G325 a genre_theoryquotes-
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1. Genre conventions help film and television producers create content efficiently by reusing sets, costumes, crews, and talent across similar productions to realize economic benefits of scale. 2. Genres allow media companies to target specific audiences and stabilize production by catering to audience expectations set by repetitive genre conventions. 3. Viewers understand and interpret genres like "car chase" through cultural knowledge built from intertextual references across many similar genre texts seen before.
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Nicholas abercrombie and Limitation of genre theory
This document discusses Nicholas Abercrombie's theory of genre exploitation in television. It notes that television producers exploit genre conventions because it makes economic sense. It also addresses criticisms of genres, suggesting they are seen as inferior because they are considered repetitive and cliché. However, criticisms of genres often come from ideas of "high art" and the "creative individual" as well as the notion of a cultural canon. The document questions to what extent texts can be considered truly unique.
Section a question 1b genre theoryn
The document discusses genre theory and how genres are dynamic and evolving over time. It addresses how genres are influenced by economic and technological factors as well as changing audience preferences. While new genres and sub-genres emerge, conventions of existing genres also shift. Genres position readers and writers in certain roles and carry assumptions about the ideal reader. Genres derive from social occasions and relate to the structure of social interactions between participants. They work to limit meaning potential but also shape producer and consumer expectations.
G325 Q1b
This document defines key concepts related to genre, narrative, representation, audience, and media language. It provides definitions of genre as a style or category of art and discusses how genres help producers target audiences. Narrative is defined as connected events, and models of narrative structure and character types are outlined. Representation refers to portrayals in media that construct aspects of reality. Theories of audience effects and the encoding/decoding model of communication are summarized. Finally, examples of media language techniques used to convey meaning are listed.
Genre completed
The document discusses genre theory and its application to media texts. It defines genre as conventions that classify texts into categories. It outlines several genre theorists and their perspectives, such as Chandler who sees genre as dividing texts based on common elements. Grant discusses subgenres as more specific categories within a genre. The document also discusses how genres appeal to audiences through familiarity and pleasure, and how genres evolve over time through hybridization and changing conventions.
Key concept genre rick altman
The document introduces genre theory and key theorists Rick Altman, Steve Neale, and David Buckingham. It discusses that genres have recognizable codes and conventions that identify their form and change over time to reflect society. Genre is important to producers, distributors, and audiences of media like music videos. Producers use genre as a template, distributors market to the expected audience, and audiences know what to expect from a genre.
Question 1b general tips
This document provides an overview of various media theorists that may be relevant for analyzing media productions and concepts. It lists several theorists of genre, narrative, representation, audience, and media language. For each area, one or two key theorists are mentioned along with brief descriptions of some of their major ideas. The document advises using a few relevant theorists to apply to one's own work, rather than explaining theories in depth.
2 genre
Here is a potential plan for answering this exam question:
Introduction:
- State which production piece will be discussed (e.g. my short film 'XYZ')
- Briefly describe the piece
Body paragraph 1:
- Discuss Neale's theory of genre circulating between industry, text and subject
- Apply this theory to my short film - how does it fit with/challenge this idea?
- Reference quote from Neale
Body paragraph 2:
- Discuss Barthes' theory of intertextuality and making sense of texts in relation to other genres
- Analyze how my film draws on/departs from conventions of related genres
- Reference Barthes quote
Body paragraph 3
Barry Keith Grant Theory
Barry Keith Grant suggests that subgenres allow audiences to more specifically identify genres based on their familiar characteristics. Music videos can target niche audiences through the use of features like costumes, props, representations of artists, locations, and lighting that fit the subgenre and its characteristics. These elements were incorporated into a music video about a love story to signal negativeness, sadness, and convey a dark and cold narrative through a teenager, grandma, flowers, extreme close-ups, dark streets, a care home, and dark lighting.
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Nicholas abercrombie and Limitation of genre theory
This document discusses Nicholas Abercrombie's theory of genre exploitation in television. It notes that television producers exploit genre conventions because it makes economic sense. It also addresses criticisms of genres, suggesting they are seen as inferior because they are considered repetitive and cliché. However, criticisms of genres often come from ideas of "high art" and the "creative individual" as well as the notion of a cultural canon. The document questions to what extent texts can be considered truly unique.
Section a question 1b genre theoryn
The document discusses genre theory and how genres are dynamic and evolving over time. It addresses how genres are influenced by economic and technological factors as well as changing audience preferences. While new genres and sub-genres emerge, conventions of existing genres also shift. Genres position readers and writers in certain roles and carry assumptions about the ideal reader. Genres derive from social occasions and relate to the structure of social interactions between participants. They work to limit meaning potential but also shape producer and consumer expectations.
G325 Q1b
This document defines key concepts related to genre, narrative, representation, audience, and media language. It provides definitions of genre as a style or category of art and discusses how genres help producers target audiences. Narrative is defined as connected events, and models of narrative structure and character types are outlined. Representation refers to portrayals in media that construct aspects of reality. Theories of audience effects and the encoding/decoding model of communication are summarized. Finally, examples of media language techniques used to convey meaning are listed.
Genre completed
The document discusses genre theory and its application to media texts. It defines genre as conventions that classify texts into categories. It outlines several genre theorists and their perspectives, such as Chandler who sees genre as dividing texts based on common elements. Grant discusses subgenres as more specific categories within a genre. The document also discusses how genres appeal to audiences through familiarity and pleasure, and how genres evolve over time through hybridization and changing conventions.
Key concept genre rick altman
The document introduces genre theory and key theorists Rick Altman, Steve Neale, and David Buckingham. It discusses that genres have recognizable codes and conventions that identify their form and change over time to reflect society. Genre is important to producers, distributors, and audiences of media like music videos. Producers use genre as a template, distributors market to the expected audience, and audiences know what to expect from a genre.
Question 1b general tips
This document provides an overview of various media theorists that may be relevant for analyzing media productions and concepts. It lists several theorists of genre, narrative, representation, audience, and media language. For each area, one or two key theorists are mentioned along with brief descriptions of some of their major ideas. The document advises using a few relevant theorists to apply to one's own work, rather than explaining theories in depth.
2 genre
Here is a potential plan for answering this exam question:
Introduction:
- State which production piece will be discussed (e.g. my short film 'XYZ')
- Briefly describe the piece
Body paragraph 1:
- Discuss Neale's theory of genre circulating between industry, text and subject
- Apply this theory to my short film - how does it fit with/challenge this idea?
- Reference quote from Neale
Body paragraph 2:
- Discuss Barthes' theory of intertextuality and making sense of texts in relation to other genres
- Analyze how my film draws on/departs from conventions of related genres
- Reference Barthes quote
Body paragraph 3
Barry Keith Grant Theory
Barry Keith Grant suggests that subgenres allow audiences to more specifically identify genres based on their familiar characteristics. Music videos can target niche audiences through the use of features like costumes, props, representations of artists, locations, and lighting that fit the subgenre and its characteristics. These elements were incorporated into a music video about a love story to signal negativeness, sadness, and convey a dark and cold narrative through a teenager, grandma, flowers, extreme close-ups, dark streets, a care home, and dark lighting.
Semantic and syntactic
The document discusses identifying genre through semantic and syntactic approaches. Syntactically, horror films follow familiar patterns of introducing protagonists and antagonists, building tension through deaths and threats, and restoring equilibrium through defeating the antagonist. Semantically, horror genres employ certain locations, costumes, lighting, sounds and other elements to create suspense, including abandoned places, dark lighting, and intensifying music. The document provides an example of how a horror film trailer uses some syntactic elements out of order to build intrigue without revealing the film's conclusion.
Question 1 b) genre practice
This document provides guidance for students preparing for an exam question on genre. It discusses several genre theories that students should apply in their answers, such as Steve Neale's concepts of repetition and difference and Roland Barthes' theory of enigma codes. Students are instructed to analyze how their coursework productions exploit genre conventions discussed by theorists like Nicholas Abercrombie and Kate Wales. Examples are given of how to structure a potential genre question response, allocating time between introducing, analyzing main and ancillary productions using theory, and concluding. Homework involves completing and revising the genre answer in preparation for the exam.
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The document discusses semantic and syntactic approaches to horror films. Semantically, horror films typically feature isolated locations, limited characters, and props that heighten fear. They also often use low lighting at night or indoors. Syntactically, horror film narratives usually focus on one or few survivors trying to escape a threatening person or creature, inducing anxiety and fear that climaxes near the end and leaves the audience in suspense.
Example answer for question 1b
Analyse one of your productions in relation to media language.
DISCLAIMER: This is an example answer, not an exemplar!
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This document provides guidance for students preparing for an exam question on genre. It discusses several genre theories that students should apply in their answers, such as Steve Neale's concepts of repetition and difference and Roland Barthes' theory of enigma codes. Students are instructed to analyze how their coursework productions exploit genre conventions discussed by theorists like Nicholas Abercrombie and Kate Wales. Examples are given of how to structure a potential genre question response, allocating time between introducing, analyzing main and ancillary productions using theory, and concluding. Homework involves completing and revising the genre answer in preparation for the exam.
Semantic and syntactic
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Example answer for question 1b
Analyse one of your productions in relation to media language.
DISCLAIMER: This is an example answer, not an exemplar!
G325 a media theory and theorists_sectiona-
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The student discusses their horror teaser trailer and how it relates to genre conventions. The trailer is set in the woods and uses techniques like handheld camera work and cross-cutting to create tension. While adhering to horror tropes like an isolated setting and darkness, the trailer subverts expectations by featuring a female psycho killer instead of the typical male role. Editing techniques like changes in pace and symbolic shots of blood and hanging were used to unsettle the audience. The open ending leaves viewers wanting more, demonstrating how the trailer effectively engaged with its target horror genre audience.
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OCR A level media Q1b genre example answer A grade
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- Ethnic minorities experience layered national and ethnic identities, and have stronger bonds to family origins than to being British.
- Scottish, Welsh and Northern Irish participants are hesitant to embrace Britishness due to its association with England. Young people in England conflate English and British identities.
- Multiculturalism and differences in beliefs and
G325 b uk_tribes_whatschanging-
Young people's lives have changed significantly in the last five years due to advances in technology and social media:
- Social media has given young people a voice and a platform to connect with others on a global scale. It is now the primary way for social interaction and maintaining social relationships.
- Ubiquitous mobile devices mean young people are constantly connected and can plan and communicate on the go.
- Young people's sense of identity is stronger than ever, as they can freely mix and match interests across genres and curate their own tastes through access to vast amounts of media and information.
- However, the media often portrays young people negatively and the future remains uncertain as the pace of change continues to
G325 b uk_tribes_historyoftribes-
Britain's youth culture and tribes have changed significantly over time. Where there used to be one or two dominant tribes, now there are many fragmented and fluid tribes that blend into each other. Tribes form in reaction to social and economic conditions and often start in working-class communities. Some historic tribes include teddy boys in the 1950s, mods in the 1960s, punks in the 1970s, and ravers in the 1980s/1990s. Today there are many smaller, less defined tribes that are influenced by technology and globalization. While some traditional tribes still exist, new tribes are also constantly emerging and blending together in Britain's fast-paced youth culture.
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