This document discusses Stuart Hall's encoding/decoding model of media analysis and applies it to analyzing UK television news. It introduces Hall's model of how meanings are encoded in production and decoded in consumption, with three hypothetical decoding positions - dominant, negotiated, and oppositional. The document then analyzes how TV news encodes mythic meanings of being immediate, authoritative, and objective through specific production and storytelling techniques. Readers are encouraged to analyze examples of UK TV news stories to identify the encoded meanings and possible decoding positions of audiences.
This document provides definitions for various terms used in television news reporting and broadcasting. It defines common news formats and conventions like lead stories, news anchors, and breaking news. It also explains biases that can influence news coverage, such as location bias, mainstream bias, and sensationalism bias. Additionally, it defines the roles of key players in the news industry like freelance journalists, news agencies, and public service broadcasters.
This presentation is an effort to introduce the concept of Broadcast Journalism in its elemental shape. It makes an effort at orienting learners to the fundamental concepts required for understanding Broadcast Journalism.
Investigative journalism traces its origins to the 1690s but experienced a resurgence in the early 1900s with the emergence of "muckraking" journalism seeking to expose corruption. While similar to tabloids in focusing on victimization and irony, investigative journalism aims to be earnest and in-depth. However, media consolidation and advertiser influence now limit investigative reporting due to its expense. New technologies and nonprofit collaborations may help sustain investigative journalism in monitoring society and informing the public, though semi-investigative tactics focusing on appearances over substance also pose a challenge to the field.
This document provides an overview of the aims and concepts to be explored in the Critical Media Theory seminar on the semiotics of the moving image. It will explore moving images as a visual language using semiotic analysis and identify different codes like social/cinematographic codes. Students will practice analyzing short documentary, TV intro, and advertising clips. Key concepts to be discussed include the differences between visual and verbal languages, shots as utterances rather than words, and how filmmakers make choices in framing, editing, sound etc. to create meanings and how these come together in the syntagmatic relationship between shots.
Lz411 identity and men's lifestyle magazinesrosski0
This document provides an overview of a lecture on masculinity and men's magazines. It aims to explore changing masculine identity and examine men's magazines as "ironic discourse". It discusses how magazines offer identities of enjoyment and reaffirm what it means to be a young affluent heterosexual man. However, they also portray an "ambivalent masculinity" through ironic and distancing portrayals that simultaneously celebrate ultra-masculine and anti-hero figures. The lecture tasks students to analyze how readers are addressed and what identities are offered in a sample article, noting any coherence or contradictions in the portrayed identities. It concludes by announcing upcoming seminar readings and examples to analyze applying concepts from the lecture.
This document discusses structural narrative analysis approaches that can be applied to television advertisements. It introduces plot, story, and narrative concepts. It then explains several approaches to structural narrative analysis including Propp's narrative functions, Campbell's monomyth hero's journey, and Barthes' five codes of meaning. As an example, it analyzes the narrative structure of a Google reunion advertisement using some of these approaches. It concludes by assigning the reading of a narrative analysis chapter and having students analyze a television advertisement structurally.
Women's lifestyle magazines are examined as a form of "technologies of the self" that produce modern feminine subjects. The magazines emphasize constructing an idealized feminine identity through consumerism and bodily practices. They promote five key discourses: 1) Femininity is defined by one's physical body and appearance. 2) Women are depicted as both sexual objects and active desiring subjects through increased sexualization and emphasis on pleasing men. 3) Women engage in constant self-surveillance and discipline of their bodies. 4) Transformation of the body and life is presented as always possible through consumer goods and makeovers. 5) Media positions itself as a popular expert offering advice and choices to mold women into idealized versions of femininity.
This document provides definitions for various terms used in television news reporting and broadcasting. It defines common news formats and conventions like lead stories, news anchors, and breaking news. It also explains biases that can influence news coverage, such as location bias, mainstream bias, and sensationalism bias. Additionally, it defines the roles of key players in the news industry like freelance journalists, news agencies, and public service broadcasters.
This presentation is an effort to introduce the concept of Broadcast Journalism in its elemental shape. It makes an effort at orienting learners to the fundamental concepts required for understanding Broadcast Journalism.
Investigative journalism traces its origins to the 1690s but experienced a resurgence in the early 1900s with the emergence of "muckraking" journalism seeking to expose corruption. While similar to tabloids in focusing on victimization and irony, investigative journalism aims to be earnest and in-depth. However, media consolidation and advertiser influence now limit investigative reporting due to its expense. New technologies and nonprofit collaborations may help sustain investigative journalism in monitoring society and informing the public, though semi-investigative tactics focusing on appearances over substance also pose a challenge to the field.
This document provides an overview of the aims and concepts to be explored in the Critical Media Theory seminar on the semiotics of the moving image. It will explore moving images as a visual language using semiotic analysis and identify different codes like social/cinematographic codes. Students will practice analyzing short documentary, TV intro, and advertising clips. Key concepts to be discussed include the differences between visual and verbal languages, shots as utterances rather than words, and how filmmakers make choices in framing, editing, sound etc. to create meanings and how these come together in the syntagmatic relationship between shots.
Lz411 identity and men's lifestyle magazinesrosski0
This document provides an overview of a lecture on masculinity and men's magazines. It aims to explore changing masculine identity and examine men's magazines as "ironic discourse". It discusses how magazines offer identities of enjoyment and reaffirm what it means to be a young affluent heterosexual man. However, they also portray an "ambivalent masculinity" through ironic and distancing portrayals that simultaneously celebrate ultra-masculine and anti-hero figures. The lecture tasks students to analyze how readers are addressed and what identities are offered in a sample article, noting any coherence or contradictions in the portrayed identities. It concludes by announcing upcoming seminar readings and examples to analyze applying concepts from the lecture.
This document discusses structural narrative analysis approaches that can be applied to television advertisements. It introduces plot, story, and narrative concepts. It then explains several approaches to structural narrative analysis including Propp's narrative functions, Campbell's monomyth hero's journey, and Barthes' five codes of meaning. As an example, it analyzes the narrative structure of a Google reunion advertisement using some of these approaches. It concludes by assigning the reading of a narrative analysis chapter and having students analyze a television advertisement structurally.
Women's lifestyle magazines are examined as a form of "technologies of the self" that produce modern feminine subjects. The magazines emphasize constructing an idealized feminine identity through consumerism and bodily practices. They promote five key discourses: 1) Femininity is defined by one's physical body and appearance. 2) Women are depicted as both sexual objects and active desiring subjects through increased sexualization and emphasis on pleasing men. 3) Women engage in constant self-surveillance and discipline of their bodies. 4) Transformation of the body and life is presented as always possible through consumer goods and makeovers. 5) Media positions itself as a popular expert offering advice and choices to mold women into idealized versions of femininity.
Stuart Hall's encoding/decoding model of media communication is introduced to analyze news discourse. News is presented as a social construction rather than a transparent reporting of inherently newsworthy events. Events are selected and framed according to socially constructed categories that naturalize certain power relations. The production of news involves selection biases as well as text construction practices that shape meanings. Consumption also involves cultural decoding processes. The goal is to show how "news" represents a consensus view of the world rather than objective reality.
This document provides an overview of several key theorists relevant to postcolonial studies and colonial discourse theory, including Friedrich Nietzsche, Louis Althusser, Jacques Lacan, Michel Foucault, Edward Said, Gayatri Spivak, and Homi Bhabha. It summarizes some of their main ideas, such as Nietzsche's critique of history and the subject, Althusser's concepts of ideology and interpellation, Lacan's stages of subject formation, Foucault's theories of power, knowledge, and resistance, Said's concept of Orientalism, and Bhabha's ideas around colonial hybridity and mimicry.
Roland Barthes was a French theorist born in 1915 who pioneered structuralism and post-structuralism. He was a leading theorist of semiotics, which is the study of signs in culture. Barthes believed that many aspects of daily life, from clothing to media, can be interpreted as signs that convey cultural meanings and social statuses. He explored how signs around us are governed by complex cultural conventions and messages, and how people instinctively interpret these signs without realizing it. There are three types of signs: iconic signs use similarity, indexical signs have a cause-and-effect link, and symbolic signs have an arbitrary association. For any sign, the signifier is the form it takes, such as an
This document outlines several types of cultural studies, including British cultural materialism, New Historicism, American multiculturalism, postmodernism and popular culture, and postcolonial studies. It provides brief descriptions of each: British cultural materialism began in the 1950s and was influenced by Matthew Arnold; New Historicism studies literature in the context of the author and critic's histories; American multiculturalism emerged in 1964 and examines perspectives from groups including African Americans, Asian Americans, American Indians, and Latinos; postmodernism questions absolute truths; popular culture studies how ideas spread in society; and postcolonial theory analyzes the impacts of colonialism. The document concludes that these cultural studies examine how different cultures view the world.
Stuart Hall was a Jamaican-born cultural theorist known as the "godfather of multiculturalism." In this document, Hall discusses two ways of thinking about cultural identity. First, as a shared culture, which was important for negritude movements. However, Hall believes cultural identity is better understood as unstable and contradictory, with similarities and differences. He argues cultural identities are formed from histories but are constantly transforming, shaped by memory, fantasy, and narrative. Hall also examines how Caribbean cultural identities relate to African, European, and American influences in the context of colonialism.
Cultural Studies critiques media effects research by focusing on hegemony, or how dominant ideologies secure consent through media. It draws from the Frankfurt School's view of corporate media tailoring messages to support capitalism, and Foucault's idea of discourses that shape understanding and naturalize certain perspectives. Cultural Studies examines how media representations reproduce social inequalities by presenting a restricted range of choices controlled by corporations.
Semiotic film theory analyzes how meaning is conveyed through signs and codes in cinema. Films use various visual elements like lighting, shot composition, and juxtaposition of images to signify ideas beyond their literal meaning. Structuralist film theory emphasizes how simple combinations of shots can create additional implied meanings through cultural codes and conventions. Semiotic analysis involves examining signs like characters, props, and backgrounds to understand their denotations and cultural connotations, and how they relate through paradigmatic and syntagmatic relationships to construct meaning.
This document provides an overview of Stuart Hall's encoding/decoding model of communication. It discusses the theoretical origins in critical theory and cultural studies. Hall proposed that communication involves three stages - encoding of messages by media producers based on dominant ideologies, the transmission of encoded messages, and decoding of messages by audiences based on their own social positions and ideologies, which may differ from the encoder's intent. The model rejected the transmission view of communication and emphasized that meanings are constructed at both the encoding and decoding stages.
Hall proposed a new theory of communication that argues meaning is not fixed by the sender and the audience is not passive. There is a "lack of fit" between encoding and decoding meaning as the producer encodes meaning differently than how the receiver decodes it based on their background and interpretation. Hall referred to distinct moments in the communication process including production, circulation, distribution, consumption and reproduction as part of the communication circuit where meaningful exchange requires the message to be correctly decoded.
Andreas Fickers: Transmedia Storytelling and Media HistoryEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The presentation focuses on the challenges and opportunities of transmedia storytelling in media history.
The massive digitization of historical sources and their online availability have a deep impact on the practice of doing history in the digital age and require new forms of historical research and storytelling. Drawing from studies in digital storytelling and multimedia narratives, this lecture aims at exploring new forms of non-linear historical storytelling online. In addition, it will address tensions between disciplinary traditions and a lack of scholarly recognition of new genres and formats of online scholarship.
"Blackfish" National 4/5 Media Documentaries Unitccowan73
The documentary "Blackfish" examines the dangers of keeping killer whales in captivity. It follows the controversial death of a SeaWorld trainer, Dawn Brancheau, who was killed by the whale Tilikum in 2010. The filmmaker was initially puzzled by this incident but sought to understand it through research and interviews. Over two years of production, she uncovered shocking facts about the impacts of captivity on whales and trainers. The documentary aims to reveal the realities behind the carefully crafted public image of places like SeaWorld.
The document discusses how Twitter was used as a mechanism for both reporting and sharing news during the 2011 Egyptian uprising. It analyzes over 1.5 million tweets to understand the news values and rhythms of storytelling on Twitter. Traditional news values of recency, drama, and relevance were found, but Twitter also introduced new values like instantaneity, crowdsourced reporting, and creating an ambient news environment. The blending of news, opinions, facts and emotions on Twitter represented a hybrid form of affective and collaborative news storytelling.
The rhythms of news storytelling on Twitter:Affective news streams, hybridit...Zizi Papacharissi
The document discusses how Twitter was used as a mechanism for both reporting and sharing news during the 2011 Egyptian uprising. It analyzes over 1.5 million tweets to understand the news values and rhythms of storytelling on Twitter. Traditional news values of recency, drama, and relevance were found, but Twitter also enabled new values like crowdsourced reporting, constant updates, and expressions of solidarity and emotion. The blending of facts, opinions, and affect on Twitter represented a hybrid form of news that was both oral and written in nature.
The document discusses how news is not an objective reflection of events but is instead constructed through various framing influences including commercial pressures, organizational structures, source selection, and biases that shape what stories are reported on and how they are presented. It also examines the challenges of objectivity in news reporting and how viewers can develop a more critical understanding of the complex factors that go into the manufacturing and construction of the news.
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.
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.
This document discusses representations of ethnicity in television drama and how audiences decode media texts. It introduces reception theory by Stuart Hall, which says that media producers encode texts with messages but audiences can decode them differently. Hall identified three decoding positions: dominant/preferred reading aligning with the producer's intent, oppositional reading rejecting it, and negotiated reading blending the two. The document prompts noting stereotypes of white people and other ethnicities. It asks how ethnicity is portrayed in a TV show clip and discusses representations of ability in another clip. Finally, it presents a statement about media production being dominated by global institutions selling only to global audiences and asks to what extent this is agreed with using case studies.
This document discusses issues and debates surrounding spectatorship in documentary films. It addresses how documentaries construct reality using codes and conventions, despite not being able to perfectly represent the complexity of real life. Some of the main challenges documentaries face in representing reality discussed are narrative structure, selection of subjects, interpretive frameworks, editing techniques, and the effects of film crews on what they record. The document also examines the various aims documentaries may have, such as to inform, educate, entertain, or document significant events, and how these aims can influence representation of reality.
This document discusses issues and debates surrounding spectatorship in documentary films. It addresses how documentaries construct reality using codes and conventions, despite not being able to perfectly represent the complexity of real life. Some of the main challenges documentaries face in representing reality discussed are narrative structure, selection of subjects, interpretive frameworks, editing techniques, and the effects of film crews on what they record. The document also examines the various aims documentaries may have, such as to inform, educate, entertain, or document significant events, and how these aims can influence their representations of reality.
Collective identity of the working class is represented in media like films, TV shows, and online communities. Some argue this representation exploits or marginalizes the working class (Part 1). Others note audiences are active, not passive, in interpreting these representations and forming their own identities (Part 2). Future representation may include user-generated content, but the influence of media on collective identity is complex and impossible to precisely measure (Part 3).
The document discusses several key concepts in media theory:
1) Auteur theory holds that the director is the "author" of a film and conveys their personal vision through elements like camerawork and editing, rather than just the screenplay.
2) Reception theory examines how audiences interpret and make meaning from media texts in different ways than intended, based on their own experiences and perspectives.
3) The hypodermic needle theory viewed audiences as passive and easily influenced by media messages, but it ignores that audiences can disagree and have varied responses.
4) The male gaze refers to the perspective of the assumed male viewer in visual media and how it portrays women as objects of voyeuristic or
Strategic communication, news media and influencePOLIS LSE
This document discusses strategic communication and the influence of news media in the current digital information environment. It notes that news is now networked across varied platforms and blended into a mixed media ecology. This has led to both opportunities like direct communication but also challenges like echo chambers, verification problems during breaking events, and the spread of "fake news." The document provides recommendations for journalists, networks, authorities and citizens to help address these issues, including promoting news literacy, transparency, and high quality curated content while maintaining the democratic aspects of digital media.
Stuart Hall's encoding/decoding model of media communication is introduced to analyze news discourse. News is presented as a social construction rather than a transparent reporting of inherently newsworthy events. Events are selected and framed according to socially constructed categories that naturalize certain power relations. The production of news involves selection biases as well as text construction practices that shape meanings. Consumption also involves cultural decoding processes. The goal is to show how "news" represents a consensus view of the world rather than objective reality.
This document provides an overview of several key theorists relevant to postcolonial studies and colonial discourse theory, including Friedrich Nietzsche, Louis Althusser, Jacques Lacan, Michel Foucault, Edward Said, Gayatri Spivak, and Homi Bhabha. It summarizes some of their main ideas, such as Nietzsche's critique of history and the subject, Althusser's concepts of ideology and interpellation, Lacan's stages of subject formation, Foucault's theories of power, knowledge, and resistance, Said's concept of Orientalism, and Bhabha's ideas around colonial hybridity and mimicry.
Roland Barthes was a French theorist born in 1915 who pioneered structuralism and post-structuralism. He was a leading theorist of semiotics, which is the study of signs in culture. Barthes believed that many aspects of daily life, from clothing to media, can be interpreted as signs that convey cultural meanings and social statuses. He explored how signs around us are governed by complex cultural conventions and messages, and how people instinctively interpret these signs without realizing it. There are three types of signs: iconic signs use similarity, indexical signs have a cause-and-effect link, and symbolic signs have an arbitrary association. For any sign, the signifier is the form it takes, such as an
This document outlines several types of cultural studies, including British cultural materialism, New Historicism, American multiculturalism, postmodernism and popular culture, and postcolonial studies. It provides brief descriptions of each: British cultural materialism began in the 1950s and was influenced by Matthew Arnold; New Historicism studies literature in the context of the author and critic's histories; American multiculturalism emerged in 1964 and examines perspectives from groups including African Americans, Asian Americans, American Indians, and Latinos; postmodernism questions absolute truths; popular culture studies how ideas spread in society; and postcolonial theory analyzes the impacts of colonialism. The document concludes that these cultural studies examine how different cultures view the world.
Stuart Hall was a Jamaican-born cultural theorist known as the "godfather of multiculturalism." In this document, Hall discusses two ways of thinking about cultural identity. First, as a shared culture, which was important for negritude movements. However, Hall believes cultural identity is better understood as unstable and contradictory, with similarities and differences. He argues cultural identities are formed from histories but are constantly transforming, shaped by memory, fantasy, and narrative. Hall also examines how Caribbean cultural identities relate to African, European, and American influences in the context of colonialism.
Cultural Studies critiques media effects research by focusing on hegemony, or how dominant ideologies secure consent through media. It draws from the Frankfurt School's view of corporate media tailoring messages to support capitalism, and Foucault's idea of discourses that shape understanding and naturalize certain perspectives. Cultural Studies examines how media representations reproduce social inequalities by presenting a restricted range of choices controlled by corporations.
Semiotic film theory analyzes how meaning is conveyed through signs and codes in cinema. Films use various visual elements like lighting, shot composition, and juxtaposition of images to signify ideas beyond their literal meaning. Structuralist film theory emphasizes how simple combinations of shots can create additional implied meanings through cultural codes and conventions. Semiotic analysis involves examining signs like characters, props, and backgrounds to understand their denotations and cultural connotations, and how they relate through paradigmatic and syntagmatic relationships to construct meaning.
This document provides an overview of Stuart Hall's encoding/decoding model of communication. It discusses the theoretical origins in critical theory and cultural studies. Hall proposed that communication involves three stages - encoding of messages by media producers based on dominant ideologies, the transmission of encoded messages, and decoding of messages by audiences based on their own social positions and ideologies, which may differ from the encoder's intent. The model rejected the transmission view of communication and emphasized that meanings are constructed at both the encoding and decoding stages.
Hall proposed a new theory of communication that argues meaning is not fixed by the sender and the audience is not passive. There is a "lack of fit" between encoding and decoding meaning as the producer encodes meaning differently than how the receiver decodes it based on their background and interpretation. Hall referred to distinct moments in the communication process including production, circulation, distribution, consumption and reproduction as part of the communication circuit where meaningful exchange requires the message to be correctly decoded.
Andreas Fickers: Transmedia Storytelling and Media HistoryEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The presentation focuses on the challenges and opportunities of transmedia storytelling in media history.
The massive digitization of historical sources and their online availability have a deep impact on the practice of doing history in the digital age and require new forms of historical research and storytelling. Drawing from studies in digital storytelling and multimedia narratives, this lecture aims at exploring new forms of non-linear historical storytelling online. In addition, it will address tensions between disciplinary traditions and a lack of scholarly recognition of new genres and formats of online scholarship.
"Blackfish" National 4/5 Media Documentaries Unitccowan73
The documentary "Blackfish" examines the dangers of keeping killer whales in captivity. It follows the controversial death of a SeaWorld trainer, Dawn Brancheau, who was killed by the whale Tilikum in 2010. The filmmaker was initially puzzled by this incident but sought to understand it through research and interviews. Over two years of production, she uncovered shocking facts about the impacts of captivity on whales and trainers. The documentary aims to reveal the realities behind the carefully crafted public image of places like SeaWorld.
The document discusses how Twitter was used as a mechanism for both reporting and sharing news during the 2011 Egyptian uprising. It analyzes over 1.5 million tweets to understand the news values and rhythms of storytelling on Twitter. Traditional news values of recency, drama, and relevance were found, but Twitter also introduced new values like instantaneity, crowdsourced reporting, and creating an ambient news environment. The blending of news, opinions, facts and emotions on Twitter represented a hybrid form of affective and collaborative news storytelling.
The rhythms of news storytelling on Twitter:Affective news streams, hybridit...Zizi Papacharissi
The document discusses how Twitter was used as a mechanism for both reporting and sharing news during the 2011 Egyptian uprising. It analyzes over 1.5 million tweets to understand the news values and rhythms of storytelling on Twitter. Traditional news values of recency, drama, and relevance were found, but Twitter also enabled new values like crowdsourced reporting, constant updates, and expressions of solidarity and emotion. The blending of facts, opinions, and affect on Twitter represented a hybrid form of news that was both oral and written in nature.
The document discusses how news is not an objective reflection of events but is instead constructed through various framing influences including commercial pressures, organizational structures, source selection, and biases that shape what stories are reported on and how they are presented. It also examines the challenges of objectivity in news reporting and how viewers can develop a more critical understanding of the complex factors that go into the manufacturing and construction of the news.
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.
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.
This document discusses representations of ethnicity in television drama and how audiences decode media texts. It introduces reception theory by Stuart Hall, which says that media producers encode texts with messages but audiences can decode them differently. Hall identified three decoding positions: dominant/preferred reading aligning with the producer's intent, oppositional reading rejecting it, and negotiated reading blending the two. The document prompts noting stereotypes of white people and other ethnicities. It asks how ethnicity is portrayed in a TV show clip and discusses representations of ability in another clip. Finally, it presents a statement about media production being dominated by global institutions selling only to global audiences and asks to what extent this is agreed with using case studies.
This document discusses issues and debates surrounding spectatorship in documentary films. It addresses how documentaries construct reality using codes and conventions, despite not being able to perfectly represent the complexity of real life. Some of the main challenges documentaries face in representing reality discussed are narrative structure, selection of subjects, interpretive frameworks, editing techniques, and the effects of film crews on what they record. The document also examines the various aims documentaries may have, such as to inform, educate, entertain, or document significant events, and how these aims can influence representation of reality.
This document discusses issues and debates surrounding spectatorship in documentary films. It addresses how documentaries construct reality using codes and conventions, despite not being able to perfectly represent the complexity of real life. Some of the main challenges documentaries face in representing reality discussed are narrative structure, selection of subjects, interpretive frameworks, editing techniques, and the effects of film crews on what they record. The document also examines the various aims documentaries may have, such as to inform, educate, entertain, or document significant events, and how these aims can influence their representations of reality.
Collective identity of the working class is represented in media like films, TV shows, and online communities. Some argue this representation exploits or marginalizes the working class (Part 1). Others note audiences are active, not passive, in interpreting these representations and forming their own identities (Part 2). Future representation may include user-generated content, but the influence of media on collective identity is complex and impossible to precisely measure (Part 3).
The document discusses several key concepts in media theory:
1) Auteur theory holds that the director is the "author" of a film and conveys their personal vision through elements like camerawork and editing, rather than just the screenplay.
2) Reception theory examines how audiences interpret and make meaning from media texts in different ways than intended, based on their own experiences and perspectives.
3) The hypodermic needle theory viewed audiences as passive and easily influenced by media messages, but it ignores that audiences can disagree and have varied responses.
4) The male gaze refers to the perspective of the assumed male viewer in visual media and how it portrays women as objects of voyeuristic or
Strategic communication, news media and influencePOLIS LSE
This document discusses strategic communication and the influence of news media in the current digital information environment. It notes that news is now networked across varied platforms and blended into a mixed media ecology. This has led to both opportunities like direct communication but also challenges like echo chambers, verification problems during breaking events, and the spread of "fake news." The document provides recommendations for journalists, networks, authorities and citizens to help address these issues, including promoting news literacy, transparency, and high quality curated content while maintaining the democratic aspects of digital media.
This document provides questions for students to reflect on the skills they developed in understanding the relationship between media texts and their audiences. It asks students to discuss how they encoded meanings and messages into their media products to create preferred readings for targeted audiences by using conventions from real media texts. Students are prompted to consider both macro elements like ideology and discourse as well as micro elements of media language in their projects.
The document discusses two theories of mass communication: technological determinism and cultivation theory. Technological determinism, proposed by Marshall McLuhan, argues that media technologies shape human thought and society. McLuhan believed history can be divided into epochs defined by the dominant communication medium of the time. Cultivation theory, proposed by George Gerbner, suggests that television shapes viewers' perceptions of social reality by presenting disproportionate amounts of violence. Both theories have been criticized for lacking empirical evidence and being overly deterministic.
This document discusses various theories about how audiences interact with and make meaning from media, including:
- The hypodermic needle model which sees audiences as passive receivers of media messages.
- Two-step flow theory which proposes people discuss media with opinion leaders before accepting messages.
- Uses and gratifications theory which views audiences as active in choosing media to fulfill needs.
It also covers technological convergence and how this has changed audience consumption habits, making them more interactive in both consuming and creating media content. The effects of representing groups in media and how this relates to ideology are examined.
This document provides an overview of audience theory, including both "effects" models that consider how media impacts audiences, and different types of audience members (passive vs. active). It discusses the "preferred reading" theory, where media producers promote a particular interpretation that most audiences accept. The cultural effects model is explained, viewing audiences as passive recipients of ideological messages from media owners that gradually influence society over time. Key theories covered include the hypodermic syringe model, two-step flow, uses and gratifications, and cultivation theory.
This document provides an overview of audience theory, including both "effects" models that consider how media impacts audiences, and different types of audience members (passive vs. active). It discusses the "preferred reading" theory, where media producers promote a particular interpretation that most audiences accept. The cultural effects model is explained, seeing audiences as passive recipients of ideological messages from media owners over long periods, gradually influencing societal norms and values. Key theories covered include the hypodermic syringe model of direct media effects and cultivation theory involving television's influence through repeated messages like promoting a "mean world."
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
This document discusses the differences between academic, public, and popular history. It defines each field and their intended audiences. Academic historians aim to create new knowledge and publish in peer-reviewed journals, targeting other academics. Public historians interpret history for broader understanding, working with museums and media. Popular historians entertain and tell compelling narratives, targeting general audiences. The fields can overlap and influence each other. Historians must consider audience when selecting topics and communicating research in various forms appropriate to each field.
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The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
Communicating effectively and consistently with students can help them feel at ease during their learning experience and provide the instructor with a communication trail to track the course's progress. This workshop will take you through constructing an engaging course container to facilitate effective communication.
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A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
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Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
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Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
Traditional Musical Instruments of Arunachal Pradesh and Uttar Pradesh - RAYH...
LZ411 TV news 2013 news construction
1. LZ411 – Critical Media
theory
Semiotic analysis of TV News
Aims today …
•To continue using Stuart Hall’s
‘encoding and decoding’ model –
specifically ‘decoding’
•To look at interpretations of TV news
as ‘timely’, ‘authoritative’ and
‘believable’
2. The discursive practices of TV
News
• What are the ways that
meanings are structured in
the circuit of
communication?
circulation
Production
of news
texts
Consumption
of news texts
reproduction
Stuart Hall Cultural Theorist
Encoding-Decoding model
3. The circuit of news
communication
Circulation
Raw material - the
natural world
(un-organised, nondiscursive event)
The TV news as
‘meaningful discourse’
Knowledge of the way
news works
Knowledge of the
particular TV news
channel
Production
Consumption
Cultural ‘decoding’
Cultural ‘encoding’
Production
knowledge
Social knowledge
„maps of meaning‟ in
the production context
Reproduction
Cultural meanings
Social knowledge
„maps of meaning‟ in
the „reception context‟
4. UK TV News – Political Context
Regulations (OFCOM and BBC Trust) ‘Due impartiality’
OFCOM – “To ensure that news, in whatever
form, is reported with due accuracy and presented
with due impartiality”.
BBC – “News in whatever form must be treated
with due impartiality, giving due weight to events,
opinion and main strands of argument. The
approach and tone of news stories must always
4
reflect our editorial values, including our
5. Analysing the construction of TV
News
“What you about to view is important and
actually happened in the way we say it
happened”
1) How do producers „win the assent‟ of the
audience to try to convince them of the
above?
2) How are certain definitions of reality
discursively made legitimate in TV news
stories? i.e. what are the specific storying
techniques of TV news?
5
6. Mythic meanings of TV News
Myth – a mode of communication whereby
particular meanings are made to appear
obvious/ common-sense/natural/real whereas in
fact they are
cultural/constructed/social/historical
TV News „mythic meanings‟:
a)It is immediate/live/relevant now/New!
b)It is believable and authoritative (our account
carries weight. Things really happened the way
we said they did)
c)It is balanced and objective
10. The circuit of news
communication
Circulation
Raw material - the
natural world
(un-organised, nondiscursive event)
The TV news as
‘meaningful discourse’
Knowledge of the way
news works
Knowledge of the
particular TV news
channel
Production
Consumption
Cultural ‘decoding’
Cultural ‘encoding’
Production
knowledge
Social knowledge
„maps of meaning‟ in
the production context
Reproduction
Cultural meanings
Social knowledge
„maps of meaning‟ in
the „reception context‟
11. How cuddly is this polar bear?
Planet Earth – BBC 1 March 2006
Some reactions to the show…
13. Decoding positions
1)Dominant-hegemonic
best fit between codes of encoding and
decoding
2) Negotiated
agreement with dominant definitions
about the world but some specific
disagreements
3) Oppositional
complete lack of equivalence between
encoding and decoding codes
14. Decoding positions - Planet
Earth
1)Dominant-hegemonic
•the programme is a compelling accurate
description of the world – the documentary
genre informs and entertains – producers‟
view?
2) Negotiated
•nature programmes inform and entertain but
some specific inaccuracies in the way
certain animals/situations were depicted.
E.g. Annoying music!! – some viewers
3) Oppositional
•environmental porn! – article 13
environmental group
15. Preferred meanings
• In other words Planet Earth has been„encoded‟
according to the „dominant cultural order‟ and
therefore certain ways of decoding („reading‟) Planet
Earth are more likely than others.
• Oppositional readings are always possible.
• As analysts we may not always agree on what are
preferred, negotiated and oppositional readings.
Texts are polysemic (but not completely open to
interpretation)
16. Encoding/decoding - problems
•encoding – is it actually possible to analyse
the encoding of a media text to determine its
preferred meaning
•decoding – are there such simple ways that
people „decode‟ media texts – what about ironic
readings, willing suspension of disbelief etc.
•decoding variables – Morley‟s study (based
on Hall) presumes class/occupation as a
defining sociological variable. Is it still
applicable? Any other variables?
17. Conclusion
• TV News presents socially constructed views of
events. Viewers are encouraged to read news
as up-to-date, authoritative, credible, balanced
and objective.
• Decodings are variable but not unlimited. Hall
suggests three hypothetical „reading positions‟
17
18. TV News examples to discuss
in seminars
• How are the mythic meanings of
immediacy, authority and objectivity
encoded?
• How is each story
framed, focused, realised and closed?
• What are possible decoding („reading‟)
positions for the stories?
18
19. References
Allan, S. (1998) News from NowHere: Televisual news
discourse and the construction of hegemony. In A. Bell and
P. Garrett (eds.) Approaches to media discourse Oxford:
Blackwell.
Allan, S. (2000) News culture Buckingham: Open
University Press
Bignell, J. (2002) Media semiotics An introduction
Manchester: Manchester university press Chapter 5
Hall, S. (1973) Encoding and Decoding in the Television
Discourse. Birmingham: Centre for Cultural
Studies, University of Birmingham
19
Editor's Notes
A much cited model of media communication , i.e. of mass communication, hence the terms such as ‘circulation’.Draw on board , sender receiver model. This assumes that what is sent is received as if the medium is a tunnel down which the message slides simply to be picked up by the receiver.Each part of the model is described as a moment. So for example production is the ‘moment of encoding’. Hall says these various aspects are linked but separate moments in the circuit of communication.Hall’s model here is different. Hall uses the terms encoding and decoding very deliberately. Production encodes some aspect of the world into a discursive form – this could be words, still images, moving images, sign language, etc. So with our polar bear example, nature in its raw state has been ‘encoded’ turned into a discursive form consisting of moving images, a voice over, a soundtrack and an audio track. These discursive forms circulate in society. They are available as films in cinemas, television, DVDs, newspapers, magazines, twitter feeds, etc. Through distribution they find their way to audiences. What happens at the moment of consumption? What do we mean by consumption? Which describes the process more accurately? Making meaning from a text? Getting meaning from a text? i.e. where is the meaning? In the text, or the reader or both?From http://users.aber.ac.uk/dgc/Documents/S4B/sem08c.html - “Corner adds that the moment of encoding and that of decoding 'are socially contingent practices which may be in a greater or lesser degree of alignment in relation to each other but which are certainly not to be thought of... as 'sending' and 'receiving' linked by the conveyance of a 'message' which is the exclusive vehicle of meaning' (Corner 1983, pp. 267-8).Also from http://users.aber.ac.uk/dgc/Documents/S4B/sem08c.html - In the context of semiotics, 'decoding' involves not simply basic recognition and comprehension of what a text 'says' but also the interpretation and evaluation of its meaning with reference to relevant codes.Audiences deocde these circulating messages. The key word is decode or interpret. Through meaning interpretations that also circulate in a society. Texts cannot exist independently of cultural meanings. Otherwise their could be no interpretation.. “No meaning … no consumption” (hall 1994, p.201)What does reproduction here mean? Meanings entering social practices in the distribution/consumption moments are then available as social practices for producers. Don’t think of this as happening overnight. We are not talking about little groups of producers and receivers in separate places. We need to think of society as one production and reception context where producers take from and add to existing cultural meanings in processes of production.
In this session first we are going to look at the first half of this model, going from the discursive practices of tv news (i.e the encoding of reality into tv news discourse) and then consider what we mean by ‘meaningful discourse’ in the circulation part. Then we are going to consider what we mean by ‘decoding’ using the examples of TV news.
Meaning of “due impartiality”:“Due” is an important qualification to the concept of impartiality. Impartiality itself means not favouring one side over another. “Due” means adequate or appropriate to the subject and nature of the programme. So “due impartiality” does not mean an equal division of time has to be given to every view, or that every argument and every facet of every argument has to be represented. The approach to due impartiality may vary according to the nature of the subject, the type of programme and channel, the likely expectation of the audience as to content, and the extent to which the content and approach is signalled to the audience. Context, as defined in Section Two: Harm and Offence of the Code, is important.News organizations now stretch across television and web delivery with tightly integrated content in the form of individual pieces appearing on the website integrated into written storiesBBC one – 6pmBBC Four – 7pmChannel four – 7pmITV (regional) -6pmBBC News – rollingSky News – 6pm and 8pm
What codes of encoding are needed by producers in order to create trust in the news that viewers are wathcing? In other words how can preferred meanings be most likely encouraged?“Any society/culture tends, with varying degrees of closure, to impose its classifications of the social and cultural and political world. These constitute a dominant cultural order … the different areas of social life appear to be mapped out into discursive domains, hierarchically organized into dominant or preferred meanings” (Hall 1973)
See Bignell (2002) pages 110 onward and my notes in ‘LZ411 13-14 the construction of tv news notes.doc’Mythic meanings are:ImmediacyAuthorityBalance and objectivity
9 october 2007 - Screenwipe series 4 episode 3 - In this television news special, Brooker talks about the need to entertain on the news and also the rise of 24 hour news. Adam Curtis talks about the rise and fall of the television journalist. (13 minutes 30 seconds)Note the point about that TV news (like print news) does not consist of lists of facts but each item is a narrative report of an event. There are narrators (anchors and reporters), there are characters, there are events and consequences of events on and by characters.
Structuring the ‘ambiguity of reality’ through visual and aural codes in a way to construct a particular news version of‘reality’“TV cannot transmit ‘raw historical‘ events as such, to its audiences: it can only transmit pictures of, stories, informative talk or discussion about, the events it selectively treats”. The world is chaotic but we bring a resemblance of order to it through the way we narrate it to ourselves. i.e. a culture has its own stock of stories, images, ways of relating what’s going on. TV news is a part of this storying, it both reflects known cultural storylines but also has its own particular stock of storying techniques. In genre terms it has its own structuring devices of reality what happened or is happening.Relating stories through ‘conventional subject-categories’ to flag up how a particular story is to be classified – “even though events often have very wide-ranging effects in different places an don different groups of people, the placing of news reports in coded discursive categories producers the mythic meaning that news events are unique but are significant in the terms of only one discursive code” (Bignell 2022: 117)In the examples we are going to watch – what other possible categories of news stories could each story have been placed in? What is the significance of this categorisation? “how does it naturalise the mythic meanings proposed and preculte decoding the news story from laternative points of view”? (ibid)Framing (bignell p.117. allen p74) – how is the event meant to be understood? What context is announced (in the headline, by narration, through the news anchor) as the means by which the event is meant to be understood? What alternative framings are therefore excluded? What is the definition of a situation? What is selected as being partiuculary important? What is made salient? SELECTION AND SALIENCEQUOTE FROM ENTMAN 1993 CITED IN ALLEN (2010: 76) – “FRAMING ESSENTIALLY INVOLVES SELECTION AND SALIENCE. TO FRAME IS TO SELET SOME ASPECTS OF PERCEIVED REALITY AND MAKE THEM MORE SALIENT IN THE COMMUNICATING TEXT, IN SUCH A WAY AS TO PROMOTE A PARTICULAR PROBLEM DEFINITION, CAUSAL INTERPRETATION, MORAL EVALUATION AND/OR TREATMENT RECOMMENDATION FOR THE ITEM DESCRIBED. FREAMES, THEN, DEFINE PROBLEMS – DETERMINE WHAT A CAUSAL AGENT IS DOING AND COSTS AND BENEFITS, USALLY MEASURE IN TERMS OF CULTURAL VALUES; DIAGNOSE CAUSES – IDENTITY THE FORCES CREATING THE PROBLEM; MAKE MORAL JUDGEMENTS – EVALUATE CAUSAL AGENTS AND THEIR EFFECTS; AND SUGGEST REMEDIES – OFFER AND JUSTIFY TREATMENTS OF THE PROBLEM AND PREDICT THEIR LIKELY EFFECTS”Focussing – “the topic is focused by reporters and correspondents, who are institutional voices. … explaining the significance indetial drawing out issues in the news storyRealising – lending authenticity confirming as real. Actuality footage, interviews, accessed voices. These choices will be used to confirm the frame and focus already chosen but will appear to be naturally evidence of what happened really happened. Note that voiceover/reporter speak often offers itself as an anchor to the visuals.Closing – the means by which a preferred meaning is encouraged. E.g. discounting alternative points of view (or excluding them), repeating and insisting a particular view.. This occurs not only at the end but throughout. The additional means is the way that visual and verbal syntagms are used. Specifically voice over or captioning will anchor particular meanings. Interviews will be constructed as if it is an informed viewer asking the questions. (see Bignell 119-120)
Newswipe February 2010 – season 2 episode 3 – The Haitian earthquake. Representation of a disaster. Beginning to the part about ‘god arriving’ (simon cowell). About 7.5 minutes.
In this session first we are going to look at the first half of this model, going from the discursive practices of tv news (i.e the encoding of reality into tv news discourse) and then consider what we mean by ‘meaningful discourse’ in the circulation part. Then we are going to consider what we mean by ‘decoding’ using the examples of TV news.
cultural studies approachnews not a reflection of reality but a representation of a preferred ‘map of social reality’ (an ideological construction)hegemony - the ideological struggle over ‘common sense’
"The domains of 'preferred meanings' have the whole social order embedded in them as a set of meanings, practices and beliefs: the everyday knowledge of social structures, of 'how things work for all practical purposes in this culture', the rank order of power and interest and the structure of legitimations, limits and sanctions."[1]As Hall states, "decoding within the negotiated version contains a mixture of adaptive and oppositional elements: it acknowledges the legitimacy of the hegemonic definitions to make the grand significations (abstract), while, at a more restricted, situational (situated) level, it makes its own ground rules- it operates with exceptions to the rule" [1] In this position a viewer/reader understands the intended meaning, but due to sociological variables (the background of the viewer/reader) the readers' social situation has placed them in a directly oppositional relation to the dominant code, and although they understand the intended meaning they do not share the text's code and end up rejecting it.[2]
Why was the environmental group so upset? The ‘meaning structures’ of the environmental group didn’t match those of the producers of Planet Earth. (in that segment at least)One of these is to depict animals as human beings with ‘lives’ (as humans experience them), feelings, attachments etc. Another might be that watching animals in film (on a Sunday night) is pleasureable and political statements about climate change should be avoided. There’s a nice and cosy reassuring feel to the piece through the use of narration, music and narrative imagery (i.e. telling a familiar story) that de-emphasises realities of polar bear life.“the domains of ‘preferred meanings’ have the whole social order embedded in them as a set of meanings, practices and beliefs” (Hall 1994:207)
Also points about decoding. i.e. bignell 2002 124 onwards. Attentiveness and actual involvement with any one news programme? Is complete decoding actually possible?