Steve neale presentation
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This document discusses genre theory and the work of British philosopher Steve Neale. It states that a film's genre is defined by how much it conforms to and subverts genre conventions and stereotypes. It also discusses how Hollywood uses genres to guarantee audience pleasure and offset financial risks, while genres are constantly changing through repetition and difference. Popular cinema relies on audiences finding pleasure in both the familiar and unfamiliar aspects of genres.
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Narrative theory analyzes how media texts communicate meaning through structured stories. It views narratives as having a beginning, middle, and end that establishes causal relationships between events. Theorists like Propp, Barthes, and Levi-Strauss broke down narratives into character types, codes, and symbolic oppositions to understand how they reflect cultural values. Genre theory categorizes media texts based on shared conventions and helps audiences understand and engage with different types of texts. While genres provide structure, they can also constrain creativity, so theorists debate whether pure genres still exist or if they are evolving through hybridization.
Genre theory and theorists
Genres provide conventions and expectations that are shared by texts belonging to that genre. They position audiences and creators in certain roles like interviewer/interviewee or reader/writer. Genres are instances of repetition and difference - mere repetition would not attract audiences. Pleasure is derived from both the repetition of familiar genre conventions and differences or unfamiliar elements. Genres guarantee meanings and pleasures for audiences while also offsetting the financial risks for large scale film production.
Narrative theory
Narrative theory analyzes how media texts communicate meaning through structured stories. It views narrative as a chain of causally linked events with a beginning, middle, and end. Theorists like Branigan, Propp, and Barthes developed approaches to analyzing characteristics like character types, codes, and underlying cultural themes in narratives. More recent theorists examine how genres, postmodern narratives, and hybrid forms challenge traditional understandings of narrative structure. Narrative theory provides concepts to inform how meaning is constructed in media texts and genres help categorize texts for audiences, creators, and scholars.
The History.pptx
This document discusses film genres, defining genre as sets of patterns that transcend individual films and guide their construction and audience reception. Genres change over time and hybrids emerge. Genres are commonly categorized by setting, theme, mood or format. Producers and distributors use genre to minimize economic risk and promote films, while audiences use genre for pleasure and escapism, having expectations of typical conventions. Pleasure comes from recognizing genre conventions as well as their repetition with differences and innovations. Genre positions audiences and provides reading positions for ideal readers.
Introduction to Film Genre
This document discusses film genres and how they are classified. It notes that films are classified by their makers, marketers, reviewers and rating boards, and that these classifications shape how audiences encounter and understand films. Genres group films to create expectations and familiarity for audiences. The document discusses how genres are fluid systems of learned conventions and expectations, not fixed sets of elements, and how filmmakers and audiences both actively engage in meaning making within genres.
Genre theory
This document discusses genre theory from multiple perspectives. It covers how genres position audiences, provide reading positions, and involve sharing experiences within interpretive communities. It also examines genres as instances of repetition and difference that generate expectations. Genres are discussed as negotiated and dynamic rather than fixed forms. Pleasures of genres include recognition and anticipation of conventions as well as emotional responses. Genres provide frameworks that structure production and audience reception. [END SUMMARY]
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This document discusses genre theory in media such as film. It defines genre as a category or type of media text that shares common conventions. Genre helps both audiences and producers classify texts and make decisions about what to watch or create. While genres offer audiences familiarity and anticipation, theorists note that genres are dynamic and evolve over time in response to changes in society and audience tastes. Some key points discussed are that genres are defined by recurring codes and conventions, but are also hybridizing and blurring as audiences expect more novelty. The document also examines different genre theorists' perspectives on genres and their flexible, negotiated nature.
G325 – question 1b
1. This document discusses key concepts used in A2 media studies coursework, including genre, narrative, representation, audience, and media language.
2. It provides definitions and explanations of these concepts, citing several theorists for each concept. For genre, it discusses the views of Rick Altman, Tom Ryall, John Fiske, and Steve Neale. For narrative, it outlines the work of Vladimir Propp and Levi Strauss.
3. The document also briefly touches on representation, audience theories, and defines what is meant by media language.
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Audience theory
Narrative theory analyzes how media texts communicate meaning through structured stories. It views narratives as having a beginning, middle, and end that establishes causal relationships between events. Theorists like Propp, Barthes, and Levi-Strauss broke down narratives into character types, codes, and symbolic oppositions to understand how they reflect cultural values. Genre theory categorizes media texts based on shared conventions and helps audiences understand and engage with different types of texts. While genres provide structure, they can also constrain creativity, so theorists debate whether pure genres still exist or if they are evolving through hybridization.
Genre theory and theorists
Genres provide conventions and expectations that are shared by texts belonging to that genre. They position audiences and creators in certain roles like interviewer/interviewee or reader/writer. Genres are instances of repetition and difference - mere repetition would not attract audiences. Pleasure is derived from both the repetition of familiar genre conventions and differences or unfamiliar elements. Genres guarantee meanings and pleasures for audiences while also offsetting the financial risks for large scale film production.
Narrative theory
Narrative theory analyzes how media texts communicate meaning through structured stories. It views narrative as a chain of causally linked events with a beginning, middle, and end. Theorists like Branigan, Propp, and Barthes developed approaches to analyzing characteristics like character types, codes, and underlying cultural themes in narratives. More recent theorists examine how genres, postmodern narratives, and hybrid forms challenge traditional understandings of narrative structure. Narrative theory provides concepts to inform how meaning is constructed in media texts and genres help categorize texts for audiences, creators, and scholars.
The History.pptx
This document discusses film genres, defining genre as sets of patterns that transcend individual films and guide their construction and audience reception. Genres change over time and hybrids emerge. Genres are commonly categorized by setting, theme, mood or format. Producers and distributors use genre to minimize economic risk and promote films, while audiences use genre for pleasure and escapism, having expectations of typical conventions. Pleasure comes from recognizing genre conventions as well as their repetition with differences and innovations. Genre positions audiences and provides reading positions for ideal readers.
Introduction to Film Genre
This document discusses film genres and how they are classified. It notes that films are classified by their makers, marketers, reviewers and rating boards, and that these classifications shape how audiences encounter and understand films. Genres group films to create expectations and familiarity for audiences. The document discusses how genres are fluid systems of learned conventions and expectations, not fixed sets of elements, and how filmmakers and audiences both actively engage in meaning making within genres.
Genre theory
This document discusses genre theory from multiple perspectives. It covers how genres position audiences, provide reading positions, and involve sharing experiences within interpretive communities. It also examines genres as instances of repetition and difference that generate expectations. Genres are discussed as negotiated and dynamic rather than fixed forms. Pleasures of genres include recognition and anticipation of conventions as well as emotional responses. Genres provide frameworks that structure production and audience reception. [END SUMMARY]
Genre theory A2
This document discusses genre theory in media such as film. It defines genre as a category or type of media text that shares common conventions. Genre helps both audiences and producers classify texts and make decisions about what to watch or create. While genres offer audiences familiarity and anticipation, theorists note that genres are dynamic and evolve over time in response to changes in society and audience tastes. Some key points discussed are that genres are defined by recurring codes and conventions, but are also hybridizing and blurring as audiences expect more novelty. The document also examines different genre theorists' perspectives on genres and their flexible, negotiated nature.
G325 – question 1b
1. This document discusses key concepts used in A2 media studies coursework, including genre, narrative, representation, audience, and media language.
2. It provides definitions and explanations of these concepts, citing several theorists for each concept. For genre, it discusses the views of Rick Altman, Tom Ryall, John Fiske, and Steve Neale. For narrative, it outlines the work of Vladimir Propp and Levi Strauss.
3. The document also briefly touches on representation, audience theories, and defines what is meant by media language.
Genre theory
This document discusses different perspectives on genre theory from scholars such as Daniel Chandler, Steve Neale, John Hartley, David Buckingham, and Rick Altman. Some key points made include: genres position audiences and readers in certain ways; genres are constituted by systems of audience expectations that interact with films; genres are dynamic and negotiated rather than fixed forms; genres provide frameworks that structure both production and audience reception; and genres are defined by both semantic elements like settings and codes as well as syntactic elements like narratives.
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Genre theory divides media texts into categories based on common elements to help study them and audience responses. Key theorists discuss genres as dynamic categories that change over time to reflect societal values. Genres are recognizable through repeated conventions in areas like iconography, narrative structure, character representations, and ideological themes. While genres provide a useful framework, they can also restrict creativity and limit experimentation as industries rely on formulas audiences expect.
Genre theory monday 2014
This document discusses genre theory and definitions of genre. It provides perspectives from several theorists on what constitutes a genre and how genres function. Daniel Chandler defines genres based on shared conventions of content, themes and settings. Steve Neale views genres as instances of repetition and difference that provide pleasure to audiences. Genres are seen as dynamic and constantly changing rather than fixed forms. The document also discusses genre hybridization and provides examples of how genres develop over time from experimental to classic to parody to deconstruction. It examines genres as providing structure, expectations and pleasure for both audiences and producers.
Genre theory
This document discusses genre theory in film and media. It provides definitions of genre from several scholars and theorists. Genre involves organizing films into categories based on shared conventions. This allows audiences to recognize genres and understand what to expect. However, genres are also dynamic and evolve over time through hybridization and changes in conventions. The document examines positives and negatives of genre theory, and discusses how genres provide structure for audiences and industries, but can also become stereotyped or restrict creativity.
Genre Theory
This document discusses genre theory as it relates to film studies. It provides definitions of genre from several scholars and discusses how genre is used to categorize and organize films into groups based on common attributes. However, the boundaries between genres are noted to be fuzzy rather than clearly defined. Most films contain elements of multiple genres. Genre theory examines how a text relates to other similar texts and the context in which it is consumed. While genres help audiences and producers, they also come with criticisms such as being restrictive to creators and risk-averse for institutions.
Audience
David Morley conducted a study in 1980 where he had different socioeconomic groups watch an episode of the BBC program Nationwide. He argued that individuals from different social positions would have different interpretations of the program based on their shared cultural experiences and discourses. Specifically, he outlined three potential readings: dominant, negotiated, and oppositional. Christian Metz also analyzed audiences and argued that film satisfies three Freudian desires - the desire for the ego, the desire to desire, and the desire for an object or fetishism. Understanding how social position influences interpretation is important for properly constructing and targeting audiences for films.
Genre theory
Genre theory provides a framework for categorizing texts like films and music into types based on common elements. While genres were traditionally seen as fixed forms, scholars now recognize genres as dynamic and always changing in response to society. Genres survive through a process of hybridization, borrowing conventions from one another. Genres are recognizable through repeated use of codes and conventions within their narratives, representations, ideologies, and iconography. However, genre theory is not without weaknesses, as rigid adherence to genres may reduce creativity.
Genre theory
Genre theory provides a framework for categorizing texts like films and music into types based on common elements. While genres were traditionally seen as fixed forms, scholars now recognize genres as dynamic and evolving over time in response to changes in society and audience tastes. Genre conventions help audiences understand and choose texts to consume, but can also constrain creativity by pressuring texts to conform to genre expectations. Key scholars discussed propose that genres are defined by repeated codes and conventions involving iconography, narrative structures, character representations, and ideological beliefs, though pure genres are a thing of the past as genres increasingly borrow from one another.
Genre presentation
Genre refers to distinctive types or categories of texts that share common characteristics. Genre can be used to classify different types of media like music videos. Characteristics that define genres include settings, storylines, narratives, characters, themes, conventions, and more. Genre provides audiences with expectations about the structure and content of a text based on familiar conventions, allowing for creativity within those conventions.
Genre theory
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition of conventions alongside innovation and deviation from expectations.
Genre theory
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition and deviation from expectations.
Audience 131208092614-phpapp01
Audience theory examines how audiences are constructed and how they interpret films. An audience's interpretation is influenced by factors like their social class, education, and cultural background. David Morley studied how different socioeconomic groups interpreted the BBC program "Nationwide" and found they had dominant, negotiated, or oppositional readings based on their social positions. Christian Metz argued that film satisfies three Freudian desires - for the ego, to desire, and for an object - which distinguishes it from other art forms. Understanding audience composition and interpretation is important for targeting a film to the appropriate demographic.
Genre
This document discusses the concept of genre in media. It begins by defining genre as a type of media work governed by implicit rules shared by its creators and audience. Genre comes from the French word for "type" or "kind." Works are classified by genre by their creators, marketers, reviewers, and consumers. Genre studies examines common structural elements and patterns in collections of stories. Conventions distinguish genres, like settings and characters in westerns. Genres develop over time through a lifecycle as audiences and creators establish expectations. They allow audiences to understand new works and creators to rely on familiar tropes.
Genre theory
The document discusses genre theory as it relates to films. It defines genre as categories that films fit into based on familiar conventions that repeat and vary. Genre theory is important for easily categorizing films and allowing audiences and studios to identify what types of films they want to view or produce. However, genre classification is problematic, as identified by theorist Rick Altman, because genres are not clearly defined or stable, individual films may fit multiple genres, and genres can vary over time and between countries.
Genre research
Genre refers to categories of communication like literature or film that share conventions. Film genres include drama, documentary, and others like war, horror, romance, and crime films which have subgenres. Genre is important for audiences and producers. It creates familiarity for audiences to know what to expect, and helps producers and studios create appealing films by including typical genre conventions [END SUMMARY]
Genre theory
1. Genre theory proposes that genres are conventions of content and form that are shared by texts belonging to that genre.
2. Genres are dynamic and open to negotiation rather than fixed forms. A text can belong to different genres over time and location.
3. Genres position both producers and audiences in certain ways. Producers work within genre conventions while audiences have expectations shaped by familiar genres.
Genre overview
This document provides an overview of genre theory and its academic approaches. It discusses how genre is a critical tool that helps scholars study films and audience responses. Genre theory allows for a scientific methodology in comparing similarities between films within and across genres. It examines how genres are dynamic and not fixed, and explores some of the common elements that can be used to construct generic descriptions, such as iconography, style, narrative, characters, themes, audience response, target audience, and industrial context.
Media Studies theorists key concepts - Revision pack
all the theorists you need to access many of the A-level content for upcoming Media exams. Use this to revise, plan and ace your essays. Media Studies revision.
This one genre theory powerpoint
Genre theory analyzes genres by identifying their characteristics and how they relate to audiences and producers. Genres develop conventions over time but also change with social values. Producers benefit from genres as they attract predictable audiences and allow cost savings, while audiences enjoy familiar narratives and escapism within an expected framework. Scholars like Dyer, Konigsberg, Allen, and Neale have analyzed how genres provide pleasure, reflect human experiences, require cultural knowledge, and remain dynamic over cultures and eras.
Genre overview
This document provides an overview of genre theory and its academic uses in media studies. Genre theory allows films to be grouped and compared based on similarities, which provides insights into meanings, cultural influences, and how audiences respond. Genres are not fixed categories and can blend elements. A film's genre is informed by stylistic elements, settings, narratives, characters, themes, and target audiences. Genre also influences industrial filmmaking practices aimed at maximizing profits.
Narrative
Narrative refers to how a story is constructed and relayed to an audience through a media text. There are various codes that make up a narrative including the hermeneutic code which avoids revealing all the facts to create mystery, the enigma code which builds tension and leaves the audience guessing, and the semantic and symbolic codes which suggest additional meanings and symbolism. Famous theorist Roland Barthes identified five main codes that shape narrative: the hermeneutic code, the enigma code, the semantic code, the symbolic code, and the cultural code, which references the audience's cultural knowledge.
Representation
Representation refers to how media texts portray gender, age, ethnicity, social issues, and events to audiences. Through construction, mediation, selection, and anchorage, media shapes understanding but also relies on stereotypes and ideology. Stereotypes generalize groups through basic characteristics while ideology reflects the beliefs of media producers that can influence representation.
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Genre theory
This document discusses different perspectives on genre theory from scholars such as Daniel Chandler, Steve Neale, John Hartley, David Buckingham, and Rick Altman. Some key points made include: genres position audiences and readers in certain ways; genres are constituted by systems of audience expectations that interact with films; genres are dynamic and negotiated rather than fixed forms; genres provide frameworks that structure both production and audience reception; and genres are defined by both semantic elements like settings and codes as well as syntactic elements like narratives.
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Genre theory divides media texts into categories based on common elements to help study them and audience responses. Key theorists discuss genres as dynamic categories that change over time to reflect societal values. Genres are recognizable through repeated conventions in areas like iconography, narrative structure, character representations, and ideological themes. While genres provide a useful framework, they can also restrict creativity and limit experimentation as industries rely on formulas audiences expect.
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This document discusses genre theory and definitions of genre. It provides perspectives from several theorists on what constitutes a genre and how genres function. Daniel Chandler defines genres based on shared conventions of content, themes and settings. Steve Neale views genres as instances of repetition and difference that provide pleasure to audiences. Genres are seen as dynamic and constantly changing rather than fixed forms. The document also discusses genre hybridization and provides examples of how genres develop over time from experimental to classic to parody to deconstruction. It examines genres as providing structure, expectations and pleasure for both audiences and producers.
Genre theory
This document discusses genre theory in film and media. It provides definitions of genre from several scholars and theorists. Genre involves organizing films into categories based on shared conventions. This allows audiences to recognize genres and understand what to expect. However, genres are also dynamic and evolve over time through hybridization and changes in conventions. The document examines positives and negatives of genre theory, and discusses how genres provide structure for audiences and industries, but can also become stereotyped or restrict creativity.
Genre Theory
This document discusses genre theory as it relates to film studies. It provides definitions of genre from several scholars and discusses how genre is used to categorize and organize films into groups based on common attributes. However, the boundaries between genres are noted to be fuzzy rather than clearly defined. Most films contain elements of multiple genres. Genre theory examines how a text relates to other similar texts and the context in which it is consumed. While genres help audiences and producers, they also come with criticisms such as being restrictive to creators and risk-averse for institutions.
Audience
David Morley conducted a study in 1980 where he had different socioeconomic groups watch an episode of the BBC program Nationwide. He argued that individuals from different social positions would have different interpretations of the program based on their shared cultural experiences and discourses. Specifically, he outlined three potential readings: dominant, negotiated, and oppositional. Christian Metz also analyzed audiences and argued that film satisfies three Freudian desires - the desire for the ego, the desire to desire, and the desire for an object or fetishism. Understanding how social position influences interpretation is important for properly constructing and targeting audiences for films.
Genre theory
Genre theory provides a framework for categorizing texts like films and music into types based on common elements. While genres were traditionally seen as fixed forms, scholars now recognize genres as dynamic and always changing in response to society. Genres survive through a process of hybridization, borrowing conventions from one another. Genres are recognizable through repeated use of codes and conventions within their narratives, representations, ideologies, and iconography. However, genre theory is not without weaknesses, as rigid adherence to genres may reduce creativity.
Genre theory
Genre theory provides a framework for categorizing texts like films and music into types based on common elements. While genres were traditionally seen as fixed forms, scholars now recognize genres as dynamic and evolving over time in response to changes in society and audience tastes. Genre conventions help audiences understand and choose texts to consume, but can also constrain creativity by pressuring texts to conform to genre expectations. Key scholars discussed propose that genres are defined by repeated codes and conventions involving iconography, narrative structures, character representations, and ideological beliefs, though pure genres are a thing of the past as genres increasingly borrow from one another.
Genre presentation
Genre refers to distinctive types or categories of texts that share common characteristics. Genre can be used to classify different types of media like music videos. Characteristics that define genres include settings, storylines, narratives, characters, themes, conventions, and more. Genre provides audiences with expectations about the structure and content of a text based on familiar conventions, allowing for creativity within those conventions.
Genre theory
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition of conventions alongside innovation and deviation from expectations.
Genre theory
Genre theory posits that genres are defined by certain conventions of content, themes, settings, and forms that are shared among texts belonging to that genre. However, genres are dynamic and open to negotiation rather than fixed forms. Individual texts can also belong to multiple genres depending on factors like location and time period. Genres provide frameworks that position readers and viewers in certain ways, but also offer pleasures through repetition and deviation from expectations.
Audience 131208092614-phpapp01
Audience theory examines how audiences are constructed and how they interpret films. An audience's interpretation is influenced by factors like their social class, education, and cultural background. David Morley studied how different socioeconomic groups interpreted the BBC program "Nationwide" and found they had dominant, negotiated, or oppositional readings based on their social positions. Christian Metz argued that film satisfies three Freudian desires - for the ego, to desire, and for an object - which distinguishes it from other art forms. Understanding audience composition and interpretation is important for targeting a film to the appropriate demographic.
Genre
This document discusses the concept of genre in media. It begins by defining genre as a type of media work governed by implicit rules shared by its creators and audience. Genre comes from the French word for "type" or "kind." Works are classified by genre by their creators, marketers, reviewers, and consumers. Genre studies examines common structural elements and patterns in collections of stories. Conventions distinguish genres, like settings and characters in westerns. Genres develop over time through a lifecycle as audiences and creators establish expectations. They allow audiences to understand new works and creators to rely on familiar tropes.
Genre theory
The document discusses genre theory as it relates to films. It defines genre as categories that films fit into based on familiar conventions that repeat and vary. Genre theory is important for easily categorizing films and allowing audiences and studios to identify what types of films they want to view or produce. However, genre classification is problematic, as identified by theorist Rick Altman, because genres are not clearly defined or stable, individual films may fit multiple genres, and genres can vary over time and between countries.
Genre research
Genre refers to categories of communication like literature or film that share conventions. Film genres include drama, documentary, and others like war, horror, romance, and crime films which have subgenres. Genre is important for audiences and producers. It creates familiarity for audiences to know what to expect, and helps producers and studios create appealing films by including typical genre conventions [END SUMMARY]
Genre theory
1. Genre theory proposes that genres are conventions of content and form that are shared by texts belonging to that genre.
2. Genres are dynamic and open to negotiation rather than fixed forms. A text can belong to different genres over time and location.
3. Genres position both producers and audiences in certain ways. Producers work within genre conventions while audiences have expectations shaped by familiar genres.
Genre overview
This document provides an overview of genre theory and its academic approaches. It discusses how genre is a critical tool that helps scholars study films and audience responses. Genre theory allows for a scientific methodology in comparing similarities between films within and across genres. It examines how genres are dynamic and not fixed, and explores some of the common elements that can be used to construct generic descriptions, such as iconography, style, narrative, characters, themes, audience response, target audience, and industrial context.
Media Studies theorists key concepts - Revision pack
all the theorists you need to access many of the A-level content for upcoming Media exams. Use this to revise, plan and ace your essays. Media Studies revision.
This one genre theory powerpoint
Genre theory analyzes genres by identifying their characteristics and how they relate to audiences and producers. Genres develop conventions over time but also change with social values. Producers benefit from genres as they attract predictable audiences and allow cost savings, while audiences enjoy familiar narratives and escapism within an expected framework. Scholars like Dyer, Konigsberg, Allen, and Neale have analyzed how genres provide pleasure, reflect human experiences, require cultural knowledge, and remain dynamic over cultures and eras.
Genre overview
This document provides an overview of genre theory and its academic uses in media studies. Genre theory allows films to be grouped and compared based on similarities, which provides insights into meanings, cultural influences, and how audiences respond. Genres are not fixed categories and can blend elements. A film's genre is informed by stylistic elements, settings, narratives, characters, themes, and target audiences. Genre also influences industrial filmmaking practices aimed at maximizing profits.
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Media Studies theorists key concepts - Revision pack
Media Studies theorists key concepts - Revision pack
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Narrative
Narrative refers to how a story is constructed and relayed to an audience through a media text. There are various codes that make up a narrative including the hermeneutic code which avoids revealing all the facts to create mystery, the enigma code which builds tension and leaves the audience guessing, and the semantic and symbolic codes which suggest additional meanings and symbolism. Famous theorist Roland Barthes identified five main codes that shape narrative: the hermeneutic code, the enigma code, the semantic code, the symbolic code, and the cultural code, which references the audience's cultural knowledge.
Representation
Representation refers to how media texts portray gender, age, ethnicity, social issues, and events to audiences. Through construction, mediation, selection, and anchorage, media shapes understanding but also relies on stereotypes and ideology. Stereotypes generalize groups through basic characteristics while ideology reflects the beliefs of media producers that can influence representation.
Genre
The document discusses genre in media. Genre refers to the style or category of art, music, or literature. Consumers use genre to choose what media to consume, while producers create media for specific audiences by understanding and including genre codes and conventions. For example, a TV crime drama genre will feature police characters, crime scenes, suspects, victims and violence, along with tense, dramatic music. Genres also contain subgenres that further define the media text. Steve Neale's theory is that genres contain repetition of conventions but also differences, as some convention subversion is needed for a work to be unique within its genre.
Mise en scene
Mise en scene refers to everything within the frame of a shot that helps tell the story, including props, costumes, lighting, and settings. The document discusses how the teddy bear prop will be central to bringing two families together in a short film. Other meaningful props include job papers that indicate a character's stress and a football used in a park scene where the teddy is left behind. Settings for scenes include the bedrooms, dining rooms, and kitchens of the two families, as well as a park and walking locations where they interact. Mise en scene aims to make shots as true to life as possible and set the mood and atmosphere of each scene.
Examples of short films
This document provides summaries of several short films:
- For the Birds is a Pixar animated comedy about birds on a telephone wire with strange background music.
- In a heartbeat is an animated family short film that uses comedy and metaphor to normalize homosexuality for children.
- Gasman is a 1998 Christmas film that tells the story of siblings going to a holiday party with their affectionate dad and an unkempt woman and her children.
- The red balloon is a 1956 short film about a boy and his balloon going on an adventure, facing threats from other children.
Life on a film set
The document provides an overview of life on a film set and the various jobs and responsibilities of crew members. It begins with a typical day starting early as crew prepare in their various roles. Morale is important as crews spend long days together over months of filming. The roles of key crew positions like grips, electricians, camera, art, costumes, and more are outlined with their responsibilities for preparing equipment, setting up shots, and supporting production. Regulations for filming with children including required documentation and supervision are also covered.
Hall’s reception theory
The document discusses Hall's Reception Theory, which proposes that media texts are encoded with messages by producers but decoded differently by audiences based on their social and cultural backgrounds. There are three types of audience readings: preferred/dominant readings agree with the producer's intended meaning; negotiated readings agree in part but also bring their own interpretation; and oppositional readings reject the producer's meaning and create their own. The short film aims to encode a message of compassion across class differences through a boy's perspective, hoping for a preferred reading among a similar-aged audience who can relate.
Mirroring characters
The document discusses using binary oppositions and the theory of structuralism to contrast two family characters in a story. It will show morning and evening routines to reveal differences in class and family lives. When the families meet on a walk, the boy Jack notices the girl Paige never brings toys like he does, not understanding she may not have any. This mirrors Claude Levi-Strauss' theory that humans understand concepts through their opposites. The document suggests this approach challenges stereotypes by showing strengths in both the mother and father characters.
Feedback from presentation
The document discusses ideas for a short film, including having a simple storyline in the style of Wes Anderson films, showing two families coming together to create balance at the end. It considers using job leaflets and filming from a teddy's perspective to more efficiently show a day in its life. While building layers could add meaning, it may overcomplicate the simple idea. Working with children means some situations may be out of the filmmakers' control due to weather or tiredness.
Short film practice explained
The document outlines the planning and production process for a short film project. It discusses securing assets like a filming location, equipment, actors, and establishing a schedule. Initial ideas were explored such as montages, family stories, and scenes without dialogue. Planning involved organizing dates, scouting locations, and setting up equipment. Filming utilized natural lighting, a camera, mic, tripod and slider. Editing combined the random clips into a cohesive piece by adding background music.
basic outline of group presentation
This document outlines the details of a short film project about the day in the life of a teddy bear. It will follow the teddy as it gets passed between the families of Ella and Eloise. Though from different social classes, their stories intersect when the teddy gets lost in the woods. Both families' morning and evening routines are shown. The film aims to show how people from different backgrounds can come together through the bond formed between the children over the teddy bear. Locations, characters, plot, themes, and intended audience are defined to plan the project.
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আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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land.
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Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
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crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
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"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
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- 1. Genre theory
- 2. Born 9th January 1958 British philosopher and specialist in the philosophy of language Has written extensively about meaning, information, interpretation, and communication Professor of Philosophy and Linguistics at the city university of New York Has previously held positions at Princeton University, University of California, Berkeley, and Rutgers University.
- 3. He said that film and it’s genre is defined by two things: How much is conforms to its genre’s individual conventions and stereotypes- a film must match the genre’s conventions to be identified as part of that genre. How much a film subverts the genre’s conventions and stereotypes - the film must subvert convention enough to be considered unique and not just a clone of an existing film. He said that Hollywood performs two functions: To guarantee pleasure and meaning for the audience. To offset financial risks of film production by providing collateral against innovation and difference.
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