Media language
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This document provides an overview of media language theory, including key theorists and concepts. It discusses how media texts construct meaning for audiences through codes and language. Some main points covered include: - Media language analyzes how technical elements like camera shots, fonts, and layouts create meaning. It examines meanings at denotative, connotative, and symbolic levels. - Theorists discussed include Barthes, Saussure, Derrida, Pierce, McLuhen, and Kuleshov. Barthes explored denotation and connotation. Saussure analyzed the relationship between signifiers and signifieds. Derrida emphasized polysemic meanings. - Approaches to meaning include
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Representation involves how people, places, and objects are portrayed to an audience through various media. Representation is unavoidably selective and constructed from a particular point of view. Various theorists have examined how representation works. Stuart Hall analyzed how audiences can interpret representations in preferred, negotiated, or oppositional ways. Richard Dyer examined how stereotypes are often used to brand groups and present differences as natural. Roland Barthes distinguished between denotation and connotation, and how myths are conveyed. Laura Mulvey introduced the concept of the "male gaze" in film and how audiences are positioned as male viewers. Later theorists like Angela McRobbie and David Gauntlett examined how gender and identities are socially constructed through various media representations.
Representation
Representation involves how people, places, and objects are portrayed to an audience through various media. Representation is unavoidably selective and constructed from a particular point of view. Various theorists have examined how representation works. Stuart Hall analyzed how audiences can interpret representations in preferred, negotiated, or oppositional ways. Richard Dyer examined how stereotypes are often used to brand groups and present differences as natural. Roland Barthes distinguished between denotation and connotation, and how myths are used to naturalize dominant ideologies.
Media language
This document provides an overview of media language theory, including key theorists and concepts. It discusses how media texts construct meaning for audiences through codes and language. Some main points covered include:
- Media language analyzes how technical elements like camera shots, fonts, and layouts create meaning. It examines meanings at denotative, connotative, and symbolic levels.
- Theorists discussed include Barthes, Saussure, Derrida, Pierce, McLuhen, and Kuleshov. Barthes explored denotation and connotation. Saussure analyzed the relationship between signifiers and signifieds. Derrida emphasized polysemic meanings.
- Approaches to meaning include
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Media language lesson one
The document discusses media language and how meaning is constructed in media texts. It explains that media language refers to how texts are constructed to create meaning for audiences. All media is constructed with particular audiences and messages in mind. Deconstructing media involves identifying the different elements and contextual factors that give a text meaning. Semiotics explores how meaning is constructed through signs and codes, and how audiences interpret denotation and connotation.
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Representation
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This document provides an overview of media language theory, including key theorists and concepts. It discusses how media texts construct meaning for audiences through codes and language. Some main points covered include:
- Media language analyzes how technical elements like camera shots, fonts, and layouts create meaning. It examines meanings at denotative, connotative, and symbolic levels.
- Theorists discussed include Barthes, Saussure, Derrida, Pierce, McLuhen, and Kuleshov. Barthes explored denotation and connotation. Saussure analyzed the relationship between signifiers and signifieds. Derrida emphasized polysemic meanings.
- Approaches to meaning include
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This document discusses representation in media texts and how to analyze representations. It defines representation as how groups, events, places or social changes are portrayed in media. Representations offer a version of reality but are subjective and constructed rather than objective. The document outlines Richard Dyer's 4 key points for analyzing representations: 1) What is represented 2) How it represents social groups 3) Who is responsible 4) Audience response. It also discusses theorists Stuart Hall and how representations rely on stereotypes that can subordinate groups.
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The document discusses media language and how meaning is constructed in media texts. It explains that media language refers to how texts are constructed to create meaning for audiences. All media is constructed with particular audiences and messages in mind. Deconstructing media involves identifying the different elements and contextual factors that give a text meaning. Semiotics explores how meaning is constructed through signs and codes, and how audiences interpret denotation and connotation.
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Narrative refers to how a story is told or presented, rather than just the plot. There are several theories about narrative structure and how meaning is created for audiences. Todorov's theory proposed that narratives follow a structure of equilibrium, disequilibrium, and new equilibrium. Kuleshov's theory, demonstrated through experiments, showed that editing creates meaning through the association of images and manipulation of aspects like rhythm, time, and pace. More recent theorist Cameron proposed modular narratives, where time is not presented in a straightforward linear way. Editing is an important way of telling stories and creating intended perceptions through techniques like those explored by Kuleshov nearly 100 years ago.
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- Semiotics examines how signs like mise-en-scene, editing, sound construct meaning. A sign has two parts - the signifier (form) and the signified (concept). Meaning depends on the interpretation of the signified.
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Analyse one of your productions in relation to media language.
DISCLAIMER: This is an example answer, not an exemplar!
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This document discusses several theories related to media language and how meaning is constructed through signs and codes. It covers semiotics, focusing on the work of Ferdinand de Saussure on the distinction between the signifier and signified. It also discusses Roland Barthes' concepts of denotation versus connotation and how audiences interpret meanings. Finally, it outlines Stuart Hall's encoding/decoding model of how media producers encode preferred meanings and how audiences can decode messages in dominant, negotiated, or oppositional ways.
VISUAL SEMIOTICS AND CULTURAL CRITICISM
1. The document discusses visual semiotics, which analyzes how images create meaning through signs and codes.
2. Signs derive meaning not just on their own but from their relationship within sign systems and codes, such as language, objects, and gestures.
3. Cultural criticism examines popular and high culture through techniques like describing works, verifying theories, and supporting histories. It analyzes objects of culture like film, media, and lifestyle.
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This document outlines Richard Dyer's framework for analyzing representations, which involves considering: 1) What is represented in terms of characters, subject matter, and place? 2) How are social groups represented and what ideologies does this reinforce? 3) Who is responsible for the representations? 4) What meaning might audiences take from the representations? It encourages analyzing representations of age, gender, sexuality, ethnicity and other attributes, and whether they rely on stereotypes or countertypes. It also discusses how representations can legitimize inequality and influence how social groups are seen.
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This slideshare is part of a general lecture on the Key Concepts of Media Studies. It attempts to show the connections between these concepts and to establish that they are all linked.
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The document provides an overview of media language and how meaning is constructed in media texts. It discusses key concepts like signs and symbols, denotation and connotation, and how meaning depends on cultural interpretation. Theories from scholars like Barthes, Goodwin, and semiotics are explained, with examples of how they can be applied to analyze the use of camera shots, editing, sound, mise-en-scene, and other techniques to convey meaning. The document also provides sample exam questions and what examiners are looking for in responses about how media language is used to construct meaning in media productions.
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This document provides an overview of key concepts in media language and semiotics. It defines media language as how a text constructs meaning for its audience. It then discusses several important semiotic concepts:
- Denotation refers to what is literally depicted, while connotation refers to cultural and social meanings associated with signs.
- Semiotics examines how signs like mise-en-scene, editing, sound construct meaning. A sign has two parts - the signifier (form) and the signified (concept). Meaning depends on the interpretation of the signified.
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This document discusses semiotic analysis of TV dramas. Semiotic analysis examines the referent, signifier, and signified of signs and symbols in images. It defines denotation as the literal meaning and connotation as implied interpretations. The document instructs students to work in groups, pick a card with an image from a TV drama, and conduct a semiotic analysis by suggesting the connotations of the image and why producers might have used it.
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This document provides an overview of media language and semiotics. It defines media language as how a text constructs meaning for its audience. It then discusses key semiotic concepts such as denotation, connotation, signifiers, signifieds, and how codes and conventions influence audience interpretation. The document uses examples and theories from scholars like Saussure, Barthes, and Chandler to explain how semiotics can be applied to analyze how meaning is created in media texts through the use of signs, and how this shapes cultural myths and realities.
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Analyse one of your productions in relation to media language.
DISCLAIMER: This is an example answer, not an exemplar!
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This document introduces semiotic analysis, which examines the relationship between referents (the thing being referred to), signifiers (the form used to represent it), and signifieds (the concept brought to mind). It explains that semiotics operates on the levels of denotation (literal description) and connotation (implied meaning). Students are then asked to work in groups, analyzing images on cards for their connotations and how those connotations might be used by TV drama producers.
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The document provides an introduction to analyzing media language through semiotics. It discusses key concepts like denotation versus connotation, and signifiers and signifieds. Symbols, written codes, and technical codes are examined across different media formats. Examples are provided to illustrate analyzing the symbolic codes in a movie poster or magazine cover. Gender representations in advertising are also discussed using Goffman's theories. The document aims to teach media language analysis through identifying signs and their meanings at denotative and connotative levels.
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This document provides an overview of media language and semiotics. It defines key terms like denotation and connotation, signifiers and signifieds, and codes and conventions. It explains that semiotics is the study of signs and how they construct meaning. A sign is made up of a signifier (the form) and signified (the concept represented). Meaning depends on the reader's interpretation. Media texts have denotative (literal) and connotative (implied) meanings. The document uses examples to illustrate how to analyze the denotative and connotative meanings in media texts using semiotic theory. It also discusses theorists like Saussure, Barthes and how semiotics can reveal underlying messages
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1. The document discusses semiotics, the study of signs and their meanings.
2. It explains Ferdinand de Saussure's theory that a sign has two parts - the signifier, or what we see, and the signified, or what is suggested.
3. There are three types of signs - iconic signs resemble what they represent, indexical signs suggest what they represent through a connection, and symbolic signs have culturally learned meanings not connected to their form.
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This document discusses genre theory and its application to analyzing media works. It provides definitions of genre from theorists like Chandler, who see genres as consisting of conventions around themes, settings, and style. It also discusses theorists like Altman who view genres as defined by media codes and narratives, and Culler who sees genres establishing expectations for creators and audiences. The document then prompts applying these genre theories to analyzing one's own thriller film and music video works, considering how they do or do not conform to genre conventions. It suggests genre provides benefits to producers, distributors and audiences by providing templates and expectations but also can evolve over time as societies change.
Textual Analysis
The document discusses Stuart Hall's encoding/decoding model of media texts. It explains that decoding involves making meaning from the codes within a media text, which can be visual or auditory symbols. Hall proposed that audiences can have preferred, oppositional, or negotiated readings of the codes and ideologies implicitly or explicitly presented in a media text based on their own beliefs. The document analyzes some examples of visual codes in media like magazines and games to illustrate how audiences make interpretations.
Media languages
This document discusses codes, conventions, and languages used in media to communicate meaning. It explains that technical codes like camera angles and lighting and symbolic codes like character dress and actions are used to construct meaning. It then defines different media languages including written, verbal, non-verbal, visual, and aural and provides examples. The document also discusses semiotics, denotation and connotation. It profiles theorists Roland Barthes and Claude Levi-Strauss and their work on structuralism and semiotics. Finally, it provides quotes from each theorist and briefly summarizes two music videos.
Genre theory
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition and deviation from expectations.
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A1Y1 Media Studies 1.2 introduction textual analysis and semiotics
A1Y1 Media Studies 1.2 introduction textual analysis and semiotics
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Genre theory details
Genre theory has become too focused on signs and meaning rather than how genres historically emerged from the film industry. Ignoring this context means not understanding how and why genres develop, change in popularity, and decline over time. Additionally, what one theorist sees as a genre may be viewed as a sub-genre by another, showing genres are abstract concepts that change over time based on technology, the volume of films/media, and audience tastes. Genres provide audiences familiar conventions and pleasures they seek to fulfill needs like information, identity, social interaction, and entertainment.
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This document discusses key concepts relating to audience in media studies. It defines audience as the people who consume a media product or text. Media texts have intended target audiences that can be mass/mainstream or niche. Audiences can also be passive or active in how they engage with media. The relationship between producers, texts, and audiences affects how meaning is constructed and understood. Demographic details about audiences like age, gender, social class are important to consider. Theories discussed include uses and gratifications theory, which argues media satisfies audience needs and desires, and Stuart Hall's encoding/decoding model of how audiences can interpret meanings differently than intended.
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This document provides tips for improving a horror film coursework project and instructions for the next steps. It includes 10 tips for crafting an effective horror film, such as starting with a compelling villain and avoiding clichés. Students are instructed to either upload their draft 2 video and planning or explain any changes from draft 1. A few groups need to present revised ideas. Appointments are scheduled for individual feedback on drafts next week.
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3. The language in mark scheme section defines the level of competence demonstrated by students for marks in each category, ranging from "limited" and "errors" for level 1 to "well developed," "fluent,"
1 b theories
Genre theorists propose different perspectives on genre. Chandler views genre as a way to study texts and audience response, while Tudor argues genres need recognizable elements before they can be identified. Altman proposes that genre offers audiences a set of pleasures through semantics/syntax and contexts.
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The document discusses different genre theorists and their perspectives on genre theory. It mentions the theorists Grant, Tudor, Metz, Stam, and Altman and their various views. Specifically, it notes Grant's theory that "all genres have a subgenre" and discusses applying this theory to an opening the student created, arguing it could be considered a zombie horror or slasher genre based on its characteristics.
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This document discusses several audience theorists: Hall, McQuail, and Altman. For Hall, it notes his theory of encoding/decoding and preferred/negotiated/oppositional readings. For McQuail, it discusses his uses and gratifications theory with four sub-strands: entertainment, personal identity, social integration/interaction, and information. For Altman, it summarizes his view that genres offer audiences pleasures. The document provides examples of how these theories could be applied to aspects of a music video, like the narrative, characters, and performance elements.
Media language practice response
This document discusses several media language theorists and how their theories can be applied to a music video and ancillary project. It addresses theories by Barthes on denotation and connotation and how color choices could connote anti-bullying. Derrida's theory of polysemy is discussed in relation to possible interpretations of images of fire and a digipak cover. Technical codes of mise-en-scene are analyzed through the artist's costume and how audiences may perceive the artist. Finally, Kuleshov's theory of how editing creates meaning through images, pace and time is applied to analyze editing techniques used in the narrative of the music video.
1 a practice essay r and p creati
Over two years of study, the student developed important research and planning skills that contributed to creative decision making in media productions. At AS, the student analyzed conventions from online media texts to help plan an opening title sequence. Planning was presented using Emaze, which improved over time. Poor time management at AS negatively impacted productions, but skills strengthened at A2 with better delegation, organization, and prioritization. Improved planning allowed a clearer focus on creative vision through pre-production materials like storyboards and shotlists.
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This document outlines various technical skills needed for AS and A2 film production. It discusses skills related to pre-production like mind mapping, imagination, and teamwork. Production skills mentioned include filming, lighting, camera work, and photography. Post-production skills include editing video with Final Cut, organizing footage, adding sound, color grading, and transitions. Additional post-production skills involve photo manipulation with Photoshop and layout/design with InDesign. The skills required at A2 are described as more advanced versions of those in AS, with students expected to use a wider range of tools more proficiently.
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This document provides an introduction to semiotics, which is the study of signs and how meaning is generated in language and culture. It discusses several key concepts:
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This document discusses key concepts in media representation theory, including:
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This document provides guidance on analyzing representation in media products. It defines representation as the construction of people and places to present reality. It lists several relevant theories for discussing representation, including those by Laura Mulvey, Richard Dyer, David Gauntlett, and on empowerment and post-feminism. Binary opposites, character types, social class, ethnicity, sexuality, age, places/locations, and genre are also mentioned as aspects that can be represented. The document stresses that representation is always a mediated construct.
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Semiotics is the study of how meaning is created through signs and codes within a culture. It can be used to analyze any media text and uncover how it constructs meaning for its intended audience. Media companies have become highly skilled at using realistic representations through film and other media to make audiences feel like they are experiencing a "window on the world." Semiotics provides a way to deconstruct media texts to understand how they aim to create particular meanings and feelings in their target audience.
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The document discusses representation in media. It makes three key points:
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2) Representations involve how identities are constructed in the text as well as in the processes of production and reception.
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Semiotics is the study of how meaning is created through signs and codes within a culture. A sign on its own denotes a basic meaning, while signs that come together in a code can connote additional meanings. For example, a red rose denotes a flower, but in a code with a boy and girl it can connote romance. Signs only work together to form codes if members of a culture recognize certain combinations as naturally going together to create an overall meaning.
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Media language
- 2. What is it? • -the way in which a text is constructed to create meaning for audiences. • All about MEANING!!! • Very similar to AS TV drama exam: you looked at technical codes and how they operate, which media language analysis. This exam is similar. – Film/TV = CAM SAM, MES, E, S = create meaning – Print = fonts, layouts, images, text/words = create meaning • Meanings are generally a synopic (summaries) round up of other options covered such as narrative/genre/representation etc • Important to understand the science of signs (semiotics)
- 3. Theorists/theories? Theorist Their theory explained Barthes Denotation / connotation – all about meaning of signs! Saussure Semiotics – the science of signs, how meaning is constructed through language and codes (signifier and signified) Derrida Audience deconstruct a text within contexts of it’s logos* (*logos = symbols/signs) -therefore texts don’t have a single meaning but many meanings, many interpretations (polysemic) based on these contexts and how audience receives them Peirce There are different types of signs which should be treated differently Indexical Iconic Symbolic Arbitrary Marshall McLuhen “The medium is the message” -the medium (form) itself conveys more meanings than the content Kuleshov Could be applied as well (as it’s how editing creates meaning)
- 4. Revision book • -pg 12/13 • -pg 32/33 • -semiotics pg 38/39
- 5. Pg 12/13 • Active institutional view – Meaning of text from institution from audience – institution is active and audience is passive • Negotiated view – Meaning constructed by text – Institution encodes meaning, audience interprets as they will (because of other factors) – Therefore meaning is negotiated • Active audience view – Meaning recreated by audience, institution is passive as it has no control over how audience creates meaning from text See questions on page 13 to help prepare *this is similar to hall’s theory about encoding/decoding (audience theory)
- 6. Barthes • You know about denotation/connotation • i.e. • Denotation = RED (on valentine’s card) • Connotation = love/passion • Denotation = RED (in horror film) • Connotation = blood/murder/danger
- 7. Derrida • Audience deconstruct a text within contexts of it’s logos* (*logos = symbols/signs) -therefore texts don’t have a single meaning but many meanings, many interpretations (polysemic) based on these contexts and how audience receives them • (such as knowledge of related texts or social contexts) • Example: Slasher horror films • The ‘sign’ of a blond bound female victim is not just one sign: – Female – Blond – attractive/feminine – Victim (of a male? Because of her irresponsible behaviour? Etc) – Bound: it happens often to victims to keep them captive (torture/rape/not escpaing etc) – Conventional stereotype • there are many ‘signs’ above which we have gained from experience/exposure of other horror films and our own interpretations, therefore they all have many meanings.
- 8. Pg 38/39 semiotics • Syntactical level – Basic level of analysis – Denotations – Immediate impressions – i.e. colours, objects, structures • Representational level – The meanings – Connotations – i.e. high angle shows dominance, filter to make you ‘pretty’ in a selfie • Symbolic level – Hidden meanings or connotations of ideologies and institutions – Context must be considered (cultural context) – Consider target audience and purpose – i.e. #1 - a modern woman is attractive in 20th century because of her…… – Whilst at one point, pale skin and rounder figures were adored because it was a sign of wealth – i.e. #2 – the meaning of the term ‘selfie’ or a picture of a selfie – what does it mean? Why does this term exist?
- 9. Saussure • Meaning of texts by deconstructing meanings • System of signs or science of signs • SIGNS: – SIGNIFIED: the thing being represented – SIGNIFIER: the concept being represented • Signs are polysemic, carry lots of signifieds from one sign (i.e. character holding a knife in horror poster – many meanings)
- 10. Here it is again…. • SIGNS: – SIGNIFIED: the thing being represented – SIGNIFIER: the concept being represented
- 14. Peirce • Suggested there were different types of signs and they should be treated differently • INDEXICAL SIGNS – Closely related to concept they signify – i.e. Tin of catfood signifies the catfood inside • ICONIC SIGNS – Like ‘signified’ (the thing/object) – i.e. photograph – it is person but separated from them • SYMBOLIC SIGNS – Not obvious relationship with signified – i.e. a dove is symbol for peace • ARBITRARY SIGNS – Signs in which meanings can change – Language is often arbitrary – No clear connection between signified and signifier – i.e. ‘minging’ or ‘bling’ carry connotations with particular groups, yet meaningless on their own
- 15. McLuhen (50’s) • His famous quote was ‘The medium is the message’ • “The medium is the message” as a phrase sums up a much deeper communication theory, which is that the medium through which we choose to communicate holds as much, if not more, value than the message itself. • Spectators have specific expectations of any media form – Music videos = non linear narrative, montage, singer performance, lack of cause/effect….etc. – Documentaries = ? – Print adverts = ? – Comic strips = ? – Website = ? • Audience expectations of these forms generate the meaning more than content themselves • MEANING FROM FORM, NOT CONTENT! • i.e. think of meaning from a film. When you watch the film in cinema vs at home the meanings change (but these are linear experience as you watch story unfold). Likewise, going onto film website and seeing trailer or your iphone – messages change because of the FORMS. (these are non linear experiences, seeing different parts of narrative and perhaps audience to reach conclusions) • http://www.smashingmagazine.com/2011/07/04/the-medium-is-the-message/
- 16. Kuleshov • You know about…..in narrative presentation! • Remember, it’s about how EDITING creates meanings – Images (assembly of images) – Rhythm (the sense of time, when?) – Pace (how fast/slow over time)
- 17. Revision notes – A2? Theorist/theory Coursework ex 1 1 Part in your work Coursework ex 2 1 Part in your work Coursework ex 3 1 Part in your work Barthes If you can Saussure Remember….. Reinforced? Challenged? Pierce Kuleshov? McLuhen