Genre, Narrative and Representation for G321 AS Media Coursework Research
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This document discusses the connections between key concepts in media studies, including genre, narrative, and representation. It provides definitions of narrative elements like plot, story, and syntactic/enigma codes from theorists like Bordwell, Thompson, and Barthes. It also discusses representation theories around gender and the male gaze. Examples are provided of how these concepts work together in genres like thrillers through representations of women and use of enigma codes.
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This document discusses key concepts in media studies for analyzing texts, including genre, narrative, representation, audience, media language, and institution. It provides definitions and examples of different genres like thrillers. It also summarizes theories around genre from scholars like Buscombe, Altman, Chandler, Neale, and Buckingham. These theories discuss genre in terms of iconography, codes, conventions, and the tension between repetition and difference that allows genres to evolve over time through hybridization.
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Genre Theory for G321 AS Media Coursework
This document discusses key concepts in media studies for analyzing texts, including genre, narrative, representation, audience, media language, and institution. It provides definitions and examples of different genres like thrillers. It also summarizes theories around genre from scholars like Buscombe, Altman, Chandler, Neale, and Buckingham. These theories discuss genre in terms of iconography, codes, conventions, and the tension between repetition and difference that allows genres to evolve over time through hybridization.
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This document contains planning and research materials for a media studies assignment on producing a trailer for a new soap opera. It includes:
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2. Research on existing soap operas like Eastenders and Coronation Street including codes and conventions, target audiences, and textual analysis of trailers.
3. Production schedules and roles for the trailer including director and producer responsibilities.
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This document contains production notes and research for a media studies project on creating a trailer for a new soap opera. It includes:
1. The aims and objectives of appealing to both male and female audiences with a trailer after Eastenders.
2. Research on existing soap operas like Eastenders and Coronation Street, analyzing their codes, conventions, narratives and audiences.
3. Plans for textual analysis, research, filming, editing and evaluating the new trailer. Deadlines are set for completing promotional materials.
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1) Soap operas are seen as appealing mostly to females. However, the director wants to consider how to appeal to males as well.
2) Most see soap operas as appealing to adults, though most respondents were teenagers.
3) None of the respondents reported fully enjoying soap operas, indicating potential bias.
4) The survey will help the director target themes in their new soap opera trailer to a younger audience and understand how the audience views existing soap operas.
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This document provides definitions for various media studies terms:
1. It defines terms related to camera shots and angles like aerial shots, close ups, and high angles. It also defines editing techniques like dissolves and crosscuts.
2. It explains concepts related to how meaning is made in media like denotation, connotation, framing, and genres. It also defines audience related concepts like demographics and reception theories.
3. It provides definitions for other key media studies concepts like ideology, realism, narrative structures, and the role of sound. The glossary covers terminology used for television, film, and other media.
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1. Genre theory proposes that genres are conventions of content and form shared by texts belonging to them, though genres are dynamic and constantly changing rather than fixed.
2. Genres position both producers and audiences in certain ways, with genres providing expectations for audiences around plot, characters, and pleasures like emotional responses and sharing the experience with others.
3. However, genre classification is problematic, as individual texts may belong to multiple genres, genres are not clearly defined and change over time and between cultures, and their functions and borders are debated.
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Postmodern media rejects the idea that any media product is more valuable than another. It argues that our sense of reality is now dominated by popular media images, and the distinction between media and reality has collapsed. Postmodern media is characterized by hybridity, bricolage, simulation, and disjointed narratives that mimic the uncertainties of postmodernity. Experts claim that economic and cultural changes have led to a society dominated by images and short attention spans.
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3) Empire readers are passionate and influential movie fans that are twice as likely to spend on designer clothing and entertainment. Major filmmakers regularly praise the magazine.
4) The
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The White Stripes were an American rock duo formed in 1997 in Detroit, Michigan consisting of Jack White and Meg White. They produced blues, garage, alternative rock, and punk music. Their most famous single was "Seven Nation Army". As a rock band who started in 1997, their main fan base would have been in their mid-30s to 40s, who are typically rebellious and enjoy fast-paced, intense music videos matching the energy of their rock music.
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Indie music digipaks typically feature unconventional designs that match the alternative style of the genre, with pictures, colors and designs rather than photos of the band. The text is often in unusual fonts to stand out, and the packaging emphasizes logos and band identity over traditional information like titles. Examples include Blur albums featuring cartoon depictions of the band and Arctic Monkeys albums only listing the band name.
Dia da mulher ines 7º1
A carta agradece à mãe por tudo o que fez, incluindo dar a vida, criar e educar a pessoa. Reconhece que as discussões da mãe são para o seu bem, para ensinar como viver e agir, ajudando-a a crescer para ser alguém. A mãe é a pessoa mais importante por acompanhar o dia-a-dia, ajudar em tudo o que precisa e estar sempre disponível.
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Theorists and how they relate to my material:
The document summarizes several media theories relating to representation, narrative, audience, and ideology. It discusses key concepts from theorists such as Levi Strauss, Laura Mulvey, John Berger, Tessa Perkins, Richard Dyer, and others. The document also relates each theory to the creator's own music video, explaining how concepts around binary opposites, male gaze, stereotypes, and more are relevant to the themes and story presented in the video.
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The article discusses the concept of the "female gaze" in film and compares it to the traditional "male gaze". It notes that the term "male gaze" was coined by film critic Laura Mulvey to refer to the perspective of sensually viewing and objectifying the female body. In contrast, the female gaze is proposed to be more emotional, intimate, empathetic rather than objectifying, and respectful. The article highlights a film festival featuring the works of female cinematographers to showcase alternative perspectives to the male gaze. It notes debate around defining and developing the concept of a "female gaze", with differing opinions among female filmmakers on its usefulness as a term and whether it simply reinforces a gender binary.
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The article discusses the concept of the "female gaze" in film in response to Laura Mulvey's theory of the "male gaze". It introduces the Film Society at Lincoln Center's series on "The Female Gaze", which features 36 films shot by female cinematographers. These films range in style from raw to disorienting. The article explores different perspectives on what a "female gaze" might be, including that it sees people as people rather than objects, is emotional and intimate, and seeks to empathize rather than objectify. It notes that female cinematographers interviewed have varying opinions on the usefulness of the term and what it means given their technical skills and experiences that extend beyond gender.
Semiotics In That 70S Show
The essay discusses T.S. Eliot's modernist poem "The Waste Land" and how it challenges conventional understandings of language and meaning. The fragmented text seems to leave something absent that readers try to find. Critics have looked outside the text for clues to its meaning. The poem depicts a barren landscape where language consists of a disordered pile of broken images, calling into question language's ability to represent reality in a meaningful way.
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Here are some things I noticed about the paragraph:
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- It uses some relevant terminology like "stereotypical image", "rebellion", "role model", "clean cut image", "fan base", "demographic" to analyze and describe the two artists.
- The comparison could be strengthened by providing some examples or evidence from the music videos to back up the claims.
- There are a few minor grammatical errors like missing articles.
Overall it gets the main point across in a concise way and uses some appropriate terminology. With a
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The document discusses popular culture and how it relates to the author's production work. It defines popular culture as cultural traits enjoyed by ordinary people rather than elites. Popular culture includes entertainment, sports, fashion and technology. The document also discusses how popular culture relates to ideology and Marxism, with popular culture seen as reflecting the power structures of economic systems. It explores how films can both reflect and influence culture, and how ideology works to naturalize certain perspectives. The author notes their short film will focus on the relationship between a father and daughter, and how the daughter's terminal illness affects their cultural roles and expectations within a patriarchal family system.
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The document discusses several representation theories:
- Levi Strauss proposed the idea of "binary opposites" where understanding words depends on their opposite (e.g. understanding "villain" relates to differentiating it from "hero").
- Laura Mulvey's "Male Gaze Theory" suggests that women are viewed as sexual objects for male characters and audiences in media.
- John Berger also discussed "voyeurism" and said that "men act and women appear," being looked at by men and watching themselves be looked at.
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1) Mulvey analyzes how cinema provides visual pleasure through scopophilia, or the pleasure of looking, which stems from psychological processes like Jacques Lacan's concept of the "Mirror Phase" of development.
2) Cinema reinforces traditional gender stereotypes by giving men narrative agency and positioning women as objects to be looked at, reinforcing the "male gaze."
3) The "male gaze" refers to how women are looked at in film for both the pleasure of male characters and the audience, asserting power and control through sight as stereotypically masculine traits.
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This document provides an analysis of gender roles and homophobia in the TV show "Friends" from the 1990s. It summarizes previous research on how sitcoms from this era shaped concepts of gender and sexuality. The author then analyzes 5 consecutive episodes of "Friends" to identify instances of prescribed gender roles, stereotypes, disciplining of gender norms, and homophobia. Examples found include characters upholding expectations of masculinity and femininity, as well as discomfort with behaviors that disrupt heteronormativity. The analysis uses concepts like cisgender, doing gender, and hegemony to examine how the show reinforced dominant social attitudes.
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The document discusses representation in TV drama, specifically focusing on stereotypes. It defines representation as how groups, individuals, or social changes are portrayed through media, which may not reflect reality. Stereotypes are discussed as shorthand assumptions that have reached a social consensus, though they can be misleading. While stereotypes are socially constructed and reflect dominant ideologies, they can also be reinforced, challenged, or constructed by media representation. Common gender stereotypes of "dumb blondes" and "macho men" are described, noting they contain some contradictory elements.
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The document discusses representation in media and outlines several key theorists' perspectives on representation. It defines representation and discusses how representations have evolved over time. Several theorists are summarized, including their views that representations shape ideology and social order, and how gender and other groups are often represented through stereotypes that serve the interests of those in power. Later theorists discussed believe representations have replaced reality and audiences no longer distinguish between the two.
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Representation refers to how aspects of reality are constructed in media. Key concerns are that representations become familiar over time and seem natural despite changing, and that they are inherently selective by foregrounding some things and backgrounding others. Representations also require interpretation and always come from a particular point of view. Contemporary theories stress that representations construct particular realities rather than objectively reflect reality.
Presentation1
This document discusses various concepts related to representation of gender in media texts. It first defines representation and key aspects of identity that are represented, such as gender. It then discusses Laura Mulvey's concept of the "Male Gaze" and how film and media can access a viewer's subconscious desires through representations that entice the male audience. Finally, it discusses how all representations are constructed rather than objective reality and how gender is often represented through stereotypical portrayals of women in dresses and men in suits throughout media texts.
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The document discusses several theories related to analyzing narratives, genres, and audiences in media. It covers:
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2. Vladimir Propp's identification of 8 character types commonly found in narratives like heroes, villains, helpers.
3. Thomas Schatz's theory that genres pass through innovative, classical, parody, and deconstruction stages over time.
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5. Intentional, reflective, and constructionist views of how representations are formed and
Lecture transcript The gaze in historical context All right, s.docx
Lecture transcript :The gaze in historical context:
All right, so we're continuing our discussion of film noir, but we're really thinking about it in relation to Laura Mulvey's discussion of the gaze. So I've assigned this piece, "Visual Pleasure and Narrative Cinema," because it is probably the most influential work in critical cinema studies that's been published in an academic context. If you look up "Visual Pleasure and Narrative Cinema," you'll see that it was cited tens of thousands of times since it was first published in the journal Screen in 1975. So it's an older piece, but it's very representative of the ways that ideas in film theory that have a certain theoretical construct around them can sort of make their way into popular discourse. So we're going to think about whether we agree with her take on the gaze and whether it still applies to the ways that film form works today. And we'll also look at some examples of feminist filmmakers from the period that she was writing in who tried to really combat these ideas around the gaze and experiment with what feminist film form could really look like. So when the article had its 30th and 40th anniversaries, there were retrospectives which you can find online if you're interested. There were a lot of articles published in places like The Chronicle of Higher Education, as well as the Screen journal that it was originally published in, as well as in popular media commemorating the impact of "Visual Pleasure and Narrative Cinema." And even now the idea of the gaze has been a part of popular culture and discussions of film. So you can see here, it's been talked about in relation to Magic Mike, in relation to tropes of television. And if you look up male gaze in YouTube, you'll actually see hundreds and hundreds of compilations of clips that are organized around the male gaze, the idea of the male gaze in film. So it's had some staying power. As I mentioned, the article came out in a journal called Screen, which was a really influential journal in the 1970s when film studies as a discipline was really making its way into the Academy, and thinking about ways to unify analysis of film form with some of the more philosophical theoretical ideas that were coming out of critical theory, in particular in Europe. And so Mulvey published her piece in a journal called Screen. And she was very influenced by psychoanalytic theory, which was de rigueur at the time. So if you're a psychoanalytic theorist, you'll have to sort of stay with me, because I think these ideas are a little bit controversial now. And certainly a lot of people have published responses to this article that take issue with many aspects of it, but I still think it's useful, so we'll just move through it. So if you're a psychoanalytic theorist, you take as your starting point that the world is underlined with these deep psychological structures that were studied first by Freud and then revised by Lacan. These structures surface in liter ...
Lecture transcript The gaze in historical context All right, s.docx
Lecture transcript :The gaze in historical context:
All right, so we're continuing our discussion of film noir, but we're really thinking about it in relation to Laura Mulvey's discussion of the gaze. So I've assigned this piece, "Visual Pleasure and Narrative Cinema," because it is probably the most influential work in critical cinema studies that's been published in an academic context. If you look up "Visual Pleasure and Narrative Cinema," you'll see that it was cited tens of thousands of times since it was first published in the journal Screen in 1975. So it's an older piece, but it's very representative of the ways that ideas in film theory that have a certain theoretical construct around them can sort of make their way into popular discourse. So we're going to think about whether we agree with her take on the gaze and whether it still applies to the ways that film form works today. And we'll also look at some examples of feminist filmmakers from the period that she was writing in who tried to really combat these ideas around the gaze and experiment with what feminist film form could really look like. So when the article had its 30th and 40th anniversaries, there were retrospectives which you can find online if you're interested. There were a lot of articles published in places like The Chronicle of Higher Education, as well as the Screen journal that it was originally published in, as well as in popular media commemorating the impact of "Visual Pleasure and Narrative Cinema." And even now the idea of the gaze has been a part of popular culture and discussions of film. So you can see here, it's been talked about in relation to Magic Mike, in relation to tropes of television. And if you look up male gaze in YouTube, you'll actually see hundreds and hundreds of compilations of clips that are organized around the male gaze, the idea of the male gaze in film. So it's had some staying power. As I mentioned, the article came out in a journal called Screen, which was a really influential journal in the 1970s when film studies as a discipline was really making its way into the Academy, and thinking about ways to unify analysis of film form with some of the more philosophical theoretical ideas that were coming out of critical theory, in particular in Europe. And so Mulvey published her piece in a journal called Screen. And she was very influenced by psychoanalytic theory, which was de rigueur at the time. So if you're a psychoanalytic theorist, you'll have to sort of stay with me, because I think these ideas are a little bit controversial now. And certainly a lot of people have published responses to this article that take issue with many aspects of it, but I still think it's useful, so we'll just move through it. So if you're a psychoanalytic theorist, you take as your starting point that the world is underlined with these deep psychological structures that were studied first by Freud and then revised by Lacan. These structures surface in liter ...
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An Examination of Gender Roles and Homophobia in the TV program, "Friends"
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Lecture transcript The gaze in historical context All right, s.docx
Lecture transcript The gaze in historical context All right, s.docx
Lecture transcript The gaze in historical context All right, s.docx
Lecture transcript The gaze in historical context All right, s.docx
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- 2. LINKS BETWEEN KEY CONCEPTS THE KEY CONCEPTS NEVER WORK IN ISOLATION – THEY OPERATE TOGETHER TO DESCRIBE THE FEATURES AND IMPACT OF A MEDIA TEXT. TODAY WE WILL LOOK AT THE CONNECTIONS BETWEEN GENRE, NARRATIVE AND REPRESENTATION
- 3. WHAT DO WE MEAN BY NARRATIVE?BORDWELL & THOMPSON "THE TERM PLOT IS USED TO DESCRIBE EVERYTHING VISIBLE AND AUDIBLY PRESENT IN THE FILM BEFORE US" (BORDWELL AND THOMPSON) "THE SET OF ALL THE EVENTS IN A NARRATIVE, BOTH THE ONES EXPLICITLY PRESENTED AND THOSE THE VIEWER INFERS, COMPOSES THE STORY" (BORDWELL AND THOMPSON) IN OTHER WORDS, THE STORY IS THE COMBINATION OF THE ENTIRE SEQUENCE OF EVENTS THAT IS SHOWN AS WELL AS EVERYTHING THAT WE CONCLUDE HAS HAPPENED BUT IS NOT SHOWN. WHAT IS THE LINK BETWEEN PLOT AND ALTMAN’S IDEA OF ‘SYNTACTIC ELEMENTS’? THIS IS WHERE WE SEE THE CONNECTION BETWEEN GENRE AND NARRATIVE.
- 4. ROLAND BARTHES A BIG NAME IN MEDIA STUDIES, PARTICULARLY AT DEGREE LEVEL, BARTHES DEVELOPED SEVERAL BIG THEORIES. WITH NARRATIVE HE IDENTIFIED TWO CODES IN USE: ACTION CODES – MEANING IS EXPLICIT THROUGH CHOICES OF VISUAL STORYTELLING AND DIALOGUE, AND THE PLOT IS DRIVEN FORWARD. ENIGMA CODES – ‘ENIGMA’ MEANS MYSTERY, SO THIS IS IMPORTANT FOR THRILLERS. THEY ARE USED WHERE THE DIRECTOR MAKES MEANING MORE IMPLICIT THROUGH CONTROL OVER THE RELEASE OF INFORMATION TO THE AUDIENCE. What is the connection between Barthes’ theory and Bordwell and Thompson’s interplay of plot and story?
- 5. ENIGMA CODES EXAMPLE WATCH THE OPENING SEQUENCE OF THE PRESTIGE. WHAT DO YOU NOTICE ABOUT THE WAY IN WHICH THE PLOT CONVEYS STORY INFORMATION – AND INDEED DOESN’T CONVEY INFORMATION? HTTPS://WWW.YOUTUBE.COM/WATCH?V=LV-CXIXGRHO DOES THIS SUGGEST THE FILM MIGHT BE CLASSED AS A THRILLER?
- 6. REPRESENTATION THE WAY THE MEDIA RE-PRESENTS REALITY TO THE AUDIENCE IS CLOSELY LINKED TO GENRE, BECAUSE IT TENDS TO BE DONE DIFFERENTLY IN DIFFERENT GENRES. FOR EXAMPLE, WHAT GENRES DO THE FOLLOWING CHARACTERS BELONG IN, AND WHAT REPRESENTATIONS DO THEY CREATE?
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- 10. WORKING IN SMALL GROUPS, USE THE CORRECT TERMINOLOGY TO CREATE A LIST OF THE CONVENTIONS OF THRILLERS: •SEMANTIC ELEMENTS/ICONOGRAPHY •SYNTACTIC ELEMENTS/STORY •ENIGMA AND ACTION CODES •REPRESENTATION/MALE GAZE DEVELOPING IDEAS