Genre
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This document discusses genre theory, focusing on the work of theorists Steve Neale and Rick Altman. Neale argues that genres rely on repetition of conventions to attract audiences but also require some difference to remain interesting. Altman proposes a three-stage approach to genre that examines the semantic conventions, syntactic structure and narrative, and pragmatic institutional and audience factors involved in genre. The document uses examples of horror and romantic comedy films to illustrate key aspects of genre theory.
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Rick Altman
Rick Altman proposed a genre theory that breaks genres down into three sections: syntactic, semantic, and pragmatic. The syntactic and semantic sections refer to the conventions and structures that audiences recognize and expect within a given genre. The pragmatic section considers how the target audience influences creative choices to present and structure the genre. Examples are then given of syntactic elements commonly found in pop music magazines like close-up celebrity shots, vibrant colors, and previews of interior content.
Researching Genre
This document discusses researching genres and their key components. Genres have recognizable features and conventions that audiences expect. Producers rely on communicating familiar genre tropes like stock characters, plots, locations and representations to audiences for easy comprehension. When analyzing a genre, one should note the common elements and representations across multiple texts to understand what defines the genre. Students are tasked with creating a presentation on a chosen genre, identifying its key components and how at least 3 texts exemplify them. They must also summarize what their own work must include to be considered part of the genre.
Identifying Genre
This document discusses genre conventions and how audiences recognize and expect certain elements in different genres. It identifies key components of genres like stock characters, plots, locations and props that are easily recognizable to audiences. It also explains the semantic and syntactic approaches to genre, where the semantic looks at recognizable signifiers and the syntactic looks at the relationships between these elements and how the narrative is structured in a genre. The document ends by asking the reader to identify forms and conventions of the horror or thriller genre using stills from trailers to support their points.
Representation
The document discusses key concepts in media studies including representation, mediation, and stereotypes. It provides definitions and explanations of these concepts with the following key points:
1. Representation is how media presents the real world to audiences through various texts like films, photos, etc. and involves the construction of meanings.
2. Mediation is the process by which a media text represents an idea to an audience, and involves selection, organization, and focusing of elements.
3. Stereotypes are widely circulated ideas about social groups that media relies on as a shorthand for audiences, though they may overgeneralize groups.
Genre
Multiple media products can be classified into genres based on common traits such as setting, character types, and technical codes. Audiences recognize these genre conventions and come to expect certain plot developments, like the two lead characters realizing their love for one another at the end of a romantic comedy. Steven Neale's theory of genre proposes that genres contain elements of both repetition, through adherence to conventions, and difference, through subversion of expectations, and it is this balance that defines a genre and the films within it.
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This document discusses different forms of communication beyond spoken language, including music, clothing, tattoos, piercings, and body language. It then focuses on mise-en-scene, which refers to everything visually present in a scene that is purposefully included, such as props, lighting, music, setting, and characters. Mise-en-scene uses signifiers and symbols to convey meaning to audiences through both visual and auditory cues. The document concludes by asking the reader to analyze the denotations, connotations, and potential narrative of one of four provided film shots.
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The document provides guidance on evaluating media language in coursework by analyzing how it communicates key concepts. It instructs the reader to select four examples each of camera shots, editing sequences, sound, and mise-en-scene from their coursework text. They should describe the media language and evaluate how it communicates concepts like genre, narrative, audience, and representation using relevant media theorists like Todorov, Neale, de Saussure, and Katz. Preparing in this way allows for a thorough evaluation of how media language shapes other elements of the text.
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Rick Altman
Rick Altman proposed a genre theory that breaks genres down into three sections: syntactic, semantic, and pragmatic. The syntactic and semantic sections refer to the conventions and structures that audiences recognize and expect within a given genre. The pragmatic section considers how the target audience influences creative choices to present and structure the genre. Examples are then given of syntactic elements commonly found in pop music magazines like close-up celebrity shots, vibrant colors, and previews of interior content.
Researching Genre
This document discusses researching genres and their key components. Genres have recognizable features and conventions that audiences expect. Producers rely on communicating familiar genre tropes like stock characters, plots, locations and representations to audiences for easy comprehension. When analyzing a genre, one should note the common elements and representations across multiple texts to understand what defines the genre. Students are tasked with creating a presentation on a chosen genre, identifying its key components and how at least 3 texts exemplify them. They must also summarize what their own work must include to be considered part of the genre.
Identifying Genre
This document discusses genre conventions and how audiences recognize and expect certain elements in different genres. It identifies key components of genres like stock characters, plots, locations and props that are easily recognizable to audiences. It also explains the semantic and syntactic approaches to genre, where the semantic looks at recognizable signifiers and the syntactic looks at the relationships between these elements and how the narrative is structured in a genre. The document ends by asking the reader to identify forms and conventions of the horror or thriller genre using stills from trailers to support their points.
Representation
The document discusses key concepts in media studies including representation, mediation, and stereotypes. It provides definitions and explanations of these concepts with the following key points:
1. Representation is how media presents the real world to audiences through various texts like films, photos, etc. and involves the construction of meanings.
2. Mediation is the process by which a media text represents an idea to an audience, and involves selection, organization, and focusing of elements.
3. Stereotypes are widely circulated ideas about social groups that media relies on as a shorthand for audiences, though they may overgeneralize groups.
Genre
Multiple media products can be classified into genres based on common traits such as setting, character types, and technical codes. Audiences recognize these genre conventions and come to expect certain plot developments, like the two lead characters realizing their love for one another at the end of a romantic comedy. Steven Neale's theory of genre proposes that genres contain elements of both repetition, through adherence to conventions, and difference, through subversion of expectations, and it is this balance that defines a genre and the films within it.
Q1(b) overview
This document provides guidance for answering a question that requires students to select a production task and evaluate it in relation to one of several media concepts, including genre, narrative, representation, audience, or media language. It asks what the examiner says the question is about and provides examples of past questions.
Media language
This document discusses different forms of communication beyond spoken language, including music, clothing, tattoos, piercings, and body language. It then focuses on mise-en-scene, which refers to everything visually present in a scene that is purposefully included, such as props, lighting, music, setting, and characters. Mise-en-scene uses signifiers and symbols to convey meaning to audiences through both visual and auditory cues. The document concludes by asking the reader to analyze the denotations, connotations, and potential narrative of one of four provided film shots.
Media Language
The document provides guidance on evaluating media language in coursework by analyzing how it communicates key concepts. It instructs the reader to select four examples each of camera shots, editing sequences, sound, and mise-en-scene from their coursework text. They should describe the media language and evaluate how it communicates concepts like genre, narrative, audience, and representation using relevant media theorists like Todorov, Neale, de Saussure, and Katz. Preparing in this way allows for a thorough evaluation of how media language shapes other elements of the text.
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This document discusses audience analysis and reception theory. It explains that reception theory views audiences as active interpreters of media rather than passive receivers. Stuart Hall's encoding/decoding model is discussed, which suggests audiences can take preferred, negotiated, or oppositional readings of a text based on their own experiences and perspectives. A preferred reading accepts the producer's intended meaning, a negotiated reading understands the producer's goals but interprets it through their own lens, and an oppositional reading rejects the producer's values embedded in the text. The document asks how different audiences may interpret a TV drama trailer differently based on these concepts.
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This document outlines learning objectives and activities for a media language class. The class will explore conventions of print media like newspapers, magazines, and advertisements. Students will analyze CD covers, magazines, and film posters by commenting on aspects like color, font, images, and target audience. They will then present their analysis and write a 500-word homework assignment analyzing one media text. The learning objectives are to explore print media conventions and apply semiotics to print media.
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This document discusses codes, conventions, and languages used in media to communicate meaning. It explains that technical codes like camera angles and lighting and symbolic codes like character dress and actions are used to construct meaning. It then defines different media languages including written, verbal, non-verbal, visual, and aural and provides examples. The document also discusses semiotics, denotation and connotation. It profiles theorists Roland Barthes and Claude Levi-Strauss and their work on structuralism and semiotics. Finally, it provides quotes from each theorist and briefly summarizes two music videos.
Media language 2014
This document provides an overview of media language and semiotics. It defines key terms like denotation and connotation, signifiers and signifieds, and codes and conventions. It explains that semiotics is the study of signs and how they construct meaning. A sign is made up of a signifier (the form) and signified (the concept represented). Meaning depends on the reader's interpretation. Media texts have denotative (literal) and connotative (implied) meanings. The document uses examples to illustrate how to analyze the denotative and connotative meanings in media texts using semiotic theory. It also discusses theorists like Saussure, Barthes and how semiotics can reveal underlying messages
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This document introduces key concepts for studying media at A-Level, including representations, audiences, institutions, language, ideology, narrative, and genre. It focuses on the concepts of language, narrative, and genre. Language in media includes codes that construct meaning, such as visual codes, audio codes, and written codes. Narrative refers to the story elements of a media text. Genre describes the type or category of a media text, such as comedy or action. The document provides examples of analyzing images by describing what is seen (denotation) and interpreting what is happening (connotation). Framing techniques like camera angles, distances, and lens types are also discussed.
Rick altman
Rick Altman proposed a semantic/syntactic approach to genre theory that considers both the conventions (semantic) and narrative structures (syntactic) of genres. This allows for a more sophisticated understanding of genres. He later expanded this to a semantic/syntactic/pragmatic approach by also considering the roles of audiences and institutions. The pragmatic approach views genres as modes of production for film studios and as evolving based on changing audience preferences over time.
Applying genre theory to own work
The document discusses genre theory, including Buckingham's statement that genre is constantly negotiated and changing. It provides definitions for genre-related terms like hybrid genre, sub-genre, and pastiche. It also includes sample answers and a marking scheme for evaluating explanations of how genres influence negotiation and change. The key points are: genres can be defined through media language and themes/ideologies; genre serves two functions - guaranteeing meaning/pleasure for audiences and economic success for industries; and audiences enjoy familiar conventions but also unexpected challenges to conventions, demonstrating genres are constantly evolving.
1b genre lessons
This document provides information about genre theory and analysis. It discusses different approaches to genre analysis, including the semantic approach of identifying common elements across genres and the syntactic approach of examining the relationship between genre elements and society. It provides examples of how the semantic and syntactic approaches can be applied to the zombie film genre and the gangster film genre. The document also summarizes theories from scholars like Rick Altman, Steve Neale, and Bordwell and Thompson on genres, conventions, audience expectations, and the use of iconography in film genres.
Applying genre to your text
This document provides an introduction to genre theory and how it can be applied to analyze media texts. It discusses how genre categorizes texts based on common elements and conventions. Key aspects covered include definitions of genre, common genre conventions and codes, how genres engage and please audiences, and different genre theories and models. The document also discusses how genre is useful for producers, audiences and scholars but is also constantly evolving through a process of negotiation.
Production log planning & research
This document contains notes and analysis from a media studies student on their coursework exploring soap opera codes and conventions. It includes:
1) Analysis of trailers for the soap opera EastEnders identifying codes like romance, family conflict, and working class settings. The impact on audiences is discussed using theories from Hartley, Katz and Maslow.
2) Deconstruction of a Coronation Street clip identifying how it presents themes of "the family, domestic tribulations and strong women" as well as codes like multi-stranded narratives and disequilibrium.
3) Discussion of the purpose of trailers and benefits of multi-platform promotion for media texts. Analysis of another Coronation Street clip is outlined.
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This document provides a production log and planning materials for a student named Joshua Davey completing an A2 Media Studies course. It includes aims and objectives for a trailer the student is creating for a new soap opera. Research materials are provided on existing soap operas like EastEnders and Coronation Street to analyze codes and conventions. The document also includes lesson plans on soap opera genres, with activities for students to identify codes and conventions in sample episodes. Analysis is also done of the target audiences for soap operas and how certain techniques may appeal to or impact audiences.
G325: Question 1b - Genre
This document discusses genre theory and how it relates to analyzing media texts for an exam. It provides terminology for key concepts in genre theory like genre, convention, ideology, and hybrid genres. It also discusses how genres are defined by both repetition of conventions but also differences that help them evolve. Students are advised to analyze their own media texts and link them to issues of genre for the exam, like how genres are used by institutions and adapted for audiences.
Genre lesson 11
Genre refers to patterns, forms, styles and structures that transcend individual artistic works and provide frameworks that guide both the creation of works by artists and their interpretation by audiences. These genres are made up of recurring elements that provide expectations for a given type of work within a medium.
Genre theory
This document discusses genre theory and summarizes several key ideas from genre theorists:
- Genre is defined by conventions of content, structure, and style shared by texts within that genre. Audiences must be able to identify and recognize the genre.
- Pleasure can come from merely identifying a genre due to familiarity, or from observing how a work manipulates genre conventions.
- Genres offer emotional pleasures like empathy and escapism. The filmmaker's short film uses the western genre but still defies conventions to be different.
- Theorists discuss how genre provides rules that structure works while allowing differences, and how problems exist with rigid genre classification.
Genre theory
This document discusses genre theory and various perspectives on genre from scholars and critics. It provides definitions of genre from Steve Neale and Dan Chandler, discussing how genres rely on repetition and difference as well as conventions of content, structure and style. Uses and gratifications theory holds that audiences can find pleasure in identifying a genre due to familiarity. However, genres must also defy conventions to create interest. Tom Ryall viewed genres as providing structural rules and supervision, while Abercrombie suggested pleasure comes from observing genre convention manipulation. The document also discusses how genres can provide escapism and empathy. It analyzes the use of genre in the author's short western film and how it both allows recognition but also differs from conventions. Finally,
Acting and Acting StylePrepareAs we have been discussing, .docx
Acting and Acting Style
Prepare
As we have been discussing, the mise en scène of a film is the use of a variety of design elements to create the visual theme. As you prepare to write this discussion, take a few moments to do the following:
· Read any required and recommended reading materials for this week, especially Chapter 5 (Mise en Scene and Actors).
· Review the grading rubric for this discussion.
· Select a full-length film from the AFI 10 Top 10 list.
Reflect
Mise en scène refers to different technical elements used in making a film such as lighting and sound, both of which you have already analyzed in this course. The term also encompasses the role of actors in a film, their physical positioning and movements within the frame, as well as the different styles and types of acting.
You can classify an acting category using only one film as reference, but these categories are subject to change. Each new role helps to clarify or shift an actor’s designation. Do some actors always fall into the same category? How can actors change from category to category? Does genre have any effect on the acting styles present in a given film?
Write(due Thursday, Day 3)
Please view the video Adding Pictures and Video to Discussions and Introductions for guidance on how to integrate multimedia with your response.
Using specific examples from your chosen film, write an initial post of at least 200 words which should
· Identify three actors from your film and classify each according to the acting category listed in your text.
· Explain your reasons for classifying the actors as you do. Use specific references to the film and pay special attention to how these decisions impacted characterization. Also, consider the impact of any realistic or stylized portrayals within the film.
· Focus on one of the actors you’ve discussed. Based on other films the actor has been in, would this actor always be placed in the same category? If so, what does this say about the category or actor? If not, what can you infer about the flexibility of these categories? Provide evidence (references from other films, including film clips and stills) to support your argument.
You must use at least two outside sources, in any combination of embedded video clips, still photos, or scholarly sources. All sources should be documented in APA style as outlined by the Ashford Writing Center.
Respond to Peers(due Monday, Day 7)
Respond to at least two classmates who chose different actors or different categories than you did. In your responses, reference your initial post and show how your ideas relate to those of your peers. Your responses should be 150 to 175 words each.
Please view the video Accessing Feedback in the Gradebook for guidance on how to review your instructor’s feedback when the post is graded.
The Cinematic Auteur
Prepare
As you prepare to write this discussion, take a few moments to do the following:
· Review the Modeled Discussion.
· Read any required and .
Film Genre
Genre is useful to film producers, distributors/marketers, and audiences for several reasons:
Producers like genre because it helps them minimize risk and predict costs and revenues. Genre films are also often easier to write, fund, and market. Distributors/marketers find that genre makes films easier to target and advertise to specific audiences. Audiences enjoy genre films because they provide familiar conventions and expectations while still offering surprises. Genre allows audiences to categorize films and experience themes and resolutions to fears or issues.
Lesson 8_Genre.pptx
The document discusses the concept of genre and provides examples of how genre is expressed in different media like music and film. It defines genre as a type or category of media text with predictable characteristics. Codes are described as systems of symbols that represent ideas, while conventions are typical characteristics of a specific genre that are repeated. The document uses examples from film posters and magazine covers to illustrate how codes and conventions define different genres.
2
The document discusses the concept of genre in film and how genres change over time according to the contexts of their production and society. It argues that genres are not fixed and reflect changing times, audiences, values, and technologies. Individual films can also influence and redefine genres. Factors like censorship, media institutions, audience expectations, and representations of issues like gender and race shape genres.
Genre theory
Genre theory refers to the research and ideas surrounding genre. Genres are instances of repetition and difference that both conform to and break conventions. They constitute particular themes, settings, structures and styles shared by texts within that genre. Audiences derive pleasure from both identifying a familiar genre and observing how its conventions are manipulated. Genre provides emotional pleasures like empathy and escapism by offering recognizable frameworks and structures while still surprising audiences through differences. However, classifying genres is problematic as individual films may belong to multiple genres and genres are not static or transhistorical.
Production log
This is my production log which shows research i have completed prior to my production. I have analysed a number of soap operas and considered the many codes and conventions of what makes a successful soap opera.
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This document discusses audience analysis and reception theory. It explains that reception theory views audiences as active interpreters of media rather than passive receivers. Stuart Hall's encoding/decoding model is discussed, which suggests audiences can take preferred, negotiated, or oppositional readings of a text based on their own experiences and perspectives. A preferred reading accepts the producer's intended meaning, a negotiated reading understands the producer's goals but interprets it through their own lens, and an oppositional reading rejects the producer's values embedded in the text. The document asks how different audiences may interpret a TV drama trailer differently based on these concepts.
Media language 1 b
This document provides guidance on answering an essay question about how meaning is constructed through media language in a coursework production. It discusses media language and the purpose of trailers. It instructs the student to consider audience appeal, distribution, and themes when analyzing their work. Examples from the student's production demonstrating how camera work, editing, sound, and mise-en-scene create meaning must be discussed. Outlining how the essay will be structured is also covered.
Media Language: Print Media
This document outlines learning objectives and activities for a media language class. The class will explore conventions of print media like newspapers, magazines, and advertisements. Students will analyze CD covers, magazines, and film posters by commenting on aspects like color, font, images, and target audience. They will then present their analysis and write a 500-word homework assignment analyzing one media text. The learning objectives are to explore print media conventions and apply semiotics to print media.
Media languages
This document discusses codes, conventions, and languages used in media to communicate meaning. It explains that technical codes like camera angles and lighting and symbolic codes like character dress and actions are used to construct meaning. It then defines different media languages including written, verbal, non-verbal, visual, and aural and provides examples. The document also discusses semiotics, denotation and connotation. It profiles theorists Roland Barthes and Claude Levi-Strauss and their work on structuralism and semiotics. Finally, it provides quotes from each theorist and briefly summarizes two music videos.
Media language 2014
This document provides an overview of media language and semiotics. It defines key terms like denotation and connotation, signifiers and signifieds, and codes and conventions. It explains that semiotics is the study of signs and how they construct meaning. A sign is made up of a signifier (the form) and signified (the concept represented). Meaning depends on the reader's interpretation. Media texts have denotative (literal) and connotative (implied) meanings. The document uses examples to illustrate how to analyze the denotative and connotative meanings in media texts using semiotic theory. It also discusses theorists like Saussure, Barthes and how semiotics can reveal underlying messages
Media language
This document introduces key concepts for studying media at A-Level, including representations, audiences, institutions, language, ideology, narrative, and genre. It focuses on the concepts of language, narrative, and genre. Language in media includes codes that construct meaning, such as visual codes, audio codes, and written codes. Narrative refers to the story elements of a media text. Genre describes the type or category of a media text, such as comedy or action. The document provides examples of analyzing images by describing what is seen (denotation) and interpreting what is happening (connotation). Framing techniques like camera angles, distances, and lens types are also discussed.
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Rick altman
Rick Altman proposed a semantic/syntactic approach to genre theory that considers both the conventions (semantic) and narrative structures (syntactic) of genres. This allows for a more sophisticated understanding of genres. He later expanded this to a semantic/syntactic/pragmatic approach by also considering the roles of audiences and institutions. The pragmatic approach views genres as modes of production for film studios and as evolving based on changing audience preferences over time.
Applying genre theory to own work
The document discusses genre theory, including Buckingham's statement that genre is constantly negotiated and changing. It provides definitions for genre-related terms like hybrid genre, sub-genre, and pastiche. It also includes sample answers and a marking scheme for evaluating explanations of how genres influence negotiation and change. The key points are: genres can be defined through media language and themes/ideologies; genre serves two functions - guaranteeing meaning/pleasure for audiences and economic success for industries; and audiences enjoy familiar conventions but also unexpected challenges to conventions, demonstrating genres are constantly evolving.
1b genre lessons
This document provides information about genre theory and analysis. It discusses different approaches to genre analysis, including the semantic approach of identifying common elements across genres and the syntactic approach of examining the relationship between genre elements and society. It provides examples of how the semantic and syntactic approaches can be applied to the zombie film genre and the gangster film genre. The document also summarizes theories from scholars like Rick Altman, Steve Neale, and Bordwell and Thompson on genres, conventions, audience expectations, and the use of iconography in film genres.
Applying genre to your text
This document provides an introduction to genre theory and how it can be applied to analyze media texts. It discusses how genre categorizes texts based on common elements and conventions. Key aspects covered include definitions of genre, common genre conventions and codes, how genres engage and please audiences, and different genre theories and models. The document also discusses how genre is useful for producers, audiences and scholars but is also constantly evolving through a process of negotiation.
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This document contains notes and analysis from a media studies student on their coursework exploring soap opera codes and conventions. It includes:
1) Analysis of trailers for the soap opera EastEnders identifying codes like romance, family conflict, and working class settings. The impact on audiences is discussed using theories from Hartley, Katz and Maslow.
2) Deconstruction of a Coronation Street clip identifying how it presents themes of "the family, domestic tribulations and strong women" as well as codes like multi-stranded narratives and disequilibrium.
3) Discussion of the purpose of trailers and benefits of multi-platform promotion for media texts. Analysis of another Coronation Street clip is outlined.
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This document provides a production log and planning materials for a student named Joshua Davey completing an A2 Media Studies course. It includes aims and objectives for a trailer the student is creating for a new soap opera. Research materials are provided on existing soap operas like EastEnders and Coronation Street to analyze codes and conventions. The document also includes lesson plans on soap opera genres, with activities for students to identify codes and conventions in sample episodes. Analysis is also done of the target audiences for soap operas and how certain techniques may appeal to or impact audiences.
G325: Question 1b - Genre
This document discusses genre theory and how it relates to analyzing media texts for an exam. It provides terminology for key concepts in genre theory like genre, convention, ideology, and hybrid genres. It also discusses how genres are defined by both repetition of conventions but also differences that help them evolve. Students are advised to analyze their own media texts and link them to issues of genre for the exam, like how genres are used by institutions and adapted for audiences.
Genre lesson 11
Genre refers to patterns, forms, styles and structures that transcend individual artistic works and provide frameworks that guide both the creation of works by artists and their interpretation by audiences. These genres are made up of recurring elements that provide expectations for a given type of work within a medium.
Genre theory
This document discusses genre theory and summarizes several key ideas from genre theorists:
- Genre is defined by conventions of content, structure, and style shared by texts within that genre. Audiences must be able to identify and recognize the genre.
- Pleasure can come from merely identifying a genre due to familiarity, or from observing how a work manipulates genre conventions.
- Genres offer emotional pleasures like empathy and escapism. The filmmaker's short film uses the western genre but still defies conventions to be different.
- Theorists discuss how genre provides rules that structure works while allowing differences, and how problems exist with rigid genre classification.
Genre theory
This document discusses genre theory and various perspectives on genre from scholars and critics. It provides definitions of genre from Steve Neale and Dan Chandler, discussing how genres rely on repetition and difference as well as conventions of content, structure and style. Uses and gratifications theory holds that audiences can find pleasure in identifying a genre due to familiarity. However, genres must also defy conventions to create interest. Tom Ryall viewed genres as providing structural rules and supervision, while Abercrombie suggested pleasure comes from observing genre convention manipulation. The document also discusses how genres can provide escapism and empathy. It analyzes the use of genre in the author's short western film and how it both allows recognition but also differs from conventions. Finally,
Acting and Acting StylePrepareAs we have been discussing, .docx
Acting and Acting Style
Prepare
As we have been discussing, the mise en scène of a film is the use of a variety of design elements to create the visual theme. As you prepare to write this discussion, take a few moments to do the following:
· Read any required and recommended reading materials for this week, especially Chapter 5 (Mise en Scene and Actors).
· Review the grading rubric for this discussion.
· Select a full-length film from the AFI 10 Top 10 list.
Reflect
Mise en scène refers to different technical elements used in making a film such as lighting and sound, both of which you have already analyzed in this course. The term also encompasses the role of actors in a film, their physical positioning and movements within the frame, as well as the different styles and types of acting.
You can classify an acting category using only one film as reference, but these categories are subject to change. Each new role helps to clarify or shift an actor’s designation. Do some actors always fall into the same category? How can actors change from category to category? Does genre have any effect on the acting styles present in a given film?
Write(due Thursday, Day 3)
Please view the video Adding Pictures and Video to Discussions and Introductions for guidance on how to integrate multimedia with your response.
Using specific examples from your chosen film, write an initial post of at least 200 words which should
· Identify three actors from your film and classify each according to the acting category listed in your text.
· Explain your reasons for classifying the actors as you do. Use specific references to the film and pay special attention to how these decisions impacted characterization. Also, consider the impact of any realistic or stylized portrayals within the film.
· Focus on one of the actors you’ve discussed. Based on other films the actor has been in, would this actor always be placed in the same category? If so, what does this say about the category or actor? If not, what can you infer about the flexibility of these categories? Provide evidence (references from other films, including film clips and stills) to support your argument.
You must use at least two outside sources, in any combination of embedded video clips, still photos, or scholarly sources. All sources should be documented in APA style as outlined by the Ashford Writing Center.
Respond to Peers(due Monday, Day 7)
Respond to at least two classmates who chose different actors or different categories than you did. In your responses, reference your initial post and show how your ideas relate to those of your peers. Your responses should be 150 to 175 words each.
Please view the video Accessing Feedback in the Gradebook for guidance on how to review your instructor’s feedback when the post is graded.
The Cinematic Auteur
Prepare
As you prepare to write this discussion, take a few moments to do the following:
· Review the Modeled Discussion.
· Read any required and .
Film Genre
Genre is useful to film producers, distributors/marketers, and audiences for several reasons:
Producers like genre because it helps them minimize risk and predict costs and revenues. Genre films are also often easier to write, fund, and market. Distributors/marketers find that genre makes films easier to target and advertise to specific audiences. Audiences enjoy genre films because they provide familiar conventions and expectations while still offering surprises. Genre allows audiences to categorize films and experience themes and resolutions to fears or issues.
Lesson 8_Genre.pptx
The document discusses the concept of genre and provides examples of how genre is expressed in different media like music and film. It defines genre as a type or category of media text with predictable characteristics. Codes are described as systems of symbols that represent ideas, while conventions are typical characteristics of a specific genre that are repeated. The document uses examples from film posters and magazine covers to illustrate how codes and conventions define different genres.
2
The document discusses the concept of genre in film and how genres change over time according to the contexts of their production and society. It argues that genres are not fixed and reflect changing times, audiences, values, and technologies. Individual films can also influence and redefine genres. Factors like censorship, media institutions, audience expectations, and representations of issues like gender and race shape genres.
Genre theory
Genre theory refers to the research and ideas surrounding genre. Genres are instances of repetition and difference that both conform to and break conventions. They constitute particular themes, settings, structures and styles shared by texts within that genre. Audiences derive pleasure from both identifying a familiar genre and observing how its conventions are manipulated. Genre provides emotional pleasures like empathy and escapism by offering recognizable frameworks and structures while still surprising audiences through differences. However, classifying genres is problematic as individual films may belong to multiple genres and genres are not static or transhistorical.
Production log
This is my production log which shows research i have completed prior to my production. I have analysed a number of soap operas and considered the many codes and conventions of what makes a successful soap opera.
Genre presentation
Genre refers to distinctive types or categories of texts that share common characteristics. Genre can be used to classify different types of media like music videos. Characteristics that define genres include settings, storylines, narratives, characters, themes, conventions, and more. Genre provides audiences with expectations about the structure and content of a text based on familiar conventions, allowing for creativity within those conventions.
Production log
This document contains a production log and research for a media studies student named Sarah Hutton. It outlines her plans and research for creating a trailer for a new soap opera. It discusses soap opera codes and conventions like romance, family conflict, and multi-stranded narratives. It includes analyses of trailers for EastEnders identifying these elements. It also contains research on the purpose of trailers, multi-platform promotion, and analyses of clips from Coronation Street and Hollyoaks identifying codes and conventions. Deadlines for the trailer, poster, and other promotional materials are provided.
Production log planning & research new
This document provides planning and research details for a media studies student's advanced portfolio project on producing a trailer for a new soap opera. It includes aims and objectives, chosen brief, contents, research on soap opera codes and conventions using examples from EastEnders and Coronation Street, production deadlines, and research on the roles of a director and producer. Research is also presented on BBC Two, the channel the trailer will be exhibited on, including target audience details and history.
Genre overview
This document provides an overview of genre theory and its academic uses in media studies. Genre theory allows films to be grouped and compared based on similarities, which provides insights into meanings, cultural influences, and how audiences respond. Genres are not fixed categories and can blend elements. A film's genre is informed by stylistic elements, settings, narratives, characters, themes, and target audiences. Genre also influences industrial filmmaking practices aimed at maximizing profits.
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The document discusses representation and stereotypes in media texts. It summarizes Richard Dyer's theory that stereotypes reduce the complexity of groups to a few exaggerated characteristics that are then applied to all group members. These characteristics are communicated through media language. The document also discusses whether those in power still stereotype minority groups, the benefits of stereotypes as media shorthand, and how representations and stereotypes are communicated to audiences semiotically through signs and systems of meaning that take into account audience ideology.
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The document discusses several theories of narrative structure:
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Genre
- 2. Detached analysis of ONE of your pieces of coursework Detailed reference to your coursework Stick to the concept in the question Use two theorists Genre
- 3. Genre Steve Neale Genres are instances of repetition and difference. Difference is essential to the economy of the genre. Mere repetition would not attract an audience.
- 4. Genre Film Genre Repetition Difference Halloween Nightmare on Elm Street Scream Blair Witch Project Paranormal Activity
- 5. Genre Why do audiences like the concept of genre? Why does genre even exist?
- 6. Genre Repetition breeds familiarity. Audiences develop an understanding that their expectations will be fulfilled and take pleasure in predicting what will happen next. Why is difference needed?
- 7. Genre Institutions love genre! Generic narratives create immediate communication. Genres using easily recognisable key components are successful.
- 8. Genre Rick Altman More advanced, 3 stage approach. Semantic / Syntactic / Pragmatic
- 9. Genre Semantic Conventions that are communicated to the audience. Building blocks of a film. Similar to the repetition from Steve Neale's theory.
- 10. Genre Semantic What are the conventions of a Romantic Comedy? Building Blocks of the genre.
- 11. Genre Syntactic Syntax – combination of words to form well constructed sentences. In genre – relationship between conventions and structure of narrative. How building blocks are constructed.
- 12. Genre Syntactic Romantic Comedies. Narrative / Thematic ideas?
- 13. Genre Pragmatic Genres as a mode of production. Audience coverage through genre production. Fashion genres...
- 14. Genre – Rick Altman Semantic Conventions Syntactic Structure / Narrative Pragmatic Institution / Audience