Yr11 5/3/08
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The document discusses various aspects of sitcom representation and analysis, including: - How characters and relationships are portrayed in popular sitcoms like The Office, Red Dwarf, and Will & Grace. - How sitcoms address issues like stereotypes, culture, religion, and social class over time. - How the intended audience of sitcoms has changed with the rise of digital broadcasting and increased channel options. - Key questions around what makes people laugh across different cultures and how sitcom writers use techniques like dramatic irony.
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Key concepts representation
The document discusses how media representations are constructed and how they portray certain groups. It notes that over 30% of advertisements still portray women as young, slim and blonde, while men featured are usually over 30 and dark-haired. It explains that the media does not present reality objectively, but rather engages in a process of selection and mediation based on the values of its producers. Representations invite audiences to understand them in preferred ways and become normalized through repetition.
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Representation 7 areas intro
Representation describes how signs like media texts stand in for and depict reality. Producers intentionally frame reality through signs like editing and camerawork to position texts ideologically. Audiences make sense of reality through these representations. Common representations of social groups in media include stereotypes like criminal black men, nerdy white men, sexy Latinas, and helpless disabled people. Understanding how media represent social groups through signs is important for recognizing the ideologies that shape perceptions of reality.
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Question 2
The document discusses how the media product represents different social groups through its characters. It includes three female main characters to represent women and show their equality and power without male characters. Camera shots and angles are used to portray the characters as both powerful and vulnerable. The target audience is ages 18-21 to match the ages of the filmmakers. Ethnic diversity is limited by the location, but the three white British characters are represented as survivors and strong rather than stereotypically portraying black characters that way.
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This document discusses ageism and society's obsession with youth. It notes that age is used to easily categorize and stereotype others, with both young and old facing negative stereotypes. While racism and sexism are now widely seen as unfair, ageism remains acceptable. People go to great lengths to disguise their age through clothing, cosmetics, and even surgery. A youth-obsessed media promotes this bias by focusing on young, attractive models. The document argues that valuing youth over wisdom and experience can be harmful, and that we should celebrate people of all ages equally.
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This document contains journal prompts and discussion questions from an American Literature and Composition class about the book Fahrenheit 451 by Ray Bradbury. It includes a quote about art and feelings of smallness, lists of imagery and symbols from the book, characters to compare and contrast such as Montag and Clarisse, reactions to sections of the book, and homework assigning students to read and analyze a particular section for class discussion.
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Key concepts representation
The document discusses how media representations are constructed and how they portray certain groups. It notes that over 30% of advertisements still portray women as young, slim and blonde, while men featured are usually over 30 and dark-haired. It explains that the media does not present reality objectively, but rather engages in a process of selection and mediation based on the values of its producers. Representations invite audiences to understand them in preferred ways and become normalized through repetition.
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This document discusses stereotypes, tokenism, and racial depictions in TV programs over time. It notes that while some stereotypes can be damaging, others may empower groups. Tokenism involves including minorities only because they "should be" rather than meaningful representation. Examples from 1970s shows like Tom and Jerry and Mind Your Language depict black people and certain ethnicities in one-dimensional and often racist ways. Producers sometimes rely on stereotypes without considering the impact.
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Representation describes how signs like media texts stand in for and depict reality. Producers intentionally frame reality through signs like editing and camerawork to position texts ideologically. Audiences make sense of reality through these representations. Common representations of social groups in media include stereotypes like criminal black men, nerdy white men, sexy Latinas, and helpless disabled people. Understanding how media represent social groups through signs is important for recognizing the ideologies that shape perceptions of reality.
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This document discusses Welsh actor Michael Sheen and his ability to portray iconic British figures through impersonations. It asks whether he risks being typecast for these roles or if his style represents the future of media. The document also prompts researching the history of games like Call of Duty, Club Penguin and Sims to understand how avatar and character design has changed over time and discusses questions around online gaming and virtual identities.
Question 2
The document discusses how the media product represents different social groups through its characters. It includes three female main characters to represent women and show their equality and power without male characters. Camera shots and angles are used to portray the characters as both powerful and vulnerable. The target audience is ages 18-21 to match the ages of the filmmakers. Ethnic diversity is limited by the location, but the three white British characters are represented as survivors and strong rather than stereotypically portraying black characters that way.
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This document discusses ageism and society's obsession with youth. It notes that age is used to easily categorize and stereotype others, with both young and old facing negative stereotypes. While racism and sexism are now widely seen as unfair, ageism remains acceptable. People go to great lengths to disguise their age through clothing, cosmetics, and even surgery. A youth-obsessed media promotes this bias by focusing on young, attractive models. The document argues that valuing youth over wisdom and experience can be harmful, and that we should celebrate people of all ages equally.
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This document contains journal prompts and discussion questions from an American Literature and Composition class about the book Fahrenheit 451 by Ray Bradbury. It includes a quote about art and feelings of smallness, lists of imagery and symbols from the book, characters to compare and contrast such as Montag and Clarisse, reactions to sections of the book, and homework assigning students to read and analyze a particular section for class discussion.
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The document discusses how a media production represents various social groups in terms of class, race, age, gender, and sexuality (C.R.A.G.S.). Specifically, the production represents: the lower class (C2-E income bracket); white/British race; ages 18-30; male gender; and straight sexuality. The narrative, characters, costumes, and focus on financial struggle aim to appeal to and provide identity for the target audience.
Film
Filmmaking has evolved significantly since the late 19th century. Silent films in the 1920s portrayed morals and humor through exaggerated expressions until The Jazz Singer in 1927 introduced sound films. Key early film studios included Warner Brothers, Paramount Pictures, and Metro Goldwyn Mayer. Directors like Alfred Hitchcock helped establish genres like thrillers. Advances in special effects and home viewing technology through DVDs and streaming have increased accessibility and impacted the film industry.
Question 2
Our media product represents several social groups:
1) Age by including a party scene to depict youth despite having actors too young for their roles.
2) Gender through a strong female lead who breaks stereotypes as a detective in the 1920s wearing trousers instead of dresses.
3) Race by having a biracial character play the detective's boss, challenging racism and representing racial minorities in high positions of power in the 1920s.
4) Social class through locations and costumes conveying wealth, aligned with the middle-to-upper class characters in the Clue board game inspiration.
legal and ethical regulatory bodies report
The document discusses several theories on how media affects audiences and issues of representation in film. It analyzes Star Wars: The Force Awakens using these frameworks. On effects, it notes the film could inject passive attitudes in viewers or spread through opinion leaders. It also provides diversion, social interaction, and identity reflection. However, it may desensitize some to violence or influence them to imitate fights. On representation, it positively portrays diverse races and ages but is lacking in LGBTQ representation. Legal issues include potential pay discrimination and copyrights, while regulatory bodies like BBFC impact violence and language levels.
Media audiences star trek
The document discusses how media industries identify target audiences for their products. It explains key concepts like psychographics, demographics, and target marketing. It provides examples of how different TV shows and advertisements target specific audiences based on factors like age, gender, interests etc. It also analyzes posters and trailers for the 2009 Star Trek film to understand how they appealed to both long-time fans and new audiences.
As media studies disability
This document discusses media representations of disability and explores 10 common stereotypes. It begins by defining key terms like representation, point of view, and ideology. It then contrasts ability and disability, noting the prefix "dis" means negative. The document lists 10 stereotypes of disabled people in media, such as victims, pitiable, laughable, burdens, and incapable of relationships or life. It concludes by providing examples of these stereotypes in media.
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The document analyzes how the media product represents young urban male skaters. It discusses how the main character, Steeze, is similarly stereotyped as the character Sam in the film "Adulthood" - as a young, angry male with a history of violence depicted in hoodies in urban environments. Both characters come from decaying urban areas where respect is earned through violence and criminal activity. While the characters are depicted amidst urban decay, graffiti, and alone, the film also represents their pursuit to better themselves through skateboarding as a way to escape this lifestyle. The social group represented are stereotypically associated with drugs, crime, and smoking in urban locations, but the film aims to also portray
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Este documento contiene una serie de chistes que comparan a los hombres con objetos y situaciones de manera estereotípica y a veces ofensiva. Los chistes sugieren que los hombres son tontos, perezosos, inútiles para las tareas domésticas y con poco control sobre sus impulsos sexuales. Algunos chistes también implican que las mujeres son controladoras y critican a los hombres.
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1 AssignmentFor the essay, choose one television showchar.docx
1/
Assignment:
For the essay, choose one television show/character that relies on stereotyping to develop the character. Write an essay discussing how the plot or humor relies on either a gender, ethnic, or sexual orientation stereotype (ONLY PICK ONE). Also, please discuss whether this stereotype has become more apparent or less apparent over the years and whether it has deepened our understanding of people or perpetuated the stereotypical point-of-view in America.
For example, the sitcom show Will and Grace premiered in 1998 and ran until 2006 (imdb.com). The show deals with issues with gay men and has won several Emmy awards and nominations. However the show’s humor relies on the over-the-top gay character named Jack McFarland. Just Jack is a one dimensional character whose comedic value depends strongly on an unflattering gay stereotype (gay men are theatrical, judgmental, promiscuous, and catty). One could make the argument that Jack’s character is either detrimental to the public image of gay men or take the other opinion that Jack’s exuberant character positively influenced the American perception of gay men (since the series ran so long). The show was so popular and had such a strong following, that NBC (Links to an external site.) brought the show back in October 2017.
We have already looked at stereotyping in general on your Festival of Knowledge, but for this essay, we are going to focusing on one of the three specific stereotypes mentioned above (gender, ethnic, or sexual orientation stereotype).
Stereotypes:
The difference between stereotyping and generalizing can be tricky to define. According to Cortes, when speaking about groups of people:
Stereotypical statements tend to use or imply “all“ or “almost all“ when dealing with certain groups or group members. By speaking or writing in this sweeping manner, stereotypes encourage other to internalize those perceptions and apply them broadly to ‘all’ or ‘almost all’ of a group’s members” (6).
Gender stereotypes are “simplistic generalizations about the gender attributes, differences, and roles of individuals and/or groups. Stereotypes can be positive or negative, but they rarely communicate accurate information about others” (“Oversimplified”).
You can pick any television show. However sitcom shows may be an easier subject matter than dramas or reality TV shows. In order to find the back-story on television shows, you can look up the shows on the internet by the title or search for the show on the network’s website.
I encourage students to look up facts and statistics from the Internet Movie Database as well as through the show’s web site or any free streaming service
** Television sitcoms are the easiest subject matter to use for this essay and reality TV shows may be more difficult. By this point, most of you can identify stereotypes, but I have listed some below as examples. These are just sample stereotypes that are used in the media and not my personal beli.
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This document contains a production log and research for a student's media studies project creating a trailer for a new soap opera. It includes:
1. The aims and objectives of assessing the student's skills and knowledge.
2. Details of the brief to create a 45 second to 1 minute 30 second trailer for a new soap opera airing on BBC Three that appeals to both male and female audiences.
3. Evidence of the student's planning and research which includes analyzing existing soaps like Eastenders and Coronation Street to understand codes and conventions, as well as researching the purpose of trailers and promotion.
Postmodernism in community (dan harmon, 2009)
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This document provides information about the exam requirements and structure for the G322: Key Media Concepts (TV Drama) exam. It discusses the two sections of the exam - Section A focuses on textual analysis and representation of an unseen TV drama extract, while Section B focuses on institutions and audiences through a case study. It provides details on the requirements and focus of each section, including focusing on technical aspects like camerawork, editing, sound, and mise-en-scene in Section A and production, distribution and audiences in Section B. It also provides examples of topics that could be covered in the case study, like specific films and genres.
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How does your media product represent particular social groups?
The document discusses how a media production represents various social groups in terms of class, race, age, gender, and sexuality (C.R.A.G.S.). Specifically, the production represents: the lower class (C2-E income bracket); white/British race; ages 18-30; male gender; and straight sexuality. The narrative, characters, costumes, and focus on financial struggle aim to appeal to and provide identity for the target audience.
Film
Filmmaking has evolved significantly since the late 19th century. Silent films in the 1920s portrayed morals and humor through exaggerated expressions until The Jazz Singer in 1927 introduced sound films. Key early film studios included Warner Brothers, Paramount Pictures, and Metro Goldwyn Mayer. Directors like Alfred Hitchcock helped establish genres like thrillers. Advances in special effects and home viewing technology through DVDs and streaming have increased accessibility and impacted the film industry.
Question 2
Our media product represents several social groups:
1) Age by including a party scene to depict youth despite having actors too young for their roles.
2) Gender through a strong female lead who breaks stereotypes as a detective in the 1920s wearing trousers instead of dresses.
3) Race by having a biracial character play the detective's boss, challenging racism and representing racial minorities in high positions of power in the 1920s.
4) Social class through locations and costumes conveying wealth, aligned with the middle-to-upper class characters in the Clue board game inspiration.
legal and ethical regulatory bodies report
The document discusses several theories on how media affects audiences and issues of representation in film. It analyzes Star Wars: The Force Awakens using these frameworks. On effects, it notes the film could inject passive attitudes in viewers or spread through opinion leaders. It also provides diversion, social interaction, and identity reflection. However, it may desensitize some to violence or influence them to imitate fights. On representation, it positively portrays diverse races and ages but is lacking in LGBTQ representation. Legal issues include potential pay discrimination and copyrights, while regulatory bodies like BBFC impact violence and language levels.
Media audiences star trek
The document discusses how media industries identify target audiences for their products. It explains key concepts like psychographics, demographics, and target marketing. It provides examples of how different TV shows and advertisements target specific audiences based on factors like age, gender, interests etc. It also analyzes posters and trailers for the 2009 Star Trek film to understand how they appealed to both long-time fans and new audiences.
As media studies disability
This document discusses media representations of disability and explores 10 common stereotypes. It begins by defining key terms like representation, point of view, and ideology. It then contrasts ability and disability, noting the prefix "dis" means negative. The document lists 10 stereotypes of disabled people in media, such as victims, pitiable, laughable, burdens, and incapable of relationships or life. It concludes by providing examples of these stereotypes in media.
Evaluation activity two
The document analyzes how the media product represents young urban male skaters. It discusses how the main character, Steeze, is similarly stereotyped as the character Sam in the film "Adulthood" - as a young, angry male with a history of violence depicted in hoodies in urban environments. Both characters come from decaying urban areas where respect is earned through violence and criminal activity. While the characters are depicted amidst urban decay, graffiti, and alone, the film also represents their pursuit to better themselves through skateboarding as a way to escape this lifestyle. The social group represented are stereotypically associated with drugs, crime, and smoking in urban locations, but the film aims to also portray
Mood boards
The document discusses target audiences for a movie about empowered females engaging in extreme sports with horror elements. The primary target is women ages 15-25 from socio-economic groups C1, C2, and D who have disposable income and free time. The secondary target is males ages 15-25 who will be attracted to the sex appeal and horror aspects. An additional target is those ages 25-35 interested in extreme sports from socio-economic groups C1 and C2 who have disposable income and no children.
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How does your media product represent particular social groups?
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Este documento contiene una serie de chistes que comparan a los hombres con objetos y situaciones de manera estereotípica y a veces ofensiva. Los chistes sugieren que los hombres son tontos, perezosos, inútiles para las tareas domésticas y con poco control sobre sus impulsos sexuales. Algunos chistes también implican que las mujeres son controladoras y critican a los hombres.
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The document introduces security issues for e-commerce and web authentication. It discusses why security is important due to risks like information theft and fraud online. It then covers various types of security breaches and outlines requirements for secure transactions, including privacy, integrity, authentication, authorization, and non-repudiation. The document also summarizes key security concepts like firewalls, public key cryptography, SSL, and digital certificates.
Year10 17/4/08
The document provides instructions for AQA GCSE Media Studies coursework which includes four pieces, one of which is creating a media production. It discusses analyzing existing media texts like film trailers and creating original media texts like a film trailer. It provides guidance on writing evaluations of the analysis and created media text. It also outlines a unit on television that involves identifying TV genres, programs, channels, and target audiences. Students are tasked with devising a new TV channel by naming it, creating a tagline, and defining the target audience.
Year10 13/3/08
This document outlines the coursework requirements for AQA GCSE Media Studies. It consists of 4 pieces, one of which is a planned and created media production. The other 3 can be written, practical, or a combination. There is also a 3 hour timed exam. For the coursework, students will analyze an existing media text like a film trailer, create their own media text, and evaluate their own work. The document provides guidance on analyzing film trailers, including discussing the audience, film language used, and representation in the trailer. It recommends the analysis be 150-200 words.
Yr11 12/3/08
The document discusses different types of visual humor that are commonly used in sitcoms, including physical violence, comic timing, facial expressions and body language. It provides examples from shows like "The Young Ones", "Fawlty Towers", and "The Simpsons". Students are then asked to analyze clips from "Blackadder" to identify the visual humor techniques. They are also given a creative task to devise their own physical comedy sequence for a sitcom and explain where the humor would come from using different visual humor techniques.
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The document provides guidance for developing the opening title sequence of a sitcom. It lists elements to consider like style, audience, narrative, characters, relationships, genre of music, and lyrics or instrumentation. It discusses how sitcoms portray families and stereotypes. It also notes that successful sitcoms create empathy through at least one character and provides examples from shows like Father Ted, Red Dwarf, and Will & Grace. Finally, it discusses how audiences for sitcoms have changed with more channels and digital options available.
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Production log Thamina Chowdhury
This document provides a production log and planning materials for a student's media studies project creating a trailer for a new soap opera. It includes research on existing soap operas like Coronation Street and Hollyoaks to identify codes and conventions of the genre. It outlines the student's objectives, chosen brief of a 45 second to 1 minute 30 second trailer, research topics like the purpose of trailers and multi-platform promotion. It also includes textual analyses of sample soap opera clips, identification of codes and conventions like romance, family relationships, and multi-stranded narratives. Deadlines for production work like filming, editing, and evaluation are listed.
1 AssignmentFor the essay, choose one television showchar.docx
1/
Assignment:
For the essay, choose one television show/character that relies on stereotyping to develop the character. Write an essay discussing how the plot or humor relies on either a gender, ethnic, or sexual orientation stereotype (ONLY PICK ONE). Also, please discuss whether this stereotype has become more apparent or less apparent over the years and whether it has deepened our understanding of people or perpetuated the stereotypical point-of-view in America.
For example, the sitcom show Will and Grace premiered in 1998 and ran until 2006 (imdb.com). The show deals with issues with gay men and has won several Emmy awards and nominations. However the show’s humor relies on the over-the-top gay character named Jack McFarland. Just Jack is a one dimensional character whose comedic value depends strongly on an unflattering gay stereotype (gay men are theatrical, judgmental, promiscuous, and catty). One could make the argument that Jack’s character is either detrimental to the public image of gay men or take the other opinion that Jack’s exuberant character positively influenced the American perception of gay men (since the series ran so long). The show was so popular and had such a strong following, that NBC (Links to an external site.) brought the show back in October 2017.
We have already looked at stereotyping in general on your Festival of Knowledge, but for this essay, we are going to focusing on one of the three specific stereotypes mentioned above (gender, ethnic, or sexual orientation stereotype).
Stereotypes:
The difference between stereotyping and generalizing can be tricky to define. According to Cortes, when speaking about groups of people:
Stereotypical statements tend to use or imply “all“ or “almost all“ when dealing with certain groups or group members. By speaking or writing in this sweeping manner, stereotypes encourage other to internalize those perceptions and apply them broadly to ‘all’ or ‘almost all’ of a group’s members” (6).
Gender stereotypes are “simplistic generalizations about the gender attributes, differences, and roles of individuals and/or groups. Stereotypes can be positive or negative, but they rarely communicate accurate information about others” (“Oversimplified”).
You can pick any television show. However sitcom shows may be an easier subject matter than dramas or reality TV shows. In order to find the back-story on television shows, you can look up the shows on the internet by the title or search for the show on the network’s website.
I encourage students to look up facts and statistics from the Internet Movie Database as well as through the show’s web site or any free streaming service
** Television sitcoms are the easiest subject matter to use for this essay and reality TV shows may be more difficult. By this point, most of you can identify stereotypes, but I have listed some below as examples. These are just sample stereotypes that are used in the media and not my personal beli.
Representation
The document discusses representation in sitcoms. It explains that sitcom characters use stereotypes to engage viewers through easily recognizable traits. While some rely on stereotypes, the best sitcoms subvert expectations. Family life is often central, using stereotypes of relationships for comedy. Representations highlight common behaviors and flaws that audiences recognize in themselves and others. Specifically, men are often shown as inadequate compared to film ideals, and eccentric characters are popular tropes. The task asks the reader to analyze representations of gender, family and social groups in various sitcom episodes.
Production log thamina chowdhury
This document contains a production log and research for a student's media studies project creating a trailer for a new soap opera. It includes:
1. The aims and objectives of assessing the student's skills and knowledge.
2. Details of the brief to create a 45 second to 1 minute 30 second trailer for a new soap opera airing on BBC Three that appeals to both male and female audiences.
3. Evidence of the student's planning and research which includes analyzing existing soaps like Eastenders and Coronation Street to understand codes and conventions, as well as researching the purpose of trailers and promotion.
Postmodernism in community (dan harmon, 2009)
This document discusses the postmodern elements in the sitcom Community. It notes that Community directly references and comments on sitcom conventions and genres that came before it. One way it does this is through heavy use of pastiche and parody of other works. The show also frequently breaks the fourth wall and engages in self-referential humor, with characters acknowledging that their world is a fictional television show. Within the show's fiction, it creates a "text within a text" through a web series filmed by one of the characters that parodies and comments on the main show.
Introducing tv drama_and_representation_for_g322_ocr_media_studies
This document provides information about the exam requirements and structure for the G322: Key Media Concepts (TV Drama) exam. It discusses the two sections of the exam - Section A focuses on textual analysis and representation of an unseen TV drama extract, while Section B focuses on institutions and audiences through a case study. It provides details on the requirements and focus of each section, including focusing on technical aspects like camerawork, editing, sound, and mise-en-scene in Section A and production, distribution and audiences in Section B. It also provides examples of topics that could be covered in the case study, like specific films and genres.
Introducing tv drama and representation for g322 ocr media studies
This document provides information about an upcoming exam on media representation in TV dramas. It will be split into two sections. Section A focuses on analyzing representation in an unseen TV drama extract. Students will watch a 30-minute extract and then answer an essay question analyzing how representations of categories like class, gender, ethnicity are constructed through techniques like camerawork, editing, sound design. Section B covers questions about media institutions, audiences, and a pre-prepared case study. The document outlines the skills and concepts students need to understand to succeed in this exam, including representing, realism, and deconstructing TV dramas using formal analytical techniques.
Representation
This document discusses representation in media texts and how media representations are artificial versions of reality that are intentionally composed and framed by producers. It states that while media representations allow us to learn about realities we don't directly experience, our understanding is also restricted by what information producers choose to include or exclude. The document then examines how media representations of concepts like race, age, disability, and gender are analyzed and often rely on stereotypes. It stresses the influence media has on our perceptions of these groups and calls for more accurate and diverse portrayals.
Production log 1
The document provides a production log for a media studies project on creating a trailer and other promotional materials for a new soap opera. It includes sections on aims and objectives, research conducted on existing soaps like EastEnders and Coronation Street, analysis of codes and conventions of the soap opera genre, plans for production and deadlines. Textual analysis of sample episodes identifies narrative techniques like multi-stranded plots and use of stereotypes to appeal to audiences. The log proposes creating a 45-90 second trailer to advertise the new soap after EastEnders at 8:30pm to appeal to both male and female viewers aged 16-60.
Production log
This document provides information about codes and conventions of soap operas, including examples from British soap operas like EastEnders and Coronation Street. It discusses several key elements:
1. Codes and conventions of soap operas include focusing on themes like love, conflict, and cliffhangers. They also have large casts, focus on working class communities, and use regional identities.
2. An analysis of a Coronation Street trailer identifies examples of codes like romance, family relationships, focus on working class communities, and disequilibrium.
3. A deconstruction of scenes from EastEnders and Coronation Street find examples of codes and conventions like multi-stranded narratives, family relationships and conflict,
VPAB07 Race and Representation in Comedy
VPAB07 Race and Representation in ComedyCultural Pluralism in the Arts (CPA), University of Toronto Scarborough
Student Presentation
VPAB07 Equity and Diversity in Arts Organizations
University of Toronto Scarborough (UTSC)As tv drama revision guide
This revision guide provides an overview of key concepts for answering questions about TV drama representations on the AS Media exam. It discusses semiotics, representation, textual analysis, and how characters can be represented in terms of class, age, gender, ethnicity, disability, and sexuality. It also covers technical codes like mise-en-scene, cinematography, editing, and sound that can be used to analyze how representations are constructed. Examples of TV dramas that may appear in the exam are provided for study.
Film Essay Topics
Film and video production Essay
The History of Film Essay
About Comedy Films Essay
Essay about Sci-fI Films
Women in Movies Essay
Essay about violence in movies
Sitcom case study
This document provides an overview of television sitcom conventions and representations. It discusses key elements of sitcom genres like narrative structure, settings, characters and gender stereotypes. It also analyzes how sitcoms use familiar character types and social stereotypes to represent people and construct worlds of "realism" or fantasy. Viewers may interpret representations differently depending on factors like their social positionality. Sitcoms both maintain and sometimes challenge dominant power relations and societal norms through their representations.
Production Log
The document provides information for a media studies student's advanced portfolio project on producing a trailer for a new soap opera. It includes details on the student's aims, research conducted on soap opera codes and conventions, and an analysis of existing soaps like EastEnders and Coronation Street. Production elements like filming dates and roles of the director and producer are also outlined.
Sitcom Conventions
The document defines and explains various concepts and techniques used in sitcoms including:
- The running joke, which is a recurring amusing situation, line, or character trait.
- The comic trap, which is the basic premise that the entire show is built around and that characters can't escape from.
- One-liners, which are short, often observational jokes.
- Laugh tracks and their purpose.
- Different sitcom genres that were popular in different decades, like magi-coms in the 1960s and family-coms in the 1980s.
Sitcom Conventions
The document defines and explains various concepts and techniques used in sitcoms including:
- The running joke, which is a recurring amusing situation, line, or character trait.
- The comic trap, which is the basic premise that the entire show is built around and that characters can't escape from.
- One-liners, which are short, often observational jokes.
- Laugh tracks and their history of use.
- Other techniques like parody, satire, innuendo, and irony.
- It also outlines different eras and subgenres of sitcoms from the 1960s to present day.
Media Question 1 - Conventions of real media products
This document discusses the genres, codes, conventions, and target audience of the film "VERSES". It examines how the film draws from the genres of social realism and coming-of-age films through its focus on working class characters and themes of growing up. While the teaser trailer follows many conventions like using unknown actors and montage editing, it challenges some conventions by omitting a voiceover or focus on sex/drugs. The target audience is identified as males and females aged 16-24 who can relate to the teenage protagonist dealing with career choices.
Media question 1
This document discusses the genres, codes, and conventions used in the media product "VERSES". It examines how the film draws from the genres of social realism and coming-of-age films through its focus on working class characters and themes of growing up. While the teaser trailer follows many conventions like using unknown actors and montage editing, it challenges some conventions by omitting a voiceover and focusing less on sex, drugs, and rebellion typical of the genres. The target audience is identified as males and females aged 16-24 who can relate to the teenage protagonist navigating career decisions.
2.3 - Representation (pre-Avatar).pptx
This document provides an overview of key concepts around media representation and stereotypes. It discusses how all media platforms, including television news, documentaries, reality TV, and scripted shows, construct representations of reality rather than accurately portray it. Stereotypes are addressed as a convention that reduces social groups to simplistic traits, though they may be based in some social truths. The document also presents two main reasons stereotypes are heavily used in media - that they provide a fast shorthand for understanding characters, and that they are grounded in traditional cultural myths and narratives that often frame outsiders negatively.
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1 AssignmentFor the essay, choose one television showchar.docx
1 AssignmentFor the essay, choose one television showchar.docx
Introducing tv drama_and_representation_for_g322_ocr_media_studies
Introducing tv drama_and_representation_for_g322_ocr_media_studies
Introducing tv drama and representation for g322 ocr media studies
Introducing tv drama and representation for g322 ocr media studies
Media Question 1 - Conventions of real media products
Media Question 1 - Conventions of real media products
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1. The document outlines the objectives and assessments for a media studies course, including analyzing genres, codes, and conventions through written essays and practical assignments like creating a film trailer.
2. Students are asked to choose a genre and break it down into its typical codes and conventions, like how romantic comedies often use popular soundtracks and portray seemingly mismatched couples who realize they love each other.
3. The document discusses genre hybrids and how directors sometimes blend or modify genres, using horror-comedies and detective movies as examples. Students are then tasked with researching the origins and history of their chosen genre.
Year10 Lesson1 310 9 08
This document provides an overview of a media studies course, outlining some of its key objectives and components. The course will introduce students to the four 'big concepts' in media including language, institutions, audience, and representation. It will teach students skills in analyzing and creating various media forms. Some of the assessments will include written assignments and practical media productions like film trailers. Genre will be a major topic, and students will learn about genre codes and conventions through examining examples and doing their own research.
Yr11 20/2/08
The document discusses various roles in sitcoms including supporting characters who provide comedy and help develop the main character. It also mentions transient characters who make brief appearances and sometimes steal the spotlight. It analyzes theme tunes, noting they are usually short, catchy, and sung uptempo with lyrics relating to the show. Finally, it asks the reader to compare the opening sequences of two British sitcoms and devise their own sitcom title sequence and theme tune.
Year10 6/2/08
The document provides instructions for a GCSE Media Studies coursework assignment. Students are asked to write a brief review of a film they saw at the Empire cinema and create a PowerPoint slideshow summarizing their notes on the cinema environment, publicity and promotions, answers to discussion questions, and comparisons between the multiplex cinema experience and an arthouse cinema. Research on arthouse cinemas can be done using the Empire Cinemas website.
Yr11 31/1/08-2
The document discusses various elements that could be used to create a fictional television show, including the roles of main and supporting characters, transient guest characters, theme songs, and opening credits. It asks the reader to consider these elements and propose their own ideas for how they could develop a show, specifically by describing an original theme tune and opening title sequence.
Yr11 8/2/08
The document discusses various elements that go into creating a television show, including the roles of main and supporting characters, transient characters, theme tunes, and opening credits. Main characters can create comedic situations while supporting characters provide extra comedy, build relationships, and may gain popularity for a spin-off. Transient characters like celebrities can steal screen time in an episode. Effective theme tunes are short, catchy, have a verse/chorus structure, are often sung and up-tempo, and link to the opening credits while describing the narrative. Opening credits introduce characters and relationships through mise-en-scene, title sequences, and comic devices while playing the theme song.
Year10 13/12/07
The document provides objectives and instructions for creating film promotion materials, including posters and trailers. It discusses the purpose and content of teaser trailers versus full theatrical trailers. It also defines key trailer techniques like "captive audience", "action codes", and "enigma codes". Students are tasked with watching example trailers, analyzing their features and effects. They are to brainstorm and outline their own teaser or theatrical trailer, making notes on visuals and sound. Formatting guidelines are provided for writing the trailer screenplay.
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The document discusses various elements that could be included in a television show such as the main and supporting characters, transient characters, theme tunes, and opening credits. It asks the reader to consider what types of situations the main characters could create, the role of supporting characters, who transient characters are, examples of theme tunes and their common traits, and how an opening credits sequence may introduce characters and utilize mise-en-scene and comic devices. The reader is then tasked with creating their own opening credits and theme tune description.
Year10 10/1/08
The document outlines objectives for completing posters, a screenplay, and storyboards for a film trailer project. It discusses the purpose of storyboards as visual representations of film scenes that show the sequence and details of shots. Students are instructed to finish their screenplay first before beginning to visualize the series of shots for their trailer through creating storyboards using provided blank sheets. Resources like digital cameras and ICT are available to help with location scouting and developing the storyboards.
Yr11 6/2/08
This document provides information about an upcoming controlled test for a media studies class. The test will be worth 120 marks total and will involve tasks related to TV sitcoms. Students will have 3 months to prepare and will complete the tasks over two sessions of 3 hours each in exam conditions without notes. One task will involve pitching an original idea for a new British or American sitcom, explaining its uniqueness and intended audience. The document provides websites for researching existing British and American sitcoms and prompts students to analyze characters from the sitcoms in terms of their roles, values, relationships, stereotypes, development, realism, and identifiability.
Year10 5/12/07
The document provides guidance on creating film trailers as part of a media studies coursework. Students are instructed to analyze techniques used in teaser trailers to build anticipation for films. They are asked to investigate who creates film trailers and the process involved. Two tasks are outlined: the first involves creating a PowerPoint on who makes trailers and how, including links to examples. The second tasks students to analyze an existing teaser trailer, consider what it conveys about the film, and create a page explaining its effectiveness. Brainstorming ideas for their own teaser trailer is also mentioned.
Year10 8/11/07
1. The document outlines the schedule and objectives for a film studies class, including developing a film package to pitch to investors and filming unusual shots.
2. Students must create a treatment, budget, and marketing spin-offs section for their proposed film as part of the package. Example budgets and potential spin-offs are provided.
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The document provides instructions for film studies students for their coursework assignments. It outlines the schedule for the day which includes working in smaller groups and their project groups. It discusses the objectives of producing effective film posters and techniques used in teaser posters. It provides information on the coursework exam and types of assessments. It also provides guidance on creating marketing materials like a pitch, treatment, budget, and posters for their films. Students are asked to analyze example film posters and provide taglines for sample film ideas. They are to start designing their first teaser poster for their film by outlining what they want to convey and drafting the poster design.
Year10 22/11/07
The document outlines the schedule and objectives for a film studies class. It discusses creating teaser, main, and DVD posters to promote a student-produced film. The objectives are to produce effective promotional posters and understand techniques used in different types of posters. Main cinema posters typically include cast/crew, the title, a tagline, and information about the genre and story. DVD posters may differ to target a different audience, refresh marketing, or add special features. Students are tasked with designing main movie posters and optionally a DVD poster, considering what aspects of their film to promote.
Year10 27/9/07
This document outlines the course requirements and tasks for a GCSE Media Studies exam. It includes:
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- Practical tasks where students take photos to storyboard a genre film sequence and analyze representations, shots, and intended effects.
- An ICT task where students research and present on representations of people/places in a genre through a Publisher document.
- Group photo shoots representing characters/locations in their chosen genre through shots, framing, lighting, and more.
Year10 6/9/07
The document provides an overview of an introductory media studies course, outlining some of the key concepts and activities. The course will introduce students to the four 'big concepts' in media studies: language, institutions, audience, and representation. Students will analyze various media genres and their codes/conventions. They will also complete coursework that includes written analyses, practical projects such as creating a film trailer, and exams.
Year10 13/9/07
The document outlines an AQA GCSE Media Studies course which includes analyzing genres and conventions in TV, film and other media. Students will form expert groups on genres like science fiction, choose subgenres, and analyze how film techniques are used to tell stories and impact audiences. They will study the origins and evolution of their chosen genre and create presentations with their findings.
Year10 2/08
The document provides instructions for a GCSE Media Studies coursework assignment. Students are asked to write a brief review of a film they saw at the Empire cinema and create a PowerPoint slideshow summarizing their notes on the cinema environment, publicity and promotions, answers to discussion questions, and comparisons between the multiplex cinema experience and an arthouse cinema. Research on arthouse cinemas can be done using the Empire Cinemas website.
Year10 20/9/07
The document outlines the objectives and assessments for a GCSE Media Studies course. Students will analyze genres and their codes/conventions. They will demonstrate expertise in a chosen genre through practical and written assignments. Assessments include coursework of 4 pieces - one being a media production, and a 3-hour timed test covering genres and codes/conventions. For a practical task, students will take photographs in sequence depicting a genre through consideration of framing, shots, lighting, props and subjects.
Year10 4/10/07
This document provides an overview of the objectives, assessments, and tasks for a GCSE Media Studies course. It focuses on the key concept of "representation" - how media texts portray people, places, events, and ideas. Students will analyze representation in their chosen film genre, research and present findings, and take photos to represent characters/locations. They will also watch film clips and write notes on representation, and develop a 60-second "pitch" for an original movie in their genre. The course aims to develop students' understanding of representation and skills in analysis, practical media production, and presenting ideas.
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Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
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Career Milestones
Orpah Winfrey: The Queen of All Media
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Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
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The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Saga
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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Yr11 5/3/08
- 1. MEDIA STUDIES ‘ The Controlled Test’ May 2008
- 2. How the Sitcoms are portrayed Eg. the office is disguised as a documentary How the males, females and families are represented? How stereotypes are used How the figure heads represented? How the cultural and religiuos issues are addressed? How the time and place are represented? Representation! what am i looking for ? How they represent Real life situations Fact - each successful Sitcom has at least one character that creates empathy
- 3. Father Ted Religion Alcholism Age Peacefull community Caring and a good role model
- 4. Red Dwarf Heroes characters create empathy Technology and the future Contrast in character representation Social class
- 5. Will and Grace Homosexuality Relationships Sterotypes Real life issues Capitalism / the american dream
- 12. FRIENDS
- 14. FEEDBACK!