Representation 4 qs & lily allen eg
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None of the television programs mentioned accurately reflect 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 and constructs reality through arbitrary decisions in editing and storytelling that shape audience interpretation.
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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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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
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Intro to camerawork
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.
Conventions of moving image
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.
Intro to mise en scene
This document provides an introduction to the concept of mise-en-scène in media studies. It defines mise-en-scène as the visual elements within a scene or frame that communicate information to the audience. The six elements of mise-en-scène are identified as settings, props, costumes, performance/facial expressions, character positioning, and lighting/color. Examples are given for each element to illustrate how they are used to convey meaning and manipulate audience perceptions. Students are then asked to analyze a short film clip, paying attention to how these various mise-en-scène elements are employed.
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.
Web 2.0 2018 Class 4D
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.
Web 2.0 2018 Class 3D
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.
Representation - Dyer
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.
Narrative theory - test your knowledge
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.
Q1a Research and Planning
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.
Q1a mark scheme
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.
Q1a digital technology lesson activities
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.
Q1a digital technology lesson activities
The document provides guidance for students to complete activities to develop and document their digital technology skills for media production. The activities include:
1) Creating a mind map of their digital technology skills, including specific skills others may not have, and scoring points for unique skills.
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.
3) Using the notes from the activities to write an essay describing how their skills developed over time and evaluating how these skills contributed to their creative decision making, referring to examples.
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- 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.