Representation
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The document discusses various theories of representation that could be applied to a music video. It begins by defining representation and explaining that different representations convey different messages depending on the creator's point of view. It then lists several theorists and briefly summarizes their ideas about representing gender: Mulvey discussed the male gaze and passive female figures; Goodwin noted some music videos feature active, direct female gazes; Railton and Watson addressed masculinity being defined through desexualizing or removing the male body from view; and Trujillo associated masculinity with physical force, control, and portrayals of men in outdoor, public settings. The document suggests analyzing one's own music video by applying these representation theories across six paragraphs, then concluding by reflecting on
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This document provides guidance on constructing effective responses for questions about representation. It discusses how characters are typically represented through what they say, do, wear, and how others view them. It provides prompts for analyzing representations, such as intended effects on audiences. Examples of common stereotypes in action films are given for different groups. The document teaches that strong responses include a point about a character's representation with evidence from the work and an analysis of how and why they are represented that way. It includes a model answer and practices applying this structure.
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This document contains prompts for analyzing how a person, group, or place is represented. It asks the audience to consider how effectively the representation communicates to viewers, why certain techniques were used, whether this is a normal way to portray this subject in films, the intended effect on viewers, and whether the portrayal is positive, negative, or both. The same set of prompts is repeated multiple times.
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The document provides information about representation in media. It discusses how media constructs meanings about the world through representations rather than reflecting reality directly. Representations become familiar through constant reuse and come to feel natural. Representation is unavoidably selective, foregrounding some things and backgrounding others. Theories of representation discussed include those of Laura Mulvey on media positioning the audience as male, Antonio Gramsci on hegemony and dominant ways of seeing the world, and Stuart Hall on media constructing rather than reflecting reality. Key terms in representation like signifier, denotation, connotation, and binary oppositions are also defined.
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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.
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This document provides guidance on analyzing representation in media products. It defines representation as the construction of people and places to present reality. It lists several relevant theories for discussing representation, including those by Laura Mulvey, Richard Dyer, David Gauntlett, and on empowerment and post-feminism. Binary opposites, character types, social class, ethnicity, sexuality, age, places/locations, and genre are also mentioned as aspects that can be represented. The document stresses that representation is always a mediated construct.
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Article 1 house of cards and netflix 2015
Netflix has become a major force in online video streaming through its original content like House of Cards. It has over 50 million subscribers who can stream shows and movies without ads or scheduling constraints. Netflix relies heavily on subscriber data to determine which new shows to commission, focusing on metrics that identify loyal fans and how titles spread. This data-driven approach helped Netflix earn 45 Emmy nominations and $5.5 billion in annual sales, showing that a legitimate paid streaming service can succeed if guided by customer engagement data.
Audience
This document discusses theories of audience and how they apply to music videos. It defines different types of audiences and explores three key theories:
1) Goodwin's theory that music videos provide repeated visual pleasure that encourages re-watching as audiences become familiar with genres and expectations.
2) Dyer's theory that stars are constructed images meant to appeal to audiences through different meanings to meet the needs of different audience groups.
3) Hall's encoding/decoding model where producers encode preferred meanings through codes and audiences decode based on expectations around genre and stars. Producers aim to position audiences to get the preferred reading.
The document prompts applying these theories by identifying the intended meaning in one's music video,
Media language
This document provides guidance on applying theories of media language to analyze a music video. It discusses three key theories:
1) Goodwin's theory that music videos rely on repetition through repeated shots of the artist/performer, editing to the beat of the song, and repetition of images like choruses.
2) Vernallis' observation that music videos break usual continuity editing rules through jump cuts and obvious edits, and often use a "master shot" to provide structure. The camera also may move with the music.
3) Bordwell's argument that there is a difference between the narrative story and the story told through media language techniques like camerawork providing clues about future events in the narrative.
Genre
This document discusses genre theory and its application to music videos. It provides definitions of genre and codes/conventions. Two theorists, Goodwin and Vernallis, are summarized regarding their views on music video conventions - Goodwin discusses intertextuality and expectations, while Vernallis notes that music videos often break editing continuity rules and use jumps cuts. The document asks the student to consider how genre theories of Chandler and Neale could apply to their own music video analysis. It instructs spending 30 minutes applying genre concepts to one of their coursework productions.
Narrative
This document discusses applying narrative theory to music videos. It begins by defining narrative as the story or plot of a work, distinguishing it from plot. While music videos may not always tell a story, narrative theory can still be relevant. Students are asked to review several narrative theories and identify which could apply to their own music video work, citing relevant quotes and explaining how the theories relate to their video. They are also provided a PowerPoint summarizing different narrative theories to review for this task.
Summary sheet of all theories for 1b (critic sheet)
This document provides summaries and quotes from critics on various aspects of music videos such as representation, media language, genre, narrative, and audience. Regarding representation, critics discuss the male gaze and how some women in music videos look back at viewers through the camera, ceasing to be passive. They also note that masculinity is often symbolized through physical force and control of the body or by portraying men in daring outdoor settings. In terms of media language, the editing and shots in music videos are designed to reflect the beat of the song. Genre conventions mean audiences have certain expectations. Narratives in music videos tend to capture disconnected moments rather than tell a complete story. Producers aim to position audiences through recognizable
Intro
This document provides guidance for students on how to answer an exam question analyzing a media product in relation to media concepts. It instructs students to write about one product and evaluate it using one of the following concepts: genre, narrative, audience, media language, or representation. Students must refer to and apply at least two media theories. Examples are provided of how to analyze representation using Mulvey's male gaze theory and Goodwin's theory on active female roles. Students are also given definitions of key concepts to research and practice analyzing two music videos in relation to different concepts. Critics' quotes are provided for students to apply to their chosen concepts and videos.
Section a past exam questions
This document provides past exam questions from June 2010 to June 2017 for a media studies course. The questions assess students' media productions and understanding of key media concepts developed over the course. Section 1a questions focus on how students' research, skills, understanding of conventions and post-production decisions informed their media productions over time. Section 1b questions require students to apply concepts like audience, narrative, genre and representation to one of their coursework productions.
Creativity
This document provides guidance on evaluating and summarizing one's own creative skills development over an AS and A2 course. It includes:
- Defining creativity as solving novel problems, communicating varied ideas, and expressing possibilities.
- Instructing the student to identify 3 examples of creativity from their AS portfolio and 4 from their A2 portfolio, describing how each example showed creativity and its success.
- Suggesting using a wheel diagram or handout to map these creative examples from both years to demonstrate skills growth over time.
- Providing a sample exam question asking the student to describe creative decisions made in post-production across their work, and how those decisions impacted outcomes, to show developing skills.
Post production
This document provides guidance and activities for evaluating post-production skills development over an AS and A2 media studies course. It begins with defining post-production as work done after filming to refine a media product, such as editing, sound mixing, and publishing work online. Students then map the post-production skills and techniques used in their moving image and print work. Next, students participate in a paired interview simulation to discuss their post-production experience. Finally, students answer a question describing important post-production decisions made over their media productions and how their skills developed.
Exam answer and r&p
This document provides guidance and questions for evaluating skills development in research and planning over the course of an AS and A2 media studies course. It includes tasks to analyze an example exam answer, reflect on use of digital technology, and identify how research and planning skills were applied and developed for foundation and advanced portfolios. Students are asked to create grids listing research and planning activities used, with examples and evaluation of how each helped with coursework productions and understanding. The final questions prompt students to analyze their skills development and learning about the importance of research and planning for successful coursework productions.
Digital technology
This document provides guidance to a student on evaluating their skills development in digital technology for an assessment. It instructs the student to list productions they have completed that required digital technology. It then asks them to choose 5 productions and describe the technology used, how it was used, and its creative impact. This will allow the student to see how their skills with specific technologies have developed over time for their assessment response.
Codes and convention
This document provides information about teaching a lesson on codes and conventions for Minecraft. It includes:
1. An introduction that outlines the aims of the lesson to introduce key areas that could be covered on an exam question and evaluate skills development.
2. Details several areas that may be asked about such as codes and conventions, digital technology, research and planning, and post-production.
3. Provides tasks and information for students to learn about the production, distribution, and circulation of Minecraft including its creation, ownership history, and reasons for its success.
Record labels the big 3, indies and new tech
The document discusses the music industry and record labels. It describes the three major record labels - Universal Music Group, Sony, and Warner Music Group. It explains that these labels are part of larger media conglomerates and own many smaller subsidiary labels. This allows them to specialize in different genres and artists. The document also discusses how new technology has impacted the industry by allowing artists to self-publish and promote using sites like YouTube, Spotify, and social media. Some artists are now very successful without a major label.
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Representation
- 2. LQ: How do I apply the theories of representation to my Music video Lesson Aims ◼To look at a variety of different approaches to representation, both for males and females, and decide which ones are useful for my own work ◼To look at how I might apply theories of representation
- 3. What is Representation? What do you understand by the term ‘representation’ ? Write down a definition. What have you written ?
- 4. Representation can be defined as: • The action of speaking or acting on behalf of someone • The description or portrayal of someone or something in a particular way or as being of a certain nature • A likeness to something Representation usually involves presenting ‘something’ to the audience from a specific point of view. It isn’t the ‘real’ thing that we see but a likeness or reflection of the reality. Different representations will tend to have different messages and values, depending on the point of view of the person who makes the representation.
- 5. What do the theories of representation mean ? I am going to put up a number of theories about representation I want you to put into your own words what these mean – you can discuss this with the person next to you if you want Then either fill out the grid or write directly into your books
- 6. Mulvey “In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its fantasy onto the female figure which is styled accordingly”.
- 7. Goodwin What is different in [music] videos is that [some women] directly look back at the viewers through the camera and they cease to be passive.
- 8. Railton and Watson “Very often … the absence of the sexualised male body…comes to define masculine subjectivity in music video and is important in … masculinity maintaining its power.
- 9. Railton and Watson “Music videos employ a number of strategies to variously displace, disguise and disavow the sex of the male body, or even delete it from the field of vision entirely”.
- 10. Railton and Watson “Music videos employ a number of strategies to variously displace, disguise and disavow the sex of the male body, or even delete it from the field of vision entirely”.
- 11. Trujillo “Masculine power is defined through physical force and control, particularly in the representation of the body…”
- 12. Trujillo "Masculinity is represented in terms of...Patriarchy"
- 13. Trujillo “Masculinity is symbolised by the daring ‘outdoors’ man…”
- 14. Intro – define concept / say you will analyse your music video and give the name of your artist, the song and genre you worked in / you could also mention some of the theorists you will look at 1B-ExamQuestionParagraphPlan Paragraph 1 Paragraph 2 Paragraph 3 Paragraph 4 Paragraph 5 Paragraph 7 Paragraph 6 Conclusion – Summarise the main theories & ideas that your Music Video supports and those it challenges – reflect on the success of the music video in relation to the concept. MULVEY MALE GAZE A2 EG1.1 Camera – shot type & movement A2 EG1.2 Mise-en-scene COSTUME DIRECT ADDRESS – ACTIVE FEMALE ARTISTS GOODWIN A2 EG2.1 Camera – shot type A2 EG2.1 Editing – jump cuts RAILTON & WATSON MASCULINE POWER THROUGH DESEXUALISATION A2 EG 3.1 Mise-en-scene costume A2 EG 4.1 Mise-en-scene - location TRUJILLO MASCULINITY AS STRONG AND PHYSICALLY POWERFUL A2 EG 3.2 Camera – camera angle A2 EG 4.2 Camera – shot distance TRUJILLO MASCULINITY AS BEING OUTDOORS & IN PUBLIC SPACES A2 EG 5.1 Camera – shot- type & angle A2 EG 5.2 Editing – cuts and screen time
- 15. INTRODUCTION
- 16. THEORIST 1 or THEORY / IDEA 1
- 17. THEORIST 2 or THEORY / IDEA 2
- 18. THEORIST 3 or THEORY / IDEA 3
- 19. THEORIST 4 or THEORY / IDEA 4
- 20. THEORIST 5 or THEORY / IDEA 5
- 21. THEORIST 6 or THEORY / IDEA 6
- 22. CONCLUSION