How do audiences read media texts
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The document discusses different theories around how audiences engage with media texts, ranging from passive to active models of consumption. It describes the passive "hypodermic needle" effects theory from the 1920s, which viewed audiences as empty vessels absorbing media messages. More recent theories see audiences as active, such as Stuart Hall's encoding/decoding model where people make their own interpretations based on their experiences. The document also discusses reception theory and the idea that audiences play an active role in how they interpret and make meaning from media texts.
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Audience worksheet2012
The document discusses several theories of audience perspectives in media studies:
1) Historically, audiences were seen as passive masses directly influenced by media, but now are recognized as diverse individuals who actively interpret media based on their own experiences.
2) Stuart Hall's encoding/decoding model showed that media producers encode intended meanings, but audiences decode meanings based on their own perspectives, which may differ from intended meanings.
3) Uses and gratifications theory views audiences as active in using media to fulfill needs like entertainment, social interaction, identity exploration, and information/education.
4) David Gauntlett's concept of the "pick 'n' mix reader" describes flexible audiences who selectively engage with different aspects of media
How do audiences read media texts
The document discusses different theories around how audiences engage with media texts:
1) Early theories viewed audiences as passive, believing all messages without thinking critically (the "hypodermic needle" effect). This underestimated audiences' abilities.
2) Stuart Hall's encoding/decoding model sees the audience as active - they make their own interpretations depending on factors like identity and opinions. Texts have no set meaning.
3) Reception theory focuses on the audience role in interpreting texts. Hall identified preferred, negotiated, and oppositional readings audiences can have.
4) Later theories see audiences as even more active, selectively engaging with media and picking aspects to incorporate into their identities (the "pick and mix"
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This document discusses various audience theories in media studies. It addresses two key questions around how influential media is and how it shapes audience perceptions of the world. It also discusses different types of media consumption and contrasts market-liberal and political economy perspectives on audience-producer relationships. Different audience theories are outlined, including hypodermic needle, two-step flow, uses and gratifications, and encoding/decoding models. The document also contrasts views of passive versus active audiences.
Unit 25 Assignment 2 Passive vs Active Audiences
This document discusses a media effects theory that suggests audiences passively consume media like having messages injected straight into their subconscious brains. This theory is often used to argue against certain media types, claiming their violent content will be replicated by consumers. However, another theory suggests audiences actively choose media to gratify individual needs, such as escape, social interaction, reflection, or finding useful information, as described in four categories of media gratification.
From effects to reception theory slides
This document discusses theories around media audiences and reception from various scholars. [1] It outlines Stuart Hall's encoding/decoding theory which proposes that the meanings of media messages can be interpreted differently by audiences than intended. [2] It also discusses the concept of dominant, negotiated, and oppositional codes of reading media texts. [3] Finally, it considers debates around whether new media has made the media landscape more democratic by allowing greater audience participation and engagement.
Audience theory
The document discusses several theories about the relationship between media and audiences:
- The hypodermic needle/effects model views audiences as passive, directly influenced by media messages.
- Cultivation analysis sees media shaping audiences' worldviews over time through repeated exposure.
- Uses and gratifications theory argues audiences actively use media to fulfill needs like diversion, social interaction, identity, and surveillance.
- Encoding/decoding theory holds that media texts contain encoded meanings which audiences can read in dominant, negotiated, or oppositional ways depending on their perspectives.
The document evaluates whether these models fully account for modern media landscapes and active audiences using an increasing variety of platforms. It explores how new technologies may require updating or replacing existing
Audience theory
1) Audience theory examines how media producers construct target audiences and how audiences interpret messages.
2) David Morley identified three types of audience readings: dominant, negotiated, and oppositional.
3) Stuart Hall argued that audiences actively interpret meanings based on their own frameworks, rejecting the idea that media directly injects meanings.
4) Later theorists rejected effects models of passive audiences in favor of seeing audiences as active interpreters who pick and choose what to accept.
Audience theory
Stuart Hall proposed three ways that audiences can respond to texts:
1) Preferred/dominant readings where the audience interprets the text as intended.
2) Negotiated readings where the audience agrees with some parts but not others.
3) Oppositional/resistant readings where the audience's beliefs conflict with how the text portrays something.
This means a text cannot have a static meaning since audiences can interpret it differently based on their experiences.
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The document discusses several theories of audience perspectives in media studies:
1) Historically, audiences were seen as passive masses directly influenced by media, but now are recognized as diverse individuals who actively interpret media based on their own experiences.
2) Stuart Hall's encoding/decoding model showed that media producers encode intended meanings, but audiences decode meanings based on their own perspectives, which may differ from intended meanings.
3) Uses and gratifications theory views audiences as active in using media to fulfill needs like entertainment, social interaction, identity exploration, and information/education.
4) David Gauntlett's concept of the "pick 'n' mix reader" describes flexible audiences who selectively engage with different aspects of media
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The document discusses different theories around how audiences engage with media texts:
1) Early theories viewed audiences as passive, believing all messages without thinking critically (the "hypodermic needle" effect). This underestimated audiences' abilities.
2) Stuart Hall's encoding/decoding model sees the audience as active - they make their own interpretations depending on factors like identity and opinions. Texts have no set meaning.
3) Reception theory focuses on the audience role in interpreting texts. Hall identified preferred, negotiated, and oppositional readings audiences can have.
4) Later theories see audiences as even more active, selectively engaging with media and picking aspects to incorporate into their identities (the "pick and mix"
Audience+theory
This document discusses various audience theories in media studies. It addresses two key questions around how influential media is and how it shapes audience perceptions of the world. It also discusses different types of media consumption and contrasts market-liberal and political economy perspectives on audience-producer relationships. Different audience theories are outlined, including hypodermic needle, two-step flow, uses and gratifications, and encoding/decoding models. The document also contrasts views of passive versus active audiences.
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This document discusses a media effects theory that suggests audiences passively consume media like having messages injected straight into their subconscious brains. This theory is often used to argue against certain media types, claiming their violent content will be replicated by consumers. However, another theory suggests audiences actively choose media to gratify individual needs, such as escape, social interaction, reflection, or finding useful information, as described in four categories of media gratification.
From effects to reception theory slides
This document discusses theories around media audiences and reception from various scholars. [1] It outlines Stuart Hall's encoding/decoding theory which proposes that the meanings of media messages can be interpreted differently by audiences than intended. [2] It also discusses the concept of dominant, negotiated, and oppositional codes of reading media texts. [3] Finally, it considers debates around whether new media has made the media landscape more democratic by allowing greater audience participation and engagement.
Audience theory
The document discusses several theories about the relationship between media and audiences:
- The hypodermic needle/effects model views audiences as passive, directly influenced by media messages.
- Cultivation analysis sees media shaping audiences' worldviews over time through repeated exposure.
- Uses and gratifications theory argues audiences actively use media to fulfill needs like diversion, social interaction, identity, and surveillance.
- Encoding/decoding theory holds that media texts contain encoded meanings which audiences can read in dominant, negotiated, or oppositional ways depending on their perspectives.
The document evaluates whether these models fully account for modern media landscapes and active audiences using an increasing variety of platforms. It explores how new technologies may require updating or replacing existing
Audience theory
1) Audience theory examines how media producers construct target audiences and how audiences interpret messages.
2) David Morley identified three types of audience readings: dominant, negotiated, and oppositional.
3) Stuart Hall argued that audiences actively interpret meanings based on their own frameworks, rejecting the idea that media directly injects meanings.
4) Later theorists rejected effects models of passive audiences in favor of seeing audiences as active interpreters who pick and choose what to accept.
Audience theory
Stuart Hall proposed three ways that audiences can respond to texts:
1) Preferred/dominant readings where the audience interprets the text as intended.
2) Negotiated readings where the audience agrees with some parts but not others.
3) Oppositional/resistant readings where the audience's beliefs conflict with how the text portrays something.
This means a text cannot have a static meaning since audiences can interpret it differently based on their experiences.
Audience theories
The hypodermic needle theory suggests that media directly injects beliefs into passive audiences. However, this has been disproven as audiences are affected differently by media and can reject messages. Audiences are also aware of media attempts to influence them and make their own choices in media selection and interpretation based on needs like information, identity, and entertainment. The two-step flow theory further shows that opinions are influenced when people discuss media with others like opinion leaders.
Reception theory
Reception Theory proposes that audiences are active interpreters of media texts rather than passive consumers, interpreting texts based on their personal experiences and characteristics. It was developed by cultural theorist Stuart Hall, who argued that meaning comes from the relationship between text and reader, not from the text itself. He introduced the concepts of encoding, where producers aim to create a preferred meaning, and decoding, where audiences make their own interpretations.
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This document discusses the history and development of reception theory. It covers early uses of reception theory from the 1970s-1990s to analyze media content, the expansion of the theory beyond text to include semiotics and the understanding that environmental context influences reception. More recent developments mentioned include incorporating neuroscience findings and how reception models have been used to understand celebrity reception. The meaning derived from media depends on the relationship between the text and the reader's own background and experiences.
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This theory focuses on the idea that audiences are active in interpreting media rather than passive. Research in the 1980s and 1990s looked at how individuals receive and understand texts differently based on their personal characteristics like gender, age, class, and ethnicity. Stuart Hall's encoding/decoding model proposed that a text is encoded by its producer but decoded by audiences, who may interpret it differently. Hall identified three potential reception models: dominant/hegemonic readings that accept the preferred meaning, negotiated readings that modify the meaning somewhat, and oppositional readings that reject the preferred meaning using an alternative perspective.
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This document discusses reception theory and the idea of an active audience. It explains that early theories viewed audiences as passive receivers of media messages, but research has shown that audiences are more active. Audiences selectively choose media texts for different purposes like entertainment, information, or identity exploration. Reception theory looks at how individual factors like gender, class, and ethnicity influence how audiences interpret and make meaning from media texts. The document also discusses Stuart Hall's encoding/decoding model and the idea that producers aim to position audiences to have a preferred reading through using recognizable codes and conventions, but audiences may decode messages differently than intended.
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This document discusses several audience theories related to how audiences interact with and make meaning from media texts:
1) Hypodermic needle/effects theory proposes media have a direct influence on passive audiences, while cultivation theory argues for a more gradual, "drip-drip" effect over time.
2) Two-step flow theory recognizes indirect influence as audiences discuss media with others they respect.
3) Uses and gratifications theory views audiences as active in using media to fulfill needs rather than being directly influenced.
4) Reception analysis and semiotics examine how audiences construct different meanings based on their backgrounds and can reject or reinterpret dominant meanings.
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This document discusses various theories of mass media and audience reception. It begins by introducing theories from the "dominant paradigm" like the hypodermic needle approach and two-step flow model, noting they assume passive audiences and direct effects. It then discusses uses and gratifications theory and its assumption of active audiences. The document outlines Hall's encoding/decoding model of preferred, negotiated and oppositional readings, noting encoded texts have dominant meanings but also room for interpretation. It analyzes the song "Born in the USA" as an example of a polysemic text open to multiple readings.
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This document discusses key concepts about audience in media, including different audience types and theoretical approaches to understanding the audience-media relationship. It outlines effects theory, which views audiences as passive receivers, and reception theory, which sees audiences as active interpreters. The document focuses on Stuart Hall's encoding-decoding model, explaining that media producers encode meanings but audiences can decode meanings in preferred, negotiated, or oppositional ways based on their own experiences and perspectives.
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The document discusses several mass media theories: the hypodermic needle model in which audiences directly accept media messages; the two-step flow model where some influence others; uses and gratifications theory that audiences are not passive but use media for specific needs; reception theory where meaning comes from the audience's background; and the obstinate audience theory where audiences actively select what to pay attention to. The document suggests the audience reception theory best applies to its documentary as the intended audience can consider their personal experiences and agree or disagree with the message portrayed.
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The document discusses several key audience theories relevant to media studies:
- Uses and gratification theory examines how audiences actively use media to fulfill cognitive, affective, personal integrative, social integrative, and tension-free needs.
- Dependency theory suggests people rely more on media that meet many of their needs over media that meet few, and dependency increases during times of social change.
- Reception theory holds that audiences do not passively accept media messages but actively interpret them based on their own backgrounds and experiences, which can lead to dominant, negotiated, or oppositional readings.
- The document provides examples of how different audiences may have dominant, negotiated, or oppositional readings of the reality show TOWIE.
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This document discusses several theories related to audiences and mass communication, including Uses and Gratifications Theory, Reception Theory, and the Hypodermic Needle Theory. Uses and Gratifications Theory proposes that audiences actively seek out media to fulfill desires like diversion, personal relationships, identity, and surveillance. Reception Theory recognizes that audiences can have negotiated or oppositional readings of media that differ from the intended message. The Hypodermic Needle Theory views audiences as passive receivers of media messages, but it is now seen as too simplistic given more sophisticated modern audiences.
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Audience reception theory was developed by British sociologist Stuart Hall in the 1980s and 1990s. It examines how audiences actively interpret and make meaning from media texts rather than passively receiving messages. Hall proposed that the same event can be encoded in multiple ways, messages contain multiple possible readings, and understanding is complex. He argued that media typically promote a "preferred reading" but audiences can also adopt "negotiated" or "oppositional" readings depending on their social positions and how the preferred reading relates to their lives. Audience reception theory focuses on qualitative audience research to understand active audience interpretations.
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The document discusses the theory of the active audience, which posits that audiences play an active role in interpreting media messages rather than passively accepting them. It outlines the development of this theory over time, from early models that viewed audiences as passive to Stuart Hall's encoding/decoding model and other research emphasizing that audiences filter messages through their own experiences and can negotiate or oppose the dominant meanings. The document also discusses criticisms of and ongoing questions around the active audience theory.
The reception theory
Stuart Hall developed an approach to audience analysis in the 1970s that considered how media texts are encoded with meaning by producers and then decoded by audiences. Hall identified three types of audience decoding: dominant/preferred, where the audience agrees with the producer's message; negotiated, where the audience accepts or refines parts of the message; and oppositional, where the audience recognizes but rejects the dominant meaning for their own reasons.
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1. Reception theory examines how audiences receive and make meaning from media texts. It emphasizes that meaning comes from the interaction between the text and the reader/viewer, not from the text itself.
2. David Morley applied reception theory to television with his Nationwide Project, which found that people from different social groups interpreted the same program differently based on their positions.
3. Uses and gratifications theory posits that audiences are active in choosing media to fulfill certain needs, such as escape, social interaction, identity, and information.
Audiance reception theory
Stuart Hall developed encoding/decoding theory to explain how audiences receive media messages differently based on their own experiences and viewpoints. Encoding refers to how media producers develop messages, while decoding is how audiences interpret and make meaning from those messages. Hall argued that the intended meaning is not fixed, as audiences can decode messages in preferred, negotiated, or oppositional ways depending on their sociological factors. Examples like Disney princess films often elicit a preferred reading where the audience agrees with the producer's encoding, while the Teletubbies television show decoding led to some oppositional readings that disagreed with the initial encoding.
Audience Theories
The document discusses three theories of how audiences interact with media:
1) The effects theory sees audiences as passive receivers of media messages with little individual agency.
2) The uses and gratification model emphasizes that individuals actively seek out media to fulfill personal needs and interests.
3) The influence model recognizes that media has subtle influence by reinforcing existing views and that people are influenced by opinion leaders in how they interpret media messages.
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The hypodermic needle theory suggests that media directly injects beliefs into passive audiences. However, this has been disproven as audiences are affected differently by media and can reject messages. Audiences are also aware of media attempts to influence them and make their own choices in media selection and interpretation based on needs like information, identity, and entertainment. The two-step flow theory further shows that opinions are influenced when people discuss media with others like opinion leaders.
Reception theory
Reception Theory proposes that audiences are active interpreters of media texts rather than passive consumers, interpreting texts based on their personal experiences and characteristics. It was developed by cultural theorist Stuart Hall, who argued that meaning comes from the relationship between text and reader, not from the text itself. He introduced the concepts of encoding, where producers aim to create a preferred meaning, and decoding, where audiences make their own interpretations.
Reception Theory
This document discusses the history and development of reception theory. It covers early uses of reception theory from the 1970s-1990s to analyze media content, the expansion of the theory beyond text to include semiotics and the understanding that environmental context influences reception. More recent developments mentioned include incorporating neuroscience findings and how reception models have been used to understand celebrity reception. The meaning derived from media depends on the relationship between the text and the reader's own background and experiences.
The Media Reception Theory:
This theory focuses on the idea that audiences are active in interpreting media rather than passive. Research in the 1980s and 1990s looked at how individuals receive and understand texts differently based on their personal characteristics like gender, age, class, and ethnicity. Stuart Hall's encoding/decoding model proposed that a text is encoded by its producer but decoded by audiences, who may interpret it differently. Hall identified three potential reception models: dominant/hegemonic readings that accept the preferred meaning, negotiated readings that modify the meaning somewhat, and oppositional readings that reject the preferred meaning using an alternative perspective.
Reception theory
This document discusses reception theory and the idea of an active audience. It explains that early theories viewed audiences as passive receivers of media messages, but research has shown that audiences are more active. Audiences selectively choose media texts for different purposes like entertainment, information, or identity exploration. Reception theory looks at how individual factors like gender, class, and ethnicity influence how audiences interpret and make meaning from media texts. The document also discusses Stuart Hall's encoding/decoding model and the idea that producers aim to position audiences to have a preferred reading through using recognizable codes and conventions, but audiences may decode messages differently than intended.
Audience theory
This document discusses several audience theories related to how audiences interact with and make meaning from media texts:
1) Hypodermic needle/effects theory proposes media have a direct influence on passive audiences, while cultivation theory argues for a more gradual, "drip-drip" effect over time.
2) Two-step flow theory recognizes indirect influence as audiences discuss media with others they respect.
3) Uses and gratifications theory views audiences as active in using media to fulfill needs rather than being directly influenced.
4) Reception analysis and semiotics examine how audiences construct different meanings based on their backgrounds and can reject or reinterpret dominant meanings.
David morley and the nationwide audience
This document summarizes David Morley's study of the television program Nationwide and its audiences in the UK in the 1970s. It introduces Morley as a sociologist who studied television audiences and his research on Nationwide viewers. It describes the Nationwide program, its format and presenter. It outlines Morley's identification of three positions (dominant, negotiated, and oppositional) viewers may take when interpreting a TV program based on their social and cultural backgrounds. It also summarizes Morley's 1974 BBC survey of Nationwide audiences and some key terms used in his analysis.
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This document discusses various theories of mass media and audience reception. It begins by introducing theories from the "dominant paradigm" like the hypodermic needle approach and two-step flow model, noting they assume passive audiences and direct effects. It then discusses uses and gratifications theory and its assumption of active audiences. The document outlines Hall's encoding/decoding model of preferred, negotiated and oppositional readings, noting encoded texts have dominant meanings but also room for interpretation. It analyzes the song "Born in the USA" as an example of a polysemic text open to multiple readings.
Hall encoding and decoding
This document discusses key concepts about audience in media, including different audience types and theoretical approaches to understanding the audience-media relationship. It outlines effects theory, which views audiences as passive receivers, and reception theory, which sees audiences as active interpreters. The document focuses on Stuart Hall's encoding-decoding model, explaining that media producers encode meanings but audiences can decode meanings in preferred, negotiated, or oppositional ways based on their own experiences and perspectives.
Audience Theory
The document discusses several mass media theories: the hypodermic needle model in which audiences directly accept media messages; the two-step flow model where some influence others; uses and gratifications theory that audiences are not passive but use media for specific needs; reception theory where meaning comes from the audience's background; and the obstinate audience theory where audiences actively select what to pay attention to. The document suggests the audience reception theory best applies to its documentary as the intended audience can consider their personal experiences and agree or disagree with the message portrayed.
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The document discusses several key audience theories relevant to media studies:
- Uses and gratification theory examines how audiences actively use media to fulfill cognitive, affective, personal integrative, social integrative, and tension-free needs.
- Dependency theory suggests people rely more on media that meet many of their needs over media that meet few, and dependency increases during times of social change.
- Reception theory holds that audiences do not passively accept media messages but actively interpret them based on their own backgrounds and experiences, which can lead to dominant, negotiated, or oppositional readings.
- The document provides examples of how different audiences may have dominant, negotiated, or oppositional readings of the reality show TOWIE.
Audience theory
This document discusses several theories related to audiences and mass communication, including Uses and Gratifications Theory, Reception Theory, and the Hypodermic Needle Theory. Uses and Gratifications Theory proposes that audiences actively seek out media to fulfill desires like diversion, personal relationships, identity, and surveillance. Reception Theory recognizes that audiences can have negotiated or oppositional readings of media that differ from the intended message. The Hypodermic Needle Theory views audiences as passive receivers of media messages, but it is now seen as too simplistic given more sophisticated modern audiences.
Audience reception theory
Audience reception theory was developed by British sociologist Stuart Hall in the 1980s and 1990s. It examines how audiences actively interpret and make meaning from media texts rather than passively receiving messages. Hall proposed that the same event can be encoded in multiple ways, messages contain multiple possible readings, and understanding is complex. He argued that media typically promote a "preferred reading" but audiences can also adopt "negotiated" or "oppositional" readings depending on their social positions and how the preferred reading relates to their lives. Audience reception theory focuses on qualitative audience research to understand active audience interpretations.
Active audience
The document discusses the theory of the active audience, which posits that audiences play an active role in interpreting media messages rather than passively accepting them. It outlines the development of this theory over time, from early models that viewed audiences as passive to Stuart Hall's encoding/decoding model and other research emphasizing that audiences filter messages through their own experiences and can negotiate or oppose the dominant meanings. The document also discusses criticisms of and ongoing questions around the active audience theory.
The reception theory
Stuart Hall developed an approach to audience analysis in the 1970s that considered how media texts are encoded with meaning by producers and then decoded by audiences. Hall identified three types of audience decoding: dominant/preferred, where the audience agrees with the producer's message; negotiated, where the audience accepts or refines parts of the message; and oppositional, where the audience recognizes but rejects the dominant meaning for their own reasons.
Media Theory - Audience Representation Narrative Genre
1. Reception theory examines how audiences receive and make meaning from media texts. It emphasizes that meaning comes from the interaction between the text and the reader/viewer, not from the text itself.
2. David Morley applied reception theory to television with his Nationwide Project, which found that people from different social groups interpreted the same program differently based on their positions.
3. Uses and gratifications theory posits that audiences are active in choosing media to fulfill certain needs, such as escape, social interaction, identity, and information.
Audiance reception theory
Stuart Hall developed encoding/decoding theory to explain how audiences receive media messages differently based on their own experiences and viewpoints. Encoding refers to how media producers develop messages, while decoding is how audiences interpret and make meaning from those messages. Hall argued that the intended meaning is not fixed, as audiences can decode messages in preferred, negotiated, or oppositional ways depending on their sociological factors. Examples like Disney princess films often elicit a preferred reading where the audience agrees with the producer's encoding, while the Teletubbies television show decoding led to some oppositional readings that disagreed with the initial encoding.
Audience Theories
The document discusses three theories of how audiences interact with media:
1) The effects theory sees audiences as passive receivers of media messages with little individual agency.
2) The uses and gratification model emphasizes that individuals actively seek out media to fulfill personal needs and interests.
3) The influence model recognizes that media has subtle influence by reinforcing existing views and that people are influenced by opinion leaders in how they interpret media messages.
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Media Theory - Audience Representation Narrative Genre
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This document provides guidance for students preparing for Section A of the A2 G325 Critical Perspectives in Media exam. Section A consists of two compulsory questions assessing students' theoretical evaluation of their practical production work. Question 1a requires students to reflect on the development of their skills over all their production work from AS to A2 levels. Question 1b requires analysis of one selected production in relation to a key theoretical concept. The document offers advice on preparing responses, including creating a timeline of all work and focusing answers on areas of the mark scheme. It also provides prompts for students to reflect on their creativity and use of digital technology in their practical work.
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Parasocial interaction theory
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Similar to How do audiences read media texts
how do audiences read media texts.pptx
This document discusses theories about how audiences engage with media texts. It describes the passive audience theory, which views audiences as believing everything they are told. It notes criticisms of this theory and the development of active audience theories. The encoding/decoding model is discussed, which sees audiences actively interpreting messages depending on their identity and views. Reception theory focuses on different readings audiences can have. Other theories covered include uses and gratifications, two-step flow, and the pick and mix approach viewing audiences as actively selecting media.
Reception Theory
This document discusses the history and development of reception theory. It covers early uses of reception theory from the 1970s-1990s to analyze media content, the expansion of the theory beyond text to include semiotics and the understanding that environmental context influences reception. More recent developments mentioned include incorporating neuroscience findings and how reception models have been used to understand celebrity reception. The meaning derived from media depends on the relationship between the text and the reader's own background and experiences.
Audience theory 15th dec 2010
This is the ppt used in the lesson on Wednesday 15th December. If you were absent, you need to read through and make notes.
Audience theories
The document discusses the purpose and goals of media according to John Reith, the founder of the BBC in 1922. Reith stated that the BBC's core mission is to inform, educate, and entertain. It also discusses journalism ethics around principles of truth, accuracy, objectivity, impartiality, fairness, and public accountability. The document then examines how tabloid newspapers may or may not uphold these principles in their reporting. It asks questions about whether certain headlines or covers respect rules of law and if they are informative, truthful, objective, fair, and hold the newspaper accountable. Finally, it discusses media audience theories like uses and gratifications theory and how audiences interact with and interpret different media texts.
Audience
This document discusses several theories of how audiences interact with and are influenced by media texts:
1. The Hypodermic Needle Model (1920s) viewed audiences as passive receivers, influenced directly by media messages without question.
2. The Two Step Flow theory (1940s) found influence comes indirectly through opinion leaders who filter messages to their social groups.
3. Uses and Gratifications theory (1960s onward) sees audiences as active, using media to fulfill personal needs like diversion, social interaction, identity.
4. Reception Theory (1980s-90s) expanded on active audiences, finding meaning depends on individual viewer's context like gender, class, ethnicity. Produc
Audience
This document discusses several theories of how audiences interact with and are influenced by media texts:
1. The Hypodermic Needle Model (1920s) viewed audiences as passive receivers, influenced directly by media messages without question.
2. The Two Step Flow theory (1940s) found influence comes indirectly through opinion leaders who filter messages to their social groups.
3. Uses and Gratifications theory (1960s onward) sees audiences as active, using media to fulfill personal needs like diversion, social interaction, identity.
4. Reception Theory (1980s-90s) expanded on active audiences, finding meaning depends on individual viewer's context like gender, class, ethnicity. Produc
Media theories audience - Charlie Northern Harry Monan
Uses and Gratifications theory expanded on the idea that audiences are active rather than passive consumers of media. It suggests that individuals choose media for different reasons like diversion, personal relationships, identity, and information. The Hypodermic Needle Theory from the 1920s saw audiences as passive receivers of media messages without questioning or processing them. It assumed media could easily manipulate behavior. Reception Theory developed by Stuart Hall recognized that the meaning of a media text depends on how the audience decodes it, which may differ from the producer's encoding, but conventions allow for preferred readings.
Audience
Audience theory is the starting point for analyzing media texts. There have been several theories proposed to explain the relationship between audiences and media texts, from the earliest Hypodermic Needle Model which viewed audiences as passive receivers, to more modern theories that recognize audiences as active users who consume media for different reasons. Key theories discussed include the Two-Step Flow theory which proposes information spreads through opinion leaders, Uses and Gratifications which examines why audiences consume different media to fulfill various needs, and Reception Theory which acknowledges individual audience members can interpret the same text differently based on their own experiences and perspectives.
Media Reception theory
Stuart Hall was a prominent cultural theorist who developed reception theory and encoding/decoding models of communication. Reception theory focuses on how audiences actively interpret and make meaning from media texts based on their own experiences and perspectives, rather than passively accepting the intended message. Hall proposed that audiences may have dominant, negotiated, or oppositional readings of a text that respectively align with, partially align with but modify, or entirely oppose the preferred reading intended by producers. Uses and gratifications theory also posits that audiences are active and use media selectively to fulfill various needs and gratifications.
Other Theories
Stuart Hall: Encoding/Decoding and Reception Theory
Antonio Gramsci: Cultural Hegemony
Magic Bullet/Hypodermic Syringe Model
Active Audience: Uses and Gratification
Audience
The document discusses audience theory and how media producers construct imagined audiences to inform their media products. It addresses the debate around passive versus active audiences and different theories on how audiences consume and make meaning from media texts. The key points are:
1) Producers must define their target audience in terms of demographics, identity factors, and how the audience will use and find meaning in the product.
2) Audiences can be passive and directly influenced by media messages or active interpreters who bring their own perspectives.
3) When creating media, producers should consider audience research and feedback to better understand and appeal to their target audience.
Audience Theory
Stuart Hall argued that audiences can have dominant, negotiated, or oppositional readings of media texts based on their cultural identity and ideology. David Morley conducted research using Hall's theories, including a famous study of audience reactions to the BBC program Nationwide. The study found different responses based on participants' backgrounds, supporting Hall's ideas about encoded and decoded meanings.
Theory overview
The document discusses several media and narrative theorists and how their theories can be applied to the film The Shining. It outlines Propp's character archetypes and shows how some of the characters in The Shining fit these archetypes. It also discusses how the narrative theories of Bordwell and Thompson, Levi-Strauss, Todorov, and Barthes can be applied to analyze elements like time, space, binary oppositions, narrative structure, and codes in The Shining. Applying narrative theory allows for a deeper understanding of the film's narrative elements and techniques.
Audience.
Reception theory focuses on how audiences receive and make meaning from media texts based on contextual factors like their identity, viewing circumstances, and social/historical context rather than just the text itself. It emphasizes that a text has no inherent meaning and that meaning is constructed in the interaction between the audience and text. The Effects Model views audiences as passive and proposes that media exposure can influence behaviors, while Uses and Gratifications sees audiences as active users who gratify their own needs and interests with media rather than being used by producers. Key evidence for the Effects Model includes theories from the Frankfurt School in the 1920s-30s and the controversial Bobo Doll experiment.
Audiences
This document discusses audience theory and research in British cultural studies. It summarizes David Morley's influential study from 1980 where he had different socioeconomic groups watch an episode of Nationwide and analyzed their interpretations. It also discusses Dorothy Hobson's research on the soap opera Crossroads, which took a more ethnographic approach than Morley by observing viewers in their own homes. Key concepts discussed include dominant, negotiated, and oppositional readings; how audiences construct meaning differently based on social position; and differences between ethnography and anthropology as research methods.
Audience theory
This document summarizes several theories about media audiences:
- Cultivation theory suggests that repeated exposure to similar media representations can shape people's views of the world.
- Reception theory examines how audiences can interpret media messages in preferred, negotiated, or oppositional ways.
- Participatory culture theory describes how audiences actively engage with media texts by creating and sharing their own works.
- More recent theories argue that digital technologies have transformed passive audiences into active producers who can respond to and create their own media content.
Audience Theory
A2 Media Studies Audience Theory Research.
Disclaimer: Information collated from the work of KippMajors.
Audience theories
This document summarizes several theories of audience reception of media:
- The hypodermic needle model suggests media directly injects opinions into passive audiences' minds, exemplified by Nazi propaganda. It is now obsolete as audiences are more active.
- Uses and gratifications theory proposes audiences seek to fulfill needs like surveillance, identity, and diversion through media consumption.
- Encoding/decoding theory describes how institutions encode messages while audiences decode based on their own interpretation, which can differ due to age, culture, etc.
- Social and cultural context theory holds that audiences' interpretations vary according to their social position, culture, class, gender, and preexisting knowledge.
Theoretical research
Genre theory is used to categorize films based on stylistic criteria. Genres help audiences identify different types of films and cater to their expectations. Narratives describe a sequence of events and move the story along defined roles and plot points. Representation involves how media texts portray reality through intentional construction of signs and symbols. Audience theory examines how audiences receive and make meaning from media texts, either passively or actively engaging with them based on social and personal factors. Research and planning are required to systematically develop ideas and create goals for making a horror film, such as analyzing film techniques, planning plots, and selecting locations. Digital technologies, creative techniques, and post-production stages are also needed to produce a finished horror film or trailer.
Theoretical research
This document discusses several key concepts in media theory, including genre, narrative, representation, audience, and research. It provides definitions and examples of prominent theorists for each concept. Genre is defined as categories of media based on stylistic criteria. Theorists discussed include Gunther Kress and Denis McQuail. Narrative refers to the sequence of events presented to an audience. Theorists mentioned are Vladimir Propp and Tzvetan Todorov. Representation discusses how media presents versions of reality, and theorists covered are Laura Mulvey on the male gaze and Judith Butler on queer theory. Audience theory examines the relationship between media texts and their intended consumers. Theories discussed include hypodermic needle model, two
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Media theories audience - Charlie Northern Harry Monan
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The generic conventions of magazines contents
Magazine contents pages are designed to encourage readers to read further. They use bright colors and visually interesting layouts. Contents pages typically feature the magazine's masthead at the top and include a series of smaller images of celebrities alongside page numbers for each article. However, it is becoming more common to center a large image related to a featured article. The list of articles is grouped under standard section headings. Images on contents pages usually make direct eye contact with readers to engage them, though this page breaks that convention. Non-verbal elements communicate more to audiences than the written words alone.
The generic conventions of magazines cover
The front covers of magazines aim to attract buyers through eye-catching design elements. They establish a consistent house style through fonts, layout, color, and logos to build brand recognition and loyalty. Covers typically feature a central high-resolution celebrity image looking directly at viewers to create engagement. Additional cover lines advertise internal articles to entice purchases. Dates, prices, and web addresses round out the nonverbal communication on magazine fronts.
The generic conventions of magazines feature article
The feature article is usually the main draw for readers of a magazine. It should prominently feature celebrities or stars to help boost sales. While the cover price brings in some money, magazines rely primarily on advertising revenue to cover costs since they need large circulation numbers to turn a profit. Feature articles typically take up double page spreads and include a mix of large prominent images along with text and smaller supplemental photos to engage readers and tell the story.
Co dcover
This very short document discusses needing QuickTime and a decompressor to view a picture. It states that QuickTime and a decompressor are required to see the image. The document is only informing the reader about what is needed to view the picture.
Caemrontaskrepresentation
This document asks the reader to study media representations of the 2010 UK general election and consider how David Cameron and his Conservative party were portrayed through the use of images, language, point of view and any differences in representation that could influence audiences.
Bulletboycover
This very short document discusses needing QuickTime and a decompressor to view a picture. It states that QuickTime and a decompressor are required to see the image. The document is only informing the reader about what is needed to view the picture.
Caemrontaskrepresentation
This document asks the reader to study media representations of the 2010 UK general election and consider how David Cameron and his Conservative party were portrayed through the use of images, language, point of view and any differences in representation that could influence audiences.
Who is the audience targetaudience pp
This document discusses different methods used to define target audiences, including demographic profiling, psychographic profiling, and lifestyle groupings. Demographic profiling divides audiences based on attributes like age, gender, socioeconomic status, etc. Psychographic profiling focuses more on individual personality, emotions, and needs. Advertisers have used systems like Maslow's hierarchy of needs and Young and Rubicam's four C's (Mainstreamers, Aspirers, Succeeders, Reformers) to segment audiences based on their motivations and goals. Defining target audiences allows media producers to tailor their messages more effectively.
Stereotypes pp
1) Stereotyping is the most common form of representation found in the media, as it provides a simplified version of reality rather than reality itself.
2) Mediation involves selecting and highlighting certain details, stories, and events to represent the world, which often results in stereotypes that exaggerate and generalize entire groups.
3) While stereotypes contain grains of truth, they offer shortcuts to meaning by condensing complex information into easily recognizable characters, but can marginalize and devalue minority groups.
Ideology bunnyfoofoo
Little Bunny Foo Foo is a children's nursery rhyme about a mischievous bunny who picks flowers and is punished by the local fairy. The rhyme describes Little Bunny Foo Foo bouncing through the forest, picking flowers, and being disciplined by the fairy for his actions. It ends with the fairy telling Little Bunny Foo Foo to never pick flowers again.
Miseenscene final
The document discusses the film techniques of mise-en-scene and lighting, which are important visual and technical codes that filmmakers use to convey meaning. It defines mise-en-scene as everything within the frame, including setting, costumes, color palette, characters and their movements. Lighting techniques like three-point lighting, high-key lighting and low-key lighting are also discussed, and how they impact the visual style and mood of a film. Examples are provided of how these techniques are used in specific films to provide information about characters and further the narrative.
Semiotics
1) Media texts are composed of signs, which can have multiple meanings depending on their denotation and connotations.
2) Signs take on dominant meanings when viewed in the context of other signs through codes. Anchorage and cropping are used to guide interpretation of signs.
3) However, signs can still be open to polysemic, or multiple, interpretations depending on a person's cultural and experiential background knowledge. Understanding how signs operate individually and together through codes is important for interpreting media texts.
Narrativestrcutureandtheory
The document discusses several traditional narrative theories and structures, including those proposed by Tzvetan Todorov, Claude Levi-Strauss, and Vladimir Propp. It also addresses challenges to linear narratives, such as open-ended or non-linear narratives, and discusses how some television shows use multi-strand narratives.
Jekyll task
Visual, technical and auditory codes were used to provoke emotional responses in viewers of an excerpt from a modern adaptation of Jekyll and Hyde. These codes included editing, lighting, sound, cinematography, mise en scene elements like costumes and props, performance, color, and special effects. By exploring these codes, viewers can identify the techniques used to cause fear, laughter, and other reactions in a short film extract.
Introto genre
The document discusses the concept of genre in media studies. It defines genre as a type or category of media products that share similar characteristics and conventions. Genres become established through repetition, allowing audiences to develop expectations. Producers then find genres useful as they can follow formulas that have proven popular while also experimenting with new variations, keeping audiences interested through a balance of familiar and unexpected elements.
Intro to representation wjec
The document discusses the concept of representation in media. It explains that representation is how media re-presents reality, which is not simply an accurate reflection but a constructed version. Representations are shaped by the decisions of media producers and technical constraints. The media provides a distorted mirror of reality rather than a transparent window. Media texts construct representations by selecting, focusing on, and mediating particular elements of reality through technical and creative choices.
Codes[1]
Codes refer to signs like images and sounds that work together to create meaning in media. There are three main categories of codes: visual codes involving color, images, costumes; auditory codes using sound; and technical codes covering production elements like framing, lighting, editing, and effects. Visual codes include color connotations and how positioning of objects creates meaning, like with traffic lights. Auditory codes contribute to meaning through sound. Technical codes cover physical production decisions that shape the meaning of media texts.
As media studies_editing_powerpoint[1]
This document provides an overview of different types of editing techniques used in media texts. It discusses continuity editing, which is designed to make narratives flow seamlessly through the use of conventions like establishing shots and shot reverse shot. Other techniques mentioned include cross-cutting to create tension, montage to create meaning, and elliptical editing to remove unimportant time. The document also discusses terms like cuts, jump cuts, dissolves, and fades, and how the speed of editing can determine the mood. Examples are provided of editing techniques used in specific movie clips.
What Next? Media and Film Studies
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みなさんこんにちはこれ何文字まで入るの？40文字以下不可とか本当に意味わからないけどこれ限界文字数書いてないからマジでやばい文字数いけるんじゃないの？えこ...
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How do audiences read media texts
- 1. The passive VS active audience debate How do audiences read media texts?
- 15. So…the media does not effect us at all?