Genre for Q1B
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This document defines genre and discusses how to analyze a film or other text against common genre elements and audience expectations. It prompts the reader to identify the genre of their own production, what conventional codes it did or did not follow, and how it linked to elements of narrative and audience gratification. Examples of typical print and film conventions are also listed.
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Section A Audience
The document discusses several theories of audience reception:
1. Postmodern media audience theory sees audiences as active interpreters who construct their own meanings from media texts rather than passively accepting the producer's intended messages.
2. Reception theory, developed by Stuart Hall, recognizes that audiences decode media texts in different ways based on their own experiences and perspectives, which may not match the producer's encoding.
3. The hypodermic needle theory views audiences as passive receivers who unknowingly absorb all of a medium's intended messages. This outdated view has been disproven by more active audience theories.
4. Uses and gratifications theory recognizes that audiences are active in choosing media to fulfill various personal
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.
OCR media A level - genre, section 1 exam
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.
Narrative and essay planning for section 1b
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.
As tv drama 3
This document provides an overview of key concepts related to representations of age and gender in TV dramas. It discusses common stereotypical representations of males and females, such as strength and independence for males versus beauty and relationships for females. The concept of the "male gaze" is introduced, which assumes the audience and producers are male, resulting in the objectification of women. The document also outlines areas to discuss when analyzing representations, such as camerawork, mise-en-scene, editing, and sound. Students are assigned homework to watch a clip from an exam and write an essay analyzing representations.
Question 1 B Genre
This document discusses genre theory and its application to analyzing media works. It provides definitions of genre from theorists like Chandler, who see genres as consisting of conventions around themes, settings, and style. It also discusses theorists like Altman who view genres as defined by media codes and narratives, and Culler who sees genres establishing expectations for creators and audiences. The document then prompts applying these genre theories to analyzing one's own thriller film and music video works, considering how they do or do not conform to genre conventions. It suggests genre provides benefits to producers, distributors and audiences by providing templates and expectations but also can evolve over time as societies change.
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.
Media Language for G325 AS Media exam
This document provides an overview of key concepts for analyzing media language in productions. It discusses how different media have their own visual, verbal, and auditory languages to communicate meaning. It also defines denotation and connotation in semiotics and how film connotation can be distinguished from denotation. The document concludes by listing various technical and editing aspects of media language and prompting the reader to discuss how they used these elements to create meaning in one of their own media products.
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Section A Audience
The document discusses several theories of audience reception:
1. Postmodern media audience theory sees audiences as active interpreters who construct their own meanings from media texts rather than passively accepting the producer's intended messages.
2. Reception theory, developed by Stuart Hall, recognizes that audiences decode media texts in different ways based on their own experiences and perspectives, which may not match the producer's encoding.
3. The hypodermic needle theory views audiences as passive receivers who unknowingly absorb all of a medium's intended messages. This outdated view has been disproven by more active audience theories.
4. Uses and gratifications theory recognizes that audiences are active in choosing media to fulfill various personal
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.
OCR media A level - genre, section 1 exam
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.
Narrative and essay planning for section 1b
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.
As tv drama 3
This document provides an overview of key concepts related to representations of age and gender in TV dramas. It discusses common stereotypical representations of males and females, such as strength and independence for males versus beauty and relationships for females. The concept of the "male gaze" is introduced, which assumes the audience and producers are male, resulting in the objectification of women. The document also outlines areas to discuss when analyzing representations, such as camerawork, mise-en-scene, editing, and sound. Students are assigned homework to watch a clip from an exam and write an essay analyzing representations.
Question 1 B Genre
This document discusses genre theory and its application to analyzing media works. It provides definitions of genre from theorists like Chandler, who see genres as consisting of conventions around themes, settings, and style. It also discusses theorists like Altman who view genres as defined by media codes and narratives, and Culler who sees genres establishing expectations for creators and audiences. The document then prompts applying these genre theories to analyzing one's own thriller film and music video works, considering how they do or do not conform to genre conventions. It suggests genre provides benefits to producers, distributors and audiences by providing templates and expectations but also can evolve over time as societies change.
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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This document provides an overview of key concepts for analyzing media language in productions. It discusses how different media have their own visual, verbal, and auditory languages to communicate meaning. It also defines denotation and connotation in semiotics and how film connotation can be distinguished from denotation. The document concludes by listing various technical and editing aspects of media language and prompting the reader to discuss how they used these elements to create meaning in one of their own media products.
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.
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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!
Audience
This document discusses theories of audience and how they apply to music videos. It defines different types of audiences and explores three key theories:
1) Goodwin's theory that music videos provide repeated visual pleasure that encourages re-watching as audiences become familiar with genres and expectations.
2) Dyer's theory that stars are constructed images meant to appeal to audiences through different meanings to meet the needs of different audience groups.
3) Hall's encoding/decoding model where producers encode preferred meanings through codes and audiences decode based on expectations around genre and stars. Producers aim to position audiences to get the preferred reading.
The document prompts applying these theories by identifying the intended meaning in one's music video,
Audience powerpoint
The document discusses three main audience theory models: the effects model which sees audiences as passive, the uses and gratifications model which views audiences as active in using media to fulfill needs, and reception theory which examines how audiences decode meanings from texts in different ways from dominant to negotiated to oppositional readings. It analyzes these theories and applies them to understanding audience relationships with media texts like music videos.
Genre theory
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition and deviation from expectations.
1b. Media Languages essay plan and theory
Media languages must be used cohesively across all elements of a media production to effectively communicate the intended meaning to the audience. The four media languages - mise-en-scene, camera, sound, and editing - work together to construct meaning through the use of codes and conventions. When analyzing a media text, one must consider how each language was employed and the meanings derived from their combination. Examples should be given for each language from the analyzed work to demonstrate how they helped convey the producer's intended message.
Genre ppt
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.
Section 1b explanation
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.
06 g325sectionaq1b-genre-3
This document provides an overview of genre theory and how it can be used to theoretically evaluate a media production piece against this concept for an exam. It defines genre and discusses key aspects like subgenres, common elements across genres, and how genres appeal to audiences and evolve over time. The document also analyzes teaser trailers as a possible genre with evolving conventions and focuses on applying genre theory to evaluate the student's own coursework trailer.
Key concept genre
This document provides an introduction to genre theory and key theorists for analyzing media texts. It discusses genre as having recognizable codes and conventions that both repeat across examples of a genre but also differ in each individual text. Three key theorists are introduced: Rick Altman, who defined genres by semantic signs and syntactic themes/plots; Steve Neale, who saw genres as instances of repetition and difference; and David Buckingham, who argued genres are constantly negotiated and changing. The document guides analyzing a student's own music video project according to these genre theories by identifying codes, themes, and how the project both conforms to and challenges generic conventions.
Genre theory for G325 OCR A2 media exam
This document discusses several theories of genre in media. It addresses genre as both descriptive, where films are categorized based on shared attributes, and functional, where genres express contemporary social and cultural ideas. Genre is seen as repetition with variations, standardizing production while allowing for innovation. Iconography and conventions signal genre to audiences. A genre both defines a moral and social world but can become stagnant if not allowed to evolve through new patterns and variations.
Lesson
This document discusses genre theory and how it relates to magazines. It defines genre as the classification of media texts into categories based on similar characteristics and features. Genres have identifiable codes and conventions that audiences expect. The document discusses how genres can be hybrids that borrow elements from other genres. It also examines different scholars' perspectives on genre and how genres provide expectations and pleasures for audiences while also mitigating economic risks for producers.
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This document provides information about film genres and their conventions. It discusses key concepts around genre, including what defines a genre, common conventions, and how audiences interact with and derive pleasure from genres. It also examines subgenres and hybrid genres. The document analyzes Graeme Burton's theory of the key elements that make up a genre, including protagonists, stock characters, stock situations, icons, background/décor, and themes. It applies these elements to the horror genre and the film Scream. The document also discusses how genres must combine familiarity and innovation to evolve over time without becoming too predictable.
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G325 Exam - Audience
The document discusses various media effects and audience theories:
- The effects model viewed audiences as "duped and doped", influenced by media like a hypodermic needle. Later models found audiences were more active and media effects more nuanced.
- Uses and gratifications theory saw audiences using media to fulfill needs like diversion, social interaction, and information-seeking.
- Reception theory held that audiences interpret media through their own social positions, with room for dominant, negotiated, and oppositional readings beyond producers' preferred meanings.
A2 Media Studies Genre
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Question1b genre
This document provides guidance on answering a question about genre for a media production assessment. It defines genre as having common conventions around themes, settings, form, and style. It discusses several genre theorists and their perspectives. It also provides examples of common elements in music video openings and genres. It prompts thinking about how one's own work conformed to or challenged genre conventions.
Lesson 3-4 genre - q1b)
This document provides guidance for students preparing to answer an exam question on applying the concept of genre to one of their coursework productions. It defines genre and discusses key genre theorists. It also outlines the expectations for the exam answer, including identifying the genre and subgenres of the production, discussing how it fits genre conventions, and analyzing how genre affects the work using genre theory. Students are given tasks to practice identifying genres and themes in films and planning a sample exam response. The document aims to equip students with the tools to categorize their work by genre and evaluate it using genre theory in their exam answer.
Media Theory
The document provides information about Section A of a Media Studies exam, including:
- Question 1(a) asks students to discuss the development of their skills from AS to A2 in relation to aspects like digital technology, creativity, etc.
- Question 1(b) asks students to analyze one of their coursework products in relation to theoretical concepts like narrative, audience, genre, or representation.
- It provides advice on how to spend time on each question and how to do well, such as demonstrating progress, using examples, and terminology.
- It also includes sample exam questions and brief explanations of genre and narrative theory concepts to help students prepare.
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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.
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This document provides an outline for a lesson on modes of documentary filmmaking. It includes activities for students to recap prior learning, identify features of different documentary modes, analyze a film sequence, and create a quiz. The lesson introduces the four main modes - observational, interactive, poetic, and reflexive. It focuses on establishing students' understanding of these modes and assessing their knowledge of documentary approaches. The bridge documentary trailer is analyzed to identify its mood and potential to present "the real".
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 discusses theories of audience and how they apply to music videos. It defines different types of audiences and explores three key theories:
1) Goodwin's theory that music videos provide repeated visual pleasure that encourages re-watching as audiences become familiar with genres and expectations.
2) Dyer's theory that stars are constructed images meant to appeal to audiences through different meanings to meet the needs of different audience groups.
3) Hall's encoding/decoding model where producers encode preferred meanings through codes and audiences decode based on expectations around genre and stars. Producers aim to position audiences to get the preferred reading.
The document prompts applying these theories by identifying the intended meaning in one's music video,
Audience powerpoint
The document discusses three main audience theory models: the effects model which sees audiences as passive, the uses and gratifications model which views audiences as active in using media to fulfill needs, and reception theory which examines how audiences decode meanings from texts in different ways from dominant to negotiated to oppositional readings. It analyzes these theories and applies them to understanding audience relationships with media texts like music videos.
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Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition and deviation from expectations.
1b. Media Languages essay plan and theory
Media languages must be used cohesively across all elements of a media production to effectively communicate the intended meaning to the audience. The four media languages - mise-en-scene, camera, sound, and editing - work together to construct meaning through the use of codes and conventions. When analyzing a media text, one must consider how each language was employed and the meanings derived from their combination. Examples should be given for each language from the analyzed work to demonstrate how they helped convey the producer's intended message.
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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.
Section 1b explanation
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.
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This document provides an overview of genre theory and how it can be used to theoretically evaluate a media production piece against this concept for an exam. It defines genre and discusses key aspects like subgenres, common elements across genres, and how genres appeal to audiences and evolve over time. The document also analyzes teaser trailers as a possible genre with evolving conventions and focuses on applying genre theory to evaluate the student's own coursework trailer.
Key concept genre
This document provides an introduction to genre theory and key theorists for analyzing media texts. It discusses genre as having recognizable codes and conventions that both repeat across examples of a genre but also differ in each individual text. Three key theorists are introduced: Rick Altman, who defined genres by semantic signs and syntactic themes/plots; Steve Neale, who saw genres as instances of repetition and difference; and David Buckingham, who argued genres are constantly negotiated and changing. The document guides analyzing a student's own music video project according to these genre theories by identifying codes, themes, and how the project both conforms to and challenges generic conventions.
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This document discusses several theories of genre in media. It addresses genre as both descriptive, where films are categorized based on shared attributes, and functional, where genres express contemporary social and cultural ideas. Genre is seen as repetition with variations, standardizing production while allowing for innovation. Iconography and conventions signal genre to audiences. A genre both defines a moral and social world but can become stagnant if not allowed to evolve through new patterns and variations.
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This document discusses genre theory and how it relates to magazines. It defines genre as the classification of media texts into categories based on similar characteristics and features. Genres have identifiable codes and conventions that audiences expect. The document discusses how genres can be hybrids that borrow elements from other genres. It also examines different scholars' perspectives on genre and how genres provide expectations and pleasures for audiences while also mitigating economic risks for producers.
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This document provides information about film genres and their conventions. It discusses key concepts around genre, including what defines a genre, common conventions, and how audiences interact with and derive pleasure from genres. It also examines subgenres and hybrid genres. The document analyzes Graeme Burton's theory of the key elements that make up a genre, including protagonists, stock characters, stock situations, icons, background/décor, and themes. It applies these elements to the horror genre and the film Scream. The document also discusses how genres must combine familiarity and innovation to evolve over time without becoming too predictable.
Friday 19th September - BR Work
This document provides guidance for analyzing the opening sequences of three films to identify conventions and how each sequence introduces characters and narrative. Students are instructed to watch the opening sequences, analyze what they have in common, consider the purpose of opening sequences, and then analyze their own chosen sequence in the same way to identify its conventions and how it sets up the story and characters.
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The document provides homework instructions for a film analysis assignment. Students are asked to complete an A3 analysis sheet on the film "Gomorrah" by today, January 14th. They must write down the narrative, character details, and potential extension ideas before being shown an excerpt. The assignment aims to recap prior learning, have students review and assess how themes are addressed in the film, and demonstrate knowledge of film as a creative medium and ability to apply critical analysis.
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The document discusses various media effects and audience theories:
- The effects model viewed audiences as "duped and doped", influenced by media like a hypodermic needle. Later models found audiences were more active and media effects more nuanced.
- Uses and gratifications theory saw audiences using media to fulfill needs like diversion, social interaction, and information-seeking.
- Reception theory held that audiences interpret media through their own social positions, with room for dominant, negotiated, and oppositional readings beyond producers' preferred meanings.
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This document provides guidance for students answering exam questions that require evaluating media productions using theoretical concepts. It discusses rubrics for two questions: 1a) evaluating skills development across media productions over two years, and 1b) evaluating a single production using a theoretical concept. For 1a), it recommends structuring answers around pre-production, production, and post-production stages. For 1b), it breaks down five theoretical concepts - genre, narrative, representation, audience, and media language - and provides sample lessons on applying genre theory, including defining genres and subgenres, and discussing how genres evolve and change over time. The document aims to help students structure strong essay answers within the 30 minute exam timeframe.
Question1b genre
This document provides guidance on answering a question about genre for a media production assessment. It defines genre as having common conventions around themes, settings, form, and style. It discusses several genre theorists and their perspectives. It also provides examples of common elements in music video openings and genres. It prompts thinking about how one's own work conformed to or challenged genre conventions.
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Lesson 3-4 genre - q1b)
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This document provides information on various media theorists that can be used for a 1B media analysis. It discusses theorists related to genre, narrative, representation, audience and media language. Specifically, it outlines key concepts from theorists such as Levi-Strauss on binary oppositions, Mulvey on the male gaze, Propp's narrative roles, and Hall's encoding/decoding model of audiences. It also provides guidance on applying these theories to analyze representations, audience positioning and genre in media texts.
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FM2 Booklet Part 1
Here are some key narrative features that are distinctive in many horror films:
- Non-linear/flashback storytelling that builds mystery and tension.
- Isolation of characters in remote/confined settings that heightens their vulnerability.
- A "final girl" protagonist who is often the last survivor.
- Jump scares and suspenseful build ups that startle the audience.
- Gore and graphic violence used to shock or disturb viewers.
- Twist endings or reveals that subvert expectations.
- Ambiguous or open-ended conclusions that leave threats still lingering.
- Moral or social commentary on issues like sexuality, drugs, or changing social values.
Focusing
Intro to a2 course g325 critical perspectives in media - question b
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.
Genre revision 2012
Genre is an important concept for both media industries and audiences. For distributors and marketers, genre allows them to easily promote, target, and predict audiences for films. Audiences also engage with genre for its familiar conventions that provide expectation, anticipation, and a sense of predictability alongside occasional surprises. Academics study genre as a critical tool to analyze formal similarities and differences between films. While genres provide repetition, they are also dynamic and evolving as elements are challenged over time.
Introtoa2course g325criticalperspectivesinmedia-questionb-100614040938-phpapp...
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.
Genre booklet 1
The document discusses genre conventions in media, focusing on understanding genre. It provides definitions and perspectives on genre from several sources. Key points made include that genres have characteristic features recognized by audiences, but are also subject to constant renegotiation between industry and audiences. Genres reflect the dominant values of a society at a given time. The document also includes an activity asking the reader to develop a proposal for a new television series that would appeal to a wide audience for ITV.
2 genre
Genre theory proposes that genres are systems shaped by an interplay between industries, texts, and audiences that establish expectations for those texts. Scholars note genres provide frameworks for understanding texts and target specific audience demographics. Theories of intertextuality also suggest genres rely on relationships between texts and genres help define ideological worlds within media.
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
Media quiz january
This document defines key media terms and outlines the structure and requirements of an A2 media exam. It includes definitions for connotations, mode of address, stereotypical, and representation. It notes that the two types of audience questions are audience response and audience targeting. It lists the three film exam questions as representation, narrative, and genre. Finally, it provides examples of how Lost attracted audiences and how audiences responded to Mad Men, and states the exam includes 6 questions but students answer 3.
Media quiz january
This document provides definitions and information relevant to media studies coursework. It defines terms like connotations, mode of address, stereotypical, and representation. It outlines the two types of audience questions and three possible exam questions that could be asked about television and film texts. It discusses theories that could be applied like uses and gratifications or Laura Mulvey's male gaze. It provides examples of how a show like Lost attracted audiences and how audiences responded to Mad Men. Finally, it notes the exam has 6 questions but students answer 3.
A2 media film poster analysis short version
The document provides guidance on analyzing film posters by discussing key concepts to consider such as connotation, anchorage, tone, target audience, representation, and effectiveness. It explains how to analyze aspects of a poster like its use of stars, title, color, certification, imagery, references, and credits to understand the intended message and audience. The document also provides examples of how to "read" a film poster by looking at these various technical and symbolic elements.
Similar to Genre for Q1B (20)
Copy of intro to a2 course g325 critical perspectives in media - question b
Copy of intro to a2 course g325 critical perspectives in media - question b
Intro to a2 course g325 critical perspectives in media - question b
Intro to a2 course g325 critical perspectives in media - question b
Introtoa2course g325criticalperspectivesinmedia-questionb-100614040938-phpapp...
Introtoa2course g325criticalperspectivesinmedia-questionb-100614040938-phpapp...
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Unit 1 Representation Exam Revision
1. The document provides guidance for revising skills needed for an exam on media representations. It contains two practice tests to help consolidate knowledge and skills in analyzing media features and writing exam answers.
2. The practice tests include questions that require identifying, explaining, comparing, analyzing, assessing, and evaluating how different techniques are used to create meaning in media texts. Model answers are provided to demonstrate the level of detail and use of concepts expected.
3. For each question, guidance is given on the command term being asked and the number of marks available. Key terms and theories are defined to help explain techniques like stereotyping and apply concepts to the questions.
Film and TV
This document provides an overview of key concepts in film and television studies. It outlines various textual and representation areas that are analyzed, such as language, technical elements, gender, age, social groups and ethnicity. It also summarizes several influential media theories, including those of Stuart Hall on encoding/decoding, Richard Dyer on stereotyping, and Laura Mulvey's concept of the male gaze. Finally, it lists different technical aspects of film and TV like mise en scene, sound, camera and editing, and provides links to additional resources on some of these topics.
Effects of Representations
Media representations can have both positive and negative effects on individuals, groups, and society. They can influence attitudes and behaviors through copycat behavior, education and information, socialization, objectification, and stereotypes. Representations can reinforce dominant ideologies but also potentially challenge them. The media is an effective vehicle for spreading dominant worldviews to wide audiences.
Dominant Ideologies Intro
Dominant ideologies in society include patriotism, family values, consumerism, religion, age, gender, class, and politics. The dominant ideology regarding women portrayed them in magazines as focused on beauty, appearance, and dieting in the 1900s-1950s and 1970s-now with an emphasis on slimness. Dominant ideologies are supported by the media like magazines, films, TV, music videos, advertisements, computer games, and newspapers to appeal to wide audiences and make people feel normal.
Constructing Representations (technical areas)
This document provides information and writing frames to analyze various media texts and how they construct representations that conform to dominant ideologies or genre expectations. It discusses analyzing film, TV, music videos, games, print media, and advertisements by referencing technical elements like mise-en-scene, camerawork, editing, sound, and layout and relating them to theories like the male gaze, stereotypes, reception theory, and moral panic. Sample writing frames are provided to demonstrate analyzing how meanings are created in specific texts through technical elements and applying relevant communication theories.
Baudrillard
Jean Baudrillard was a philosopher whose work analyzed how living in a postmodern, media-saturated environment shapes perceptions of reality. His concept of "simulacra" described how media representations of reality become exaggerated simulations that audiences may mistake for the real. Baudrillard argued that media coverage of events like wars presents a hyperreal version that distorts understanding of actual realities and priorities. His theories remain influential in analyzing how media constructs and influences perceptions of gender, sexuality, and current affairs.
Theory Continued
This document provides an overview of media representation theory and concepts for exam practice. It discusses key theories such as how media representations reflect the ideology and values of the producer. It also addresses how audiences can interpret representations in both passive and active ways and may be impacted both positively and negatively by media effects. Examples of potential impacts include copycat behavior, education, socialization, objectification, and reinforcement or challenging of dominant ideologies.
Basic Theories
This document provides an overview of media representation theory. It discusses key concepts from theorists such as Stuart Hall on encoding/decoding, Richard Dyer on stereotyping, and Laura Mulvey on the male gaze. Mulvey's theory suggests that media often sexualizes and objectifies women as objects of desire for a heterosexual male gaze through scopophilia, voyeurism, and exhibitionism. The document also covers audience effects theories, representation areas like gender and ethnicity, and technical elements of different media like film, advertising, gaming, and magazines.
Audience Positioning Unit 1 Representations
The document discusses how audiences are positioned when consuming media texts. It identifies several elements that help define audience positioning, including the camera position, mode of address, and whether the gaze is from a male or female perspective. It provides examples of different modes of address and the implied audience roles and relationships that result. The document also discusses reception theory and how audiences can have preferred, negotiated, or oppositional readings of media texts. It concludes by defining open, closed, and polysemic texts and how they allow for varying levels of interpretation.
Audience Positioning and Media Effects
The document provides guidance on how to structure essay responses to higher-level exam questions. It recommends starting with a short introduction to define key terms, planning the main points with references to theory and terminology, using examples from multiple media texts to illustrate each point, writing each point fully while being time-aware, and concluding by summarizing the key points and answering the question. It also provides an example question, marking criteria, and suggests choosing opposing newspaper representations of reality to analyze.
Target Audience
The document discusses how media producers define and categorize audiences. It explains that producers research audiences to learn about their age, gender, ethnicity, location and other attributes. This research informs how producers create media texts that will appeal to target audiences. The document also contains quizzes and tasks about defining audiences for different media products based on these demographic and psychographic factors.
Stranger Things Screen Shots
The document appears to be about the Netflix original series Stranger Things based on screenshots from the show. It seems to contain images from various scenes and episodes to showcase the characters, settings, and atmosphere of the science fiction/horror themed show about a group of friends who encounter mysterious supernatural forces and secret government experiments in a small town in 1980s Indiana.
Section B Revision Session
This document provides an overview of the exam focus and structure for Section B. Section B will focus on the TV shows Stranger Things and Deutschland 83 which students have studied. Question 4 will focus on theories of narrative/genre such as Propp's character types or Todorov's narrative theory. Question 5 will involve an in-depth analysis comparing and contrasting the two TV shows by looking at areas like representation, audience theory, or genre theory while drawing on theorists like Hall, Barthes, Neale. The document provides example structures for answering different questions and lists relevant media language and theories students could reference in their answers.
Section A Revision Session
This document provides revision materials for Section A of an exam focusing on analyzing representations in media texts. It outlines the key areas and texts that may be covered, including advertisements, music videos, and print media like The Big Issue. For advertisements, students are told to consider the brand/company history and identity, representations of people, places and ideologies, and how media language is used. For music videos, the summary highlights analyzing the artist history and audience reaction, representations, and use of media language. The document provides example texts that could come up and emphasizes representing 2 out of the given media forms will be examined.
Section A Revision: Media Messages
This document provides revision materials for Section A, including possible question areas and sample texts to revise. It discusses advertisement and music video texts that could be used. For advertisements, it notes to revise the brand/company history and identity, representations of people, places and ideologies, and how they relate to social, cultural, historical and political issues. For music videos, it similarly notes to revise the artist's history, representations, and how they relate to various issues. It then provides mark scheme points about how producers may use representations in videos to promote artists, including through performance, narrative elements, and eliciting value from the audience. Examples of specific video representations are also given.
Year 12 Mock Exam Overview
The mock exam will consist of two sections. Section A will focus on questions related to music videos and print advertisements, analyzing how they use media language and representations to sell to audiences. Section B will ask questions about one of the long-form TV drama case studies, relating it to theories of Steve Neale, Todorov, Propp, and Hall. Sample questions will analyze the music videos "Unfinished Sympathy" and "Titanium" or require explaining how one case study relates to the specified narrative and representation theories.
NEA Research and Planning Tasks
The document outlines several research and planning tasks to be completed in the next week for a Bauer research presentation. It includes researching background information on Bauer such as ownership, management, financials, media produced, and mission. Students are asked to provide examples of Bauer magazines and analyze typical style, genre, audience and aim. Additional tasks involve choosing three fashion websites, one from Bauer and two others, to screen shot, analyze layout/design, and upload to blogs. A target audience profile must also be created discussing demographic and psychographic factors with included guidance links.
Y12 Mock Exam Overview
This document provides an overview of a mock exam, outlining that it contains two sections. Section A does not provide any details, while Section B lists two songs: "Unfinished Sympathy" by Massive Attack and "Titanium" by David Guetta. The purpose of the mock exam is highlighted as to outline expectations for the exam.
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Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
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Genre for Q1B
- 1. Question 1B: Genre and My Production LO: To define what genre my film belonged to and how it matched/challenged audience expectations.
- 2. Section 1b – analyzing your text against possible theory areas Make sure you have a line of argument and plenty of examples to back them up. Audience Genre Narrative Representation Media Language
- 3. Definition • ‘Genre’ is a critical tool that helps us study texts and audience responses to texts by dividing them into categories based on common elements. • Daniel Chandler (2001) details that the word genre comes from the word for 'kind' or 'class'. The term is widely used in rhetoric, literary theory, media theory to refer to a “distinctive type of ‘text’”.
- 5. What are the stereotypical codes and conventions you followed? Print Layout Fonts Colour Scheme Photography Writing Style Other? Film SCALP Sound Editing Camera Titles Other? Point 1 Steve Neale's idea of ‘Repetition’
- 6. Did you challenge the stereotypical codes and conventions in any way? Point 1 Steve Neale's idea of ‘Difference’
- 7. How did your piece link to semantic and synaptic elements? Point 2 Rick Altman’s Semantic and Synaptic Elements
- 8. How did your piece link to the stereotypical uses and gratifications Point 3 Uses and Gratifications