Postmodern media texts employ several defining features that blur traditional boundaries between reality and representation. These include hybridization, intertextuality, self-reflexivity, manipulation of time and space through nonlinear narratives, and an emphasis on dystopian themes and flattened affect. Key postmodern theorists like Baudrillard, Foucault, and Lyotard explored related concepts of hyperreality, panopticism, and the critique of grand narratives. While postmodern media challenge conventional understandings of genre, narrative and the audience experience, some critics argue that postmodernism is not a useful framework or that all contemporary media cannot be defined as postmodern.
Postmodernism lesson 1 introduces some of the basic ideas and concepts of postmodernism. It discusses the origins and key themes of postmodernism, including its skepticism of grand narratives and emphasis on individual experimentation. The document outlines some previous artistic and cultural movements like modernism to provide context. It also examines some key postmodern features such as pastiche, parody, intertextuality, and self-reflexivity. Students are assigned a task to create a presentation on a postmodern text that demonstrates at least two of these concepts.
Baudrillard's theory of hyperreality argues that media representations have become indistinguishable from reality. The media presents models of behavior, morality, and lifestyle that masses accept as real. As a result, the simulation created by media becomes people's perception of reality, making it impossible to distinguish the real from the hyperreal. Baudrillard also claimed that the Gulf War was a hyperreal event, as media reporting distorted and replaced factual reality. Advertising seduces audiences by promising a lifestyle reserved for elites, even though the promise is only a simulation.
This document provides information about an exam on Critical Perspectives in Media, including details about the postmodernism section. It covers the title, length, requirements and marking of the exam. For the postmodernism part, it lists various media platforms and theories that must be studied, such as video games, cinema and audience theories. It also provides sample exam questions focusing on definitions of postmodernism, how postmodern media challenges traditional concepts, and debates around whether postmodernism is a useful theory. Students are instructed to prepare for an exam question relating to prompts about their chosen contemporary media issue.
This document provides information on postmodern features and theories relevant to media studies. It lists various postmodern characteristics such as hybridization, intertextuality, voyeurism, and nostalgia. It also outlines key postmodern theorists like Baudrillard, Foucault, Lyotard, and Jameson and their ideas about hyperreality, panopticism, the rejection of grand narratives, and the lack of original ideas. The document also provides sample exam questions on defining postmodern media and analyzing how postmodern texts challenge traditional concepts of representation, genre, and the relationship between text and audience. It lists recommended case studies and media to analyze, such as reality TV, video games, and advertising.
This document provides information about the A2 exam on Critical Perspectives in Media, focusing on the section on postmodernism. It outlines the requirements, platforms, and styles of questions for the exam. Regarding postmodernism, it discusses key thinkers like Lyotard and Baurillard and their views that media reality has become our new reality, with the distinction between reality and media representation blurred. It also notes common arguments for and against postmodernism as a useful theory.
This document provides an overview of the exam questions for a Contemporary Media Issues course. The exam consists of two sections covering skills development and understanding of postmodern media. For Section B, students will need to discuss two or more postmodern media texts from different media, explaining why each text is considered postmodern by drawing on different definitions and theories of postmodernism. A variety of potential postmodern texts across film, TV, music, advertising, and other media are listed as examples.
This document lists past paper questions about postmodern media from January 2010 to June 2014. The questions cover defining postmodern media, discussing why it may be considered controversial, analyzing how postmodern media differ from other media and blur reality/representation, and assessing theories of and arguments for/against postmodernism in relation to various media examples and texts.
This document discusses various concepts relating to audience in media studies, including:
- Definitions of audience in terms of location, consumption, size and subjectivity.
- Three main theories of how audiences interact with media texts - the effects model, uses and gratifications model, and reception theory.
- Key theorists who have contributed to understanding audience, such as Hall, Katz, Tunstall, and various concepts around dominant, negotiated and oppositional readings.
- Tasks for students to apply these audience theories and concepts to films, images and their own media productions.
Postmodernism lesson 1 introduces some of the basic ideas and concepts of postmodernism. It discusses the origins and key themes of postmodernism, including its skepticism of grand narratives and emphasis on individual experimentation. The document outlines some previous artistic and cultural movements like modernism to provide context. It also examines some key postmodern features such as pastiche, parody, intertextuality, and self-reflexivity. Students are assigned a task to create a presentation on a postmodern text that demonstrates at least two of these concepts.
Baudrillard's theory of hyperreality argues that media representations have become indistinguishable from reality. The media presents models of behavior, morality, and lifestyle that masses accept as real. As a result, the simulation created by media becomes people's perception of reality, making it impossible to distinguish the real from the hyperreal. Baudrillard also claimed that the Gulf War was a hyperreal event, as media reporting distorted and replaced factual reality. Advertising seduces audiences by promising a lifestyle reserved for elites, even though the promise is only a simulation.
This document provides information about an exam on Critical Perspectives in Media, including details about the postmodernism section. It covers the title, length, requirements and marking of the exam. For the postmodernism part, it lists various media platforms and theories that must be studied, such as video games, cinema and audience theories. It also provides sample exam questions focusing on definitions of postmodernism, how postmodern media challenges traditional concepts, and debates around whether postmodernism is a useful theory. Students are instructed to prepare for an exam question relating to prompts about their chosen contemporary media issue.
This document provides information on postmodern features and theories relevant to media studies. It lists various postmodern characteristics such as hybridization, intertextuality, voyeurism, and nostalgia. It also outlines key postmodern theorists like Baudrillard, Foucault, Lyotard, and Jameson and their ideas about hyperreality, panopticism, the rejection of grand narratives, and the lack of original ideas. The document also provides sample exam questions on defining postmodern media and analyzing how postmodern texts challenge traditional concepts of representation, genre, and the relationship between text and audience. It lists recommended case studies and media to analyze, such as reality TV, video games, and advertising.
This document provides information about the A2 exam on Critical Perspectives in Media, focusing on the section on postmodernism. It outlines the requirements, platforms, and styles of questions for the exam. Regarding postmodernism, it discusses key thinkers like Lyotard and Baurillard and their views that media reality has become our new reality, with the distinction between reality and media representation blurred. It also notes common arguments for and against postmodernism as a useful theory.
This document provides an overview of the exam questions for a Contemporary Media Issues course. The exam consists of two sections covering skills development and understanding of postmodern media. For Section B, students will need to discuss two or more postmodern media texts from different media, explaining why each text is considered postmodern by drawing on different definitions and theories of postmodernism. A variety of potential postmodern texts across film, TV, music, advertising, and other media are listed as examples.
This document lists past paper questions about postmodern media from January 2010 to June 2014. The questions cover defining postmodern media, discussing why it may be considered controversial, analyzing how postmodern media differ from other media and blur reality/representation, and assessing theories of and arguments for/against postmodernism in relation to various media examples and texts.
This document discusses various concepts relating to audience in media studies, including:
- Definitions of audience in terms of location, consumption, size and subjectivity.
- Three main theories of how audiences interact with media texts - the effects model, uses and gratifications model, and reception theory.
- Key theorists who have contributed to understanding audience, such as Hall, Katz, Tunstall, and various concepts around dominant, negotiated and oppositional readings.
- Tasks for students to apply these audience theories and concepts to films, images and their own media productions.
The document discusses how the advent of broadband internet and Web 2.0 has changed media consumption and production by empowering audiences. It explains that Web 2.0 allows ordinary people to participate in citizen journalism by producing and sharing their own accounts of events. Examples are given of how social media platforms like YouTube, Twitter, and BlackBerry Messenger have enabled grassroots reporting of major events and protests. The rise of "we-media" represents a shift from traditional top-down media models to more active audience participation in content creation and circulation.
Opening presentation introducing the theories of Baudrillard and Debord and applying them to Reality TV, The Matrix and Kiss Kiss Bang Bang.
Also introduces the concept of modernism and postmodernism as wider theories...
This document provides an overview of key concepts for Section B of a media studies exam, including postmodern media, cultural studies, and the impact of broadband internet and Web 2.0. It discusses how the Cadbury Gorilla advert is postmodern, defines culture, and gives examples of how Volkswagen and Chanel No. 5 ads can be analyzed from a cultural studies perspective. It also explores how social groups interact with media, how Web 2.0 has empowered audiences, and examples of citizen journalism on YouTube and Twitter.
This document provides a revision guide for an upcoming MS1 exam on representations and responses. It outlines several topics that will be covered, including genre, narrative, visual and technical codes, audiences, and representations of gender, nationality, region, ethnicity, age, issues, and events. For each topic, it lists several examples of media texts that could be analyzed and discussed, such as magazine covers, film posters, music videos, and news articles. It emphasizes revising notes and feedback from past essays, and recommends choosing case studies from at least two different media formats for the exam.
This document provides an example response to a past exam question asking students to analyze one of their coursework productions in relation to the concept of audience. The response discusses the student's horror film coursework called "The Sleepover" and analyzes how they took audience into consideration when creating the film. The student demonstrates understanding of several audience theories and relates them to choices made in their film, such as targeting a specific age range and using certain filmmaking techniques aimed at eliciting emotional responses from the audience. Overall, the response shows a clear application of audience theory to the student's own creative work.
This document provides guidance on answering exam questions about genre for a media production. It defines genre as having common conventions around themes, settings, form, and style. It discusses several genre theorists and their perspectives. It also provides examples of genres like thriller films and music videos. It prompts the reader to think about how they conformed to or challenged conventions in their own work.
This document provides revision tips for a Pomo exam section on postmodernism. It lists key texts and theorists students should know, as well as postmodern features and potential exam questions. It emphasizes writing practice, including writing out texts and their postmodern qualities, and drafting essay plans and full essays to aid revision. Sample essay structures are provided to address why some media are postmodern and to assess arguments for and against postmodernism using examples. Students are assigned homework to create revision notes and write two practice essays on listed topics.
The document provides an overview of key concepts in media studies, including media products, industries, audiences, forms, languages, representations, theories, and effects. It discusses topics such as how media constructs reality, how audiences make meaning, the power of media industries, and how new digital technologies have impacted cultural production and consumption. Various influential theorists are also mentioned across different areas of media studies.
This document contains sample exam questions and responses about understanding conventions of real media texts and how that understanding informs student's own media productions. It provides 6 exam questions from 2010-2015 and outlines parts of student responses that received marks ranging from 10/25 to 20/25. One response from 2011 is included in full as an example of a Level 4 response that clearly describes how the student's understanding of conventions developed over time and incorporated theoretical concepts and specific creative choices.
This document provides information and tasks related to evaluating a media production for a critical perspectives exam. It discusses several key concepts that will be covered, including genre, narrative, representation, audience, and media language. Students are asked to answer questions about their project, target audience, and the meaning of their trailer. Several theories related to media effects and audiences are also summarized, including mass audience theory, active audience theory, uses and gratification theory, cultivation theory, desensitization theory, and the hypodermic syringe model. Students are asked to apply these theories to their trailer and the horror genre.
This document provides discussion questions and analysis points for the Black Mirror episode "15 Million Merits". It examines how the episode can be viewed through postmodern, Baudrillardian, and Foucauldian lenses. It also compares the episode's portrayal of technology and media to other current and traditional works, and analyzes what type of audience the episode targets and its intended impact. Key technologies and media explored in Black Mirror are also identified.
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.
WeMedia refers to media created by ordinary users and citizens rather than traditional media organizations. It has emerged through new technologies and online platforms that allow anyone to publish content. This can make media more democratic by giving more voices a platform, but it can also be less democratic by spreading misinformation and making it harder to separate facts from opinions. Overall, WeMedia's impact on democracy likely depends on how citizens use these new tools of self-expression and how media literate societies remain.
The document discusses the analysis of film poster conventions for a coursework project. Key conventions identified include bold graphic fonts, glamorous photography, smaller framed photos, and barcode/edition information. The response describes applying these conventions to create a horror film poster, including taking photography, using a glowing font over a character's head, and "cracked" fonts to fit the genre theme. Overall, the response reflects on gaining more confidence in identifying generic conventions and improving technology skills over the two-year course.
- All media messages are constructed products that represent someone's interpretation of reality rather than an objective window on the world.
- Media creators such as photographers, journalists, and producers actively select and construct particular portrayals of events based on their own values and ideologies.
- The ideas and values embedded in any media message come from the perspectives and experiences of its creators. Different people may have varying interpretations of the same media content depending on their own backgrounds.
The document summarizes four theories about how audiences interact with and make sense of media:
1) Uses and gratifications theory from 1959 suggests people seek out media to fulfill personal needs like entertainment, social comparison, identity, and surveillance.
2) Cultivation theory from 1975 argues long-term exposure to media shapes peoples' views of the real world.
3) Encoding/decoding theory from 1980 says audiences make sense of media based on their social positions like gender, age, class, and ethnicity.
4) Modeling theory from 2004 proposes media influence behaviors as audiences may copy violent or antisocial acts they see portrayed.
This document provides guidance on answering a question about genre for a media production assessment. It defines genre as having common conventions around themes, settings, form, and style. It discusses several genre theorists and their perspectives. It also provides examples of common elements in music video openings and genres. It prompts thinking about how one's own work conformed to or challenged genre conventions.
This document provides guidance for a 50-mark, 1-hour exam on postmodern media. Students must choose one of two exam questions and make an argument backed by examples using relevant terminology. The document defines 5 key features of postmodernism and provides sample introductory sentences and questions to help structure answers about how chosen media texts exemplify postmodern features through style over substance, blending of high and low culture, and distortions of time and space.
The document provides guidance for writing a written response analyzing representations in a TV drama clip. It includes learning objectives, outcomes, and activities to build confidence in writing paragraphs analyzing editing, sound, mise-en-scene, and more. Students practiced assessing sample paragraphs, then worked in groups to analyze a clip, taking notes in their specialized categories before writing a joint paragraph targeting a specific assessment level. The goal was to connect technical analysis to representations of gender or other topics through practice, peer feedback, and independent homework.
This document provides hints, tips, and sample questions for an exam on media representation. It discusses key topics like how representation has changed over time, and how human identity is increasingly mediated. It emphasizes using theories like Marxism and references to theorists like Gauntlett and Butler. Good answers discuss both media texts and the relationship between representation, institutions, audiences, and identity formation. Sample exam questions assess representation of youth, social groups, and how collective identity is constructed and mediated.
The document outlines information about an upcoming media exam, including:
- There are 3 questions total split between 2 sections
- Section A has 2 questions worth 25 marks each, Section B has 1 question worth 50 marks
- The exam is 2 hours long and students should spend 30 minutes on each Section A question and 1 hour on Section B
- Section A question 1 may cover areas like research, conventions, creativity, technology, or post-production
- Students should discuss their AS and A2 projects in their answers and may refer to other past work
- The TEA formula of Terminology, Example, Analysis should be used when answering questions
- An in-class activity divides students into teams to create and answer exam
The document discusses postmodern media theories around concepts of reality, truth, and value in a media-saturated society. It provides three key ideas:
1) The distinction between media and reality has collapsed, leading to a state of "hyperreality" where it is impossible to distinguish between the two.
2) All ideas of "truth" are just competing claims or discourses, and what we believe is merely the dominant discourse.
3) Postmodern media rejects the idea that any media product is more valuable than another, reducing all judgments to mere taste and relativism.
The document uses examples from reality television, celebrity culture, and art to illustrate these postmodern concepts and how they challenge traditional
The document discusses how the advent of broadband internet and Web 2.0 has changed media consumption and production by empowering audiences. It explains that Web 2.0 allows ordinary people to participate in citizen journalism by producing and sharing their own accounts of events. Examples are given of how social media platforms like YouTube, Twitter, and BlackBerry Messenger have enabled grassroots reporting of major events and protests. The rise of "we-media" represents a shift from traditional top-down media models to more active audience participation in content creation and circulation.
Opening presentation introducing the theories of Baudrillard and Debord and applying them to Reality TV, The Matrix and Kiss Kiss Bang Bang.
Also introduces the concept of modernism and postmodernism as wider theories...
This document provides an overview of key concepts for Section B of a media studies exam, including postmodern media, cultural studies, and the impact of broadband internet and Web 2.0. It discusses how the Cadbury Gorilla advert is postmodern, defines culture, and gives examples of how Volkswagen and Chanel No. 5 ads can be analyzed from a cultural studies perspective. It also explores how social groups interact with media, how Web 2.0 has empowered audiences, and examples of citizen journalism on YouTube and Twitter.
This document provides a revision guide for an upcoming MS1 exam on representations and responses. It outlines several topics that will be covered, including genre, narrative, visual and technical codes, audiences, and representations of gender, nationality, region, ethnicity, age, issues, and events. For each topic, it lists several examples of media texts that could be analyzed and discussed, such as magazine covers, film posters, music videos, and news articles. It emphasizes revising notes and feedback from past essays, and recommends choosing case studies from at least two different media formats for the exam.
This document provides an example response to a past exam question asking students to analyze one of their coursework productions in relation to the concept of audience. The response discusses the student's horror film coursework called "The Sleepover" and analyzes how they took audience into consideration when creating the film. The student demonstrates understanding of several audience theories and relates them to choices made in their film, such as targeting a specific age range and using certain filmmaking techniques aimed at eliciting emotional responses from the audience. Overall, the response shows a clear application of audience theory to the student's own creative work.
This document provides guidance on answering exam questions about genre for a media production. It defines genre as having common conventions around themes, settings, form, and style. It discusses several genre theorists and their perspectives. It also provides examples of genres like thriller films and music videos. It prompts the reader to think about how they conformed to or challenged conventions in their own work.
This document provides revision tips for a Pomo exam section on postmodernism. It lists key texts and theorists students should know, as well as postmodern features and potential exam questions. It emphasizes writing practice, including writing out texts and their postmodern qualities, and drafting essay plans and full essays to aid revision. Sample essay structures are provided to address why some media are postmodern and to assess arguments for and against postmodernism using examples. Students are assigned homework to create revision notes and write two practice essays on listed topics.
The document provides an overview of key concepts in media studies, including media products, industries, audiences, forms, languages, representations, theories, and effects. It discusses topics such as how media constructs reality, how audiences make meaning, the power of media industries, and how new digital technologies have impacted cultural production and consumption. Various influential theorists are also mentioned across different areas of media studies.
This document contains sample exam questions and responses about understanding conventions of real media texts and how that understanding informs student's own media productions. It provides 6 exam questions from 2010-2015 and outlines parts of student responses that received marks ranging from 10/25 to 20/25. One response from 2011 is included in full as an example of a Level 4 response that clearly describes how the student's understanding of conventions developed over time and incorporated theoretical concepts and specific creative choices.
This document provides information and tasks related to evaluating a media production for a critical perspectives exam. It discusses several key concepts that will be covered, including genre, narrative, representation, audience, and media language. Students are asked to answer questions about their project, target audience, and the meaning of their trailer. Several theories related to media effects and audiences are also summarized, including mass audience theory, active audience theory, uses and gratification theory, cultivation theory, desensitization theory, and the hypodermic syringe model. Students are asked to apply these theories to their trailer and the horror genre.
This document provides discussion questions and analysis points for the Black Mirror episode "15 Million Merits". It examines how the episode can be viewed through postmodern, Baudrillardian, and Foucauldian lenses. It also compares the episode's portrayal of technology and media to other current and traditional works, and analyzes what type of audience the episode targets and its intended impact. Key technologies and media explored in Black Mirror are also identified.
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.
WeMedia refers to media created by ordinary users and citizens rather than traditional media organizations. It has emerged through new technologies and online platforms that allow anyone to publish content. This can make media more democratic by giving more voices a platform, but it can also be less democratic by spreading misinformation and making it harder to separate facts from opinions. Overall, WeMedia's impact on democracy likely depends on how citizens use these new tools of self-expression and how media literate societies remain.
The document discusses the analysis of film poster conventions for a coursework project. Key conventions identified include bold graphic fonts, glamorous photography, smaller framed photos, and barcode/edition information. The response describes applying these conventions to create a horror film poster, including taking photography, using a glowing font over a character's head, and "cracked" fonts to fit the genre theme. Overall, the response reflects on gaining more confidence in identifying generic conventions and improving technology skills over the two-year course.
- All media messages are constructed products that represent someone's interpretation of reality rather than an objective window on the world.
- Media creators such as photographers, journalists, and producers actively select and construct particular portrayals of events based on their own values and ideologies.
- The ideas and values embedded in any media message come from the perspectives and experiences of its creators. Different people may have varying interpretations of the same media content depending on their own backgrounds.
The document summarizes four theories about how audiences interact with and make sense of media:
1) Uses and gratifications theory from 1959 suggests people seek out media to fulfill personal needs like entertainment, social comparison, identity, and surveillance.
2) Cultivation theory from 1975 argues long-term exposure to media shapes peoples' views of the real world.
3) Encoding/decoding theory from 1980 says audiences make sense of media based on their social positions like gender, age, class, and ethnicity.
4) Modeling theory from 2004 proposes media influence behaviors as audiences may copy violent or antisocial acts they see portrayed.
This document provides guidance on answering a question about genre for a media production assessment. It defines genre as having common conventions around themes, settings, form, and style. It discusses several genre theorists and their perspectives. It also provides examples of common elements in music video openings and genres. It prompts thinking about how one's own work conformed to or challenged genre conventions.
This document provides guidance for a 50-mark, 1-hour exam on postmodern media. Students must choose one of two exam questions and make an argument backed by examples using relevant terminology. The document defines 5 key features of postmodernism and provides sample introductory sentences and questions to help structure answers about how chosen media texts exemplify postmodern features through style over substance, blending of high and low culture, and distortions of time and space.
The document provides guidance for writing a written response analyzing representations in a TV drama clip. It includes learning objectives, outcomes, and activities to build confidence in writing paragraphs analyzing editing, sound, mise-en-scene, and more. Students practiced assessing sample paragraphs, then worked in groups to analyze a clip, taking notes in their specialized categories before writing a joint paragraph targeting a specific assessment level. The goal was to connect technical analysis to representations of gender or other topics through practice, peer feedback, and independent homework.
This document provides hints, tips, and sample questions for an exam on media representation. It discusses key topics like how representation has changed over time, and how human identity is increasingly mediated. It emphasizes using theories like Marxism and references to theorists like Gauntlett and Butler. Good answers discuss both media texts and the relationship between representation, institutions, audiences, and identity formation. Sample exam questions assess representation of youth, social groups, and how collective identity is constructed and mediated.
The document outlines information about an upcoming media exam, including:
- There are 3 questions total split between 2 sections
- Section A has 2 questions worth 25 marks each, Section B has 1 question worth 50 marks
- The exam is 2 hours long and students should spend 30 minutes on each Section A question and 1 hour on Section B
- Section A question 1 may cover areas like research, conventions, creativity, technology, or post-production
- Students should discuss their AS and A2 projects in their answers and may refer to other past work
- The TEA formula of Terminology, Example, Analysis should be used when answering questions
- An in-class activity divides students into teams to create and answer exam
The document discusses postmodern media theories around concepts of reality, truth, and value in a media-saturated society. It provides three key ideas:
1) The distinction between media and reality has collapsed, leading to a state of "hyperreality" where it is impossible to distinguish between the two.
2) All ideas of "truth" are just competing claims or discourses, and what we believe is merely the dominant discourse.
3) Postmodern media rejects the idea that any media product is more valuable than another, reducing all judgments to mere taste and relativism.
The document uses examples from reality television, celebrity culture, and art to illustrate these postmodern concepts and how they challenge traditional
The document discusses various concepts relating to postmodern theory and media. It examines theorists like John Belton, Jim Collins, Jean Baudrillard, Umberto Eco, and Marshall McLuhan. Some key ideas discussed include postmodern film and TV being characterized by pastiche, imitation, and self-referentiality. Collins distinguishes between knowing postmodern texts and more traditional narratives. Baudrillard explores ideas of hyperreality and simulacra. Eco discusses postmodern TV becoming self-absorbed in a concept known as "Neo-TV". The document provides examples and analysis of these postmodern concepts.
The document outlines the assessment requirements for Section A of the G325 exam for Critical Perspectives in Media. It discusses two compulsory questions for this section that focus on evaluating candidates' skills development and production work. For question 1(a), candidates must describe and evaluate their skills progression from their foundation to advanced portfolios. For question 1(b), candidates must select one of their productions and evaluate it in relation to a provided media concept such as genre or narrative. Guidance is given on preparing for these questions by regularly auditing skills development and preparing evaluations of multiple productions that cover different concepts.
Students are required to complete a practical production portfolio for their A2 OCR Media Studies course. This involves creating three media products covering two or more platforms to fulfill a set brief. They must produce a main product and two supporting products, ensuring consistency of style across all three. During production, students should incorporate research findings about their target audience and demonstrate technical skill and creativity within the constraints of their chosen brief.
Postmodernism can refer to a historical period, style, or theoretical approach. Postmodern media texts challenge traditional relationships between text and reader and the concept of representation. They operate differently than in the past. Candidates may explore how genres, narratives, representations, audiences, and industries have changed across media like computer games, films, television, music, and advertising due to postmodern influences like parody and pastiche. The criteria specify addressing the historical, contemporary, and future aspects of relevant media forms and topics like MTV, reality TV, film, and games. Students will prepare by learning key terminology and concepts through lessons, essays, research, and revision.
Genre theory is used to categorize films based on stylistic criteria. Genres help audiences identify different types of films and cater to their expectations. Narratives describe a sequence of events and move the story along defined roles and plot points. Representation involves how media texts portray reality through intentional construction of signs and symbols. Audience theory examines how audiences receive and make meaning from media texts, either passively or actively engaging with them based on social and personal factors. Research and planning are required to systematically develop ideas and create goals for making a horror film, such as analyzing film techniques, planning plots, and selecting locations. Digital technologies, creative techniques, and post-production stages are also needed to produce a finished horror film or trailer.
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 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.
Postmodernism rejects modernist ideas and conventions. There is no single definition, but it is characterized by a reaction against traditions, a sense that everything has already been created, experimentation with existing forms, pessimism, and the impact of technology on social interaction. Postmodern television includes genres like pastiche, spectacle, faux TV, mystery, and features anti-heroes. Examples are given like The Simpsons employing pastiche; Survivor and Jackass catering to spectacle; The Office and Modern Family as examples of faux TV; Lost and The X-Files as mysteries; and Breaking Bad, House of Cards, and Dexter featuring anti-heroes. The British TV show Gogglebox is analyzed as a
This document discusses post-modern media and postmodernism. It explores how post-modern media challenge traditional concepts of representation and text-reader relations. Some key aspects of postmodern media include intertextuality, pastiche, blurring distinctions between reality and fiction, and mixing of high and popular culture. Theories of prominent postmodern thinkers like Baudrillard, Lyotard, and Jameson are examined. Common postmodern media forms discussed include reality television, parody, music videos, and films by directors like Tarantino and Winterbottom.
The document discusses different theories around how audiences engage with media texts:
1) Early theories viewed audiences as passive, believing all messages without thinking critically (the "hypodermic needle" effect). This underestimated audiences' abilities.
2) Stuart Hall's encoding/decoding model sees the audience as active - they make their own interpretations depending on factors like identity and opinions. Texts have no set meaning.
3) Reception theory focuses on the audience role in interpreting texts. Hall identified preferred, negotiated, and oppositional readings audiences can have.
4) Later theories see audiences as even more active, selectively engaging with media and picking aspects to incorporate into their identities (the "pick and mix"
This document discusses media representations and stereotypes. It defines key concepts like stereotypes, archetypes, and countertypes. It explains that media institutions use stereotypes as visual shortcuts that become normalized through frequent repetition. Gatekeepers like media producers and moguls control the representations that audiences see. The document analyzes representations in images and advertisements and discusses theories around gender representation, subcultures, and myths. It prompts the reader to analyze representations in a film opening sequence using various frameworks.
Genre theory is used to categorize films based on stylistic criteria. Genres help audiences identify different types of films and cater to their expectations. Narratives describe a sequence of events and follow common story structures identified by theorists like Propp and Todorov. Representation in media involves intentionally constructing artificial versions of reality. Audience theory considers how audiences interpret and are influenced by media texts. Research and planning are required to systematically develop knowledge and create goals for making a horror film, such as analyzing films and planning elements like plot, characters, and locations.
The document discusses different theories around how audiences engage with media texts, ranging from passive to active models of consumption. It describes the passive "hypodermic needle" effects theory from the 1920s, which viewed audiences as empty vessels absorbing media messages. More recent theories see audiences as active, such as Stuart Hall's encoding/decoding model where people make their own interpretations based on their experiences. The document also discusses reception theory and the idea that audiences play an active role in how they interpret and make meaning from media texts.
Collective Identity: answering the questionM Taylor
This document discusses media representations of collective identity and provides examples for analysis. It focuses on representations of Britain, London, youth culture, and immigrants in various media like film, television, music videos, and magazines. Some key films and TV shows mentioned for analyzing representations of youth subcultures, absent fathers, masculinity, and gang culture over time. Theories of identity, stereotyping, gender roles, and the youth-adult divide are also discussed. Students are advised to consider how representations of particular social groups may have changed over time by comparing older and modern media like films and music videos in their answers.
This document provides an overview of postmodern media theory. It defines theory as a systematic way of thinking beyond everyday thought. Media theory examines means of communication, including digital media, in a critical way. Postmodernism emerged after modernism in the late 20th century, characterized by alienation, uncertainty, and identity defined by consumption rather than production. Postmodern media makes intertextual references, blurs fiction and reality, and lacks linear narratives.
This document provides an overview of several theories related to analyzing media texts, including semiotics, representation, genre, narrative, and audience. It discusses key concepts from theorists such as Roland Barthes, Ferdinand de Saussure, Stuart Hall, Laura Mulvey, and Daniel Chandler. Students are prompted to apply these concepts to analyze elements of their own media productions.
This document provides an overview of key concepts around media representation and stereotypes. It discusses how all media platforms, including television news, documentaries, reality TV, and scripted shows, construct representations of reality rather than accurately portray it. Stereotypes are addressed as a convention that reduces social groups to simplistic traits, though they may be based in some social truths. The document also presents two main reasons stereotypes are heavily used in media - that they provide a fast shorthand for understanding characters, and that they are grounded in traditional cultural myths and narratives that often frame outsiders negatively.
This document provides guidance for students preparing for a media studies exam. It outlines potential exam topics for Sections 1A and 1B and directs students to review their coursework productions and ancillary documents.
For Section 1A, students are advised to watch their opening sequence and documentary multiple times to familiarize themselves with their creative decisions and how these impacted the final outcomes. They are provided example exam topics related to post-production, digital technology, creativity, conventions, and research/planning.
For Section 1B, students must choose either their opening sequence or documentary. The document reviews several media theories and directs students to pages in their revision book covering genre, audience, narrative, representation, and media language. Students
This document outlines several key features of postmodernism that could be discussed in a short essay. It lists pomodality, hybridization/bricolage, intertextuality, voyeurism, self-reflexivity, non-linear narratives, dystopian narratives, flattened affect, hyperreality, nostalgia, and the blending of high and low art as important postmodern concepts. It also briefly introduces some influential postmodern theorists like Baudrillard, Foucault, Lyotard, Jameson, and Zizek. Finally, it provides potential topics and examples to illustrate several of the postmodern features in 3 paragraphs or less, such as exploring how the idea that nothing is original through the lens of remix culture
Media Representation Theory discusses how media constructs representations of reality through various processes. Some key aspects of representation theory are:
1) Representation involves the construction of people, places, events and identities in any medium like mass media.
2) Representations involve how identities are constructed in the text as well as in the processes of production and reception.
3) Representations aim to seem 'natural' by positioning subjects in particular ways that serve ideologies.
Analyzing representations involves considering whose realities are represented and whose are denied through semiotics and other formal analysis methods.
The document provides information about narrative theory and concepts that can be used to analyze media productions for an exam. It discusses several narrative theories and concepts, including:
1. Tzvetan Todorov's concept of narrative structure as involving an initial equilibrium, a disruption of equilibrium (disequilibrium), and a resolution or new equilibrium.
2. Vladimir Propp's concept of character archetypes in narratives, such as the hero, villain, helper, donor, princess, dispatcher, and false hero.
3. Roland Barthes' concepts of the hermeneutic (enigma) code and proairetic (action) code that create mystery and suspense in narratives.
4.
Genre refers to categorizing texts by style and form, providing expectations for audiences and allowing producers to market to specific groups. Different music genres have conventions for music videos in terms of iconography, structure, and theme. Narratives seek a linear structure from beginning to end to make sense of events, and music video narratives can add meaning to songs or portray intended feelings. Representation in media is how cultures are portrayed, extending our experience of reality, and music videos represent songs, artists, and genres through stereotypical signs. Considering audience theories like uses and gratifications is important because media is created for audiences, who ultimately decide a work's success.
Theresa May wins a confidence vote among UK Conservative MPs. The document instructs analyzing the front pages of UK newspapers like the Guardian, Daily Mail, Times, Sun, and Telegraph on their representation of this news event. It tasks taking screenshots of how the story is reported on each newspaper's website and social media, and analyzing at least 3 audience comments from each site to understand different perspectives. Key newspapers and their websites/social media links are provided to research audience reactions and continue analyzing the evolving story.
This document provides instructions for an InDesign activity to practice technical skills and receive feedback. Students will complete a quiz, peer assess each other's work, and then choose a main task of either A, B or C based on previous feedback. The goal is for students to further develop skills in areas like graphics, line spacing, tracking, and other small details through focused practice and improvement based on assessments.
The music industry involves record labels that produce, market, and distribute music. They sign artists to contracts and oversee the recording process. Major record labels include Universal, Sony, Warner, and EMI. Record labels have A&R departments that scout new talent, oversee recordings, and assist with promotion. The typical process involves A&R finding an artist, signing a contract, employing producers and musicians to record songs, producing music videos, and marketing and distributing the album globally. Artists, songwriters, and record labels share ownership and royalties from music sales and streams.
The document discusses the history and evolution of music videos. It begins with an activity about promoting a new pop artist and developing a strategy for their debut album and first music video. It then provides background on the history of MTV and pivotal early music videos that helped popularize the format. Examples of iconic, high-budget videos from the 80s, 90s, and 2000s are presented as "game changers" that further advanced the genre. The role of YouTube and artist-run channels like Vevo in modern music video consumption is also examined. Students are assigned homework researching the image and video portrayals of Taylor Swift or Justin Bieber over time.
This document outlines tasks for students to analyze common conventions on websites. It instructs students to work in pairs to identify key conventions seen on real websites and present their findings to the class. It provides example conventions like mastheads, navigation, banners ads, and white space. It then lists tasks for students to evaluate the conventions and effectiveness of websites for artists and magazines.
This document provides prompts for analyzing the conventions and features of 3 websites, including their layout, menu bar, social media integration, image content and style, color palette, typography, font styles and sizes, spacing, information categories, how often content changes, navigation methods, and branding connections to related entities like music videos or magazines. Students are asked to take screenshots as evidence of understanding different website aspects.
This document provides information about semiotics theory and structuralism theory for analyzing media texts. It includes slides defining the key aspects of each theory, examples of applying the theories to media texts like advertisements and films, and evaluations of the usefulness of each theoretical approach. Students are given checkpoints to check their understanding of the key concepts from each theory and guidance for peer reviewing their presentations applying one of the theories to a media text.
This document discusses various media theories and provides examples of evidence that could support or argue against each theory. It examines theories related to power and media industries, regulation of media industries, cultural industries, media audiences and effects, media language and representations, identity, gender, ethnicity, and post-colonial theory. For each theory, it lists what types of examples from news media may provide evidence for or against the validity of that theoretical perspective.
- The document summarizes several key media and cultural theorists and some of their main ideas. It discusses Roland Barthes' ideas about signs and myth in media texts. It also outlines Todorov's idea that narratives follow a pattern of equilibrium, disruption, and new equilibrium. Additionally, it notes that Jenkins sees audiences as participatory cultures who create and share media rather than just consuming it.
This document provides instructions and information for an upcoming lesson on media theory. It includes tasks to be completed by students in groups. The key points are:
1. The lesson will focus on categorizing media theories and understanding basics of theoretical frameworks.
2. Students will be split into groups and assigned different theorists to research and present on, including Barthes, Todorov, and Bandura.
3. Tasks include creating a glossary of terms, and researching specific media theorists in order to teach the class.
4. Presentations on theorists should include their name, a definition of their theory, and an application to a media text.
Most texts presented in media position audiences to support a particular viewpoint through simple conflicts that drive the narrative. Modern audiences have difficulty distinguishing reality from simulated versions due to immersion in media. While genres repeat ideas and themes, they also evolve over time. All narratives follow a basic structure of equilibrium, disruption of equilibrium, and restored equilibrium. Media texts use signs and codes to direct audience understanding and interpretation. Producers encode messages while audiences decode them as dominant, negotiated, or oppositional interpretations. Advances allow audiences to no longer be passive but influential in creating meaning.
This document provides an overview of key concepts and theorists in media theory, organized into four sections: media language, media representation, media industries, and media audiences. In media language, it discusses concepts from semiotics, narratology, genre theory, structuralism, and postmodernism. In media representation, it outlines theories around representation, identity, gender, ethnicity and postcolonialism. It then covers theories relating to power and regulation in media industries, and effects, cultivation, reception and audience theories for media audiences. The document is intended as a study guide or reference tool for understanding important ideas and thinkers in media theory.
This document discusses various media theories and provides examples of evidence that could support or argue against each theory. It examines theories related to power and media industries, regulation of media industries, cultural industries, media audiences and effects, media language and representations, identity, gender, ethnicity, and post-colonial theory. For each theory, it lists what types of examples from news media may provide evidence for or against the validity of that theoretical perspective.
This document provides guidance for analyzing print advertisements through various theoretical lenses. It asks the student to identify conventions of different types of print ads, such as those for male grooming products, soft drinks, and homeless charities. The student is also asked to summarize theories of representation from Barthes, Hall, and Saussure and apply them to specific ads. Additional questions cover the role of the Advertising Standards Authority and how ads link to cultural contexts involving attitudes around gender, sexuality, and social groups. Contextual factors like trends, celebrity endorsements, and bans on sexist advertising are also identified as relevant to analysis.
The document is a production shooting schedule that lists scenes or photos to be filmed, including the shooting time and date, location, actors and their costumes, and any props or equipment needed. It provides details for planning and executing various parts of a film or photo shoot production.
This document contains questions about analyzing music videos from various artists. It discusses key aspects to examine such as the star image being portrayed, how the video reflects societal issues, and techniques used to promote the artist and create value transfer. Specific questions analyze videos from Emeli Sande's "Heaven" and David Guetta's "Titanium" featuring Sia. For both, questions explore the artists' backgrounds, themes in the lyrics and video, representations of people and places, and how techniques reflect the social and political climate of the time period.
The document provides guidance for analyzing covers of The Big Issue magazine in groups. It outlines the key elements to examine, including media language, representation, and context. Students are instructed to consider genre conventions, technical codes, how subjects are portrayed, and whether representations are positive or negative. They should also analyze how the cover reflects relevant social, cultural, historical, political and economic contexts, as well as the magazine's ethos and agenda. Marks will be given based on analysis of these elements, application to contexts, and making a judgment or conclusion.
This document provides a checklist and timeline for a student to complete research, planning, and production tasks for a Level NEA R&P (Research and Production) project. The timeline spans from June to November and includes tasks such as research on music videos, magazines, and target audiences; planning mood boards, logos, and content; pitching initial ideas; and creating drafts of a music video, magazine pages, or website. Key deadlines are October 29 for all research and planning materials, November 9 for a first draft, and November 30 for the final draft.
This document outlines a student's intent for their A Level NEA project involving a music video and website. The student plans to create a 3-minute music video for a fictional dance band signed to Universal Music and a working website for the band. They will use the four areas of the media theoretical framework - technologies, languages, representations, and audiences - to communicate meaning in their products and meet the brief requirements. The student intends to link their music video and website to demonstrate their understanding of how media converges in the digital age.
This document outlines a student's intent to create a new fashion magazine. The student will produce the front cover and contents page for the first two magazine editions, as well as the working website. For each media product, the student will use the four areas of the media theoretical framework - languages, industries, audiences, and representations - to communicate meaning and meet the brief requirements. The student will also link the magazine and website to demonstrate understanding of digital convergence in media production.
4. The pomo features - RAG
R A G
Hybridisation/hybrids
Bricolage
Juxtaposition
Intertextuality:
Homage,
Pastiche,
Parody
Voyerism:
Voyerism,
scopophilia,
panopticisation
Self reflexivity
Non linear narratives
Dystopian narratives
(& pessimism)
Flattening of Affect
Hyperreality
Nostalgia
High/low art hybrids
Artificialness
6. theories
Baurillard Hyperreality
Simulations & Simulacra
-audience: will have distorted sense of reality (as media create idealistic representations of reality)
-audience will left to feel inadequate (hyperbeauty/sexuality)
Foucault Panopticanisation (& voyeurism in pomo times)
The act of watching was an act of power and control.
Lyotard Grand narratives or ‘metanarratives’
Dominant ideologies that people claim as ‘truths’. The metanarratives is a way of simplifying to an
extreme like ‘the overall story’. Postmodernism is scepticism toward metanarratives as it breaks down
metanarratives and breaks down these ‘truths’.
According to the advocates of postmodernism, metanarratives have lost their power to convince – they are, literally, stories
that are told in order to legitimise various versions of "the truth". With the transition from modern to postmodern, Lyotard
proposes that metanarratives should give way to "localised" narratives. Postmodernists attempt to replace metanarratives by
focusing on specific local contexts as well as the diversity of human experience. They argue for the existence of “multiple
standpoints" rather than grand, all-encompassing theories.
Jameson There are no original ideas
7. Past paper Questions
DATE EXAM QUESTION
Jan 10 What is meant by ‘postmodern media’?
Explain why the idea of ‘postmodern media’ might be considered controversial.
June 10 Why are some media products described as ‘postmodern’?
“Postmodern media blur the boundary between reality and representation”. Discuss this idea with
reference to media texts you have studied.
Jan 11 Explain why certain kinds of media can be defined as postmodern.
Discuss why some people are not convinced by the idea of postmodern media.
June 11 How do postmodern media differ from other media?
How far do you accept the idea of postmodernism?
Jan 12 “Postmodern media manipulate time and space.” To what extend does this definition apply to texts
you have studied?
Define postmodern media with examples.
June 12 Assess the arguments for and against postmodernism, in relation to media examples.
“Postmodern media break the rules of representation.” Discuss.
Jan 13 “All contemporary media is postmodern.” Discuss this statement in relation to examples you have
studied.
Evaluate theories of postmodernism in relation to media.
June 13 Provide your definition of postmodern media and support it with examples.
To what extent do postmodern media challenge the relationship between text and audience?
8. Last years question
June 14 What makes a text postmodern? Explain, with examples
Explain the most important theories of postmodernism and apply them to media texts you have
studied.
9. Past paper Questions
DATE EXAM QUESTION
Jan 10 What is meant by ‘postmodern media’?
Explain why the idea of ‘postmodern media’ might be considered controversial.
June 10 Why are some media products described as ‘postmodern’?
“Postmodern media blur the boundary between reality and representation”. Discuss this idea with
reference to media texts you have studied.
Jan 11 Explain why certain kinds of media can be defined as postmodern.
Discuss why some people are not convinced by the idea of postmodern media.
June 11 How do postmodern media differ from other media?
How far do you accept the idea of postmodernism?
Jan 12 “Postmodern media manipulate time and space.” To what extend does this definition apply to texts
you have studied?
Define postmodern media with examples.
June 12 Assess the arguments for and against postmodernism, in relation to media examples.
“Postmodern media break the rules of representation.” Discuss.
Jan 13 “All contemporary media is postmodern.” Discuss this statement in relation to examples you have
studied.
Evaluate theories of postmodernism in relation to media.
June 13 Provide your definition of postmodern media and support it with examples.
To what extent do postmodern media challenge the relationship between text and audience?
Sometimes no
option to define it
10. Required platforms to study
• How post-modern media relate to genre and narrative
across two media,
– computer / video games and new forms of representation
– post-modern cinema
– interactive media
– reality TV
– music video
– Advertising
Also study…….
– post-modern audience theories
– aspects of globalisation
11. Styles of questions
• Definitions of postmodernism (in relation to media products and media audiences).
• What are the different versions of post-modernism (historical period, style, theoretical approach)?
• The difference between postmodern media and traditional media.
• What are the arguments for and against understanding some forms of media as post-modern?
• In what ways do media audiences and industries operate differently in a post-modern world?
• The impact of postmodern media on audiences and the ways in which we think about texts.
• How do post-modern media texts challenge traditional text-reader relations and the concept of representation?
• In what ways do media audiences and industries operate differently in a post-modern world?
• How do post-modern media texts challenge traditional text-reader relations and the concept of representation?
• Debates about postmodernism and whether it is really a useful theory or not.
• Examples of media products which you think can be, or have been defined as postmodern, and the reasons for
them being analysed in this way.
12. Essay Question Checklist
• Definition (elements)
• Different versions
• Comparison between pomo/traditional
• How pomo texts challenge traditional text reader relations
and concept of representation
• How audiences & industries operate differently in pomo world
• Impact on audience
• Arguments for/against (debates) – useful theory?
You will have choice of 2 questions, answer 1
13. Case Studies (texts) you should know
• Traditional modern art
• Black mirror ‘white xmas’ (and any other episode you want) (TV)
• Big Brother (and other reality shows such as Xfactor,TOWIE, I’m a celeb…) (TV)
• Catfish (FILM/TV)
• Gogglebox (TV)
• Social networking such as Facebook (INTERACTIVE/ONLINE MEDIA)
• Video game of your choice (GTA is good) (video game)
• Cadbury gorilla advert (and similar adverts that go against traditional representation)
• Any other texts you put on your chart
• Any films for nothing new/nothing original
• Recent music scandal (sam smith/tom petty & pharell/robin thicke/marvin gaye) (for debate about nothing new/nothing original)
• Knowledge of traditional media (tv, film, radio, online in previous decades)
• Simulation video games (sims…)
• Simulation technology (virtual reality…..google glass)
• ALS ice bucket challenge (interactive online media)
• No make up selfie (interactive online media)
• War in the news (tv/print)
• Kim Kardashian meme (interactive online media)
• Genetically modified food/organisms (GMO)
• Barbie girl/Nicki Minaj (hyperbeauty)
• Dove (sketches campaign) (advertising & interactive online media)
• Dove parody (interactive online media)
• This Girl Can campaign (advertising & interactive online media)
• Like a girl campaign (advertising & interactive online media)
• Ellnett hairspray OR Gucci guilty perfume advert (advertising)
• Autotuning (music industry)
• ‘try music video’ (music video)
• Google glass (links with simulation and facebook/social media (online interactive media)
• *you need to discuss have 2 platforms
15. Representation
• How do pomo texts blur line between reality and representation?
– Representation: to re-present a reality
– So much of what is being ‘represented’ is not real (therefore it’s hyperreal) or
it’s not ‘traditionally’ represented. It’s very easy to get ‘lost’
• i.e. hyperbeauty
• i.e. Products not being represented in a literal way (Cadbury chocolate)
• i.e. war on news (so much of what we see is so highly edited and biased, it’s not accurate
– the facts we are told show little resemblence to what actually happened therefore it’s
hyper-real
– Link to semiotics (signs and meanings)…..texts are very polysemic
– Texts are very interactive and therefore blur roles (video games and online
videos – ‘concept of prosumers’
– Other traditional theories including genre, narrative & representation are
challenged in pomo texts…. (because of above)
• Genre: so much hybridisation and challenge of generic conventions
• Narrative: change of time and space (modern day editing)
– Kuleshov
– Can manipulate audience to believe anything with editing
– Modern films: modular narratives (which manipulate time and space as they are not linear)
16. Julian McDonald video
• http://www.englishandmedia.co.uk/mm/subscribers/_mmclips/mcdougall_postmodernism1.php
• Is the reality of NY a something that exists outside of media representation or is that media representation in your
head?
• You have a reality that is a reality based on non-reality = hyperreality (Disneyworld)
http://www.englishandmedia.co.uk/mm/subscribers/_mmclips/mcdougall_postmodernism2.php video games & the
cadbury ad
Video games (such as GTA)
-blurs understanding of who you are (audience)
-are you playing game?
-are you a character?
-are you reading a story?
-playing game using controllers (physical world)
-can’t apply traditional theories on genre, narrative, representation etc. (because study showed male audience
followed different things)
-interactivity element
-1 male said ‘it’s like watching a film, except going into the screen/world and being in it’ (hyperreality)
17. Revision checklist
1) Do you know key terms?
2) Revise chart –
representation/genre/narrative/audience etc
3) Revise theories
4) Make notes on case studies
-in connection with all key
terms/theories/media topics etc.
5) Essay plans (next slide)
18. Writing the essays is revision
Revision Task How much % will you
remember?
Reading notes
Writing notes
Discussing/teaching
Do it (write essay)
( & drafting)
19. Writing the essays is revision
Revision Task How much % will you
remember?
Reading notes 10%
Writing notes 20%
Discussing/teaching
(study group)
60-70%
Do it (write essay)
( & drafting)
90%
20. Revision tip 1
• Write out the texts (bullet points/mind maps
etc)
• List how/why pomo (question 1)
• List pro’s/con’s / for/against
• Relate to 2 theorists
21. By text example
Black Mirror
(15 million merits)
Dystopia
-
-
-
Intertextuality
-
-
-
Pro’s / advantages
-
Media platforms
-online/internet
-
-
-
Baurillard (theory)
-
-
-
Focault (theory)
-
-
22. By text example – Black Mirror
BLACK MIRROR Dystopia Focault theory Flattening of
affect
Ep 1 ..…. ..…. ..….
Ep 2 …… ..…. ..….
Ep 3 …… ..…. ..….
23. Revision tip 2
• Write out the pomo features (bullet
points/mind maps etc)
• List how/why pomo (question 1)
• List pro’s/con’s / for/against
• Relate to 2 theorists
24. Essay plans
1 2
Intro:
Body paragraph 1:
-bullet point
-bullet point
-bullet point
Body paragraph 2:
-bullet point
-bullet point
-bullet point
Body paragraph 3:
-bullet point
-bullet point
-bullet point
Intro:
PEAL 1:
-P: _______
-E: _______
-A: _______
L: _______
PEAL 2:
-P: _______
-E: _______
-A: _______
L: _______
PEAL 3:
-P: _______
-E: _______
-A: _______
L: _______
25. Basic essay structure (question 1)
How/why are pomo texts pomo
1
Pomo features
2
Texts
Pomo feature 1 – (compare between texts)
**PEAL**
Pomo feature 2 – (compare between texts)
Pomo feature 3 – (compare between texts)
Pomo feature 4 – (compare between texts)
*comparison between texts
Text 1– (all features that make it pomo)
**PEAL**
Text 2– (all features that make it pomo)
Text 3– (all features that make it pomo)
Text 4– (all features that make it pomo)
*limited comparison
-if why: must give context
-could compare to other media if you want
26. Basic essay structure (question 2)
Pros/cons of pomo / For/against pomo
1
Pros then cons
2
Texts
1
Pomo features
Pros reason 1 – (compare
between texts / features)
**PEAL**
Pros reason 2 – (compare
between texts/ features)
Pros reason 3 – (compare
between texts/ features)
Cons reason 1 – (compare
between texts/ features)
Cons reason 2 – (compare
between texts/ features)
Cons reason 3 – (compare
between texts/ features)
*no comparison of pro/con
Text 1– (comparison of pros/cons &
features)
**PEAL**
Text 2– (comparison of pros/cons &
features)
Text 3– (comparison of pros/cons &
features)
Text 4– (comparison of pros/cons &
features)
*limited comparison
Pomo feature 1 – (comparison
of pros/cons & features)
**PEAL**
Pomo feature 2 – (comparison of
pros/cons & features)
Pomo feature 3 – (comparison of
pros/cons & features)
Pomo feature 4 (comparison of
pros/cons & features)
*comparison between texts
27. Potential questions
1
How/why are pomo texts pomo
2
Pros/cons of pomo
For/against pomo
Why are some media products described as
‘postmodern’? (jun 10)
Explain why certain kinds of media can be defined
as postmodern. (jan 11)
Define postmodern media with examples. (jan 12)
Provide your definition of postmodern media and
support it with examples (jun 13)
Discuss why some people are not convinced by the
idea of postmodern media. (jan 11)
How far do you accept the idea of postmodernism?
(jun 11)
Assess the arguments for and against postmodernism,
in relation to media examples. (jun 12)
Evaluate theories of postmodernism in relation to
media. (jan 13)