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.
This is the theory revision I created for my A2 Media group a couple of years ago. There is some general narrative theory, Media theory Laura Mulvey etc and Racial Representation theory, Stuart Hall, Paul Gilroy, bell hooks etc. This was based on Media and Collective Identity focusing on the representation of black culture in British Film and American Music Videos.
For all media students in the second year of A levels, for the written exam at the end of the year, this is some help for the second part of the first section of that exam!
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Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
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What is the purpose of the Sabbath Law in the Torah. It is interesting to compare how the context of the law shifts from Exodus to Deuteronomy. Who gets to rest, and why?
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The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
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http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
2024.06.01 Introducing a competency framework for languag learning materials ...
Genre theory for G325 OCR A2 media exam
1. Genre in Media Products
Genre is simply a way of categorising a text through
style and form.
How many paradigms
can you think of for:
Action
Horror
Thriller
Comedy
LO: To understand and interpret genre theories and apply
them to media products.
Think of semiotics, structure
and themes.
2. Genre in Media Products
LO: To understand and interpret genre theories and apply
them to media products.
3. Descriptive or Functional?
Descriptive
Films are seen as belonging to a category, as being an
example of a type. The film is perceived as sharing
aspects and attributes with other films in the same
category, and is analysed accordingly.
LO: To understand and interpret genre theories and apply
them to media products.
4. Descriptive or Functional?
LO: To understand and interpret genre theories and apply
them to media products.
Functional
Films are perceived as "collective expressions of
contemporary life that strike a particularly resonant
chord with audiences" (Grant, 1986). So, Thrillers
might be about terrorism now, or in the 1960s might be
about the Cold War. Therefore genre films are a
product of their socio-historic context; watching them
becomes a cultural ritual whereby hegemonic values
are examined, and perhaps enforced.
5. Descriptive or Functional?
LO: To understand and interpret genre theories and apply
them to media products.
Functional
Films are perceived as "collective expressions of
contemporary life that strike a particularly resonant
chord with audiences" (Grant, 1986)
6. Genre Issues
Classification by genre is seen as both positive and
negative by audiences, producers and theorists.
On the one hand, rigorous
conformity to established
conventions while giving the
audience what they want,
can actually lead to
stagnation and the eventual
ossification of a genre as a
"they're all the same"
judgement is passed.
LO: To understand and interpret genre theories and apply
them to media products.
7. On the other hand...
There is such a diversity of genre, due to sub-genres:
Whilst we have names
for countless genres in
many media, some
theorists have argued
that there are also many
genres (and sub-genres)
for which we have no
names (Fowler, 1989).
LO: To understand and interpret genre theories and apply
them to media products.
Carolyn Miller
suggests that 'the
number of genres in
any society...
depends on the
complexity and
diversity of society'
(Miller, 1984).
8. Multiple Genres
LO: To understand and interpret genre theories and apply
them to media products.
9. Multiple Genres
Can you think of a
film with multiple
genres?
What does it add?
What does it take
away?
LO: To understand and interpret genre theories and apply
them to media products.
10. Steve Neale
“Genre is a repetition with an
underlying pattern of
variations” (Neale, 2008).
LO: To understand and interpret genre theories and apply
them to media products.
• Translate this theory into your own words.
What does Neale mean?
• Can you give an example by thinking of
patterns of variation?
11. Christine Gledhill
LO: To understand and interpret genre theories and apply
them to media products.
“Genre conventions
standardise production,
catering for different
audiences.” (Gledhill, 1985).
• Does this theory counteract or support
Neale’s?
• What genre conventions have you
deliberately used to engage the
audience and reach the desired
outcome (e.g. an album sale)?
12. Andrew Tudor
LO: To understand and interpret genre theories and apply
them to media products.
“Genre defines a social or
moral world.” (Tudor, 1974).
• What are the moral and social
definitions within your chosen music
genre?
• How have these been expressed
visually and narratively?
• What are the links to audience (uses
and gratifications)?
13. Edward Buscombe
LO: To understand and interpret genre theories and apply
them to media products.
“Genre is signalled by its
iconography” (Buscombe,
1986).
• How does this operate within
your thriller or video?
• How have you set about
choosing iconography that
relates to the genre of music?
14. Auteur
What is an auteur?
LO: To analyse a self made piece of media video by applying
theory where appropriate.
15. Auteur theory
The term auteur (French for author)
is used to describe film directors (or,
more rarely, producers, or writers)
who are considered to have a
distinctive, recognizable style,
because they (a) repeatedly return to
the same subject matter, (b)
habitually address a particular
psychological or moral theme, (c)
employ a recurring visual and
aesthetic style, or (d) demonstrate
any combination of the above. In
theory, an auteur's films are
identifiable regardless of their
genre.
LO: To analyse a self made piece of media video by applying
theory where appropriate.
16. Andrew Sarris
Andrew Sarris (1968) said you can
define an auteur by:
Technical flair
Recurring characteristics of style,
which serve as the filmmaker’s
signature.
Conveys the filmmaker’s personal
vision of the world (what Sarris calls
‘interior meaning’).
LO: To analyse a self made piece of media video by applying
theory where appropriate.
How could you use this
in your exam?
17. Homework Task
Q: How is genre addressed in your music video?
[25]. Due Tuesday 3rd
May (blog or handwritten).
Try to limit writing time to 30 minutes.
Descriptive
Functional
Neale (Repetition, underlying
patterns)
Tudor (moral and social context)
Buscombe (iconography)
Link to genre ideas of Goodwin and
Vernallis
Remember!
How has the
genre been
challenged?
How has it been
developed?
How do theories
link or oppose?
LO: To analyse a self made piece of media video by applying
theory where appropriate.
