Question 2 - Media AS Evaluation
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The film represents several main social groups: male, middle class, white, and female. The only female portrayed is the victim of a murder, reinforcing the stereotype that women are often shown as victims unable to oppose threats. She is isolated from a group of two men, shot separately, and portrayed as an outcast. The protagonist killer is a standardized white male, used to show that danger could come from anyone and create an unsettling feeling for the audience. He is shown in a suit, symbolizing wealth and power over the victim, possibly alluding to real world implications.
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Evaluation question 2
This document summarizes how the media product represents particular social groups. It represents gender by featuring a female main character portrayed as a "Damsel in Distress" who is vulnerable and a victim. The film would have a different effect if the main character was male. It also represents age by showing the main character is quite young through her costume and the actress, portraying her as more vulnerable since teenagers are often seen as naive.
Question 2 improvment
The document analyzes how social groups are represented in the film opening of a media product:
1) The protagonist is a young female girl, representing females in a stronger role than the typical "damsel in distress" but still presented as weaker than the male character.
2) The male character is presented as threatening and mysterious to build tension, reinforcing stereotypes of males being more intimidating through his dark clothing and concealed face.
3) While only two characters are shown, their contrasting representations of the battling male dominating over the weaker female may not be a realistic portrayal of society but reflects some audience ideas about gender roles.
Gender in our trailer
The document discusses the representation of gender in the film Shatterproof. It notes that traditionally, femme fatales in film noir are represented as mysterious and seductive women who charm men into dangerous situations. However, in Shatterproof, the femme fatale Leo Newton subverts this by being bisexual. The document also discusses how Laura Mulvey's theory of the male gaze has traditionally framed women as objects of pleasure for the male viewer but that Shatterproof avoids this by representing the women Myra Frost and Leo Newton as strong-willed individuals rather than objects.
How does your media product represent particular social groups?
My thriller film represents the social groups of two close female friends, a dyad relationship between the friends, and the main character as an out-group who feels opposition to others. The film focuses on a female villain stalking her former best friend, representing relationships not typically seen in the genre. Cinematography and editing techniques like limited lighting, framing, and shot composition mirror the unfamiliar and obscure nature of these social groups to most audiences.
Evaluation q2
The document discusses how social groups are represented in the media product. It represents women and racial minorities in stereotypical ways, following conventions of other thrillers where women are vulnerable victims and racial minorities are more likely to die. However, it subverts some stereotypes by having the killer be a girl, showing women can be strong. It also positively portrays young girls through their costumes and caring nature, rather than ignoring stereotypes of promiscuity. So while some stereotypes are followed, the media product also challenges conventions and represents social groups in a more positive light at times.
Gender in our trailer
The document discusses the representation of gender in the film Shatterproof. It notes that in many noir films, the femme fatale is represented as a mysterious and seductive woman who charms men into dangerous situations. However, in Shatterproof, the femme fatale Leo Newton subverts this by being bisexual. The document also discusses how representations in media become familiar over time and feel natural. It analyzes how representations of women have changed from traditional noir films to neo-noir, with femmes fatales in neo-noir portrayed more as purely evil. Shatterproof further subverts expectations by representing the main women, Myra Frost and Leo Newton, as strong-willed individuals who dominate scre
2
This document discusses the representation of a femme fatale character in a media product's title sequence. The femme fatale is stereotypically portrayed as mysterious, seductive, manipulative, untruthful, deceitful, charming, alluring, lacking morals, and having sex appeal. Specifically, the title sequence aims to portray her as provocative. The character refuses traditional female gender roles of wife and mother. Marlene Dietrich served as inspiration for the femme fatale character, though some differences in appearance exist between the inspiration and the character, such as the latter having curves emphasized by her tight costume.
Recurring patterns
The document discusses the German Expressionist film movement of the 1920s. It reflects the isolation Germany experienced during WWI through abstract psychological landscapes and distorted scenes representing characters' states of mind. Many German filmmakers then emigrated to Hollywood and subtly adapted these techniques into 'B' films, influencing the new era of 'Film Noir' through shadows and lighting. Film Noir crime dramas were stylish Hollywood films from the 1940s-1950s influenced by German Expressionism's visual style using shadows and low key lighting to highlight situations and emotions.
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Evaluation question 2
This document summarizes how the media product represents particular social groups. It represents gender by featuring a female main character portrayed as a "Damsel in Distress" who is vulnerable and a victim. The film would have a different effect if the main character was male. It also represents age by showing the main character is quite young through her costume and the actress, portraying her as more vulnerable since teenagers are often seen as naive.
Question 2 improvment
The document analyzes how social groups are represented in the film opening of a media product:
1) The protagonist is a young female girl, representing females in a stronger role than the typical "damsel in distress" but still presented as weaker than the male character.
2) The male character is presented as threatening and mysterious to build tension, reinforcing stereotypes of males being more intimidating through his dark clothing and concealed face.
3) While only two characters are shown, their contrasting representations of the battling male dominating over the weaker female may not be a realistic portrayal of society but reflects some audience ideas about gender roles.
Gender in our trailer
The document discusses the representation of gender in the film Shatterproof. It notes that traditionally, femme fatales in film noir are represented as mysterious and seductive women who charm men into dangerous situations. However, in Shatterproof, the femme fatale Leo Newton subverts this by being bisexual. The document also discusses how Laura Mulvey's theory of the male gaze has traditionally framed women as objects of pleasure for the male viewer but that Shatterproof avoids this by representing the women Myra Frost and Leo Newton as strong-willed individuals rather than objects.
How does your media product represent particular social groups?
My thriller film represents the social groups of two close female friends, a dyad relationship between the friends, and the main character as an out-group who feels opposition to others. The film focuses on a female villain stalking her former best friend, representing relationships not typically seen in the genre. Cinematography and editing techniques like limited lighting, framing, and shot composition mirror the unfamiliar and obscure nature of these social groups to most audiences.
Evaluation q2
The document discusses how social groups are represented in the media product. It represents women and racial minorities in stereotypical ways, following conventions of other thrillers where women are vulnerable victims and racial minorities are more likely to die. However, it subverts some stereotypes by having the killer be a girl, showing women can be strong. It also positively portrays young girls through their costumes and caring nature, rather than ignoring stereotypes of promiscuity. So while some stereotypes are followed, the media product also challenges conventions and represents social groups in a more positive light at times.
Gender in our trailer
The document discusses the representation of gender in the film Shatterproof. It notes that in many noir films, the femme fatale is represented as a mysterious and seductive woman who charms men into dangerous situations. However, in Shatterproof, the femme fatale Leo Newton subverts this by being bisexual. The document also discusses how representations in media become familiar over time and feel natural. It analyzes how representations of women have changed from traditional noir films to neo-noir, with femmes fatales in neo-noir portrayed more as purely evil. Shatterproof further subverts expectations by representing the main women, Myra Frost and Leo Newton, as strong-willed individuals who dominate scre
2
This document discusses the representation of a femme fatale character in a media product's title sequence. The femme fatale is stereotypically portrayed as mysterious, seductive, manipulative, untruthful, deceitful, charming, alluring, lacking morals, and having sex appeal. Specifically, the title sequence aims to portray her as provocative. The character refuses traditional female gender roles of wife and mother. Marlene Dietrich served as inspiration for the femme fatale character, though some differences in appearance exist between the inspiration and the character, such as the latter having curves emphasized by her tight costume.
Recurring patterns
The document discusses the German Expressionist film movement of the 1920s. It reflects the isolation Germany experienced during WWI through abstract psychological landscapes and distorted scenes representing characters' states of mind. Many German filmmakers then emigrated to Hollywood and subtly adapted these techniques into 'B' films, influencing the new era of 'Film Noir' through shadows and lighting. Film Noir crime dramas were stylish Hollywood films from the 1940s-1950s influenced by German Expressionism's visual style using shadows and low key lighting to highlight situations and emotions.
Representation theories
The document discusses several representation theories:
- Levi Strauss proposed the idea of "binary opposites" where understanding words depends on their opposite (e.g. understanding "villain" relates to differentiating it from "hero").
- Laura Mulvey's "Male Gaze Theory" suggests that women are viewed as sexual objects for male characters and audiences in media.
- John Berger also discussed "voyeurism" and said that "men act and women appear," being looked at by men and watching themselves be looked at.
- Tessa Perkins discussed stereotypes as not always negative or about minorities, and containing assumptions that can be challenged.
- Richard Dyer's representation
Evaluation Question 2
The document analyzes how social groups are represented in a media product. It discusses the representation of three main characters:
1) The protagonist, Iby Wanas, a troubled young adult male from an urban background, trying to leave his gang-affiliated past behind. His clothing represents stereotypes associated with "chavs".
2) The antagonist, Jordan, who engages in illegal activities like drug dealing to make money. His dark clothing is meant to portray him as a trouble-maker. He represents a criminal lower social class.
3) Iby's wife, who has been kidnapped. She is portrayed as vulnerable through being tied up and shown in high angles, representing stereotypical views
Question two
This document summarizes how social groups are represented in the media producer's opening title sequence for a film. It features three main characters - two detective inspectors and a man named Vincent being released from a mental asylum. The female protagonist, DI Bruce, is portrayed as a strong, clever character who challenges gender stereotypes in the thriller genre. Vincent, the antagonist, is only shown through his eyes to create mystery and is depicted as nervous and confused to reflect his schizophrenia. The opening sequence shows DI Bruce walking confidently while Vincent's eyes dart around to demonstrate his unsettled state.
How does your production represent particular social groups
Our production represents multiple social groups and aspects of society through its characters. As with classic noir films, many characters are depicted as being towards the lower ends of the social hierarchy. The two detectives are shown to have a similar and relatively high social status as evidenced by their formal attire and mutual respect. However, their dialogue suggests the male detective has slightly higher status and control over the female detective, though she questions this power dynamic. The character of Booth is portrayed as forlorn and alone in a bar, placing him lower on the social ladder, though not at the absolute bottom. A drunk man in the bar is used as a clear comparison to demonstrate Booth's higher but still diminished social position. Interactions between the characters
Evaluation - Question 2
The document discusses representations of social groups in the author's thriller opening. It shows three groups: a teenage boy, a man aged 20-30, and the general public. The teenage boy is portrayed positively as innocent and caring to challenge stereotypes of teenagers as troublemakers. Details like a loving note to his family create sympathy for him. The man is dressed formally, looking out of place, to represent his older age group but as a psychotic killer he does not reflect most people that age. The general public are shown as careless bystanders, representing their self-centered nature and willingness to ignore crimes.
Introduction to-representation-richard-dyer
This document discusses key concepts in analyzing cultural representations of social groups. It argues that representations have real political and social impacts by shaping how groups see themselves and are seen by others. However, representations are always incomplete resolutions that use existing cultural forms, and different audiences can interpret them in varied ways. Representations also refer to other representations, and reality sets limits to what can be meaningfully represented, though reality can only be understood through representations. The document examines how representations help constitute the very social groups they depict, using the example of lesbian and gay identities.
DB adapted representation theories
This document discusses various representation theories and theorists that are relevant to analyzing media representations, including works by Dyer, Gramsci, Levi-Strauss, Mulvey, Berger, Butler, and Baudrillard. It also prompts the reader to consider how these concepts can be applied to analyze examples of representations in images and how representations in one's own media work reflect social and cultural values and choices.
Representation of women in horror essay
This document discusses the representation of women in horror films from the 1950s to present day. It analyzes several key theories on this topic. The male gaze theory from the 1970s suggests that films are told from the perspective of a heterosexual male viewer and portray women as objects. Analyzing films from the 1970s supports this theory. The 1980s saw women often depicted as submissive and domestic. Jeremy Tunstall's 1983 theory found women portrayed as consumers and mothers. While Poltergeist from 1985 reflects some aspects of this, the main female fights back, challenging the theory. Carol Clover's 1992 "final girl" theory proposed the audience identifies with the last surviving female, challenging male gaze. Her theory is reflected in
How does your production represent particular social groups
Our production represents multiple social groups and aspects of society through its characters. Characters like the police detectives are shown to have relatively high social status through their formal attire and jobs, though one detective seems to have slightly higher status than the other. The drunk man at the bar clearly has a very low social position. The status of the main character Booth is ambiguous, but he seems to be between the detectives and drunk man. The femme fatale character challenges conventions by having ambiguous yet potentially powerful status instead of just being an object for the male gaze.
Representation of women in horror
This document provides an overview of the representation of women in horror films from early films to modern works. It discusses several key theories around the objectification and portrayal of women, including Laura Mulvey's "male gaze" theory which argues that women are presented on screen as objects for the male gaze. The document also analyzes the representation of women in film posters from the 1920s-1950s and how women were typically portrayed as vulnerable victims in need of male rescue. It discusses the portrayal of women in various horror films from different decades and how they often conformed to stereotypical gender roles or were sexualized for the male audience.
Rekindled
The document provides a summary of a proposed feature film script. It would follow a US ex-military man named Scott Carter who suffers from memory loss after a head injury. He has flashbacks of a mysterious woman. With the help of a stranger named Harley, Scott tries to piece together his broken memories to find the woman, who is revealed to be his wife Eloise. They have a son together who Scott has never met. The film would explore themes of love, betrayal, mystery, and reunions through romance, comedy and drama genres while also portraying realistic scenes of war and its aftermath. It provides descriptions of the main characters and potential actors to portray them.
Representations cie – common stereotypes
This document outlines common stereotypes seen in representations of age, gender, ethnicity, physical ability, social class, region, and sexuality in US and UK television dramas. It discusses how characters within these groups are often portrayed through binary oppositions such as young vs old, strong vs weak, domestic vs professional, urban vs rural, and refined vs crude. The document advises the reader to analyze whether characters conform to or challenge these stereotypes when evaluating representations in television shows.
Hollyoaks image
The photo depicts two fierce females overpowering a man on the floor of a pub, challenging typical gender stereotypes of male dominance. One woman has the man pinned down while the other has her arm raised, appearing ready to attack. Though the women have girly appearances, their facial expressions and positioning over the man convey they feel completely in control and powerful in contrast to the weaker man protecting himself.
Representation
The document discusses the representation of the working class in British social realist films over time. It notes that in the 1930s and 1950s, films predominantly focused on working class males and their hard labor. In the 1980s, more female-driven social realist texts emerged that featured women in the workforce. However, representations of women degraded again in the 1990s, portraying them as unsupportive consumers. The document also examines how spaces and settings shifted from public to private matters over time in British realist films. Ethnicity has also remained an invisible force with white males maintaining dominance on screen.
Evaluation - Question II
This media product represents the social group of gender. It shows a male antagonist with a hidden face threatening a weak female protagonist. This is represented through the mise-en-scene of the antagonist wearing black and hiding his face, while depicting the protagonist as a vulnerable female victim. The antagonist is also shown taking drugs, conforming to thriller genre conventions. Sexuality was avoided as a social group to prevent any perception of homophobia in the film.
Evaluation-Question II
This media product represents the social group of gender. It shows a male antagonist with a hidden face threatening a weak female protagonist. The filmmakers used mise-en-scene like black clothing on the antagonist and depicting the woman as a victim to underline the gender roles. They chose not to represent sexuality as a social group to avoid any perception of homophobia, which did not fit their goal of portraying a gender-based threat consistent with thriller conventions.
Breaking benjamin, 9 screen analysis
1) The opening shot establishes an ominous, isolated setting common in rock music videos to convey themes of isolation.
2) A shot shows a young woman framed in a doorway, viewed as voyeuristic and referencing the stereotypical portrayal of women as emotionally weak in media.
3) Shots of the band playing conform to rock music video conventions of isolated, dark settings and certain camera techniques to appeal to audiences and sell records.
Male Gaze
The document discusses the concept of the "male gaze" introduced by feminist film theorist Laura Mulvey. She argued that most Hollywood movies are filmed from the perspective of the heterosexual male gaze, which objectifies and sexualizes women for male visual pleasure. Women are portrayed as passive objects to be looked at, while men are active subjects. While some argue that both men and women can be depicted sexually, the male gaze creates an imbalance of power that perpetuates the real-life objectification of women.
Django unchained analysis
This document discusses the film Django Unchained and how it can be analyzed through postmodern and critical theory lenses. It examines how the film challenges genres like the western by adding elements of slavery and black empowerment. It also explores how the film applies concepts from theorists like Baudrillard and Foucault around hyperreality and panopticism. The intended audience is described as those interested in blaxploitation films, and the impact Quentin Tarantino aims to have is depicting the brutal realities of slavery through stylized violence.
Evaluation q2
This document summarizes how a media product represents social groups. It discusses how the opening scene portrays stereotypical drunk teenagers coming home from a party based on their costumes and behavior. The teenagers are portrayed as belonging to a hedonistic culture defined by rapping. Boys are shown making daring decisions like urinating in a graveyard, representing typical anti-social teenage boy behavior. There is a dominant and passive male character that fits stereotypes of peer pressure and insecurity between friends. The film's target audience of 16-year-old horror movie fans is also mentioned.
Evaluation question 2
The media product represents several social groups. It features a female teen victim who is abducted to show how vulnerable girls can be. The male antagonist wears a mask but displays typical male power and control. The first location, a graveyard, represents death and allows different interpretations of the storyline. The abductor could belong to a gang, have a mental illness, or be reliving a personal experience, as shown through his use of various weapons and wearing a mask as part of an ideology that kills fathers and daughters in the same way. The victim comes from a middle class family and is vulnerable after her father was recently killed.
question 2 : How does your media product represent particular social groups?
- The protagonist in the film subverts typical representations of females in horror by portraying a strong, sporty teenage girl rather than the usual weak and feminine targets.
- The character also represents black women from London, differing from the typical American setting and characters.
- While challenging some conventions, the protagonist also fits others like being a teenager and ending up isolated with the killer, to still engage the target audience.
- The antagonist resembles typical horror villains through his masked appearance and determination to kill, but is also portrayed as a troubled teenage boy to provide psychological motivation for his actions.
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What's hot
Representation theories
The document discusses several representation theories:
- Levi Strauss proposed the idea of "binary opposites" where understanding words depends on their opposite (e.g. understanding "villain" relates to differentiating it from "hero").
- Laura Mulvey's "Male Gaze Theory" suggests that women are viewed as sexual objects for male characters and audiences in media.
- John Berger also discussed "voyeurism" and said that "men act and women appear," being looked at by men and watching themselves be looked at.
- Tessa Perkins discussed stereotypes as not always negative or about minorities, and containing assumptions that can be challenged.
- Richard Dyer's representation
Evaluation Question 2
The document analyzes how social groups are represented in a media product. It discusses the representation of three main characters:
1) The protagonist, Iby Wanas, a troubled young adult male from an urban background, trying to leave his gang-affiliated past behind. His clothing represents stereotypes associated with "chavs".
2) The antagonist, Jordan, who engages in illegal activities like drug dealing to make money. His dark clothing is meant to portray him as a trouble-maker. He represents a criminal lower social class.
3) Iby's wife, who has been kidnapped. She is portrayed as vulnerable through being tied up and shown in high angles, representing stereotypical views
Question two
This document summarizes how social groups are represented in the media producer's opening title sequence for a film. It features three main characters - two detective inspectors and a man named Vincent being released from a mental asylum. The female protagonist, DI Bruce, is portrayed as a strong, clever character who challenges gender stereotypes in the thriller genre. Vincent, the antagonist, is only shown through his eyes to create mystery and is depicted as nervous and confused to reflect his schizophrenia. The opening sequence shows DI Bruce walking confidently while Vincent's eyes dart around to demonstrate his unsettled state.
How does your production represent particular social groups
Our production represents multiple social groups and aspects of society through its characters. As with classic noir films, many characters are depicted as being towards the lower ends of the social hierarchy. The two detectives are shown to have a similar and relatively high social status as evidenced by their formal attire and mutual respect. However, their dialogue suggests the male detective has slightly higher status and control over the female detective, though she questions this power dynamic. The character of Booth is portrayed as forlorn and alone in a bar, placing him lower on the social ladder, though not at the absolute bottom. A drunk man in the bar is used as a clear comparison to demonstrate Booth's higher but still diminished social position. Interactions between the characters
Evaluation - Question 2
The document discusses representations of social groups in the author's thriller opening. It shows three groups: a teenage boy, a man aged 20-30, and the general public. The teenage boy is portrayed positively as innocent and caring to challenge stereotypes of teenagers as troublemakers. Details like a loving note to his family create sympathy for him. The man is dressed formally, looking out of place, to represent his older age group but as a psychotic killer he does not reflect most people that age. The general public are shown as careless bystanders, representing their self-centered nature and willingness to ignore crimes.
Introduction to-representation-richard-dyer
This document discusses key concepts in analyzing cultural representations of social groups. It argues that representations have real political and social impacts by shaping how groups see themselves and are seen by others. However, representations are always incomplete resolutions that use existing cultural forms, and different audiences can interpret them in varied ways. Representations also refer to other representations, and reality sets limits to what can be meaningfully represented, though reality can only be understood through representations. The document examines how representations help constitute the very social groups they depict, using the example of lesbian and gay identities.
DB adapted representation theories
This document discusses various representation theories and theorists that are relevant to analyzing media representations, including works by Dyer, Gramsci, Levi-Strauss, Mulvey, Berger, Butler, and Baudrillard. It also prompts the reader to consider how these concepts can be applied to analyze examples of representations in images and how representations in one's own media work reflect social and cultural values and choices.
Representation of women in horror essay
This document discusses the representation of women in horror films from the 1950s to present day. It analyzes several key theories on this topic. The male gaze theory from the 1970s suggests that films are told from the perspective of a heterosexual male viewer and portray women as objects. Analyzing films from the 1970s supports this theory. The 1980s saw women often depicted as submissive and domestic. Jeremy Tunstall's 1983 theory found women portrayed as consumers and mothers. While Poltergeist from 1985 reflects some aspects of this, the main female fights back, challenging the theory. Carol Clover's 1992 "final girl" theory proposed the audience identifies with the last surviving female, challenging male gaze. Her theory is reflected in
How does your production represent particular social groups
Our production represents multiple social groups and aspects of society through its characters. Characters like the police detectives are shown to have relatively high social status through their formal attire and jobs, though one detective seems to have slightly higher status than the other. The drunk man at the bar clearly has a very low social position. The status of the main character Booth is ambiguous, but he seems to be between the detectives and drunk man. The femme fatale character challenges conventions by having ambiguous yet potentially powerful status instead of just being an object for the male gaze.
Representation of women in horror
This document provides an overview of the representation of women in horror films from early films to modern works. It discusses several key theories around the objectification and portrayal of women, including Laura Mulvey's "male gaze" theory which argues that women are presented on screen as objects for the male gaze. The document also analyzes the representation of women in film posters from the 1920s-1950s and how women were typically portrayed as vulnerable victims in need of male rescue. It discusses the portrayal of women in various horror films from different decades and how they often conformed to stereotypical gender roles or were sexualized for the male audience.
Rekindled
The document provides a summary of a proposed feature film script. It would follow a US ex-military man named Scott Carter who suffers from memory loss after a head injury. He has flashbacks of a mysterious woman. With the help of a stranger named Harley, Scott tries to piece together his broken memories to find the woman, who is revealed to be his wife Eloise. They have a son together who Scott has never met. The film would explore themes of love, betrayal, mystery, and reunions through romance, comedy and drama genres while also portraying realistic scenes of war and its aftermath. It provides descriptions of the main characters and potential actors to portray them.
Representations cie – common stereotypes
This document outlines common stereotypes seen in representations of age, gender, ethnicity, physical ability, social class, region, and sexuality in US and UK television dramas. It discusses how characters within these groups are often portrayed through binary oppositions such as young vs old, strong vs weak, domestic vs professional, urban vs rural, and refined vs crude. The document advises the reader to analyze whether characters conform to or challenge these stereotypes when evaluating representations in television shows.
Hollyoaks image
The photo depicts two fierce females overpowering a man on the floor of a pub, challenging typical gender stereotypes of male dominance. One woman has the man pinned down while the other has her arm raised, appearing ready to attack. Though the women have girly appearances, their facial expressions and positioning over the man convey they feel completely in control and powerful in contrast to the weaker man protecting himself.
Representation
The document discusses the representation of the working class in British social realist films over time. It notes that in the 1930s and 1950s, films predominantly focused on working class males and their hard labor. In the 1980s, more female-driven social realist texts emerged that featured women in the workforce. However, representations of women degraded again in the 1990s, portraying them as unsupportive consumers. The document also examines how spaces and settings shifted from public to private matters over time in British realist films. Ethnicity has also remained an invisible force with white males maintaining dominance on screen.
Evaluation - Question II
This media product represents the social group of gender. It shows a male antagonist with a hidden face threatening a weak female protagonist. This is represented through the mise-en-scene of the antagonist wearing black and hiding his face, while depicting the protagonist as a vulnerable female victim. The antagonist is also shown taking drugs, conforming to thriller genre conventions. Sexuality was avoided as a social group to prevent any perception of homophobia in the film.
Evaluation-Question II
This media product represents the social group of gender. It shows a male antagonist with a hidden face threatening a weak female protagonist. The filmmakers used mise-en-scene like black clothing on the antagonist and depicting the woman as a victim to underline the gender roles. They chose not to represent sexuality as a social group to avoid any perception of homophobia, which did not fit their goal of portraying a gender-based threat consistent with thriller conventions.
Breaking benjamin, 9 screen analysis
1) The opening shot establishes an ominous, isolated setting common in rock music videos to convey themes of isolation.
2) A shot shows a young woman framed in a doorway, viewed as voyeuristic and referencing the stereotypical portrayal of women as emotionally weak in media.
3) Shots of the band playing conform to rock music video conventions of isolated, dark settings and certain camera techniques to appeal to audiences and sell records.
Male Gaze
The document discusses the concept of the "male gaze" introduced by feminist film theorist Laura Mulvey. She argued that most Hollywood movies are filmed from the perspective of the heterosexual male gaze, which objectifies and sexualizes women for male visual pleasure. Women are portrayed as passive objects to be looked at, while men are active subjects. While some argue that both men and women can be depicted sexually, the male gaze creates an imbalance of power that perpetuates the real-life objectification of women.
Django unchained analysis
This document discusses the film Django Unchained and how it can be analyzed through postmodern and critical theory lenses. It examines how the film challenges genres like the western by adding elements of slavery and black empowerment. It also explores how the film applies concepts from theorists like Baudrillard and Foucault around hyperreality and panopticism. The intended audience is described as those interested in blaxploitation films, and the impact Quentin Tarantino aims to have is depicting the brutal realities of slavery through stylized violence.
Evaluation q2
This document summarizes how a media product represents social groups. It discusses how the opening scene portrays stereotypical drunk teenagers coming home from a party based on their costumes and behavior. The teenagers are portrayed as belonging to a hedonistic culture defined by rapping. Boys are shown making daring decisions like urinating in a graveyard, representing typical anti-social teenage boy behavior. There is a dominant and passive male character that fits stereotypes of peer pressure and insecurity between friends. The film's target audience of 16-year-old horror movie fans is also mentioned.
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How does your production represent particular social groups
How does your production represent particular social groups
How does your production represent particular social groups
How does your production represent particular social groups
Similar to Question 2 - Media AS Evaluation
Evaluation question 2
The media product represents several social groups. It features a female teen victim who is abducted to show how vulnerable girls can be. The male antagonist wears a mask but displays typical male power and control. The first location, a graveyard, represents death and allows different interpretations of the storyline. The abductor could belong to a gang, have a mental illness, or be reliving a personal experience, as shown through his use of various weapons and wearing a mask as part of an ideology that kills fathers and daughters in the same way. The victim comes from a middle class family and is vulnerable after her father was recently killed.
question 2 : How does your media product represent particular social groups?
- The protagonist in the film subverts typical representations of females in horror by portraying a strong, sporty teenage girl rather than the usual weak and feminine targets.
- The character also represents black women from London, differing from the typical American setting and characters.
- While challenging some conventions, the protagonist also fits others like being a teenager and ending up isolated with the killer, to still engage the target audience.
- The antagonist resembles typical horror villains through his masked appearance and determination to kill, but is also portrayed as a troubled teenage boy to provide psychological motivation for his actions.
Evaluation q.2
The document discusses how the media product represents various social groups through its characters. It introduces a male scientist character and a "perfect killer" who is a strong but unintelligent man, representing some stereotypes. However, it subverts others, such as by not including teenagers, children or elderly. The main characters are young men, with the scientist acting as an "evil genius" who creates problems by discovering a gene for evil. It presents males as stronger and more powerful, usually showing them in heroic roles of saving female victims, portrayed as more vulnerable targets.
Evaluation question2 pp
The document discusses how various social groups are represented in thriller films. It notes that females are often portrayed as damsels in distress requiring male rescue, though some films subvert this by showing powerful female survivors. It analyzes the portrayal of gender in the described film opening. It also discusses how thrillers often depict males as both protagonists and antagonists. Ethnic minorities are frequently represented as threats or criminals. Disabilities are sometimes used to increase victim vulnerability in thrillers. The film opening in the document does not include physical disabilities so as not to challenge thriller conventions.
Evaluation q.2
This document summarizes how the media product represents certain social groups. It shows only one hidden character at first, then introduces others from different groups. The main characters are young males, with the villain being a huge strong man focused only on power and strength over intelligence, fitting a stereotype. Females are presented as more vulnerable targets to kill, going with social stereotypes. However, the scientist villain breaks stereotypes by using knowledge for evil ends instead of good, and is also revealed as the hero trying to stop his own creation, the killer.
How does your media product represent particular social group?
This document summarizes how the media product represents certain social groups. It discusses how the main characters are males, with females portrayed as weaker victims. It also discusses stereotypes, with the "perfect killer" portrayed as a huge, strong man lacking intelligence, and the scientist initially seeming good but revealed as the true villain, going against stereotypes of scientists and heroes/villains.
How does your media product represent particular social group?
This document summarizes how the media product represents certain social groups. It shows only one hidden character at first, then introduces others from different groups. The main characters are young males, with the villain being a huge strong man focused only on power and strength over intelligence, fitting a stereotype. Females are presented as more vulnerable targets to kill, going with social stereotypes. However, the scientist villain breaks stereotypes by using knowledge for evil ends instead of good, and is also revealed as the hero trying to stop his own creation, the killer.
Question 2
The document discusses how the media product represents social groups. It focuses on the sole female character who is portrayed as weak when confronted with paranormal forces, reflecting common stereotypes. Additional characters introduced later would represent other groups like police officers, teenagers, and children. Police could be shown as helpful or useless, teenagers as adventurous but rebellious, and innocent children are included to make the story scarier for audiences.
Question 2
The document discusses representations of social groups in media. It analyzes the representations in the title sequence, including of a religious fanatic protagonist through lighting and props. A vulnerable blonde female is represented as prey being chased, reinforcing stereotypes. Viewers may also perceive a representation of citizens in the Bible Belt region, through the heavy religious imagery and Southern preacher voiceover, aligning with stereotypes of that group as well while not depicting unintelligence.
Question 2 media
The document analyzes how social groups are represented in a media product. It discusses the representation of the antagonist (male) who is depicted as dominant through camera angles and dialogue. The victim (female) has little screen time and authority. Both the antagonist and victim are portrayed as generic middle-class individuals, though the victim is depicted as weaker. Elements like music, dialogue and location are used to represent the antagonist as abnormal and sinister while initially seeming normal.
Question two
Katie Jackson and Michael Shelton are portrayed as stereotypical characters for the thriller genre through their use of stereotypes, costumes, makeup, and props. Katie, the female protagonist, is portrayed as vulnerable and weak through her blonde hair, minimal makeup, and use of a dog prop. Michael, the male antagonist, is portrayed as mysterious and strange through his use of a hat and dark clothing. Overall, the characters conform to stereotypes about gender roles expected in the thriller genre.
Evaluation question 2
The document discusses how various social groups are represented in the media product. It focuses on representations of gender, including stereotypical portrayals of women as victims, psychos, and femme fatales in the opening. The opening also subverts expectations by showing the male character as a victim rather than a hero. Representations of age, race, and disability are also briefly touched on. The characters in the opening are all white and no disabled characters are shown.
Eval qu 2
This document discusses how different social groups are represented in media. For gender, females are often portrayed stereotypically as caring/innocent or sexually alluring/dangerous. The document describes a film that initially frames a female character in pink clothing as wholesome but later reveals her to be manipulating the males and instigating an immoral encounter. For age, a male in his mid-50s is typically expected to be established, but the film portrays him as angry, discontented, living cigarette-to-cigarette, and intimidating others aggressively to assert his power despite being naive. Both characters subvert expectations for their social groups.
Question 2: ‘How does your media product represent particular social groups?’
The document discusses how the media product represents social groups through its characters. It notes that the female protagonist Joan is portrayed as powerful and in control over the male hostage, contrasting common media portrayals of women as victims. It also aims to represent diversity through the inclusion of characters from different ethnicities and nationalities, such as Joan who is Jamaican and an ally named Dimitri who is Russian. The document argues this more positive representation of gender and inclusion of diversity will be well received by audiences.
Question 2
The document discusses the representation of social groups in a media product. It notes that the media product portrays a strong female protagonist who tortures a male hostage, contrasting common portrayals of women as victims. It also features a racially diverse cast, including a Jamaican female protagonist and Russian ally, avoiding stereotypical portrayals of these groups. The document argues this representation of empowered women and diverse racial groups is realistic and will be well-received by audiences.
Evaluation...finish
The document discusses the representation of social groups in a media product. It represents females through three stereotypical characters - the main character Kyra is emotional and kills out of revenge, Lilly is also emotional and lets her emotions lead her to suicide, and Rhiannon is manipulative and controlling, causing Lilly to kill herself. The product only includes female characters. It could be seen as either feminist or portraying women as overemotional. Kyra is similar to a character from American Horror Story who kills her husband after finding an affair. The characters are all white British. The film shows how harsh words can deeply hurt youth and some may react in extreme ways, like Kyra's revenge killing, or how bullying is
2. How does your media product represent particular social groups? - Final
The document discusses how the media product portrays different social groups through the dress and characteristics of the murderer and victim.
For the murderer, he is dressed in business-like clothes implying he is of a higher social class, reflecting the profile of Jack the Ripper who he is based on. This portrays the victim as an adult and plays into stereotypes of men being stronger and more violent.
The victim wears generic running clothes, not revealing much about her background or status. Female victims are often portrayed as weak, vulnerable targets for male serial killers, reflecting real cases like Jack the Ripper and Ed Gein that only targeted women.
While the murderer's gender and strength fit common stereotypes for serial
Question 2
The document discusses how the media product represents various social groups. It represents young people of all races through the main characters used. Specifically, it portrays working and middle class individuals and their interests like socializing, movies, and sports. The female protagonist represents modern teenagers through her clothes. However, she also fits stereotypes of vulnerable women in thrillers who are stalked and need rescuing by men. Her character faces abuse, fear, and weakness when attacked.
Evaluation Two Media
The document summarizes how a media opening sequence portrays social groups through its characters. The sequence involves a 17-year-old blonde girl named Emily who is kidnapped by an older male antagonist. It compares this portrayal to other films and real cases. Stereotypes of age, gender, disability and social class are represented through characteristics of the characters and their interactions. Shots are framed to depict the male as powerful and the female as vulnerable. The sequence aims to draw on audience expectations of common stereotypes in thriller films.
Social Groups
The document discusses how media represents social groups. It defines social groups as collectives of people who share characteristics and interests, separating them into primary groups of close friends and family, and secondary groups of more distant shared-interest connections. Regarding its own representation, the document's film features only two people, but represents aspects of society through its male protagonist and antagonist, suggesting males are more likely to encounter the situations portrayed. It also notes the protagonist is aged 20-30 to convey inexperience, and made male to avoid stereotypes while aligning with typical thriller genres.
Similar to Question 2 - Media AS Evaluation (20)
question 2 : How does your media product represent particular social groups?
question 2 : How does your media product represent particular social groups?
How does your media product represent particular social group?
How does your media product represent particular social group?
How does your media product represent particular social group?
How does your media product represent particular social group?
Question 2: ‘How does your media product represent particular social groups?’
Question 2: ‘How does your media product represent particular social groups?’
2. How does your media product represent particular social groups? - Final
2. How does your media product represent particular social groups? - Final
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Question 2 - Media AS Evaluation
- 1. How does your media product represent particular social groups? Question 2
- 2. In my film the main social groups that can be seen are male, middle class, white and female. This was mainly coincidental due to the actors I had available for shoots however the representations in the film opening are still noticeable.
- 3. The only female seen in the entire female opening is the victim of murder showing that stereotypical nature that women are often portrayed in film that they are victims and often too weak to oppose an antagonistic force. She is also isolated from a group of 3, her and two men, she is shot in such a way that separates her, making her seem like an outcast.
- 4. The protagonist belongs to a rather standardised white male, I used this social group for my “sociopathic killer” character to show it could be anyone, and give a sense of unease. He is also seen in a full suit, showing off his money and power over the victim. I guess in a way this could be metaphorical for a real world implication.