Summary of po mo texts 1
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This document provides a summary of post-modern features found in media texts. It discusses concepts such as narrative, genre, representation, and ideology. It also covers several postmodern theorists including Strinati, Baudrillard, Jameson, Lyotard, Barthes, and Hall and how they examine ideas like mediatization, simulacra, and the decline of grand narratives. Common postmodern characteristics discussed include parody, pastiche, and self-reflectiveness.
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This document discusses key concepts related to media language, including conventions, genre hybridity, intertextuality, semiotics, and genre theory. Conventions are typical elements expected in a media text that help identify genre. Genre hybridity occurs when a text uses conventions from multiple genres. Intertextuality refers to when one text references another. Semiotics is the study of signs, including denotation (literal meaning) and connotation (symbolic meaning). Theorists like Barthes, Baudrillard, and Neale contributed to understanding how meaning is constructed through signs and genre in media texts.
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Genre refers to categories of media texts defined by their content, style, and audience expectations. Common genres include horror, comedy, crime, romance, and sci-fi. Genre theorists such as Daniel Chandler, Steve Neale, John Fiske, and Rick Altman have proposed that genres are based on shared conventions that provide pleasure and structure for audiences through a balance of repetition and novelty.
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This document provides an introduction to genre theory and discusses some of the key challenges in defining genres. It notes that while genres are commonly used to categorize different types of texts, there is no consensus on how to define genres or determine their boundaries. Generically classifying texts involves theoretical difficulties as genres often overlap and individual texts can belong to multiple genres. The document examines debates around whether genres exist objectively or are social constructions, and if they are defined by shared content, form, or both. It also explores how genres are not fixed but change over time as new hybrid genres emerge.
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The document discusses different types of representation in media. It identifies four variations: 1) a selective re-presentation of reality that creates an illusion of reality, 2) a typical or stereotypical representation of groups, 3) representing a particular position, and 4) the meanings that messages represent for audiences. It also discusses theories related to representation, such as the hypodermic needle theory. Examples of questions to ask when analyzing representations are provided, such as who or what is represented, how it is represented, why this particular representation was selected, and what frame of reference the audience uses.
Ideas for film
Genre refers to categories of artistic works that are defined by similar styles or conventions. Genres are formed over time as new ones emerge and old ones fade away, and works can fit multiple genres by combining conventions. In film theory, genre describes how films are constructed based on similarities in narrative elements, which are often borrowed from theories of literary genre criticism. Films can be categorized by their setting, theme, mood, format, or target audience, and genres can further branch out into subgenres or combine to form hybrid genres.
How words and images signify
This document discusses communication and how meaning is conveyed through signs like words, images, gestures, and other symbols. It covers classic communication models and how mass communication changes those models by introducing technologies and separating senders and receivers in time and space. It also discusses semiotics, the study of signs and meaning, focusing on the theories of Peirce, Saussure, and Barthes. Peirce saw meaning as encoded in signs consisting of a signifier, object, and interpretant. Saussure's model had a signifier and signified. Barthes analyzed how images convey denotative and connotative meanings depending on cultural context. The document asks questions about how meaning is encoded, transmitted, interpreted, and
Genre theory details
Genre theory has become too focused on signs and meaning rather than how genres historically emerged from the film industry. Ignoring this context provides no understanding of how and why genres develop, change in popularity, and decline over time. Additionally, what one theorist sees as a genre may be viewed as a sub-genre by another, showing genres are abstract concepts without set definitions. Industries use familiar genre conventions and codes to sell media products by appealing to audience's existing knowledge and desires.
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1.media language
This document discusses key concepts related to media language, including conventions, genre hybridity, intertextuality, semiotics, and genre theory. Conventions are typical elements expected in a media text that help identify genre. Genre hybridity occurs when a text uses conventions from multiple genres. Intertextuality refers to when one text references another. Semiotics is the study of signs, including denotation (literal meaning) and connotation (symbolic meaning). Theorists like Barthes, Baudrillard, and Neale contributed to understanding how meaning is constructed through signs and genre in media texts.
Genre investigation
Genre refers to categories of media texts defined by their content, style, and audience expectations. Common genres include horror, comedy, crime, romance, and sci-fi. Genre theorists such as Daniel Chandler, Steve Neale, John Fiske, and Rick Altman have proposed that genres are based on shared conventions that provide pleasure and structure for audiences through a balance of repetition and novelty.
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This document provides an introduction to genre theory and discusses some of the key challenges in defining genres. It notes that while genres are commonly used to categorize different types of texts, there is no consensus on how to define genres or determine their boundaries. Generically classifying texts involves theoretical difficulties as genres often overlap and individual texts can belong to multiple genres. The document examines debates around whether genres exist objectively or are social constructions, and if they are defined by shared content, form, or both. It also explores how genres are not fixed but change over time as new hybrid genres emerge.
Representations
The document discusses different types of representation in media. It identifies four variations: 1) a selective re-presentation of reality that creates an illusion of reality, 2) a typical or stereotypical representation of groups, 3) representing a particular position, and 4) the meanings that messages represent for audiences. It also discusses theories related to representation, such as the hypodermic needle theory. Examples of questions to ask when analyzing representations are provided, such as who or what is represented, how it is represented, why this particular representation was selected, and what frame of reference the audience uses.
Ideas for film
Genre refers to categories of artistic works that are defined by similar styles or conventions. Genres are formed over time as new ones emerge and old ones fade away, and works can fit multiple genres by combining conventions. In film theory, genre describes how films are constructed based on similarities in narrative elements, which are often borrowed from theories of literary genre criticism. Films can be categorized by their setting, theme, mood, format, or target audience, and genres can further branch out into subgenres or combine to form hybrid genres.
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This document discusses communication and how meaning is conveyed through signs like words, images, gestures, and other symbols. It covers classic communication models and how mass communication changes those models by introducing technologies and separating senders and receivers in time and space. It also discusses semiotics, the study of signs and meaning, focusing on the theories of Peirce, Saussure, and Barthes. Peirce saw meaning as encoded in signs consisting of a signifier, object, and interpretant. Saussure's model had a signifier and signified. Barthes analyzed how images convey denotative and connotative meanings depending on cultural context. The document asks questions about how meaning is encoded, transmitted, interpreted, and
Genre theory details
Genre theory has become too focused on signs and meaning rather than how genres historically emerged from the film industry. Ignoring this context provides no understanding of how and why genres develop, change in popularity, and decline over time. Additionally, what one theorist sees as a genre may be viewed as a sub-genre by another, showing genres are abstract concepts without set definitions. Industries use familiar genre conventions and codes to sell media products by appealing to audience's existing knowledge and desires.
Understanding genre
Genre theory seeks to recognize film as both an artistic and commercial medium. It developed as an alternative to auteur theory, which viewed directors as the sole authors of films. Genres are both defined by critics and exist independently, as studios try to replicate successful film types. However, defining genres is complicated, as films can fit multiple categories and subgenres exist. The meaning and conventions of genres also depend on historical and cultural context. Overall, genre theory examines patterns of similarity and difference between films.
3
Thomas Schatz proposed that genres tend to develop through predictable stages over their lifespan:
1) An innovative stage where genres experiment with conventions.
2) A classical stage where conventions are well-established.
3) A parody stage where conventions are self-consciously drawn attention to.
4) A deconstruction stage where conventions are challenged and subverted.
However, Schatz's model has limitations as it views genre development as closed and internal, ignoring factors like subgenres, timeframes, and external influences on why genres change.
SECTION A Genre
This document discusses genre theory and defines genre as the categorization of media texts. It notes that genres have identifiable codes and conventions that create audience expectations. While genres were once more rigid, theorists now argue they are progressive and dynamic through hybridization. The document analyzes the horror/comedy hybrid genre of Shaun of the Dead and discusses genre identification based on narrative, characters, setting, and other elements. It describes how genres convey certain themes and ideologies through their character archetypes and storylines.
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Tom ryall’s genre theory
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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.
Genre Theory
1. Genre theory proposes that genres are defined by shared conventions of content, themes, settings, and form/style between texts.
2. Theories differ on whether genres are fixed categories or dynamic and negotiated.
3. Genres provide expectations for audiences and positions readers in an "ideal" role, while also offering pleasures through recognition, emotion, and differences from conventions.
Genre final
Genre theory proposes that genres are defined by shared conventions of content, themes, and stylistic elements. Generic conventions refer to common narrative structures, character types, visual elements, and themes seen across films within a genre, such as action sequences and fights in action films. Identifying conventions involves analyzing typical narratives, micro-level details, and themes. While genres provide familiar frameworks that audiences enjoy, over-reliance on conventions can make films repetitive; some challenge expectations to keep genres fresh. Categorizing films by genre aids marketing but risks pigeonholing creativity.
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This document discusses genre in media studies. It defines genre and explains why it is an important concept. It also outlines several theoretical approaches to defining and categorizing genre, including considering elements like setting, character, theme, and iconography. Specific genres like action films are described. The document also discusses scholars like Edward Buscombe, Rick Altman, and Steve Neale who analyzed genre at deeper semantic and syntactic levels and considered concepts like cultural verisimilitude. An example of applying these theoretical lenses to the film "The Holiday" is provided. In summary, genre is a useful concept but imperfect, and analyzing genre requires considering both surface elements and deeper meanings.
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This document discusses genre theory and how genres are defined. It notes that genres can overlap and there are mixed genres. While genres rely on repetition, difference is also essential to attract audiences. The document presents Nick Lacey's framework for analyzing genres which breaks down a text into setting, character, narrative, iconography, and style. It also discusses how audiences derive pleasure from recognizing genres and anticipating their conventions.
Genre lesson slides_ 2 2012[1]
Here are some potential issues that could be discussed:
- Genres are not fixed or clearly defined which makes categorization difficult
- Works can blend or mix genres making them hard to classify
- As film styles evolve over time, genres change and blur together
- Audience interpretation of genres may differ from academics or producers
- Focusing only on surface elements ignores deeper thematic or cultural aspects
- Genres risk oversimplifying complex works or promoting formulaic storytelling
The genre approach is useful as a starting point for analysis but has limitations. An open discussion could debate both its benefits and shortcomings for understanding media texts.
Key concepts of media
The key concepts discussed in the document are representation, media language, institution, genre, ideology, and narrative. Genre refers to the kind or style of a media text. Ideology represents the underlying ideas and agenda behind a media text. Key terms defined include denotation, connotation, iconography, omnipotent, hegemony, and verisimilitude. Genres provide advantages for both audiences and producers by establishing familiar patterns and minimizing risks.
Genre Theory
Genre theory divides media texts into categories based on common elements to help study the texts and audience responses. Genres are dynamic cultural categories that transcend media and are used by industries to sell products to audiences using familiar conventions. While genres provide audiences with pleasures like emotion, visceral sensation, and puzzle-solving, they also evolve over time through stages like experimentation, classicization, parody, and deconstruction.
Genre theory (2012 lesson 1)
Genres are used to categorize different types of texts to help organize the large amount of information available. They allow audiences and institutions to easily identify and understand texts based on their common elements. According to theorists, genres appeal to our need to impose order and simplify information. While genres provide familiarity, they are not rigid, as texts can also blend elements of multiple genres or have sub-genres within a main genre. This hybridity and existence of sub-genres means genres are further divided into more specific categories.
Applying genre to your text
This document provides an introduction to genre theory and how it can be applied to analyze media texts. It discusses how genre categorizes texts based on common elements and conventions. Key aspects covered include definitions of genre, common genre conventions and codes, how genres engage and please audiences, and different genre theories and models. The document also discusses how genre is useful for producers, audiences and scholars but is also constantly evolving through a process of negotiation.
Genre test
The document defines key terms related to genre, including that genre refers to a type of media text recognized through repeated codes and conventions. It discusses how hybrid genres use elements of multiple genres. Audiences understand genres based on familiar codes and conventions. These codes provide pleasures for audiences and allow genres to conform to their expectations. It attributes quotes about genre to their original authors and asks the student to analyze one of their own productions in relation to genre codes and conventions.
Summary of po mo texts 2
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This document summarizes the theories of three postmodern theorists: Roland Barthes, Stuart Hall, and Fredric Jameson. It discusses Barthes' theory of semiotics and how meaning is interpreted based on the audience's experiences. It outlines Hall's focus on active audiences and their ability to have negotiated or oppositional readings that accept or reject the producer's intended meaning. Finally, it summarizes Jameson's views that postmodernism has lost connections to the past and emphasizes style over substance, instantaneity, and a lack of depth in meaning.
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1. Research and planning are important skills for media production. They involve both primary research like questionnaires and secondary research from sources like books and articles.
2. It is important to consider factors like cost, accessibility, time, reliability, accuracy, bias, validity, and usefulness when evaluating different research sources and methods.
3. Organization of research, time, personnel, equipment, and planning materials is also critical. Skills in these areas improve from AS to A2 levels.
4. Research and planning inform practical productions by contributing to understanding of genre, audience, and other relevant topics. Feedback also allows improving productions. Overall, these skills grow increasingly important for creative media work over time.
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3
Thomas Schatz proposed that genres tend to develop through predictable stages over their lifespan:
1) An innovative stage where genres experiment with conventions.
2) A classical stage where conventions are well-established.
3) A parody stage where conventions are self-consciously drawn attention to.
4) A deconstruction stage where conventions are challenged and subverted.
However, Schatz's model has limitations as it views genre development as closed and internal, ignoring factors like subgenres, timeframes, and external influences on why genres change.
SECTION A Genre
This document discusses genre theory and defines genre as the categorization of media texts. It notes that genres have identifiable codes and conventions that create audience expectations. While genres were once more rigid, theorists now argue they are progressive and dynamic through hybridization. The document analyzes the horror/comedy hybrid genre of Shaun of the Dead and discusses genre identification based on narrative, characters, setting, and other elements. It describes how genres convey certain themes and ideologies through their character archetypes and storylines.
Genre & Narrative Theory
The document discusses different theories of genres and narratives in filmmaking. It examines the views of several theorists such as Steve Neale, Robert Stan, Rick Altman, Jean-Luc Godard, Claude Levi-Strauss, Tzvetan Todorov, Vladimir Propp, and Roland Barthes. The document also applies some of these theories to the horror genre film "Crow's Field" being produced by Lunar Productions, noting how elements of mystery, tension, symbols, and cultural meaning are used in its plot.
Tom ryall’s genre theory
Tom Ryall's genre theory proposes that genres provide a framework of rules that guide filmmakers' production and audiences' interpretation. These conventions fall within four categories: iconography, narrative structure, character representations, and underlying ideological themes. Ryall also developed a triangular model examining the relationships between industry, text, and subject. He argues genres should be analyzed considering how they affect audiences through emotions like fear or laughter. Ryall additionally provides a list of categories he considers true film genres such as westerns, horror films, and comedies.
G325 Exam 1b - Media Language
This document discusses media language and semiotics theories that can be applied to media productions. It defines key terms like media language, semiotics, denotation and connotation. It discusses theorists like Saussure who see signs as composed of a signifier and signified, and Barthes who saw how signs in media construct cultural myths and realities. It provides examples of how these concepts could be applied to analyze students' thriller openings by examining the signs, codes, realities constructed, and whose interests are privileged or suppressed through the media language.
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.
Genre Theory
1. Genre theory proposes that genres are defined by shared conventions of content, themes, settings, and form/style between texts.
2. Theories differ on whether genres are fixed categories or dynamic and negotiated.
3. Genres provide expectations for audiences and positions readers in an "ideal" role, while also offering pleasures through recognition, emotion, and differences from conventions.
Genre final
Genre theory proposes that genres are defined by shared conventions of content, themes, and stylistic elements. Generic conventions refer to common narrative structures, character types, visual elements, and themes seen across films within a genre, such as action sequences and fights in action films. Identifying conventions involves analyzing typical narratives, micro-level details, and themes. While genres provide familiar frameworks that audiences enjoy, over-reliance on conventions can make films repetitive; some challenge expectations to keep genres fresh. Categorizing films by genre aids marketing but risks pigeonholing creativity.
Week 2 genre
This document discusses genre in media studies. It defines genre and explains why it is an important concept. It also outlines several theoretical approaches to defining and categorizing genre, including considering elements like setting, character, theme, and iconography. Specific genres like action films are described. The document also discusses scholars like Edward Buscombe, Rick Altman, and Steve Neale who analyzed genre at deeper semantic and syntactic levels and considered concepts like cultural verisimilitude. An example of applying these theoretical lenses to the film "The Holiday" is provided. In summary, genre is a useful concept but imperfect, and analyzing genre requires considering both surface elements and deeper meanings.
A2 Media Skyfall Lesson 1 Genre
This document discusses genre theory and how genres are defined. It notes that genres can overlap and there are mixed genres. While genres rely on repetition, difference is also essential to attract audiences. The document presents Nick Lacey's framework for analyzing genres which breaks down a text into setting, character, narrative, iconography, and style. It also discusses how audiences derive pleasure from recognizing genres and anticipating their conventions.
Genre lesson slides_ 2 2012[1]
Here are some potential issues that could be discussed:
- Genres are not fixed or clearly defined which makes categorization difficult
- Works can blend or mix genres making them hard to classify
- As film styles evolve over time, genres change and blur together
- Audience interpretation of genres may differ from academics or producers
- Focusing only on surface elements ignores deeper thematic or cultural aspects
- Genres risk oversimplifying complex works or promoting formulaic storytelling
The genre approach is useful as a starting point for analysis but has limitations. An open discussion could debate both its benefits and shortcomings for understanding media texts.
Key concepts of media
The key concepts discussed in the document are representation, media language, institution, genre, ideology, and narrative. Genre refers to the kind or style of a media text. Ideology represents the underlying ideas and agenda behind a media text. Key terms defined include denotation, connotation, iconography, omnipotent, hegemony, and verisimilitude. Genres provide advantages for both audiences and producers by establishing familiar patterns and minimizing risks.
Genre Theory
Genre theory divides media texts into categories based on common elements to help study the texts and audience responses. Genres are dynamic cultural categories that transcend media and are used by industries to sell products to audiences using familiar conventions. While genres provide audiences with pleasures like emotion, visceral sensation, and puzzle-solving, they also evolve over time through stages like experimentation, classicization, parody, and deconstruction.
Genre theory (2012 lesson 1)
Genres are used to categorize different types of texts to help organize the large amount of information available. They allow audiences and institutions to easily identify and understand texts based on their common elements. According to theorists, genres appeal to our need to impose order and simplify information. While genres provide familiarity, they are not rigid, as texts can also blend elements of multiple genres or have sub-genres within a main genre. This hybridity and existence of sub-genres means genres are further divided into more specific categories.
Applying genre to your text
This document provides an introduction to genre theory and how it can be applied to analyze media texts. It discusses how genre categorizes texts based on common elements and conventions. Key aspects covered include definitions of genre, common genre conventions and codes, how genres engage and please audiences, and different genre theories and models. The document also discusses how genre is useful for producers, audiences and scholars but is also constantly evolving through a process of negotiation.
Genre test
The document defines key terms related to genre, including that genre refers to a type of media text recognized through repeated codes and conventions. It discusses how hybrid genres use elements of multiple genres. Audiences understand genres based on familiar codes and conventions. These codes provide pleasures for audiences and allow genres to conform to their expectations. It attributes quotes about genre to their original authors and asks the student to analyze one of their own productions in relation to genre codes and conventions.
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The Last theorists!
This document summarizes the theories of three postmodern theorists: Roland Barthes, Stuart Hall, and Fredric Jameson. It discusses Barthes' theory of semiotics and how meaning is interpreted based on the audience's experiences. It outlines Hall's focus on active audiences and their ability to have negotiated or oppositional readings that accept or reject the producer's intended meaning. Finally, it summarizes Jameson's views that postmodernism has lost connections to the past and emphasizes style over substance, instantaneity, and a lack of depth in meaning.
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This document provides information about the 2008 monster film Cloverfield, directed by Matt Reeves. It discusses various postmodern aspects of the film, including how it references other disaster films through its blending of genres, point-of-view camera shots that involve the audience, and unconventional teaser trailer that generated curiosity without revealing the film's title or genre. The document also examines how some female characters in Cloverfield subvert or play into stereotypes.
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This document contrasts modernism and postmodernism. Modernism valued structure, order, efficiency, science, and technology. Key figures like Henry Ford used factory systems and standardization to maximize productivity. However, extreme applications of modernist ideas, like in Nazi Germany and public housing projects, led to negative outcomes that postmodernism reacted against. Postmodernism emerged after World War 2 and the Cold War, as people rejected taking modernist values like order and rationality to their logical extremes.
Goodwin's theory intro and tasks
Andrew Goodwin published a book in 1992 called "Dancing in the Distraction Factory" that came up with codes and conventions for music videos. He identified 7 key features of music videos: 1) They demonstrate genre characteristics through elements like dance routines, signing, or scantily clad women. 2) The visuals have a relationship to the lyrics, often illustrating them. 3) The visuals have a relationship to the music, often amplifying or contradicting it. 4) Record labels demand close-ups of artists. 5) Artists develop recurring visual motifs. 6) Videos frequently reference the notion of voyeuristic looking. 7) They include intertextual references to pop culture.
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1. Research and planning are important skills for media production. They involve both primary research like questionnaires and secondary research from sources like books and articles.
2. It is important to consider factors like cost, accessibility, time, reliability, accuracy, bias, validity, and usefulness when evaluating different research sources and methods.
3. Organization of research, time, personnel, equipment, and planning materials is also critical. Skills in these areas improve from AS to A2 levels.
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Signs of postmodernism
Postmodernism has not led to a unified theoretical framework for analyzing film like other
approaches such as psychoanalysis, Marxism, and structuralism. Theorists of postmodernism have
contributed by challenging the assumptions of earlier film theories. Jean-François Lyotard views
postmodernism as questioning the dominant ideologies of Western thought but sees it as in
continual dialogue with modernism rather than replacing it. Jean Baudrillard sees postmodernism as
characterized by the proliferation of media images that have replaced real experiences and that
people mistake for reality. Fredric Jameson argues that postmodernism is marked by fragmentation
of subjects, a lack of depth replaced by surface imagery, and
Scream
This document analyzes the postmodern elements in the film Scream. It notes that the film incorporates pastiche by imitating and referencing other horror films. It also blurs genre lines by including elements of comedy. Additionally, the film subverts expectations by revealing the killers to be characters the audience had perceived as good. Overall, the analysis suggests Scream references and mocks horror film tropes while also creating an unsettling narrative that reflects postmodern themes of uncertain reality.
Inception 2014
The document discusses the themes of reality and truth in the film Inception. It analyzes how the different levels of dreams in the film represent Baudrillard's four stages of the sign: 1) the first level faithfully represents reality, 2) the second level perverts and masks reality, 3) the third level masks the absence of reality through fiction, and 4) the fourth level in Limbo represents pure simulation with no connection to reality. The document explores how the film uses these dream levels to question what is real and how people's perceptions shape their realities.
Intro to Postmodernism
Postmodernism rejects rational thinking and order in favor of chaos. It is a reaction against modernism and encompasses attitudes across many fields in the late 20th/early 21st century. Key aspects include the breakdown between culture and society due to media influence, an emphasis on style over substance, a breakdown of distinctions between high and popular culture, confusion over time and space due to mass media, and a decline of grand narratives used to explain reality. Examples across art, architecture, literature, media and more are provided.
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Sherlock 1
The Sherlock series draws attention to its constructed nature as a postmodern text through various techniques:
1) It is self-aware of being a narrative and acknowledges the intertextual references and knowledge of both the historical Sherlock Holmes stories as well as the TV series itself that the audience possesses.
2) Characters like Mrs. Hudson point out their own functions within the narrative and the constructed nature of their roles.
3) Scenes and dialogue directly reference and parody elements from the original Sherlock Holmes stories and previous episodes, blurring the lines between reality and fiction.
Post Modern Essays Top Level Responses
Postmodern media differs from other media in several key ways:
1) It opposes modernist ideas like objective truth and focuses instead on subjectivity and relativism.
2) It frequently references and comments on other media texts through techniques like parody and pastiche.
3) It lacks linear narratives and instead embraces fragmentation and irony.
The big short as a pomo text
The Big Short is a 2015 film about the 2007-2008 financial crisis directed by Adam McKay. It uses unconventional techniques like celebrity cameos and breaking the fourth wall to explain complex financial instruments. The film follows three separate but interconnected stories of men who predicted the housing market collapse. It combines elements of drama, comedy, documentary, and music videos. The film challenges conventions by blurring the lines between hero and villain. It also represents bankers and banks critically but conventionally through their appearance and actions. It explores an unconventional postmodern representation of the audience by highlighting their initial lack of understanding of the financial concepts covered in the film.
Genre examples
This document provides exam resources and guidance for a media production question. It instructs students to write about one of their coursework productions in question 1(b), applying the concept of genre. It provides two examples of student answers that received 18/25 and 16/25 marks respectively to serve as models.
Representation examples
This document provides exam resources and examples for writing about one of your media coursework productions in response to Question 1(b). It lists representation as the topic for January 2010 and 2012, instructing students to analyze media representation in one of their coursework productions. For June 2013, it asks students to apply the concept of representation to one of their coursework productions.
Audience essay examples
This document provides an example response to a past exam question asking students to analyze one of their coursework productions in relation to the concept of audience. The response discusses the student's horror film coursework called "The Sleepover" and analyzes how they took audience into account when creating the film. The response demonstrates understanding of several audience theories (hypodermic needle, uses and gratifications, reception theory) and relates them to choices made in the filmmaking process, such as targeting a specific age range and incorporating feedback. Overall, the summary highlights the student's ability to apply media theories to their own creative work through relevant examples and explanations.
Question 1 b revision
This document provides guidance on concepts that could be discussed for a media production assignment, including audience, narrative, representation, genre, and media language. It gives examples of questions students may be asked to answer about how their media product engages with these concepts. For the concept of audience, it provides questions about defining the target audience, appealing to them, and gathering audience feedback.
Essay plan for 1 b
This document outlines an essay plan discussing an important concept, its impact, and relevant theorists. It includes discussing three examples of how the concept was used and its effects, as well as one example of how the concept was challenged.
Research and planning exemplars
This document contains examiner comments on student responses to a question about how their media production work was informed by research into real media texts and how their ability to use such research developed over time.
The examiner notes that higher scoring responses were able to provide specific examples of how research influenced creative decisions, critically reflect on the research process, and discuss progression from earlier work. Weaker responses lacked applied examples or evaluation. The examiner advises focusing responses and being clear about research outcomes rather than just listing sources. Higher scores required synthesis of examples, critical reflection, and awareness of development. Research can inform work in various ways beyond just genres, such as technical or institutional aspects.
Inception 2018
The document provides information about the 2010 film Inception, directed by Christopher Nolan. It discusses the film's plot about sharing ideas through invading and stealing another's dreams. The document also reviews the film's box office revenue, awards, and themes it explores like confusing dreams and reality and having no single narrative.
Supernatural handout one
The episode confuses boundaries between reality and fiction by having the main characters transported from their fictional supernatural TV show into the "real world" of the TV show's production. This postmodern narrative technique blurs the lines between the constructed nature of the media text and reality. The characters struggle to understand what is real as they interact with actors playing themselves and the director. The episode also comments on celebrity culture and fans' obsession with social media through its portrayal of the characters uncomfortable with their celebrity lifestyle.
Essay plan fotc
Flight of the Conchords can be defined as a postmodern text based on several criteria. The TV show incorporates elements of postmodern theory as described by Strinati, such as blurring genre boundaries and playing with audience expectations. However, it also employs traditional media concepts at times. Overall, while Flight of the Conchords displays some postmodern features, it cannot be purely defined as postmodern and still incorporates traditional elements of narrative and representation. The show challenges rigid definitions of postmodernism.
Post modern concepts
This document discusses key concepts in traditional media and how postmodern texts challenge those concepts in three main ways. It outlines how postmodern media draws attention to its construction, challenges genre conventions through hybridity and subversion, and subverts audience expectations of representation, ideology and narrative through new stereotypes, ideas, and non-linear or open-ended structures. The postmodern audience is also described as diverse, fragmented, and active rather than passive.
Section A audience
The document discusses several theories of media audiences, including reception theory which states that audiences interpret media texts in different ways based on their own experiences and perspectives, rather than just accepting the producer's intended meaning. It also examines the hypodermic needle theory, which suggests audiences passively accept messages from media, and uses and gratifications theory, which proposes that audiences actively engage with media to fulfill various needs and desires.
Audience theory
This document summarizes several theories about media audiences:
- Cultivation theory suggests that repeated exposure to similar media representations can shape people's views of the world.
- Reception theory examines how audiences can interpret media messages in preferred, negotiated, or oppositional ways.
- Participatory culture theory describes how audiences actively engage with media texts by creating and sharing their own works.
- More recent theories argue that digital technologies have transformed passive audiences into active producers who can respond to and create their own media content.
Media language
This document discusses film techniques including camerawork, editing, mise en scene, and sound. It provides a specific example of each technique and explains how they relate to meaning and audience response. In a concise manner, the document outlines key cinematic elements.
Media language section a
The document discusses various concepts relating to how meaning is created through media language. It defines key terms like denotation and connotation, and how they relate to encoding and decoding meaning. Elements of media language that create meaning are explained, such as mise-en-scene, camerawork, editing, and sound. The importance of understanding how these micro-level techniques construct intended meanings and can allow for alternative readings is highlighted. Analyzing one's own media products in terms of the specific examples of how these elements create key meanings and audiences' potential alternative interpretations is presented as a task for revising one's work.
Using conventions
This document provides guidance on answering exam questions about using conventions from real media texts in your own work. It emphasizes showing how your understanding of conventions has developed over time through various projects. It recommends discussing both technical conventions as well as symbolic conventions related to narrative, representation, themes and messages. Students are advised to structure their answer with an introduction about the projects, paragraphs discussing skills and examples from early and later projects, and a conclusion. The document also contains advice on analyzing other students' work and planning essay answers.
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Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
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2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
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- 1. Summary of Media Texts and their Post Modern features Concept Flight of theC Supernatural Own TV choice Media Concepts (narrative, genre, representation, media language, ideology, audience) Strinati (mediatisation, style over substance, breakdown between high/low art confusion over time/space, decline of meta narrative) Baudrillard (truth, simulacra, hyper reality) Parody and Pastiche Self Reflective/ Self Aware Other theories (Jameson,Lyotard,Barthes, Goodwin, Hall