Representation 4 qs & lily allen eg
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None of the television programs accurately represent reality. News broadcasts and documentaries contain bias and only show one perspective. Reality crime shows are edited and only show sensational aspects. While reality dramas portray familiar police neighborhoods, they still construct characters and stories through editing. All television mediates reality through selective presentation of information and character development to lead viewers to particular interpretations.
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Representation lesson slides
Television representations of reality are highly constructed through editing and other techniques. News broadcasts, documentaries, and reality shows do not objectively capture events due to biases and selective storytelling. While dramas are fictional, they can perpetuate stereotypes that influence perceptions. All media representations offer subjective versions of reality rather than objective portrayals, as those in charge make deliberate creative and editorial choices that shape how people and events are depicted.
Verisimilitude
Verisimilitude refers to how realistic or truthful a narrative appears. It comes from the Latin words for "truth" and "similar." Verisimilitude in film is important for creating believability, and it can be achieved through generic conventions that audiences expect or through reflecting broader social norms. Certain film genres rely more on cultural verisimilitude for realism, while aspects that violate culture norms may attract audiences the most. Cinéma vérité documentaries aim for maximum verisimilitude through capturing experiences in an unedited, unobtrusive manner as possible to portray events as they unfold without camera influence.
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The document discusses key concepts for analyzing television drama such as representation, ideology, verisimilitude, and representational codes. It examines different genres of TV drama like teen dramas and soap operas. Representation in media is shaped by economic and technological factors and influences how different groups are portrayed. Micro and macro analysis of elements like camera work, editing, sound, and mise-en-scene provide insights into a drama's representations.
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This document discusses the representation of ethnicity in images from British tourism websites and a film trailer set in Notting Hill. It provides definitions for overrepresentation and underrepresentation, and asks the reader to analyze whether the images and trailer fit these definitions based on codes, conventions, and differences in their portrayals of ethnicity.
Film genre drama codes & conventions
Drama films tell emotionally engaging stories that audiences can relate to. They use a well-written script, tension, and editing to make audiences sympathize with characters. Dramas have a climactic structure with peaks and valleys in tension to maintain audience attention and engagement. They portray serious, realistic stories and depict human emotions and conflicts authentically. This creates an experience for audiences to connect with characters and their journeys.
Film genre drama codes & conventions
Drama films aim to make audiences relate to and sympathize with characters through a well-written script and tension. They keep audience attention by structuring climaxes and anti-climaxes to create peaks and troughs in tension. Drama films are serious representations of real life that show emotions and conflicts at their true height. They exhibit realistic characters, settings, and stories to move audiences emotionally through a character's journey.
La haine
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Evaluation q2
The document discusses representation of social groups in media. It focuses on how the student's TV drama project represented teenagers and gender. Teenagers, especially young males, are often portrayed negatively, while women are represented as vulnerable victims. The thriller opening portrayed the female protagonist as a helpless victim and the intruder, implied to be a young male, in a hoodie, was portrayed negatively. Common stereotypes were followed, like women as innocent victims and men as criminals.
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Representation lesson slides
Television representations of reality are highly constructed through editing and other techniques. News broadcasts, documentaries, and reality shows do not objectively capture events due to biases and selective storytelling. While dramas are fictional, they can perpetuate stereotypes that influence perceptions. All media representations offer subjective versions of reality rather than objective portrayals, as those in charge make deliberate creative and editorial choices that shape how people and events are depicted.
Verisimilitude
Verisimilitude refers to how realistic or truthful a narrative appears. It comes from the Latin words for "truth" and "similar." Verisimilitude in film is important for creating believability, and it can be achieved through generic conventions that audiences expect or through reflecting broader social norms. Certain film genres rely more on cultural verisimilitude for realism, while aspects that violate culture norms may attract audiences the most. Cinéma vérité documentaries aim for maximum verisimilitude through capturing experiences in an unedited, unobtrusive manner as possible to portray events as they unfold without camera influence.
Tv Drama Notes
The document discusses key concepts for analyzing television drama such as representation, ideology, verisimilitude, and representational codes. It examines different genres of TV drama like teen dramas and soap operas. Representation in media is shaped by economic and technological factors and influences how different groups are portrayed. Micro and macro analysis of elements like camera work, editing, sound, and mise-en-scene provide insights into a drama's representations.
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Film genre drama codes & conventions
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La haine
The film La Haine was critically acclaimed at its premiere at the Cannes Film Festival in 1995. Though shot in black and white with unknown actors on a housing estate in Paris about the day in life of three unemployed youths, audiences loved it. Ten years later, a special anniversary edition was released in theaters. The film tells the story of Vinz, Hubert and Said, three young men who live on the estate and experience the same events but with different perspectives, building tension throughout the day that inevitably explodes in a tragic ending.
Evaluation q2
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The document discusses the Realist art movement, which began in the 1850s in France. Realist artists aimed to depict ordinary people and everyday life in an accurate, objective manner through painting, rejecting the idealism of Classicism and Romanticism. Notable Realist painters included Gustave Courbet, who challenged academic ideas of art by painting subjects like peasants and the working poor. Courbet's paintings, like "A Burial at Ornans", depicted scenes and people realistically as they were, rather than in idealized forms. Realism made accurate observations of the real world its goal.
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Realism is a philosophy that believes the physical world is objective and knowledge comes from the senses. Key principles of realism in education include basing education only on science, emphasizing behavior and experimentation, and making the child's present life the center of education. Realism supports a curriculum developed according to utility and daily needs, with subjects like science, math, and geography. Teaching methods focus on being scientific, objective, and experiential. The classroom environment is highly structured and standardized testing is used. Realism aims to prepare children for happy, successful, and real lives.
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Realism is a philosophy that believes objects have a real existence independent of perception. The key aspects of realism in education are:
1. Knowledge comes from the senses and experience of real objects in the world.
2. Education should prepare students for real life by teaching practical skills and vocational subjects.
3. Teachers should use objects, observations, experiments and inductive reasoning to help students learn from their own experiences.
Philosophy of Realism in Education
The document discusses the philosophy of realism and its implications for education. It outlines four forms of realism - scholastic, humanistic, social, and sense-realism. Key philosophers discussed include Aristotle, Aquinas, Bacon, and Locke. Realism holds that the external world exists independently of the mind and can be understood through observation and experience. In education, realism emphasizes understanding the material world, a practical curriculum focused on science and culture, and developing the whole person.
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This document discusses representation in media texts and how to analyze representations. It defines representation as how groups, events, places or social changes are portrayed in media. Representations offer a version of reality but are subjective and constructed rather than objective. The document outlines Richard Dyer's 4 key points for analyzing representations: 1) What is represented 2) How it represents social groups 3) Who is responsible 4) Audience response. It also discusses theorists Stuart Hall and how representations rely on stereotypes that can subordinate groups.
Year 10 Reality TV Revision
This document discusses the definitions, genres, formats, participants, and appeal of reality television. It addresses how reality TV shows are structured narratively and how they create conflict and resolution. The role of presenters, settings, filming techniques, and soundtracks are examined. Reasons for viewers watching and broadcaster's interests are explored, as well as debates around ethics and how "real" reality TV actually is.
11. video and truth
The document discusses different types of television programs and their relationship to truth. It identifies story programs, sports, news, documentaries, commercials, infomercials, and training programs. For each type of program, it examines the standards for truthfulness and how reality may be distorted, such as through selective editing, bias, misleading representations, or hidden agendas. Documentaries aim to present genuine reality through unstaged footage, while commercials are required to be honest about product facts but can make them appear better than they are.
11. video and truth
The document discusses different types of television programs and their relationship to truth. It identifies story programs, sports, news, documentaries, commercials, infomercials, and training programs. For each type of program, it examines the standards for truthfulness and how reality may be distorted, such as through selective editing, bias, misleading representations, or hidden agendas. Documentaries aim to present genuine reality through unstaged footage, while commercials are required to be honest about product facts but can make them appear better than they are.
3. Who Watches Crime Dramas and Why?
TV crime dramas target specific audiences through demographic and psychographic profiles to satisfy uses and gratifications. Sub-genres like police procedurals and forensics shows use repetition of crime drama elements while adding variations to keep audiences engaged for diversion, information, identity exploration, and companionship. Hybrid genres blend crime drama with other genres like science fiction to satisfy additional uses through a mix of typical crime and atypical elements.
As evaluation
The document provides an evaluation of a media product created by Rahim Rahat. It summarizes the ways the product uses and challenges conventions of real media in its costume, location, narrative, and camerawork/editing. Regarding representation of social groups, it notes the product's focus on dominant male characters and marginalization of youth. It suggests potential distributors like Fox, NBC/Universal, and HBO based on their productions with similar dark, mysterious, and suspenseful tones. The intended audience is identified as mainly male, between late teens to 35, from middle-class backgrounds.
Media studies AS Evaluation – Foundation portfolio
The document provides an evaluation of a media studies foundation portfolio created by Zakaria Bougouizi. It discusses how the media product challenges and uses conventions of real media, how it represents social groups, and the type of media institution that might distribute it. The media product is a comedy film that portrays serious issues like unemployment in a comedic way. It represents groups like teenagers and uses conventions found in films like Men in Black and The Blues Brothers. A large UK film company like Ealing Studios would be suited to distribute the film due to their experience promoting similar genres and films aimed at British teenagers.
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Media studies AS Evaluation – Foundation portfolio
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This document provides an overview of media language and semiotics. It defines key terms like semiotics, signifier, signified, denotation, and connotation. It explains that semiotics examines how signs construct meaning and involves analyzing both the literal/denotative meaning and associated/connotative meanings of signs. The document also discusses Roland Barthes' views on how signs operate on denotative and connotative levels and can encode particular messages and ideologies, which he referred to as "myths."
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This document provides an introduction to key concepts in media language and film editing. It defines and discusses various elements of editing including shot order and choice, continuity, transitions, shot duration/pace and rhythm, and special effects. Specific techniques are explained such as establishing shots, the 180 degree rule, shot-reverse-shot, eyeline matches, and match on action. The meaning and effects created by different transitions like fades, dissolves, and wipes are also covered. The document stresses that editing controls what information is revealed to both characters and audiences.
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Intro to editing
This document provides an introduction to key concepts in media language and film editing. It defines and discusses various elements of editing including shot order, continuity, transitions, shot duration/pace and rhythm, and special effects. Specific techniques are explained such as establishing shots, the 180 degree rule, shot/reverse shot, eyeline match, and match on action. The meaning and effects of different transitions like fades, dissolves and wipes are also covered. The document emphasizes that editing controls what information is revealed to both characters and the audience.
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This document discusses key concepts of camerawork in media including camera angles (eye level, high, low, Dutch), camera movement (pan, tilt, track, crane, handheld, zoom), framing and shot size (extreme long shot to extreme close up), composition using the rule of thirds, and depth of field (selective focus, deep focus, and pull focus). Specific films are referenced to illustrate different camera techniques.
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This document discusses the evolution of film conventions from early films to modern examples. It begins by having the reader watch two early films from 1897 and 1903 to see basic conventions and note differences between them. Then it has the reader watch clips from 2012 and 2009 films and compare them to the earlier films, noting how filming and editing techniques provide more character insight and impact the audience. The goal is to analyze how techniques have developed over time to influence meaning for viewers.
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Web 2.0 2018 Class 5E
Web 2.0 is a term used to describe a second generation of the World Wide Web that emphasizes user-generated content, usability, and interoperability. It allows users to interact and collaborate online as "prosumers" who both consume and create content. Examples of Web 2.0 include social media sites, blogs, wikis, video sharing sites, and web applications. Web 2.0 has given the public more access to media production tools and the ability to freely express themselves and share content online, competing with professional media. It has also increased user creativity and choice in how people access and engage with media.
Web 2.0 2018 Class 5E
Web 2.0 is a term used to describe a second generation of the World Wide Web that focuses on user-generated content and allows people to collaborate and share information online. Some key aspects of Web 2.0 include social media sites that facilitate sharing, user-centered design, and participation. Examples include social networking sites, blogs, wikis, video sharing sites, and more. Web 2.0 has given the public more access, ownership and power over media by allowing anyone to create and distribute content online.
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Web 2.0 is a term used to describe a second generation of the World Wide Web that emphasizes user-generated content, usability, and interoperability. It allows users to interact and collaborate online by contributing user-created content through social media and virtual communities. Examples of Web 2.0 include social networking sites, blogs, wikis, video sharing sites, and web applications. David Gauntlett suggests that Web 2.0 has impacted access, ownership, power, and creativity by making media production equipment more accessible, giving audiences more control over what and when they consume media, and allowing ordinary people to produce and distribute content and have their voices heard.
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Web 2.0 is a term used to describe a second generation of the World Wide Web that emphasizes user-generated content, usability, and interoperability. It allows users to interact and collaborate online by contributing user-generated content through social media and virtual communities. Examples of Web 2.0 include social networking sites, blogs, wikis, video sharing sites, and web applications. David Gauntlett suggests that Web 2.0 has shifted power from media institutions to audiences by giving users more control over creating and distributing content online. It has also made media creation more accessible through smaller and obtainable technologies.
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This document outlines Richard Dyer's framework for analyzing representations, which involves considering: 1) What is represented in terms of characters, subject matter, and place? 2) How are social groups represented and what ideologies does this reinforce? 3) Who is responsible for the representations? 4) What meaning might audiences take from the representations? It encourages analyzing representations of age, gender, sexuality, ethnicity and other attributes, and whether they rely on stereotypes or countertypes. It also discusses how representations can legitimize inequality and influence how social groups are seen.
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This document provides a test on narrative theory concepts. It asks questions about the definition of narrative, Bordwell and Thompson's approach, the difference between the story and plot, types of narrative structures like linear and non-linear, and concepts like ellipsis and action cues that Roland Barthes introduced to analyze how films generate audience interest.
Narrative 2017
The document discusses different approaches to analyzing narratives in films. It distinguishes between plot, which is everything explicitly shown on screen, and story, which also includes events that are implied but not directly shown. Good narrative analysis considers the wider story rather than just the plot. It also discusses how narratives use techniques like restricted perspectives, ambiguity, and enigma codes to engage audiences and leave them with questions about the story.
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This document provides guidance for exam preparation on the topic of research and planning skills for media production. It begins by listing different areas of skills development that could be asked about, including research and planning. It then focuses on defining and providing examples of research versus planning. Research involves analyzing real media texts, audiences and technical aspects, while planning encompasses developing ideas, storyboarding, scheduling and organizing a production. The document prompts reviewing one's portfolio and production work to evaluate how research and planning skills developed between AS and A2 levels, noting any improvements that allowed for better creative decision making and production quality over time.
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1. This document outlines a marking scheme for a question assessing candidates' ability to summarize their progress and use of digital technology over time.
2. The marking scheme has 4 levels, with level 4 earning 21-25 marks for a clear, fluent, and articulate response using specific examples and excellent terminology. Level 3 earns 16-20 marks for a good response with a clear description and evaluation.
3. Level 2 earns 10-15 marks for a mostly clear response with a narrow range of examples and limited discussion of progress. Level 1 earns 0-9 marks for a descriptive response with little evaluation and partly relevant examples.
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This document provides guidance for students on developing a skills assessment and essay on digital technology skills. It includes activities for mapping skills, creating a timeline of media productions, and evaluating skill development over time. Students are prompted to consider their current skill level, productions worked on, and key skills learned from each. They are also given guidance on structuring a five paragraph essay responding to an exam question about how their digital technology skills developed and contributed to creative decision making, with examples from their coursework and other productions.
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2) Creating a timeline of all media productions during and outside of college, noting the main digital technology skill developed in each production and providing an example.
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Representation 4 qs & lily allen eg
- 4. The purpose of ‘reality’ dramas is to convey the idea of the ‘real’ Police at work in the neighbourhoods with which we are more familiar. Does this make them more ‘real’ than a more obviously constructed product such as Life on Mars or The Bill ? Are the people who appear in this more real because they are actual Police rather than constructed characters – played by actors? Does the programme not create ‘characters’ by positive or negative reinforcement of personalities through the editing?
- 7. Representation Reality The real world Mediation The process of producing a film text. Representation The text itself. A ‘representation’ of the real world.
- 9. 1. What is represented? Consider the information the text gives you about subject matter, place and characters. 2. How is it being represented? Consider how the technical elements have suggested this information.
- 10. 3. Who is responsible for the representation? Consider the producers and the institutions responsible for production. What agenda do the producers have? Why would they want to represent things in a certain way? (Think about target audience, genre, commercial aspect or artistic expression, etc.) 4. What does the audience make of it? Taking all of the above into account what might the audience response be? Don’t forget to consider different types of audience and the different responses.
- 11. Lily Allen Consider the 4 points on representation above for the 2 different images of Lily Allen.