Representation
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The document discusses key concepts related to representing subjects in media including mediation, representation theory, stereotypes, and dominant ideology. It provides three levels of representation theory: reflective (mirroring reality), intentional (projecting a specific meaning), and constructionist (shaped by multiple influences). Any representation involves selection, organization and focus that changes reality. Stereotypes simplify complex subjects but can be dangerous if oversimplified. Dominant ideology reflects prevailing societal attitudes that representations tend to reinforce.
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Kidulthood case study
This document provides an overview and analysis of the 2006 film Kidulthood. It examines how the film represents teenagers and issues they face, through its characters, dialogue, scenes of violence and tension, and stylistic techniques. Key points made include that the film aims to authentically portray real life for 15-year-olds, generates tension through interactions between groups in the opening scene, and uses elements like lighting, sound and editing to create atmosphere during impactful moments. The film can be seen as depicting a "rite of passage" as characters like Trife and Alisa undergo experiences that mark their transition to adulthood.
Kidulthood press pack
The document provides background information on the film Kidulthood, including a synopsis, interviews with the director, producers and writer, and details about casting and production. Some key points:
- The film tells the story of a group of West London teenagers dealing with issues like bullying, sex, drugs and gang violence on a difficult day.
- It aims to realistically portray the lives of contemporary urban youth in a gritty style influenced by films from the UK and abroad.
- The low-budget film was a passion project for writer/actor Noel Clarke, drawing on his own experiences growing up in West London.
- Authenticity was emphasized through casting local amateur actors closely matching the
Question 2
The constructionist theory proposes that media representations are constructed from the producer's perspective, societal views, and reality. The document discusses several potential representations in a media production and how they align with or challenge the producer's views, societal norms, and factual realities. Specifically, it examines how representations of introverts, women, and university students in the production suit or contradict these different viewpoints. While the representations address some stereotypes, the document suggests challenging gender stereotypes more directly by depicting the male art teacher in a traditionally female-associated role to subvert expectations of power dynamics.
Evaluation question 1
The document discusses how the film uses conventions of the social realism genre. It does this through the location, actor, use of diegetic sounds and original score, independent production companies, and low-budget production. The run-down house used as the filming location fits social realism conventions. While the actor has theater experience, using an untrained actor also fits conventions. Diegetic sounds were not used despite being a genre convention. Independent production companies and low-budget aspects meet conventions. Overall, the film aims to develop a sense of realism through its use and challenge of certain genre forms and conventions.
Question 5
The document provides analysis of several shots from a film. The first shot establishes the idyllic setting and creates suspense. A close-up shot introduces the main character Milly and helps viewers relate to her feelings of anxiety. Subsequent shots show Milly looking isolated as she eats dinner alone and on the sofa at night, conveying her loneliness through lighting, framing and color.
Influential figures
Alfred Hitchcock was nicknamed the "Master of Suspense" and directed many influential films involving psychological themes and mystery like Psycho, Vertigo, and Rear Window. He had a fear of watching his own films and bought the rights to some to prevent them from being shown for 30 years. Hitchcock's films were recognizable for their use of blonde actresses as victims and including charming yet dangerous villains. Adrian Lyne also directed psychological thrillers like Fatal Attraction and Jacob's Ladder that pushed boundaries and incorporated dramatic uses of lighting, animals, and water. Rosamund Pike's complex performance as the mysterious Amy Dunne in Gone Girl influenced the creators to have an enigmatic female protagonist at
Unit 6
The document discusses the Gutenberg Design Principle for analyzing posters. It states that according to this principle, the first place an audience looks is the primary optical area, which usually features the star's name and character they are playing. It notes that the two male leads in the poster are looking at the main star to draw more attention to her. The document also provides questions to consider when analyzing a poster, such as the main colors, symbols, figures, and whether the messages are visual, verbal, or both. It discusses using stars and genre conventions as persuasive techniques to attract audiences.
Evaluation 1
The document evaluates how the opening sequence of the film "Shouting Quietly" uses and develops conventions of the social realism genre. It discusses how the film incorporates conventions such as using unknown actors, low budgets, location filming, long shots, close-ups, camera movements, and diegetic sound. It analyzes specific shots and how they follow conventions, such as establishing shots, close-ups to show emotions, and the use of color to represent mood. The document also explores how some elements challenge conventions, such as the opening aerial shot and use of non-diegetic music. Overall, it examines how the opening meets, develops, and in some cases challenges conventions of the social realism genre.
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This document provides an overview and analysis of the 2006 film Kidulthood. It examines how the film represents teenagers and issues they face, through its characters, dialogue, scenes of violence and tension, and stylistic techniques. Key points made include that the film aims to authentically portray real life for 15-year-olds, generates tension through interactions between groups in the opening scene, and uses elements like lighting, sound and editing to create atmosphere during impactful moments. The film can be seen as depicting a "rite of passage" as characters like Trife and Alisa undergo experiences that mark their transition to adulthood.
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The document provides background information on the film Kidulthood, including a synopsis, interviews with the director, producers and writer, and details about casting and production. Some key points:
- The film tells the story of a group of West London teenagers dealing with issues like bullying, sex, drugs and gang violence on a difficult day.
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Question 2
The constructionist theory proposes that media representations are constructed from the producer's perspective, societal views, and reality. The document discusses several potential representations in a media production and how they align with or challenge the producer's views, societal norms, and factual realities. Specifically, it examines how representations of introverts, women, and university students in the production suit or contradict these different viewpoints. While the representations address some stereotypes, the document suggests challenging gender stereotypes more directly by depicting the male art teacher in a traditionally female-associated role to subvert expectations of power dynamics.
Evaluation question 1
The document discusses how the film uses conventions of the social realism genre. It does this through the location, actor, use of diegetic sounds and original score, independent production companies, and low-budget production. The run-down house used as the filming location fits social realism conventions. While the actor has theater experience, using an untrained actor also fits conventions. Diegetic sounds were not used despite being a genre convention. Independent production companies and low-budget aspects meet conventions. Overall, the film aims to develop a sense of realism through its use and challenge of certain genre forms and conventions.
Question 5
The document provides analysis of several shots from a film. The first shot establishes the idyllic setting and creates suspense. A close-up shot introduces the main character Milly and helps viewers relate to her feelings of anxiety. Subsequent shots show Milly looking isolated as she eats dinner alone and on the sofa at night, conveying her loneliness through lighting, framing and color.
Influential figures
Alfred Hitchcock was nicknamed the "Master of Suspense" and directed many influential films involving psychological themes and mystery like Psycho, Vertigo, and Rear Window. He had a fear of watching his own films and bought the rights to some to prevent them from being shown for 30 years. Hitchcock's films were recognizable for their use of blonde actresses as victims and including charming yet dangerous villains. Adrian Lyne also directed psychological thrillers like Fatal Attraction and Jacob's Ladder that pushed boundaries and incorporated dramatic uses of lighting, animals, and water. Rosamund Pike's complex performance as the mysterious Amy Dunne in Gone Girl influenced the creators to have an enigmatic female protagonist at
Unit 6
The document discusses the Gutenberg Design Principle for analyzing posters. It states that according to this principle, the first place an audience looks is the primary optical area, which usually features the star's name and character they are playing. It notes that the two male leads in the poster are looking at the main star to draw more attention to her. The document also provides questions to consider when analyzing a poster, such as the main colors, symbols, figures, and whether the messages are visual, verbal, or both. It discusses using stars and genre conventions as persuasive techniques to attract audiences.
Evaluation 1
The document evaluates how the opening sequence of the film "Shouting Quietly" uses and develops conventions of the social realism genre. It discusses how the film incorporates conventions such as using unknown actors, low budgets, location filming, long shots, close-ups, camera movements, and diegetic sound. It analyzes specific shots and how they follow conventions, such as establishing shots, close-ups to show emotions, and the use of color to represent mood. The document also explores how some elements challenge conventions, such as the opening aerial shot and use of non-diegetic music. Overall, it examines how the opening meets, develops, and in some cases challenges conventions of the social realism genre.
Q1 Final
The document discusses how the media product uses and develops conventions of the social realism genre. It examines how the opening sequence meets several conventions, including having a low budget, using unknown actors, filming on location, and using typical camera shots and movements. However, it also challenges some conventions, such as using mostly non-diegetic sound rather than diegetic sound. The document also explores how the opening sequence meets conventions for its form, such as credit order, and how it uses color symbolism to represent the character's emotions.
Evaluation question 4
The document provides information about the target audience for a media product. The primary audience is described as middle-upper class adults aged 30-50 who enjoy new ideas and having their views challenged. The secondary audience is similar but younger, aged 21-29. Feedback was received from both audience groups who enjoyed the plot but had some criticisms, like wanting more background on the main character and thinking the music was too dramatic. While a 12A certificate was initially chosen, reevaluating to a 15 certificate would allow deeper exploration of themes like depression and satisfy the mature target audience better.
What have you learnt from your audience feedback?
The document discusses feedback received from audiences on a student film project. It describes how the group identified their target audience as those aged 15-28 from socioeconomic classes C1 to E. They conducted surveys, questionnaires, and used social media to gather feedback. Classmates provided positive feedback on the shots establishing genre and use of costumes/props. The group developed a narrative about a youth joining a gang that was influenced by other social realist films. Overall, the audience feedback helped the group improve their film to better appeal to the target audience.
Audience Feedback
The document discusses audience feedback received for an opening film sequence. A sample of primary and secondary audiences were asked questions about what they enjoyed and opportunities for improvement. Overall, audiences enjoyed the sequence and wanted to see more of the film. Specifically, they connected well with the protagonist and thought her introverted nature was portrayed clearly. While the use of colored lighting was generally liked, some felt the yellow lighting in one scene seemed too vivid. Opinions on the opening credits font were mixed. Based on this feedback, the filmmakers would focus on more realistic lighting and stable camera shots if filming again, and put more thought into selecting title fonts.
Evaluation question 4
This document provides feedback from target audiences on an opening film sequence. The audiences were asked a series of questions to gauge their impressions and understanding.
The audiences connected well with the protagonist's feelings of loneliness and isolation. They were drawn in by her discovery of passion through art. While some details of her situation were unclear, audiences related their own experiences of moving out.
The music effectively reflected the protagonist's mood and engaged audiences. A transformation in her character towards the end held audiences' interest. Though the passage of time could have been clearer, audiences were left thinking about following one's passions. Overall, the film opening succeeded in its character development and message.
Question 2
The document discusses the production's portrayal of various stereotypes regarding class, race, age, gender, and sexuality in films. Regarding class, the house used in filming contradicted the working class setting intended. For race, white actors were used as the primary audience. The actor chosen for age did not fully portray the intended immaturity of a young person widowed. Gender stereotypes were somewhat challenged by portraying the male as vulnerable and the female as stronger. The production used heterosexual characters for their mainstream appeal but attempted to challenge norms of relationships and success.
Narrative
The document discusses several narrative theories proposed by scholars such as Vladimir Propp, Bordwell and Thompson, Claude Levi-Strauss, and Tzvetan Todorov. It summarizes their key ideas: Propp identified character roles and narrative functions common across folk tales. Bordwell and Thompson believed narratives shape events in time and space. Levi-Strauss analyzed binary oppositions in themes. Todorov's theory proposed narratives begin with equilibrium, are disrupted by an event, then events restore the initial state.
Media evaluation
The document discusses targeting and attracting the audience for a horror film media product. It aims to target teenagers ages 15-25 of all races and both genders. It analyzes horror film audiences and applies audience theory from Richard Dyer, Abraham Maslow, and Blumier and Katz to attract the target demographic. Key tactics included using relatable young characters, psychological tension and fear, and engaging filming and editing techniques.
Final Questionnaire
The document summarizes the responses to a questionnaire about elements for a psychological horror film sequence. Key findings included that respondents preferred low-key lighting, close-ups and establishing shots, lack of sound and contrapuntal music, an ordinary dressed female protagonist who is clairvoyant, and locations at a school and woods. Death was also a popular iconography choice. The document concludes with what elements the filmmakers plan to include based on the questionnaire responses, such as lighting, shots, sound design, character, locations, and death.
Evaluation question 4 copy
This document provides feedback from target audiences on an opening film scene. The primary audience of 30-50 year olds connected well with the protagonist and her feelings of loneliness. They were drawn in and left wanting to know more. The secondary audience of 20-29 year olds connected less but still engaged enough to provide feedback. Some had trouble understanding details like her living situation. Overall the audiences provided positive and constructive criticism that can help strengthen the film, though connecting more with the secondary group could be improved.
Focus group
The focus group provided useful feedback on the opening sequence:
They found it engaging and mysterious, with many unanswered questions that compelled them to watch more. They enjoyed the mystery of why the protagonist was running and felt tension from the effective music. However, some had trouble distinguishing reality from flashbacks and identifying the supernatural black figure. Going forward, the filmmakers would make the supernatural threat clearer to cement the horror genre. But overall, the focus group reaction validated that the film targeted the right audience.
Evaluation question 5
The document discusses how the production satisfies different audience needs through its use of techniques like mystery, suspense, tension, and a revealing ending that provides discussion. It analyzes how scenes give the audience information and how characters represent different identities. It also discusses how the production could fulfill audiences' needs of esteem, self-actualization, and provide intellectual pleasure through solving an enigma. Different readings of how women and teenagers are portrayed are provided. Finally, it is argued the production could sensitize the teenage audience through demonstrating the negative effects of meanness, selfishness, and crime.
Evaluation 5
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The document then discusses conventions used in the film, such as suspenseful music, relatable protagonists, dim lighting during scary scenes, and close-up shots to convey emotions. It highlights the film's unique selling point as being set in a windmill, an unconventional setting.
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Representation
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Harriett audience
The document discusses targeting and attracting audiences for a horror film media product. It aims to target teenagers ages 15-25 of all races and both genders. It analyzes horror film audiences and applies audience theory from Richard Dyer, Abraham Maslow, and Blumier and Katz to attract the target demographic. Specifically, it creates tension and fear to satisfy audiences' psychological needs for thrill. It also includes relatable young male characters for audiences to identify with. The film receives a 15 age rating to appeal to younger audiences within legal viewing limits.
Analysing movie posters
Film posters are used to promote upcoming films and albums through artistic designs that appeal to viewers differently than trailers. Posters showcase art and advertising in a way that catches people's eyes on street walls and in stores where people may buy them to display. Key elements of posters include colors that indicate genre, symbols that represent themes, and prominent photos of popular actors to attract specific audiences. Messages, quotes, and glimpses of plots are also designed to intrigue viewers and make them want to learn more about the film. The primary audience for posters tends to be working teens who have time and money to go to movies and share posters on social media.
Evaluation 4
Our target audience for the media thriller film is students and adults aged 15 and older. We conducted research into similar thriller films and the BBFC age rating system to determine that a 15 rating would be appropriate for our film due to its depictions of strong violence and threats to the protagonist. We created profiles of our target demographic groups, which are primarily working class individuals with spare time to socialize and watch films. Our psychographic profiling found that the ideal audience seeks thrilling and suspenseful experiences that keep them on the edge of their seats. Films with similar conventions would appeal to this group.
Evaluation.2.docx
The document discusses the representation of social groups in a media product. It describes how the main characters are portrayed as being from a lower social class who have made poor life choices and live in run-down areas. One character deals drugs to represent what negative influences younger people may face. Scenes use dark lighting and locations to portray the hidden, illegal nature of drug transactions. The goal is to realistically represent the struggles of these social groups but also show that people can change their lives for the better.
Q4 - Audience Feedback
The document provides feedback from an audience sample about an opening film sequence:
- Audience members enjoyed being intrigued by the protagonist's story and wanted to learn more about her. They felt the narrative showed potential.
- The protagonist was played well and seemed like an ordinary person the audience could connect with, through her facial expressions and introverted nature.
- While most felt the changing colored lights fit the protagonist's emotions naturally, some thought the yellow shed lighting seemed too vivid.
- Opinions on the font choice were mixed, with some feeling it didn't suit a social realism genre production, while others felt it fit the narrative.
Effects and audiences lessons 2 and 3
This document discusses various theories about media audiences and effects, including:
- Direct effects theories that see audiences as passive recipients of media messages.
- Uses and gratifications theory that sees audiences as active in using media to fulfill needs.
- Cultivation theory that examines how heavy media exposure shapes viewers' perceptions of social reality.
- Agenda-setting theory about how media influence which issues the public sees as important.
- Two-step flow theory that found opinions are often influenced through opinion leaders not direct media exposure.
- Reception theories that examine how audiences make meanings from media in social and cultural contexts.
Cultivation theory
This document discusses cultivation theory, which proposes that heavy television viewing can influence viewers' perceptions of reality. It presents the theory's key arguments, including that extensive TV watching over time can gradually shape viewers' beliefs through first and second-order effects. Heavy viewers may see the world as more violent and fear-inducing than it really is. However, attitudes can also be shaped by other media, personal experiences, and social influences. The document examines applications and critiques of cultivation theory.
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Q1 Final
The document discusses how the media product uses and develops conventions of the social realism genre. It examines how the opening sequence meets several conventions, including having a low budget, using unknown actors, filming on location, and using typical camera shots and movements. However, it also challenges some conventions, such as using mostly non-diegetic sound rather than diegetic sound. The document also explores how the opening sequence meets conventions for its form, such as credit order, and how it uses color symbolism to represent the character's emotions.
Evaluation question 4
The document provides information about the target audience for a media product. The primary audience is described as middle-upper class adults aged 30-50 who enjoy new ideas and having their views challenged. The secondary audience is similar but younger, aged 21-29. Feedback was received from both audience groups who enjoyed the plot but had some criticisms, like wanting more background on the main character and thinking the music was too dramatic. While a 12A certificate was initially chosen, reevaluating to a 15 certificate would allow deeper exploration of themes like depression and satisfy the mature target audience better.
What have you learnt from your audience feedback?
The document discusses feedback received from audiences on a student film project. It describes how the group identified their target audience as those aged 15-28 from socioeconomic classes C1 to E. They conducted surveys, questionnaires, and used social media to gather feedback. Classmates provided positive feedback on the shots establishing genre and use of costumes/props. The group developed a narrative about a youth joining a gang that was influenced by other social realist films. Overall, the audience feedback helped the group improve their film to better appeal to the target audience.
Audience Feedback
The document discusses audience feedback received for an opening film sequence. A sample of primary and secondary audiences were asked questions about what they enjoyed and opportunities for improvement. Overall, audiences enjoyed the sequence and wanted to see more of the film. Specifically, they connected well with the protagonist and thought her introverted nature was portrayed clearly. While the use of colored lighting was generally liked, some felt the yellow lighting in one scene seemed too vivid. Opinions on the opening credits font were mixed. Based on this feedback, the filmmakers would focus on more realistic lighting and stable camera shots if filming again, and put more thought into selecting title fonts.
Evaluation question 4
This document provides feedback from target audiences on an opening film sequence. The audiences were asked a series of questions to gauge their impressions and understanding.
The audiences connected well with the protagonist's feelings of loneliness and isolation. They were drawn in by her discovery of passion through art. While some details of her situation were unclear, audiences related their own experiences of moving out.
The music effectively reflected the protagonist's mood and engaged audiences. A transformation in her character towards the end held audiences' interest. Though the passage of time could have been clearer, audiences were left thinking about following one's passions. Overall, the film opening succeeded in its character development and message.
Question 2
The document discusses the production's portrayal of various stereotypes regarding class, race, age, gender, and sexuality in films. Regarding class, the house used in filming contradicted the working class setting intended. For race, white actors were used as the primary audience. The actor chosen for age did not fully portray the intended immaturity of a young person widowed. Gender stereotypes were somewhat challenged by portraying the male as vulnerable and the female as stronger. The production used heterosexual characters for their mainstream appeal but attempted to challenge norms of relationships and success.
Narrative
The document discusses several narrative theories proposed by scholars such as Vladimir Propp, Bordwell and Thompson, Claude Levi-Strauss, and Tzvetan Todorov. It summarizes their key ideas: Propp identified character roles and narrative functions common across folk tales. Bordwell and Thompson believed narratives shape events in time and space. Levi-Strauss analyzed binary oppositions in themes. Todorov's theory proposed narratives begin with equilibrium, are disrupted by an event, then events restore the initial state.
Media evaluation
The document discusses targeting and attracting the audience for a horror film media product. It aims to target teenagers ages 15-25 of all races and both genders. It analyzes horror film audiences and applies audience theory from Richard Dyer, Abraham Maslow, and Blumier and Katz to attract the target demographic. Key tactics included using relatable young characters, psychological tension and fear, and engaging filming and editing techniques.
Final Questionnaire
The document summarizes the responses to a questionnaire about elements for a psychological horror film sequence. Key findings included that respondents preferred low-key lighting, close-ups and establishing shots, lack of sound and contrapuntal music, an ordinary dressed female protagonist who is clairvoyant, and locations at a school and woods. Death was also a popular iconography choice. The document concludes with what elements the filmmakers plan to include based on the questionnaire responses, such as lighting, shots, sound design, character, locations, and death.
Evaluation question 4 copy
This document provides feedback from target audiences on an opening film scene. The primary audience of 30-50 year olds connected well with the protagonist and her feelings of loneliness. They were drawn in and left wanting to know more. The secondary audience of 20-29 year olds connected less but still engaged enough to provide feedback. Some had trouble understanding details like her living situation. Overall the audiences provided positive and constructive criticism that can help strengthen the film, though connecting more with the secondary group could be improved.
Focus group
The focus group provided useful feedback on the opening sequence:
They found it engaging and mysterious, with many unanswered questions that compelled them to watch more. They enjoyed the mystery of why the protagonist was running and felt tension from the effective music. However, some had trouble distinguishing reality from flashbacks and identifying the supernatural black figure. Going forward, the filmmakers would make the supernatural threat clearer to cement the horror genre. But overall, the focus group reaction validated that the film targeted the right audience.
Evaluation question 5
The document discusses how the production satisfies different audience needs through its use of techniques like mystery, suspense, tension, and a revealing ending that provides discussion. It analyzes how scenes give the audience information and how characters represent different identities. It also discusses how the production could fulfill audiences' needs of esteem, self-actualization, and provide intellectual pleasure through solving an enigma. Different readings of how women and teenagers are portrayed are provided. Finally, it is argued the production could sensitize the teenage audience through demonstrating the negative effects of meanness, selfishness, and crime.
Evaluation 5
The document discusses strategies for marketing a thriller film to a target audience of young adults and teenagers. It analyzes other successful thriller films like "Taken 2" that attracted similar audiences. Key techniques these films used included posters, social media, trailers, websites and merchandise.
The document then discusses conventions used in the film, such as suspenseful music, relatable protagonists, dim lighting during scary scenes, and close-up shots to convey emotions. It highlights the film's unique selling point as being set in a windmill, an unconventional setting.
Finally, it analyzes draft posters created for the film, noting improvements made like changing to a black and white image and altering the font to better
Representation
The document discusses representations of various groups in media and how stereotypes are used. It provides definitions for stereotypes, archetypes, and countertypes. Media representations are consciously constructed by producers and gatekeepers to control what audiences see. Common questions to ask about representations are who or what is represented, their depicted activities and purpose, and where they are framed. Specific examples analyzed include advertisements, magazine covers, films, and news articles. Representations are shaped by ideological and social factors like gender, ethnicity, and power dynamics.
Harriett audience
The document discusses targeting and attracting audiences for a horror film media product. It aims to target teenagers ages 15-25 of all races and both genders. It analyzes horror film audiences and applies audience theory from Richard Dyer, Abraham Maslow, and Blumier and Katz to attract the target demographic. Specifically, it creates tension and fear to satisfy audiences' psychological needs for thrill. It also includes relatable young male characters for audiences to identify with. The film receives a 15 age rating to appeal to younger audiences within legal viewing limits.
Analysing movie posters
Film posters are used to promote upcoming films and albums through artistic designs that appeal to viewers differently than trailers. Posters showcase art and advertising in a way that catches people's eyes on street walls and in stores where people may buy them to display. Key elements of posters include colors that indicate genre, symbols that represent themes, and prominent photos of popular actors to attract specific audiences. Messages, quotes, and glimpses of plots are also designed to intrigue viewers and make them want to learn more about the film. The primary audience for posters tends to be working teens who have time and money to go to movies and share posters on social media.
Evaluation 4
Our target audience for the media thriller film is students and adults aged 15 and older. We conducted research into similar thriller films and the BBFC age rating system to determine that a 15 rating would be appropriate for our film due to its depictions of strong violence and threats to the protagonist. We created profiles of our target demographic groups, which are primarily working class individuals with spare time to socialize and watch films. Our psychographic profiling found that the ideal audience seeks thrilling and suspenseful experiences that keep them on the edge of their seats. Films with similar conventions would appeal to this group.
Evaluation.2.docx
The document discusses the representation of social groups in a media product. It describes how the main characters are portrayed as being from a lower social class who have made poor life choices and live in run-down areas. One character deals drugs to represent what negative influences younger people may face. Scenes use dark lighting and locations to portray the hidden, illegal nature of drug transactions. The goal is to realistically represent the struggles of these social groups but also show that people can change their lives for the better.
Q4 - Audience Feedback
The document provides feedback from an audience sample about an opening film sequence:
- Audience members enjoyed being intrigued by the protagonist's story and wanted to learn more about her. They felt the narrative showed potential.
- The protagonist was played well and seemed like an ordinary person the audience could connect with, through her facial expressions and introverted nature.
- While most felt the changing colored lights fit the protagonist's emotions naturally, some thought the yellow shed lighting seemed too vivid.
- Opinions on the font choice were mixed, with some feeling it didn't suit a social realism genre production, while others felt it fit the narrative.
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Effects and audiences lessons 2 and 3
This document discusses various theories about media audiences and effects, including:
- Direct effects theories that see audiences as passive recipients of media messages.
- Uses and gratifications theory that sees audiences as active in using media to fulfill needs.
- Cultivation theory that examines how heavy media exposure shapes viewers' perceptions of social reality.
- Agenda-setting theory about how media influence which issues the public sees as important.
- Two-step flow theory that found opinions are often influenced through opinion leaders not direct media exposure.
- Reception theories that examine how audiences make meanings from media in social and cultural contexts.
Cultivation theory
This document discusses cultivation theory, which proposes that heavy television viewing can influence viewers' perceptions of reality. It presents the theory's key arguments, including that extensive TV watching over time can gradually shape viewers' beliefs through first and second-order effects. Heavy viewers may see the world as more violent and fear-inducing than it really is. However, attitudes can also be shaped by other media, personal experiences, and social influences. The document examines applications and critiques of cultivation theory.
Age presentation
This document discusses stereotypes of age in media representations. It lists both positive and negative stereotypes commonly associated with being either young or old. Some negative stereotypes of youth include being immature, stupid, greedy, lazy, selfish, unfit, violent, callous, gullible, unreliable and careless. Positive stereotypes include being active, sociable, innocent, strong, with a long future ahead and being adventurous and fun. Negative stereotypes of old age include being grumpy, outdated, slow, weak, whining, unhealthy, miserly, hard-of-hearing, ugly, unable to use technology and being lonely, dependent, boring and unwilling to try new things. The document
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This document provides a summary and analysis of the 1970s British sitcom Fawlty Towers. It analyzes how the show represented notions of British national identity and community through the character of Basil Fawlty. Basil runs a small hotel in Torquay as a "mini-construction of Britain" with a narrow view of who belongs. He holds nationalist, classist views and believes firmly in traditions of the British Empire. His rigid ideology of who belongs causes constant conflict and prevents the hotel from being a harmonious community that accepts differences. The analysis suggests Basil's views represent a nostalgia for a lost imperial Britain and conceptions of national identity that exclude many people.
Media audiences
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Narrative theories
This document discusses different narrative theories including those proposed by Tzvetan Todorov, Vladimir Propp, and Levi-Strauss. Todorov's theory states that narratives follow a structure of equilibrium being disrupted, a quest to restore equilibrium, a confrontation, and resolution. Propp analyzed character functions. Levi-Strauss suggested narratives are driven by conflicts arising from binary oppositions. The document also mentions enigma codes and action codes that control narrative pacing and advance the story.
Audience theory
Stuart Hall proposed three ways that audiences can respond to texts:
1) Preferred/dominant readings where the audience interprets the text as intended.
2) Negotiated readings where the audience agrees with some parts but not others.
3) Oppositional/resistant readings where the audience's beliefs conflict with how the text portrays something.
This means a text cannot have a static meaning since audiences can interpret it differently based on their experiences.
Represntation
The document discusses various aspects of representation in media. It begins by explaining that all media texts are representations of reality crafted by producers to portray their concept of existence. It then discusses how media both extends and restricts our experience of reality by selectively showing us only parts of it. The document also examines how media representations influence our perceptions of truth and reality. It analyzes common representations of gender, race, age and other groups and how these representations can promote stereotypes.
2012 intro to ethnicity
The document discusses representations of ethnicity in British media and common stereotypes. It notes that while ethnic minorities make up nearly 8% of the UK population, their representation in television is often limited and relies on stereotypes. Common stereotypes seen include black people portrayed as entertainers or criminals, Middle Eastern people as shopkeepers or traditional/misogynistic, and stereotypes of other groups are often absent entirely. The document argues for more progressive representations that move beyond limited stereotypes.
Ms1 representation table revision sheet
This document outlines three case studies and corresponding questions about representing various topics in the media. Case study 1 focuses on TV/film/video games, case study 2 on ads/music videos, and case study 3 on magazines/newspapers. For each case study, students are asked to explore the representation of a topic in the media by referencing their own detailed examples, and are given 30 marks. Topics include national/regional identities, events, issues, gender, age, and young people. Key terminology and points are also to be discussed.
Representation Of Women In The Music Industry
The document discusses representation of women in the music industry. It notes that women are often hyper-sexualized to help sell music. This can negatively impact youth by influencing ideas about body image and sexuality. While some artists embrace their sexuality, others feel pressure to do so. The document examines how different artists present themselves, from highly sexualized performers to those who find success without relying on sexuality.
MS1 As Media Studies - Summer 2011 exam paper
This document provides instructions for answering three questions about analyzing front covers of two magazines, GQ from December 2009 and Saga Magazine from November 2009. The questions address visual codes, layout, language, target audiences, and representations of age in media. Students are asked to comment on design elements and how the magazines appeal to different audiences through examples from the magazine covers.
Sc2220 lecture 6 2011
This lecture discusses gender in popular culture, focusing on representations of masculinity and femininity. It analyzes the pop group Pussycat Dolls, noting their themes of asserting female sexuality and independence while portraying men as useless or overly aggressive. The implications for gender and power relationships are complex, as leveraging sexuality can empower women by contesting the male gaze, but may also lead to objectification over time. The appropriateness and impact of various popular culture portrayals remains open to debate.
Job adverts what to stop doing in 2017
We ran a great webinar with Broadbean today to show recruiters what they need to stop doing with their job adverts. We want to help our community become innovative with their adverts, place more candidates, engage more clients, and become more successful in 2017.
We talked about:
What words stop people applying for jobs and what to replace them with
Do "Rock Stars" and "Geniuses" help or hinder job applications?
When to advertise jobs
Whether to mention your clients' names or not
Which apps can help us with our job adverts
Size matters - but which size are we aiming for?
Is Christmas Day a great day to post a job?
If you want more advice on creating innovative adverts, get in touch at roi@barclayjones.com for a free consultation.
As usual, we asked a few questions to find out how our recruiter community is feeling about 2016, and the results were revealing!
55% aren't measuring ROI, and 17% didn't really know what they should be measuring!
54% feel like change isn't being managed well within their business
86% say the systems they're buying are benefitting their recruiters... but only 50% have any objectives or goals for their recruitment tech? This smacks of a lack of relevant expectations.
If you missed the webinar, catch up in the slideshare - and note there's a video attached to watch too.
Audience positioning
The document discusses audience theories and how audiences decode and make meaning from media texts in different ways based on factors like their social position, beliefs, and experiences. It explains that audiences can take a preferred reading by accepting the dominant meaning encoded in a text, a negotiated reading by accepting some aspects but disagreeing with others, or an oppositional reading by completely rejecting the ideology or messages of a text. Media producers aim to construct audiences and target them with preferred readings, but audiences actively make their own interpretations.
MS1 AS Media Studies Summer 2011 mark scheme
This document provides a marking scheme for a GCE Media Studies exam from Summer 2011. It includes four levels to assess students' answers with criteria for each level. The marking scheme provides generic levels to assess how students analyze media products and processes. It also includes a question-specific scheme that lists possible points students may discuss in their answers. The scheme analyzes sample questions on representing audiences and age in magazines.
Representation 7 areas intro
Representation describes how signs like media texts stand in for and depict reality. Producers intentionally frame reality through signs like editing and camerawork to position texts ideologically. Audiences make sense of reality through these representations. Common representations of social groups in media include stereotypes like criminal black men, nerdy white men, sexy Latinas, and helpless disabled people. Understanding how media represent social groups through signs is important for recognizing the ideologies that shape perceptions of reality.
Ethnic stereotypes
This document discusses representation and textual analysis for media studies examinations. It focuses on analyzing representations of ethnicity and sexuality through techniques like mise-en-scene, camerawork, editing and sound. Stereotypical portrayals of different ethnic groups like Afro-Caribbean, East Asian and Latin American are outlined. Representations of sexuality, both heterosexual and homosexual, are also described in terms of common stereotypes. Analyzing these representations is important to understand the dominant ideologies and social myths being created or reinforced in media texts.
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Representation
The document discusses key concepts in media representation including mediation, representation theory, stereotypes, and dominant ideology. It provides three key points about mediation: selection of what is shown, organization of elements in non-realistic ways, and focus on specific aspects to guide audience attention. Representation is seen as reflective of reality, intentionally projecting a meaning, or constructively shaped by multiple influences including the subject, producer, and audience. Stereotypes are simplified mental pictures that speed up understanding but ignore complexity, and media stereotypes are formed based on appearance, behavior, and comparison to perceived norms.
A2 representation latest
The document discusses key concepts in media studies, with a focus on representation. It defines representation as how media texts portray people, objects, events, and ideas. Representation is mediated, as it involves selection, organization and emphasis that shape reality for audiences. There are three views of representation - reflective, intentional, and constructionist. Representation also relates to dominant ideology, which influences the ideas and beliefs reinforced through media. The document also discusses stereotypes, defined as oversimplified mental pictures held about groups. Stereotypes in media include aspects of appearance, behavior, genre-specific conventions, and comparisons to perceived normality.
Representation
The document discusses several key concepts in media studies, including representation, mediation, ideology, and stereotypes. It defines representation as how media portray people, events, or ideas. Mediation refers to how all media representations are subjective versions of reality shaped by selection, organization, and emphasis. Ideology examines how media can reinforce dominant beliefs in a society. Stereotypes are oversimplified mental images that media can use to represent groups.
Representation
The document discusses key concepts in media studies including representation, mediation, and stereotypes. It provides definitions and explanations of these concepts with the following key points:
1. Representation is how media presents the real world to audiences through various texts like films, photos, etc. and involves the construction of meanings.
2. Mediation is the process by which a media text represents an idea to an audience, and involves selection, organization, and focusing of elements.
3. Stereotypes are widely circulated ideas about social groups that media relies on as a shorthand for audiences, though they may overgeneralize groups.
Introduction to representation
The document discusses representation and how it relates to concepts like mediation, ideology, and stereotypes. It addresses three views of representation - reflective, intentional, and constructionist. Representation is seen as a complex process influenced by the subject being represented, the person/group doing the representing, and the societal context. Media representations often rely on stereotypes which oversimplify groups through common traits related to appearance, behavior, how they are constructed for the specific medium, and in comparison to a norm. Countertypes in media can help challenge existing stereotypes.
Introduction to representation
The document discusses key concepts for analyzing representations in media, including mediation, language, institutions, audiences, theories and ideologies. It examines how representations are mediated and can be understood from reflective, intentional and constructionist perspectives. Stereotypes are discussed as simplifications that media uses to represent groups, with four typical parts: appearance, behavior, fitting the medium, and comparison to a norm. Changing representations over time through countertypes is also mentioned.
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The document discusses representation in media. It makes three key points:
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2. It is important to remember that every media form, from videos to magazines, represents someone's concept of existence through signs and symbols.
3. Representation is a fluid, two-way process where producers position a text in relation to reality and audiences assess the text based on its relationship to their own reality. Representation mediates ideas of people, places, and events in various ways.
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This document discusses representations and stereotypes in media. It explains that representations are constructions that re-present individuals and groups in a certain way, rather than reality. The media selectively chooses how to portray people to serve its own purposes. Repeated representations can become stereotypes that are oversimplified and judgmental. Viewers should consider who created a media text and what point of view it supports or does not support. Representations have implications for how people see themselves and others.
Representation and stereotyping
This document discusses key concepts in media representation theory, including:
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Representation is the process by which media present the real world. It involves depicting or symbolizing people, ideas, places, etc. Representation is constructed through a process of mediation where the intentions of creators interact with audience interpretations based on context. There are three approaches to understanding representation - as a reflection, deliberate construction, or negotiated meaning from the interaction of producers, text, and audiences. Proper analysis of representation considers how it is constructed through language choices and why as well as the meanings and effects on audiences.
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Representation is how media portray reality through specific portrayals of people, places, and issues. It is not necessarily an accurate reflection but a constructed version. Media representations shape how audiences view things by selecting what to include and exclude and using language, images, and editing to guide audience understanding in a particular way. Representations reflect the views and values of their creators and can influence audience attitudes if they promote biased or unfair portrayals of groups.
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The document discusses the concept of representation in media. It explains that representations offer a version of reality rather than being objective, and are constructed based on someone's opinion. Key points made include that representations can influence audiences and their perceptions, and the importance of considering who is responsible for creating a representation and how audiences may interpret it. Examples provided analyze how Lily Allen is represented in different photos.
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The document defines representation as the mediated presentation of people, things, ideas, places, etc. by the media. It discusses how representation involves describing or depicting something to call it up in the mind. Representation is a constructed process that involves selection, organization, and focusing of content by the media to direct the audience's attention in a certain way. This process of mediation is how representations are formed to present a version of reality rather than reality itself.
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This document discusses how to help others flourish by focusing on building healthy relationships. It emphasizes considering things from others' points of view, thinking about what they want from the relationship, and focusing on their emotions and needs rather than your own. Specifically, the document recommends inspiring others with a sense of purpose or cause, building their confidence by showing you believe in them, and providing education to help them fulfill their potential. When leaders help their teams flourish both professionally and emotionally through these techniques, it creates a virtuous circle of growth and success for all.
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This very short document does not contain enough contextual information to generate a meaningful 3 sentence summary. The document consists of only a single word that provides little insight into its overall content or purpose.
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The document provides details about a psychological drama film project. It describes the opening scene showing a poor man realizing he needs to change his life. The rest of the film will follow his ups and downs as he works to achieve his goals. The film is titled "The Way Up" to represent the main theme of the poor man improving and developing himself. Sound in the film consists of natural sounds and dialogue. The film was shot in Moscow, Russia in typical urban areas like a playground and brick houses to suit the story. Costumes for the main characters, including worn coats and mismatched shoes for the poor man, were carefully selected.
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Guest Speaker Segment with Hannah Barrington: Dive into the world of dynamic real estate marketing with Hannah, the Marketing Manager at Workspace Group. Hear firsthand how their team generates engaging descriptions for thousands of office units by integrating diverse data sources—from PDF floorplans to web pages—using FME transformers, like OpenAIVisionConnector and AnthropicVisionConnector. This use case will show you how GenAI can streamline content creation for marketing across the board.
Ollama Use Case: Learn how Scenario Specialist Dmitri Bagh has utilized Ollama within FME to input data, create custom models, and enhance security protocols. This segment will include demos to illustrate the full capabilities of FME in AI-driven processes.
Custom AI Models: Discover how to leverage FME to build personalized AI models using your data. Whether it’s populating a model with local data for added security or integrating public AI tools, find out how FME facilitates a versatile and secure approach to AI.
We’ll wrap up with a live Q&A session where you can engage with our experts on your specific use cases, and learn more about optimizing your data workflows with AI.
This webinar is ideal for professionals seeking to harness the power of AI within their data management systems while ensuring high levels of customization and security. Whether you're a novice or an expert, gain actionable insights and strategies to elevate your data processes. Join us to see how FME and AI can revolutionize how you work with data!
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Representation
- 3. Related key concepts… • Media Language (how the representation is created/mediated, denotation and connotation)
- 4. Related key concepts… • Media Language (how the representation is created/mediated, denotation and connotation) • Institution and audience (who is doing the representation and who it is aimed at?)
- 5. What we need to know? Who is being represented? • In what way? • By whom?
- 6. What we need to know? Why is the subject being represented in this way? • Is the representation fair and accurate? • Is there an opportunity for self-representation?
- 7. Mediation Every time we encounter a media text, we are not seeing reality, but someone's version of it. This may seem obvious, but it is easily forgotten when we are enjoying a text.
- 8. Mediation Three things to look for…
- 9. Mediation Three things to look for… • SELECTION
- 10. Mediation Three things to look for… • SELECTION • ORGANISATION
- 11. Mediation Three things to look for… • SELECTION • ORGANISATION • FOCUS
- 12. Mediation Selection Whatever ends up on the screen much more will have been left out.
- 13. Mediation Organisation Elements will be organised carefully in ways that real life is not.
- 14. Mediation Organisation Elements will be organised carefully in ways that real life is not. This organisation will result in…
- 15. Mediation Focus The audience is pushed towards concentrating on one aspect of the text and ignoring others.
- 17. This is mediation. Reality has been changed Mediation
- 18. This is mediation. Reality has been changed This may not always be obvious but it is always and inevitably the case Mediation
- 19. Think of examples of how you have changed reality in your productions… Mediation
- 21. Representation Theory Three ways of looking at it…
- 22. Representation Theory Three ways of looking at it… • REFLECTIVE
- 23. Representation Theory Three ways of looking at it… • REFLECTIVE • INTENTIONAL
- 24. Representation Theory Three ways of looking at it… • REFLECTIVE • INTENTIONAL • CONSTRUCTIONIST
- 25. Reflective The representation takes the true meaning and tries to create a replica of it in the mind of the viewer. Representation Theory
- 26. Reflective The representation takes the true meaning and tries to create a replica of it in the mind of the viewer. This is the view that many people have of how news works - news producers take the truth of news events and simply present it to us as accurately as possible. Representation Theory
- 27. Reflective • objective • no bias • no point of view Representation Theory
- 28. Intentional The representation is structured and clearly aims to project a specific idea or meaning decided by the producer Representation Theory
- 29. Intentional • focused • subjective • persuasive • has an intention Representation Theory
- 30. Constructionist A representation can never just be the truth (reflective) or the version of the truth that someone wants you to hear (intentional) since that is ignores your ability as an individual to make up your own mind and the influences of society on the way you do it. Representation Theory
- 31. Any representation is shaped by… Representation Theory
- 32. • the thing itself Any representation is shaped by… Representation Theory
- 33. • the thing itself • the opinions of the producer Any representation is shaped by… Representation Theory
- 34. • the thing itself • the opinions of the producer • the reaction of the audience Any representation is shaped by… Representation Theory
- 36. what we are shown what we see is not necessarily Representation Theory
- 37. what we see is shaped by education experiences culture class prejudices etc. Representation Theory
- 39. Dominant Ideology The way most people think and the codes that most people live by in any given society. This is not static but constantly changing as new ideas and attitudes develop and become predominant. Representation Theory
- 40. Dominant Ideology Over the years representations are gradually accepted (or rejected) by the majority of people and in this way the dominant ideology is gradually changed. A process called negotiation. The “establishment” tends to reinforce this ideology while others will attempt to “push the boundaries” Representation Theory
- 41. Dominant Ideology is reinforced every time a text is presented which represents the opinions and beliefs of the majority of the people Representation Theory
- 43. Stereotypes Representation Theory A stereotype is a standardised and usually oversimplified, mental picture or attitude that is held in common by members of a group.
- 44. Stereotypes Representation Theory A stereotype is a standardised and usually oversimplified, mental picture or attitude that is held in common by members of a group. It is a simplification used to make sense of a real person or group (or place) which, in reality, is much more complicated.
- 45. Reality is complex and difficult to fully understand…. STEREOTYPING Simplifies and speeds up communication Stereotypes
- 46. WE “GET IT” STRAIGHT AWAY Stereotypes
- 47. Stereotypes Stereotypes are potentially highly dangerous but stereotyping itself is impossible to avoid. It is a natural function of the human mind.
- 48. Stereotyping is something that we all do in order to survive mentally in the confusing world around us. Stereotypes
- 49. We should also be aware that just as with the process of mediation stereotyping involves the selection, organisation and focusing of the complicated reality. Stereotypes
- 50. A media stereotype is constructed from… Representation Theory
- 51. A media stereotype is constructed from… Representation Theory • appearance
- 52. A media stereotype is constructed from… Representation Theory • appearance • behaviour
- 53. A media stereotype is constructed from… Representation Theory • appearance • behaviour • media specific factors
- 54. A media stereotype is constructed from… Representation Theory • appearance • behaviour • media specific factors • comparison with the norm
- 55. Appearance and behaviour These are not media specific and are what we use everyday to judge (and stereotype) people. Stereotypes
- 56. Media specific elements Our expectations as an audience for any given genre and its conventions are well known to producers. So they will build stereotypes to satisfy us Stereotypes
- 57. Comparison with normality. This is how we judge stereotypes Stereotypes
- 58. Comparison with normality. This is how we judge stereotypes BUT What is normal? Stereotypes
- 59. Are you normal?
- 60. the end Are you normal? Are you a stereotype?