiated readings where readers form opinions from multiple sources.
Stuart Hall's theory of representation describes how meaning is produced and exchanged through language, signs, and images that represent different ideas. For example, a Daily Mail front page about social media harming children's brains uses the image of a child to warn readers of the dangers and influence younger people's online activities. Another Daily Mail front page story about David Cameron being "dragged into" a tax scandal aims to represent that the conservative-leaning newspaper supports Cameron and sees the situation as beyond his control, according to Hall's theory about how media shapes meaning for its audience.
Stuart Hall's representation theory shows that images in media represent larger ideas and can influence public perception. The Daily Mail uses representation techniques like negative portrayals of political opponents and photoshopping images to favor right-wing views. Representation theory also applies to manipulating images on covers and in advertisements to eliminate flaws and make prominent figures more appealing to attract attention and voters.
This document provides guidance for writing an essay about media in the online age. It suggests introducing the topic and providing some historical context before incorporating two theoretical references. It recommends focusing the essay on two media forms, with case studies to analyze how they have changed. The document outlines discussing present developments in the bulk of the essay by cross-referencing other media and incorporating debate. It suggests speculating about future developments and mapping theories to possible futures. A number of relevant theorists are provided along with notes on incorporating their ideas and challenging whether they remain applicable.
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
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
2. A2 MEDIA STUDIES EXAM –
SECTION A: THEORETICAL
EVALUATION OF COURSEWORK
In Section A you answer both 1(a) and 1(b).
Question 1(a) will ask you to discuss the development of
your skills from AS to A2 in relation to one or two of the
following aspects:
Digital Technology
Creativity
Research and Planning
Post-production
Using conventions from real media texts
8. MUSIC VIDEO GENRE
THEORY
Katie Wales, 'genre is... an intertextual concept', and nowhere is
this more appropriate than with music videos
Andrew Goodwin - music videos follow the following
conventions:
1.Conventions depend on the genre of the music
2.Star persona is important and companies use close ups to sell
them to the audience
3.Voyeuristic images are used to attract an audience
4.They often contain intertextual references to other media
5.There is a link between the lyrics and the visuals
6.There is a link between the visuals and the music / pace etc
9. ANDREW GOODWIN
‘DANCING IN THE DISTRACTION
FACTORY’
Certain music genres contain conventions that audiences
wish to see:
•Rock bands traditionally will have performances of the band
energetically singing the track – perhaps in front of an audience,
drummers emphatically drumming, singers scowling down the mic
– all to show how tough they are
•Girl bands traditionally have a focus on heavily choreography
dance routines, fashion, attitude, independence
13. HOMEWORK – DUE
NEXT THURSDAY
Apply theories of Genre to one of your production pieces.
[25]
Explanation/Analysis/Argument – 10marks
Use of Examples – 10marks
Use of Terminology – 5marks
15. Write out the following generic question in the
middle of your page and annotate the key words
according to what you understand them to
mean/stand for
0 Describe and evaluate your skills development over
the course of your production work from the
Foundation Portfolio to the Advanced Portfolio
Problems
Solutions
What I learned
How
successful
16. Question
Either:
0Describe how your research and planning informed
your own creative media practice. Refer to a range of
examples in your answer to show how these skills
developed over time.
Or:
0Describe how you were creative in your use of digital
technologies and how these skills developed over time
between your Foundation and Advanced Portfolios.
17. Research and Planning for
1(a)
0 What were the different processes that went into
your pre-production work across AS and A2?
0 Different approaches to research/planning
0 How you recorded all of this
0 Audience consideration/research and its effect on the
planning/production
0 Research into institutions
0 What you had to have in place before you went to film
20. Explain how your skills in the use of digital
technology developed over time. Refer to a
range of examples from your media
productions in your answer.
0 30 minutes
0 You can talk over ideas with each other
0 You can ask me to look over paragraphs /ask
questions
0 You can eat biscuits
22. Note examples of films/videos /digipaks and
websites you used as well as the conventions
Thriller Genre Music Videos Digipaks Websites
Hitchcock Katy Perry - Roar Lowgold Kasabian
Using conventions from real
media texts
25. Representation in Music VideosRepresentation in Music Videos
Solo Female/MaleSolo Female/Male
Boy/Girl GroupsBoy/Girl Groups
Male/Female BandsMale/Female Bands
28. COUNTER ARGUMENT –
TESSA PERKINS (1979)
Stereotypes are not always negative
Are not always about minority groups
Stereotypes are not always false
Apply this to your characters in your videos
• E.g. What social group(s) do your characters belong to? How
is this made clear?
• What age group do your characters belong to (e.g. Nervous,
unsure teenagers...)
35. ED SHEERAN –
THINKING OUT LOUD
Traditional gender representations
Use of dance – reinforces the stereotype – male leads the
dance
Feminine apparel of the woman
Emphasis on the strength of Sheeran in the lifts and
masculinity in his outfit. Focus on the rolled-up sleeves
revealing tattoos
Male gaze concept: at one point Sheeran ‘plays’ the dancer’s
leg like a guitar – she is literally his instrument/object to
40. COUNTER ARGUMENT –
DAVID GAUNTLETT AND
MARTIN BARKER
Identities are not given but are constructed and negotiated
(Gauntlett)
Martin Barker condemns stereotypes for mis-representing
the real world by reinforcing false stereotypes
David Gauntlett acknowledges pluralistic change (e.g.
stereotypes can be varied) but suggests a hegemonic
framework still exists in society but also in media
representations – This can act as a positive point to help
audiences decode meaning quickly from media texts
41. REPRESENTATION -
RESEARCH
What representations have you discovered in your case
studies? Dominant? Marginalised? Stereotypes?
Demographics (Gender, Age, Ethnicity, Sexuality, National
Identity etc…) Sociographics (teen culture, professions,
social groups, interests/activities)
What are you coming to recognise as the conventional
stereotype in your research and how might you adapt this
to conform or challenge the stereotype in your own
production?
42. REPRESENTATION -
RESEARCH
What did you base your representations on?
Refer to research – what did you discover about the
individuals/groups from Ariel Pink, Muse, Kasabian,
Pavement, Little Mix, Katy Perry, etc.
What did you come to recognise as the conventional
stereotype in your research and how did you adapt this to
conform or challenge the stereotype?
43. EXAMPLES – LIST THE GROUPS,
COMMENT ON REPRESENTATIONS
Radiohead - Just
The Dandy Warhols – Bohemian Like You
Blur – Coffee and TV Katy Perry - Roar
Foo Fighters – Learn to Fly
47. INTRODUCTION
Why do you watch music videos?
What do you gain from the experience?
Think about how you consume music videos – mostly
through YouTube, I imagine! How does a music video
keep your attention?
48. YOUR MUSIC VIDEO
What information have you found in your audience interviews that
could help your planning decisions?
Has this helped you define a primary target audience? Mass or Niche?
Did you ask them what kind of videos they enjoy watching and what it
is that appeals to them?
What evidence in your planning shows you are aiming to target to a
certain audience? (Camera, MES, Editing, Choice of song)
Demographics/Psychographics: Who is your audience? Media-savvy
young adults, perhaps? (Hartley’s classifications)
How is your video going to reflect a digital convergence culture that
demand engaging content?
49. LINK TO RECEPTION
THEORY – STUART
HALL/DAVID MORLEY
Are you positioning your audience into decoding a dominant preferred
reading? (David Morley)
What is your message you wish your audience to decode? Is this open
to interaction or it is a one-way flow of information from producer to
consumer? (Stuart Hall)
How are you doing this, technically? (camera, editing, MES)
How are you doing this through genre style?
(narrative/abstract/performance) (Simon Firth)
How are you placing key signifiers/signs for your audience to decode
meaning? (David Morley)
50. LINK TO THEORY – USES
AND GRATIFICATIONS
Using your audience responses, what needs are you fulfilling
based on the information have you gained from your key
[demo/psycho]graphics?
1. Diversion - Escapism.
2. Personal Relationships - Substitution of media for
companionship.
3. Personal Identity or Individual Psychology - Value
reinforcement or reassurance; self-understanding.
4. Surveillance - Information about factors which might
affect them personally, or will help audience do or
accomplish something.
Early days, but also consider how your band website and CD
package could fulfil these needs? (e.g.
interactivity/comments/feedback on YouTube/website)
51. THEORY GRIDS
Refer back to your notes from last session when we research
audience theories
1. Hypodermic needle theory
2. Stuart Hall – encoding/decoding
3. Lazerfeld & Katz – Two-step flow
4. Ien Ang’s audience theories
5. David Gauntlett – prosumers
6. Blumler & Katz – uses & gratifications
7. David Morley – reception theory
Complete the grid together discussing how you will apply
theory to your music video
52. HOMEWORK
Explore how your music video is being planned in relation to
the concept of audience theory.
Due: next Tuesday
54. AUDIENCE THEORIES
1. Hypodermic needle theory
2. Stuart Hall – encoding/decoding
3. Lazerfeld & Katz – Two-step flow
4. Ien Ang’s audience theories
5. David Gauntlett – prosumers
6. Blumler & Katz – uses & gratifications
7. David Morley – reception theory
55.
56. THE HARTLEY
CLASSIFICATION
There are 7 socially grouped categories when it
comes to identifying audience:
Self – ambitions or interests of the audience
Gender
Age Group
Class – different social classes e.g. working,
upper etc.
Ethnicity
Family
Nation
57. JOHN HARTLEY
His best-selling book, Reading Television published inin
1978 andco-authored with John Fiske, was the first to
analyse television from a cultural perspective, and is
considered a defining publication in the field.
This work also established Hartley as a pioneer and
international leader in contemporary television and
cultural studies.
58. Hartley also suggests that institutions produce:
“Invisible fictions of the audience which allow
the institutions to get a sense of who they
must enter into relations with”
In other words, they must know their audience to
be able to target them effectively.
It also suggests that the notion of a ‘target
audience’ is a fabrication designed purely for
producers to justify their decisions.
59. DENIS MCQUAIL
An audience can be described as a temporary collective
(McQuail, 1972). ‡
Key terms: Mass / Niche & Mainstream / Alternative
60.
61. ACTIVE /
PASSIVE
AUDIENCE
Audiences are much more active – and interactive – than ever
before
Social media, Twitter, Facebook, Instagram – musicians take
advantage of technological convergences
65. MASLOW’S HIERARCHY OF
NEEDS
Music videos can fulfil
our social needs
Audiences use social
media to meet these
needs
Uses and gratifications
can apply here
ABRAHAM
MASLOW
US PSYCHOLOGIST
THEORY = 1943
71. STUART HALL
How messages are produced by media institutions for the audience to
receive
Four-Stage process
1. Production
2. Communication
3. Use (Distribution or Consumption)
4. Re-production
The focus and control is on the producer
encoding a message for the audience to
respond to
72.
73. CRITICISM FOR THIS
MODEL OF THEORY
A linear approach to consuming media
Allows for little interaction by the audience
Producer is autonomous (they decide what they want
audience to understand)
This model is rapidly losing favour in a Media 2.0 society (re:
Gauntlett)
75. RECEPTION THEORY
In decoding the messages of media producers, audiences
will create their own meaning according to 3 readings:
1. Dominant (the preferred meaning the producer wants
them to have)
2. Negotiated (audience mostly accept the meaning but may
resist or challenge certain aspects)
3. Oppositional (a rejection of the dominant code leading to
an alternative result e.g. when watching a television
broadcast produced on behalf of a political party they
normally vote against).
76. THE IDEA OF AUDIENCE
IS CHANGING…
Julian McDougall (2009) suggests that in the
online age it is getting harder to conceive a
media audience as a stable, identifiable
group.
However, audiences still make sense of and
give meaning to products.
77. IEN ANG
• Ien Ang, a leading professor of Cultural
Studies believes
“audiences only exist as an imaginary
entity, an abstraction, constructed from
the vantage point of the institution, in the
interest of the institution”.
“what matters is not the certainty of
knowledge, but ongoing critical and
intellectual engagement”
• She follows the belief that media forms are
not truly reflective of people’s views and
serve only to aid producers
78. JULIAN
MCDOUGALL
Julian McDougall (2009) suggests that in the online age it is getting harder to conceive
a media audience as a stable, identifiable group. ‡
Building on work from David Buckingham, Steven Johnson and David Gauntlett, he
advocates a shift away from students viewing cultural products as texts to a view
where even video games need analysis, explanation and research.
He invites students to analyse the relationship between new media and postmodern
theories,
Audiences ‡
However audiences still clearly make sense and give meaning to cultural products. ‡
79. JOHN HARTLEY
“Institutions are obliged to speak not
only about an audience, but crucially,
for them, to talk to one as well; they
need not only to represent audiences
but to enter in to relation with them”
Also suggests institutions should produce
“invisible fictions of the audience
which allow the institutions to get a
sense of who they must enter into
relations with”
Therefore, the institutions must know their audience, in
order to target them effectively.
80. HOWEVER
Audiences still make sense and give meaning to cultural
products.
Audiences are necessary for media products to work as
without a a demographic to aim at (however niche or
mainstream) it would not be received by anyone.
81. HYPODERMIC
NEEDLE THEORY
The Hypodermic Needle Theory, also known as the Magic
Bullet Theory, was the first major theory concerning the
effect of the mass media on society. Originating in the
1920s, the theory was based on the premise of an all-
powerful media with uniform and direct effects on the
viewer or audience. (i.e. information is injected into
audiences)
82.
83. BLUMLER AND KATZ
USES AND
GRATIFICATIONS
THEORY
The Gratifications Theory assumes audiences actively seek
out media to satisfy individual needs. The uses and
gratifications theory looks to answer three questions:
What do people do with the media?
What are their underlying motives for using said media?
What are the pros cons of this this individual media use?
84. USES AND
GRATIFICATIONS
What the audience does for the media not what the media does for the
audience.
Audience takes an active role on their media choice, which by seeking
out the media, a person fulfils the need to be informed:
(1) Diversion - Escapism.
(2) Personal Relationships - Substitution of media for
companionship.
(3) Personal Identity or Individual Psychology - Value reinforcement
or reassurance; self-understanding.
(4) Surveillance - Information about factors which might affect them
personally, or will help audience do or accomplish something.
86. 'Uses and gratifications‘ research has identified many potential
pleasures of genre, including the following:
•One pleasure may simply be the recognition of the features of a
particular genre because of our familiarity with it. [we enjoy what
we know]
•Genres may offer various emotional pleasures such as empathy
and escapism - a feature which some theoretical commentaries
seem to lose sight of.
•Deborah Knight notes that 'satisfaction is guaranteed with
genre; the deferral of the inevitable provides the additional
pleasure of prolonged anticipation‘ [we anticipate what a genre
conventionally includes, the enjoyment is in the payoff]
GENRE AND AUDIENCE
87. Nicholas Abercrombie (1996) – The boundaries between genres
are shifting and becoming more permeable. He identifies the use of genre
for media producers when he writes “Television producers set out to
exploit genre conventions” – Can apply this to Music Videos/Films
David Bordwell ‘any theme may appear in any genre' ‘One could...
argue that no set of necessary and sufficient conditions can mark off
genres from other sorts of groupings in ways that all experts or ordinary
film-goers would find acceptable'
HOWEVER,
88. PROBLEMS WITH GENRE CLASSIFICATION
Theorist and Critic Rick Altman (1999) came up with a list of points he found problematic
with genre classification .
a) Genre is a useful category, because it bridges multiple concerns.
b) Genres are defined by the film industry and recognised by the mass audience.
c) Genres have clear, stable identities and borders.
d) Individual films belong wholly and permanently to a single genre.
e) Genres are transhistorical.
f) Genres undergo predictable development.
g) Genres are located in particular topic and narrative structure
h) Genre films share certain fundamental characteristics.
i) Genres have either a ritual or ideological function.
j) Genre critics are distanced from the practice of genre.
You can refer to Altman in creating a counter-argument to the traditional theorists in
explaining divergences in genre
89. GENRE THEORY
Daniel Chandler: Conventional definitions of genres tend to be based on the notion
that they constitute particular conventions of content (such as themes or settings -
iconography) and/or form (including structure and style) which are shared by the
texts which are regarded as belonging to them.
The Shining could be read according to this
theory as conventionally, thrillers will seek to
place protagonists in an isolated location – The
Overlook Hotel
This convention is emphasised in
the film’s climax whenJack
pursues his wife into a bathroom
where she cannot escape. Pursuit
of an innocent victim as another
thematic convention (cf. North
by Northwest, Cape Fear)
90. LILY, THE MESSAGE,
PARIAH
Think carefully about your own films
Themes and Iconography
(plot
info/props/characters...)
Structure and Style
(camerawork and editing)
91. Rick Altman argues that genres are usually defined in terms of
media language (SEMANTIC elements) and codes (in the Thriller,
for example: guns, urban landscape, victims, stalkers, menaced
women OR certain ideologies and narratives (SYNTACTIC
elements – Anxiety, tension, menacing situation)
Tom Ryall (1998) sees this framework provided by the generic
system; therefore, genre becomes a recognisable collection of
images, sounds, stories, characters, and expectations
TRADITIONAL GENRE
THEORISTS
92. John Fiske defines genres as ‘attempts to structure some order into
the wide range of texts and meanings…for the convenience of both
producers and audiences.’
Steve Neale (1990) argues that Hollywood’s generic regime performs
two inter-related functions:
i)to guarantee meanings and pleasures for audiences [we enjoy
what we know]
ii)to play it safe with recognisable genres [hard-to-define films don’t
do well, financially at box office: Donnie Darko, Shawshank
Redemption]
Dial M For Murder
Cape Fear
Vertigo Dial M For Murder
93. STEVE NEALE DECLARES THAT 'GENRES ARE INSTANCES
OF REPETITION AND DIFFERENCE'
HE ADDS THAT 'DIFFERENCE IS ABSOLUTELY ESSENTIAL TO
THE ECONOMY OF GENRE': MERE REPETITION WOULD NOT
ATTRACT AN AUDIENCE.
MEMENTO IS A CONVENTIONAL THRILLER IN
TERMS OF PLOT – PROTAGONIST SEEKS REVENGE
AGAINST HIS WIFE’S MURDERER. YET THE
NARRATIVE STYLE CREATES THE GENERIC
DIVERGENCE IN BEING TOLD BACKWARDS
TEXTS OFTEN EXHIBIT THE CONVENTIONS OF MORE THAN
ONE GENRE. JOHN HARTLEY NOTES THAT 'THE SAME TEXT
CAN BELONG TO DIFFERENT GENRES IN DIFFERENT
COUNTRIES OR TIMES' E.G. ALIEN AS BEARING THE
ICONOGRAPHY OF A SCIENCE FICTION FILM (SETTING,
PROPS, CHARACTERS), BUT THE STYLISTIC APPROACH OF
A HORROR – EXTREME CLOSE-UPS AND HEAVY USE OF
LOW-KEY LIGHTING TO UNSETTLE AUDIENCE
94. STEVE NEALE
Genres are ‘constantly changing and evolving’ and are not set
in stone. He thinks there are 5 main stages in film genres. Which
stage does your film fit into? Explain why.
Thrillers
The form finding itself (Vertigo)
The classic (The Shining/Usual Suspects/LA Confidential)
Stretching the boundaries of the genre (Memento)
Parody (High Anxiety)
Homage (Shutter Island)
95. Traditional argument: Genre is fixed.
Contemporary argument: 'genre is not... simply "given" by the culture:
rather, it is in a constant process of negotiation and change' - David
Buckingham
Buckingham’s argument therefore would compare nicely to Steve Neale
to add a further theoretical approach to your response
Fatal Attraction
Casino Royale Casino Royale
96. Daniel Chandler: Embedded within texts are assumptions about the
'ideal reader', including their attitudes towards the subject matter and
often their class, age, gender and ethnicity.
David Buckingham
Attack The Block
CONTEMPORARY
GENRE THEORISTS
97. PROBLEMS WITH GENRE CLASSIFICATION
Theorist and Critic Rick Altman (1999) came up with a list of points he found problematic
with genre classification .
a) Genre is a useful category, because it bridges multiple concerns.
b) Genres are defined by the film industry and recognised by the mass audience.
c) Genres have clear, stable identities and borders.
d) Individual films belong wholly and permanently to a single genre.
e) Genres are transhistorical.
f) Genres undergo predictable development.
g) Genres are located in particular topic, structure and corpus.
h) Genre films share certain fundamental characteristic.
i) Genres have either a ritual or ideological function.
j) Genre critics are distanced from the practice of genre.
99. PLOT VS. NARRATIVE
Plot = the chronological events of a story. E.g. The story of
Titanic begins when people board a really big boat and it
ends with the peaceful death of the old lady (Rose).
Narrative = the organisation of this story. E.g. The film of
Titanic begins in the present with the old lady relaying her
story before the film has prolonged flashbacks to the past
100. CREATE A NARRATIVE
FROM THESE PLOT
EVENTS
A plum is
eaten
A telephone rings
Busy traffic
A man dies
Ink
Spills
101. THEORISTS YOU NEED
TO KNOW (AND LEARN
TO LOVE)
Tzvetan Todorov (Structure of narrative)
Vladimir Propp (Characters in narratives)
Roland Barthes (Codes of narratives)
Claude Levi-Strauss (Binary oppositions)
103. STRUCTURE
PLACE THESE
NARRATIVE EVENTS IN
ORDER:
Detective investigates
Crime conceived
Crime discovered
Detective identifies crime
Crime committed
Crime planned
104. STRUCTURE
THE PLOT OF THIS
STORY:
Crime conceived
Crime planned
Crime committed
Crime discovered
Detective identifies crime
Detective investigates
105. LEVI-STRAUSS
Levi-Strauss describes narrative as
created by constant conflict of binary
opposites
Love – Hate
Black – White
Man – Nature
Light – Darkness
Peace – War
Protagonist –Antagonist
Movement – Stillness
Civilized – Savage
Young – Old
Control – Panic
Strong – Weak
Man – Woman
Wealth – Poverty
Mankind – Aliens
Humans – Technology
Ignorance - Wisdom
107. COMPLETE THE LEFT-HAND
COLUMN AS WE RE-WATCH YOUR
VIDEO THEN NUMBER THE ORDER –
THINK ABOUT USE OF VOICEOVER
TOO
Narrative Event Chronological Plot
Order
108. TODOROV
Todorov describes narrative as going from equilibrium to
disequilibrium back to an altered equilibrium
Standard 3-
point
narrative.
•Beginning
•Middle
•End
More
detailed 5-
point
narrative
109. TODOROV
Equilibrium: (sets the scene)
Everyday Life
Disruption: (complication)
Something happens to alter the equilibrium
Conflict: (climax)
Trying to solve the problem (seek resolution)
Resolution:
Problem is sorted
New Equilibrium: (satisfactory end)
Back to normal (but never the same)- a new normal
111. BARTHES’ 5 CODES
Action Code:
something the audience knows and doesn't need explaining e.g. someone being
wheeled out on a stretcher tells us they are going to hospital
Enigma Code:
something hidden from the audience (creates intrigue)
Semic Code:
something that the audience recognize through connotations
Symbolic Code:
Something that symbolizes a more abstract concept e.g. a darker than usual room of
a murder scene could symbolize the depth of darkness and depravity
Cultural Code:
Something that is read with understanding due to cultural awareness (e.g. youth
culture use certain words that are understood by that culture)
115. PROPP
Studied Russian folktales and created a list of
distinguishable character typologies
(categories) including:
The hero (sent on a quest)
The villain (struggles against hero)
The princess/prize (what the hero
seeks in completing the quest)
The donor (gives vital information
or object to hero)
The helper (aids in the quest)
118. Propp’s eight character roles and
how they can be applied to the
shining.
The villain— struggles against the hero- In the shining
this character type could be considered to be either Jack as
he gets possessed and tries to kill his family or the hotel as
this is what possesses him.
The dispatcher—character who makes the lack known
and sends the hero off- This character type can not be
related to The Shining
The helper — helps the hero in the quest- In the shining
the helper could be the character Dick as he does help
Danny at some stages throughout the film and Danny
could be seen as one of the heroes.. However, this does
not directly relate.
119. The princess or prize — the hero deserves her throughout the story but is unable
to marry her because of an unfair evil, usually because of the villain. the hero's
journey is often ended when he marries the princess, thereby beating the villain-
In the shining the princess or prize would be the main female protagonist Wendy
as she is the only female character; the former husband Jack deserves her but as
he comes possessed he no longer deserves her. The prize could be the character
Danny.
120. The donor —prepares the hero or gives the hero some magical object- The
donor in The Shining could be the character Dick as he enabled Danny to use
his power by making him aware of it.
The hero or victim/seeker hero — reacts to the donor, weds the princess- The
hero in The Shining could either be Danny or Wendy as they both survive until
the end.
False hero — takes credit for the hero’s actions or tries to marry the princess-
The false hero could either be Jack as he pretends to be someone he is not or it
could be Dick.
121. To some extent, Propp's eight character types do relate
to the film The Shining. However, not all of them can
be connected such as; the dispatcher and the father.
123. Bordwell and Thompson never did come up with a
complete narrative theory, they did however come up
with some interesting ideas.
They believed that chain of events within a media
form cause effects on a relationship occurring in time
and space and the narrative shapes this material in
terms of time space such as; where and when things
take place. This can be portrayed through using
effects to show the time and space by using flash
backs, forwarding time, slow motion and speeding
up.
124. This theory is evident within The shining. We see
the character Jack having flashbacks from past
events and we see Danny seeing things in the
future due to his power. Inter titles are used
frequently within the movie showing which day it
is connoting the high impact of the time in this
film.
126. Claude Levi- Strauss looked at narrative structure in terms of "
Binary oppositions" focusing on the different sets of opposite
values which reveal the structure of the media texts. His
narrative theory is different compared to other theorists as he
focused more on the arrangement of themes rather than the order
of a media text.
127. Examples of these binary
oppositions could be :
Earth – space
Good – bad
Past- Present
Normal- abnormal
Humans- Aliens
Known- Unknown
Dead- Alive
Happy- sad
Weak- strong
128. These binary oppositions can be applied to the film
The Shining in several ways. They moved to an
Isolated place when they were used to living in a
civilised area. The character Jack’s sanctity changed as
he became insane. Another example of these binary
oppositions could be the character Wendy; she
appeared weak at the beginning of the film but then
became a much stronger character at the end. Lastly
Danny appeared to be a normal boy at the beginning
but he soon realised, with Dick’s guidance that he had
a power.
130. Todorov was a Bulgarian linguist who produced and
published influential narrative theory work from the
1960’s onwards. His theory suggested that stories
begin with an equilibrium where any opposing force
are in balance. This equilibrium is then disrupted by
an event which leads to a series of other events
leading to the stereotypical end of all major events
being restored.
131. Todorov’s narrative theory can be applied to The Shining as the
film begins normally – the family moving away. A change in
equilibrium then occurs- Jack slowly becoming mental and then
the enigma is then resolved at the end as Jack dies and Wendy
and Danny escape unharmed.
132. COMPLEX NARRATIVE STRUCTURE
Today’s narratives have become increasingly complex as producers
know that audiences have a greater sense of media literacy when it
comes to making meaning of the text and reading the signs. There
are often numerous plot twists and surprises that keep the audience
intrigued with carefully spun storylines.
Films such as “Memento” (Nolan,2000) which weaves the story in reverse
gives the audience a similar experience to the protagonist who has
short term memory loss, as they try and fit the clues together through
the use of restricted narrative.
Unrestricted Narrative: What the are assumed to know e.g. thriller
there will be a crime so they will be expecting it
Restricted Narrative: The information that is withheld from the
audience
http://quizlet.com/4162490/narrative-theorists-flash-cards/
Now test your knowledge:
139. WHAT DO THESE
IMAGES SIGNIFY?
Consider:
Costume
Props
Differences in clothing and
positioning
140. HOW TO APPLY THEORY
IN YOUR WRITING AND
USE THE THEORISTS
Assume your reader knows about the theory/theorist
Don’t explain the theory; use it
A Todorovian analysis would argue...
Steve Neale’s statements that Genre is ‘made up of repetition and
change’ could be useful here because...
Barthes’ notion of action codes provides a useful way of
understanding the film in that...
141. FERDINAND DE
SAUSSURE -
SEMIOTICS
Meaning is constructed through the
interpretation of signs.
• Signifier = the physical/visual object i.e. A knife
• Signified = the meaning it creates i.e. Threat,
aggression, violence/self-defence and protection
Representations are created through signs
which signify meaning. Like the knife, signs
can have more than one meaning leading to a
polysemic reading of signs
142. LOOK OVER YOUR
IMAGES AGAIN
Can you apply Saussure’s semiotics to polysemic
representations of the visual signs in the frames?
143. LIST THE CHARACTERS
IN YOUR FILMS
Who are they?
What roles do they have in the narrative?
144. COUNTER ARGUMENT –
DAVID GAUNTLETT AND
MARTIN BARKER
Identities are not given but are constructed and negotiated
(Gauntlett)
Martin Barker condemned stereotypes for mis-representing
the real world by reinforcing false stereotypes
145. BAUDRILLARD
Postmodern theorist
Argues that representations no longer refer to reality or real
things
The representation has become more real to us than the reality –
i.e. The representation of mob bosses as Italian Mafia men
instilled through The Godfather, Goodfellas, The Sopranos
This is re-presentation of reality is termed a simulacrum – a copy
of reality
For Baudrillard, these images have become hyperreal – have no
relationship to the real. CSI and Silent Witness as examples of
forensic science investigations that through their popularity
seem to typify our perception of what that reality is like
For your A2 music video consider how you have represented
young adults, lovers/relationships – What are your sources for
this?
146. YOUR CHARACTERS
Pick one of the characters from your A2 music video
Create a profile about them
• Motivation
• Who they represent
• What they represent
Where did you get your inspirations for your
characters? From reality or from media
representations on film and television? Remember
your research for AS Cite these in your answer.
Real news stories (BBC) Documentaries?
Kidulthood? The Bill? Life on Mars…?
Are they, therefore, arguably a simulacrum of reality?
147. REPRESENTATION OF
PEOPLE AND PLACES
Male
Female
Students/Young
Adults
Lovers – Straight
and Gay
British
Caucasian/White
Suburbia (WOTE)
Seaside tourist
town/beach
(Drive)
Comfortable
home (Both)
Graveyard (Drive)
149. Media Language and
Genre/Narrative
0 Meaning is created through analysing the micro elements of a
film
0 Camerawork – shot types, movement, composition of frame,
angles
0 Soundtrack – diegetic, non-diegetic
0 Editing – organisation of scenes to create meaning – link to
narrative. Continuity editing (match on action, 180 degree
rule, S/R/S. Long or short takes?
0 Mis-en-Scene – Iconography, setting, lighting, costume and
props
0 Discuss how generic codes and conventions are displayed
through the use of these micro elements in your film
0 Stuart Hall (1980) – how you encoded meaning for your
audience and what you wanted them to decode
150. Media Language
Tackle this one in much the same way as you tackled the TV Drama exam at
AS. You should be ANALYSING your work (not describing), discussing how
you created meaning for the audience on particular issues such as genre,
representation, narrative, audience, atmosphere etc.. Basically WHY you
chose particular shots, sounds, transitions etc
0Intro: Explain what text you are analysing
0Main: Include all 4 of the following key areas with theorists
0 Genre – Neale, Altman, Chandler, Wales, Goodwin, Carlsson
0 Narrative – Todorov, Goodwin, Barthes, Cameron
0 Representation – Mulvey, Hall, Dyer, Gauntlett
0 Technical Aspects:
0 Camera – shot size, framing, high & low angles, subjective & objective filming,
hand held, tilts, pans, zooms etc, green screen
0 Sound – diegetic and non-diegetic, sound effects, ambient sound, dialogue, music,
voice over
0 Editing – fades, cuts, wipes, dissolves, slow motion, fast motion, colour effects like
black & white, green screening and any After Effects work
0 Mise En Scene – costume, lighting, location, body language, acting, make up, props
etc
0Conclusion: How well do you think you used media language to
communicate meaning to an audience?
151. Theorist Theory – what to write about
Blumler & Katz /
Richard Dyer
Uses & Gratifications theory /– explaining how your use of
MEDIA LANGUAGE offers these to an audience
Vladimir Propp Propp’s Character theory – how your MEDIA LANGUAGE helps
audiences identify particular characters as heros / villains etc
Stuart Hall Explain that your decision to use the MEDIA LANGUAGE you
chose was to create a “preferred reading” for your text. But that
audiences are used to Encoding and Decoding tests AND could
take a negotiated or oppositional reading
Rick Altman – Explain how you used MEDIA LANGUAGE to include Semantic
Elements (eg signs such as knives, blood, dark colours, eerie
music) or to signify Syntactic elements (eg themes like love,
revenge).
152. Narrative How does the structure of your narrative reflect
the genre of your product? Is your narrative
determined by the medium you use, e.g. how
does your narrative structure reflect the
conventions of the music video?
Genre How did you use generic codes to communicate to
the audience? What are the specific generic codes
of the medium you used? With music videos you
need to consider the generic codes of music videos
generally, generic codes of the genre of music, and
possibly generic codes of the mode of the narrative
(e.g. romance).
Technical
Aspects
How did you make use of camerawork, editing,
sound, and mise-en-scene to communicate meaning
to the audience?
Representation How did your use of media language allow you to
construct representations?
153. Semiotics – Barthes (1977)
0 We last saw this theorist with Representation
0 Key words
0 DENOTATION = Signifier [Visual/physical on screen]
0 CONNOTATION – Signified [Suggested or Culturally
agreed meaning]
0 John Fiske (1982) ‘denotation is what is filmed,
connotation is how it is filmed.’
154. Structure your Writing
Suggestion 1 (if you think you might struggle with this Q)
0 Separate out your essay to discuss the four technical elements
Suggestion 2 (if you think you can aim for high B/A)
0 Separate out your essay to discuss the production process
0 Pre-production – research into generic codes and conventions,
how you applied this in your location search and storyboarding
0 Production (filming) – how you applied camerawork codes and
conventions into your filming, costume considerations,
characterisation
0 Post-Production – use of your titles, how did your choice of font
reflect certain connotations about your film? Soundtrack choices
– did you add any foley (sound-effects/hyperbolic sounds) to
your film? Voice/over? Diegetic/non-diegetic
155. Techniques I used in the film What it signified to an audience
Camera:
Mise-En-Scene:
Editing:
Sound: