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AUDIENCE BEHAVIOR

– Operant conditioning = behavior conditioning

– BF Skinner = came up with the concept of operant conditioning

– The friction of free will is a statement by Skinner, where you can teach people through different social conditions to change their behavior and how they act

Propaganda vs Persuasion

– Propaganda = opinions/actions that are carried out deliberately by a group of individuals to influence other individuals through the use of psychological manipulations

– Persuasion = when you try to influences someone’s action and beliefs to do something which they may not be intending to do

– Harold Lasswell was the first one to talk about how in WW1, the US Military used a range of persuasive devices to serve propaganda

– Laswell came up with the hypodermic model of behavior conditioning

– Shoshana Zubof highlights in her book, “The Age of Surveillance Capitalism” that various forms of persuasion influence different types of behaviors, while suppressing others.

– Zubof = “technology has begun to develop new methods of behavior control capable of altering not just an individual’s actions, but their very personality and manner of thinking”

– Zubof = “the most serious threat…is the power that technology gives one man to impose his view and values on others”

Audience Theory

1920-1930: Laswell (Hypodermic Model)

– Laswell developed a linnear model of communication, which breaks down the line of communication from Point A to Point B.

– In this model, the sender is transferring a message through a medium (media), which will have a direct effect on the reader

– Laswell wrote Propaganda Technique in the World War which highlighted the brew of ‘subtle poison, which industrious men injected into the veins of a staggering people until the smashing powers . . . knocked them into submission’

The Linear Model of Communication

Example:

– Who = Larissa Brown

– Says what = How British Spies exposed and disrupted Russia’s Cyber War on the Olympics. Russia plotted to sabotage the Olympic Games using a series of Cyber Attacks

– Channel = The Daily Mail (page 3)

– To whom = Daily Mail Readers/British Public. The main target audience of the Daily Mail is middle-aged women.

– With what effect = Pejorative (negative) viewpoint on the Russians and to attract people due to the use of a big worldwide event. Secondary audience is it may attract people from countries who participate in the Olympics (ie USA, China)

1940: Shannon and Weaver and Paul Lazerfeld’s Two Step Flow

– Shannon and Weaver adapted the Transmission Model of Communication in 1949.

– In their adaption, Shannon and Weaver included other elements, such as noise, error, encoding and feedback

– In other words, there’s the suggestion that the process of sending and receiving a message is clear-cut, predicable or reliable and is dependent on a range of other factors that need to be taken into consideration.

– In 1948, Paul Lazerfeld says that the transmission model of communication doesn’t work in a linear way and instead, Lazerfeld developed the Two Step Flow Of Communication

The Two Step Flow of Communication

– As Martin Moore suggests, ‘people’s political views are not, as contemporaries thought, much changed by what they read or heard in the media. Voters were far more influenced by their friends, their families and their colleagues’ (2019:124).

– Communication/the media is  susceptible to bias, interpretation, rejection, amplification, support and change.

– People are more likely to be influenced by others, such as what the opinion leader will tell the masses

1960s: Uses and Gratifications Theory

–  Elihu Katz explains the Uses and Gratifications theory diverges from other media effect theories that question: what does media do to people?, to focus on: what do people do with media?

– In 1969, Denis McQuail and Jay Blumer studied the 1964 UK election and were joined by Elihu Katz, Joseph Brown, Michael Gurevitch and Hadassah Haas in 1970.

– Much of the Uses and Gratifications theory is linked with Maslow’s Hierarchy of Need (1954)

– Maslow argues that people actively looked to satisfy their needs based on a hierarchy of social and psychological desires. Maslow’s thinking was centred around Humanistic psychology

1970s: George Gurbner (Skinner vs Noam Chomsky)

– George Gurbner and Larry Gross developed the Cultivation Theory

– The Cultivation Theory notes the distinct characteristics of television in relation to other media forms, they suggest that ‘television cultivates from infancy the very predispositions and preferences that used to be acquired from other primary sources‘ (Gerbner et al 1986). 

– Gerbner and Gross assert that ‘television’s major cultural function is to stabilize social patterns and to cultivate resistance to change‘ (1978: 115). In other words, they assert the power of television to modify behavior in support of the dominant structures of society.

– Skinner came up with the theory of operant conditioning, where you can teach people through different social conditions to change their behavior and how they act

– However, Chomsky argued Skinner’s theories and came up with the concept of manufacturing consent, in which the theory of the 5 filters of the mass media machine was created

– It is argued that structure over agency (institutions have more power over small agencies)

1980s: Stuart Hall (Theory of Preferred Reading)

– Stuart Hall developed a critical theory that looked to analyse mass media communication and popular culture as a way of both uncovering the invidious work of the State and Big Business, as well as looking for ways of subverting that process

– Hall proposed the theory of preferred reading, where individuals are not only active in the process of interpretation and the construction of meaning, but they are also able to dismiss and reject dominant messages.

– Hall proposed three distinct positions that could be occupied by individual viewers, determined, more or less on their subject identities:

  1. A dominant position accepts the dominant message
  2. A negotiated position both accepts and rejects the dominant reading
  3. An oppositional position rejects the dominant reading

– This view presents people as producers and consumers of culture at the same time. It means they are active in the making (or rejecting) of meaning through mass communication.

2000s: Clay Shirky (End of Audience)

– Links to the Feminist Critical thinking of intersectionality and post-modernism, which identifies that we all are different and fragmented, just like thoughts and ideas

– Shirky is not too removed from the work of Hall, prioritising the power of individual agency in the relationship between audiences and institutions

– In a TED talk from 2013, Shirky stated that, ‘the more ideas there are in circulation, the more ideas there are for any individual to disagree with.’ In other words, Shirky makes claim for the emancipation gained from new media technologies, liberating individual consumers from the behavioural management techniques of the State that were positioned as problematic by Hall, Althusser, Chomsky and others. 

– Shirky’s ideas are supported by Henry Jenkins, another advocate of participatory, on-line communication, which he sees as providing new spaces for individuals to become active and creative in the process of mass mass media. 

2019: Shoshana Zubof (Surveillance Capitalism)

Today’s means of behavioural modification are aimed unabashedly at “us.” Everyone is swept up in this new market dragnet, including teh pscyhodramas ofordinary, unsuspecting fourteen-year-olds approaching the weekend with anxiety. Every avenue of connectivity serves to bolster private power’s need to seize behaviour for profit. Where is the hammer of democracy now, when the threat comes from your phone, your digital assistant, your Facebook login? Who will stand for freedom now, when Facebook threatens to retreat into the shadows if we dare to be the friction that disrupts economies of action that have been carefully, elaborately, and expensively constructed to exploit our natural empathy, elude our awareness, and circumvent our prospects for self-determination? If we fail to take notice, how long before we are numb to this incursion and to all the incursions? How long until we notice nothing at all? How long before we forget who we were before they owned us . . . (p. 326 – Surveillance Capitalism)

– The idea that we’re all individually profiled

CSP 12 – NEWSPAPERS

  1. Jurgen Habermas (Public Sphere)=a theory by Habermas where people can come together to freely discuss problems and give their opinions within society. A public space includes places, such as a coffee shop.

2. James Curran and Jean Seaton = concept of the Free Market, where media are free to publish what they want, without restrictions and interference from the Government and political control. The information that is published by the press is free to use in the public domain and is open to anyone to access this information.

3. Noam Chomsky = Manufacturing consent, there are 5 filters towards manufacturing consent.

Resensi Buku] Manufacturing Consent - Noam Chomsky
Hate Speech Defends NZ PM's Alliances

4. Louis Althusser = Interpolation and Ideological State Apparatus, ISAs describe the way in which society is structured, such as education, the arts and religion have a purpose to structure ideological perspectives within society, which then will form our own individual identity. He also noted that people believe they are “outside ideology” and that “interpolation” is a way to recognise the way that ideology is formed.

5. Antonio Gramsci = Hegemony/hegemonic struggle, hegemony is a struggle which emerges from negotiation and consent. Hegemony outlines how certain ideas can be more influential then others. Hegemony is the type of power between the working classes and the higher classes, with an example being Trump’s election.

Gramsci in Lebanon: Analyzing the Powerful('s) Ideology - New Politics

Curran and Seaton

Curran:

– “The freedom to publish in the free market ensures that the press reflects a wide range of opinions and interests in society”

– “Newspapers and magazines must respond to the concerns of their readers if they are to stay in business”

– “The press is the people’s watchdog, scrutinising the actions of the government and holding the country’s rulers to account.”

– “The assumption that ‘anyone’ is free to start as new paper has been an illusion ever since the industrialization of the press.”

– “The advent of the internet has enhanced the freedom to publish by lowering entry costs. [..] It is possible to set up small websites, the equivalent of small corner shops, but this is not the same thing as publishing well-resourced news websites, the equivalent of supermarkets, in which a large number of people visit.”

Seaton:

– “Public service regulation has secured the survival of a successful broadcasting industry, one which has become more significant economically and which has become an important exporter of programmes, while continuing to discuss and mold national issues”

– “Broadcasting in Britain, monopoly or duopoly, always depended on an assumption or commitment to an undivided public good”

– “The concept of broadcasting has always been of a service, comprehensive in character, with a duty of public corporation of bringing public awareness to a whole range of activity and expressed developed in society”

– “One cause of the collapse of the principle of public service broadcasting has been the deterioration in the relationship between the state and broadcasting institutions.”

– “Broadcasting is a process which cannot be entirely understood from its products. few would claim that the whole nature of the industrial enterprise can be understood from the shop floor of one factory. Neither can all the pressures which condition broadcasting institutions can be revealed by an examination of what Tracey has called ‘the world of determination of a television programme’.”

The 3 Types of Media Ownership

Media as a commodity vs Media as a public good

Transnational Media Corporations and the Impact of Globalisation

– Globalisation is when businesses/companies expand from their home country to international countries and begin to offer their services internationally and in countries outside of their home country.

– Transnational media corporations have subsidiaries in other countries outside of their home country.

CSP 12 Newspapers

DAILY MAIL & THE i (AS CSP)

In order to develop this knowledge and understanding, you should consider one complete print edition of the newspaper chosen by your teacher and selected key pages from the newspaper’s website, including the homepage and at least one other page

CONNECT NEWSPAPERS CSP TO 2020 US PRESIDENTIAL ELECTION

KEY DATE: US PRESIDENTIAL ELECTION TUESDAY 3rd NOVEMBER. A simple guide to the election can be found here

So most likely to use the editions on Wednesday 4th (provisional planning at present)

PRESIDENTIAL DEBATES: Sep 29, Oct 15 & Oct 22

https://www.channel4.com/programmes/trumps-coronavirus-catastrophe/on-demand/71430-001

The Right to Vote

  • Who has the right to vote?
  • Should everybody have the right to vote?
  • Does everybody have the right to vote?
  • Has everybody always had the right to vote?
  • How to enable / disable the right to vote?
  • How does that help: candidates, the electoral process, democracy?
  • What should be the role of the media in covering an election in terms of voting rights?

THE ELECTORAL COLLEGE A SYSTEM THAT HIGHLIGHTS KEY STATES NEEDED FOR PRESIDENTIAL ELECTION

Current data on US Election polling & Interactive ‘Who will win the election‘ a good link that gives data on US elections

Intro . . . re-cap some key thinkers:

TASK 1: Write a paragraph on the following (post on your blog) – use your own words and avoid copying big chunks of text from either the internet or from someone else in the class

  1. Jurgen Habermas and the concept of the Public Sphere
  2. James Curran & Jean Seaton – the theory of the liberal free press
  3. Noam Chomsky – the 5 filters that manufacture consent
  4. Louis Althusserinterpellation & Ideological State Appraratus
  5. Antonio Gramsci – the concept of hegemony / hegemonic struggle

TASK 2: SKIM READ THE FOLLOWING 2 ARTICLES AND TAKE OUT 5 QUOTES FROM BOTH AUTHORS THAT HELP YOU TO UNDERSTAND: 1) THE THEORY OF THE LIBERAL FREE PRESS & 2) THE ROLE OF PUBLIC SERVICE BROADCASTING

THREE TYPES OF MEDIA OWNERSHIP

Fuchs, C ‘Reading Marx in the Information Age’ Routledge 2016

MEDIA AS A COMMODITY v MEDIA AS A PUBLIC GOOD

Fuchs, C ‘Reading Marx in the Information Age’ Routledge 2016

TRANSNATIONAL MEDIA CORPORATIONS: THE IMPACT OF GLOBALISATION

Fuchs, C ‘Reading Marx in the Information Age’ Routledge 2016

Intro . . . watch some episodes of Press

https://www.bbc.co.uk/iplayer/episode/b0bk9c89/press-series-1-2-pure

CSP 11: Oh

Oh ~ previously Oh Comely

The CSP Oh Comely has changed its name to Oh. The update on the magazine’s website states: ‘Oh is a reimagination of Oh Comely magazine and is still a place to meet new people, hear their stories and hopefully leave you looking at life a little differently. And every issue will still have beautiful photography and illustration at its heart’.

Oh Comely is part of a development in lifestyle and environmental movements of the early twenty first century which rebrand consumerism as an ethical movement. Its representation of femininity reflects an aspect of the feminist movement which celebrates authenticity and empowerment

An alternative Institutional structure?

In contrast to Men’s Health magazine, Oh Comely is an independent magazine published by Iceberg Press, a small London publisher which publishes only one other title.

  • So this is a case study of Iceberg as an independent media company.
  • Which shows how developments in new technology mean that small companies can also use the internet to communicate and target audiences.
  • Niche audiences can then be targeted more precisely.
  • Presenting new strategies for institutional development and creative working practice. As well as suggesting ways for keeping print popular and relevant – Iceberg’s branding includes a commitment to print over other media forms.

Media Representations

Clearly the key areas of representation suggested by the magazine are to do with gender, primarily femininity but can also be understood in how this affects the representation of men. As such, a comparison with Men’s Health is really pertinent. As:

  • Oh Comely constructs a representation of femininity with its focus on creativity and quirkiness.
  • The focus is on women as artists, entrepreneurs, athletes and musicians and female empowerment is a major theme.
  • The absence of men as part of the representation of masculinity in Oh Comely magazine.
  • Representation of social groups: Oh constructs a lifestyle through its focus on culture and the environment. This analysis would offer the opportunity to question some of the messages and values constructed by the magazine.
  • Therefore it is possible to apply feminist critical thinking to this CSP for example theories of representation including
    • Hall
    • bell hooks
    • Van Zoonen
    • gender performativity – Butler

Task: create a new post on Oh. Focus on the relationship between ownership, control, working practice, politics, representation and identity.

CSP 11: OH MAGAZINE

Facts:

  • Previously known as Oh Comely Magazine
  • It is a women’s magazine covering food, recipes, film, fashion, music, art and culture.
  • The first issue of Oh Comely was published in 2010 and co-edited by Des Tan and Liz Bennett, with Rosanna Durham and Dani Lurie as art editors
  • Oh is a bi-monthly British magazine
  • Oh is published in print and digitally, made in London by a small indie publishing house started by three friends.
  • You can find Oh in some Sainsbury’s and Waitrose, most WH Smiths and many small newsagents, indie mag shops and some cafés, museums and galleries.
  • With beautiful photography and illustration at its heart, Oh is a place to meet new people, hear their stories and leave you looking at life with a little, welcome fresh perspective.
  • Oh Comely got its name from a beautiful and sinister song by Neutral Milk Hotel.
  • The average age of Oh’s reader is aged 27.

Who owns Oh?

  • It is published by Pirates Ahoy! a subsidiary of Iceberg Press, publisher of The Simple Things magazine.
  • Iceberg Press announced their purchase of Oh Comely from Adeline Media in 2016.

Lisa Sykes: Editorial Consultant

  • She previously edited national newsstand magazines by her mid-twenties before working on news and features at The Sunday Times.
  • More recently she spent 10 years at Country Living Magazine, where she was responsible for a string of award-winning campaigns such as Fair Trade for British Farmers, Enterprising Rural Women and Made in Britain.
  • Lisa then spent further stints at Hearst Magazines UK, working as Deputy Editor of Coast Magazine, as a senior editor on Good Housekeeping, and as Editor of Prima, one of the largest circulating women’s titles in the UK. 
  • She then joined The Simple Things as Editor in November 2013 after working for Future Publishing as an editorial consultant.

David Parker: Analyses Oh’s Audience

  • David Parker is a highly successful publisher with a track record of growing brands and working every avenue and margin in the business.
  • He published three of the largest magazine brands in the UK: Country Living, Prima and House Beautiful, alongside AllAboutYou.com
  • David believes that lots of magazines have given up on their readers.

Oh’s Story

  • Five years ago, three friends and colleagues were working for one of the biggest publishing companies.
  • But they believed there was a better way to create and publish magazines – where the readers were as important as the advertisers, where the paper quality and design were valued and where the words and pictures weren’t always trying to sell stuff, didn’t portray perfection, didn’t tell people what to do and made them feel better, not worse.
  • So they gave up their jobs, ploughed in their savings and borrowed the rest to set up their own publishing company – Iceberg Press – and buy The Simple Things, followed by Oh Comely two years later.
  • Then, in 2018, they launched Pics & Ink to sell other publishers’ independent, beautiful and useful magazines too.
  • Now they’ve reimagined Oh Comely into Oh, a mindful magazine with a fresh perspective.

Who is Iceberg Press?

  • They make two magazines, The Simple Things and Oh Comely.
  • They are proudly independent and put the reader at the heart of everything they do.
  • The world of magazines has never been more vibrant and innovative, but you wouldn’t know it from the average newsstand today. Therefore, Iceberg Press aim to bridge that gap.
  • Iceberg Press aimed to bring the best of the spirit of the independent publishing scene to a wider audience using the skills and knowledge they gained working for some of the world’s biggest publishing companies.

Quote from Iceberg Press:

“It’s all about the audience.

Chase the work, not the money.

Compromise isn’t our friend.

We will always make time for ideas.

We are stronger when we work with others.

We want good people to work in a good place.

Every year we will help a cause that matters.

We believe in a thing called Print.”

An alternative institutional structure

  • In contrast to Men’s Health magazine, Oh Comely is an independent magazine published by Iceberg Press, a small London publisher which publishes only one other title.
  • So this is a case study of Iceberg as an independent media company.
  • Which shows how developments in new technology mean that small companies can also use the internet to communicate and target audiences.
  • Niche audiences can then be targeted more precisely.
  • Presenting new strategies for institutional development and creative working practice. As well as suggesting ways for keeping print popular and relevant – Iceberg’s branding includes a commitment to print over other media forms.

Media Representations:

  • Oh Comely constructs a representation of femininity with its focus on creativity and quirkiness.
  • The focus is on women as artists, entrepreneurs, athletes and musicians and female empowerment is a major theme.
  • The absence of men as part of the representation of masculinity in Oh Comely magazine.
  • Representation of social groups: Oh constructs a lifestyle through its focus on culture and the environment. This analysis would offer the opportunity to question some of the messages and values constructed by the magazine.
  • Therefore it is possible to apply feminist critical thinking to this CSP for example theories of representation including
  • Hall = theory of representation
  • bell hooks = drew attention to how feminism privileges white women’s struggles, while advocating for a more holistic way of understanding oppression
  • Van Zoonen = believed that the media portray images of stereotypical women and this behaviour reinforces societal views. The media does this because they believe it reflects dominant social values (what people believe in) and male producers are influenced by this
  • gender performative – Butler =came up with the theory of the ‘Male Gaze’ and believes that male audiences get a sense of power and pleasure from watching women in the media who are often represented as objects for male pleasure. Most media representations of women are mainly for men – for the male gaze.

HOW USEFUL ARE IDEAS ABOUT NARRATIVE IN ANALYSING MUSIC VIDEOS? REFER TO ‘GHOST TOWN’ AND ‘LETTER TO THE FREE’ IN YOUR ANSWER

Within the Narrative theory, there are many theorists we can apply. An example is Todorov’s Tripartite which explores how all narratives should follow a structure of beginning equilibrium, disruption and ends with a new equilibrium. Another narrative theorist that can be explored is Levi-Strauss and his theory of binary opposites and Vladamir Propp, with his theory of media have 7 different character types, the hero, helper, princess, victim, dispatcher, father and false hero.

Each of the CSPs (both “Letter to the Free” and “Ghost Town”) clearly follow Todorov’s Triparite Narrative Theory, and therefore have a clear beginning equilibrium, disruption and new equilibrium. For example, this is shown in Ghost Town with the opening being the initial equilibrium of driving through the streets of the East End of London, showing how London has become a “ghost town”. The disruption is when the car that is being driven swerves out of control, which could be a message how the unemployment rates in the UK were rising upwards out of control and thus emphasising how the whole economy of the UK was out of control. However, the new equilibrium is found and that is when the band return to the car and are seen at the end skimming rocks on a beach, which could be a symbol of things returning back to normal, since previously the car was out of control, whereas now everything has been returned to normal.

Similarly, “Letter to the Free” also follows a tripartite narrative theory. The music video begins with a shot of the setting and then the focus on the black box, which could be interpreted as an infinite symbol of black lives and a constant reminder of the symbol behind the message that “black lives matter”. The disruption can be determined by Common being seen in a prison, playing music, demanding form “freedom”. It can be argued that the disruption of this music video can be the imprisonment of black lives. This also applies Levi-Stauss’ theory of binary oppositions because Common is singing about freedom, however in the music video, he appears to have no freedom because he is trapped in a prison. Finally, the new equilibrium of the music video is the empty shots of the prison and a zooming out close-up of a house, possibly Common’s house, with the outdoor shot symbolising freedom and the freedom he has finally got. Once again, the black box appears to once again remind us of the message of the song that black lives are infinite and are equal to any other skin colour.

However, in some cases while most media products are told in a linear sequence, the film Memento by Christopher Nolan has been told in both chronological and non-chronological order, with the colour scenes being non-chronological and the black and white scenes being in a chronological sequence. In a video, Christopher Nolan explained this as being like a “hairpin”. This differentiates from other films and having the plot alternate from chronological order (black and white scenes) to non-chronological order (colour scenes) keeps the attention of the viewer and makes them want to watch on because they are about to get to the climax and then it reverses.

Another theorist that can be used within narrative and moving image products is the Satellites and Kernels theory by Seymour Chatman. Chatman explains that every narrative should have satellites and kernels. The satellites are regarded as embellishments, developments and aesthetics (minor elements) just like the satellites in space which are just there and don’t really mean anything, whereas the kernels are regarded as the key developments of the narrative and the overall narrative structure. If you remove an element regarded as a satellite from a narrative, it may not affect it, however, if you remove a kernel from a narrative, it could change the whole plot and overall meaning of the narrative.

Overall, it is very useful for music videos to follow Todorov’s tripartite narrative theory. Not only does following a narrative theory make the music video and context of the song more easier to follow, applying a narrative theory also means that you are able to capture perceptions and messages which can’t be expressed by people personally. For example, Ghost Town is talking about the economic crisis of London during the 80s, however, without the narrative theory of the music video, people could misinterpret the song and see Ghost Town as a place where nobody lives, which is the complete opposite (linking to Levi-Strauss’ theory of binary opposites) since people were living in London, it wasn’t a ghost town with no people, it was a ghost town because everyone was in their homes and not going out to work. Finally, narrative is important due to the old saying of “pictures paint a thousand words”. It can be very hard to convey a message by speaking it, however, using a music video can be a visual way to help convey a message, which is why applying narrative to music videos is an important thing to do. Finally, Chatman’s theory of Satellites and Kernels are important within moving image products because if you change elements regarded as kernels, the whole narrative of the plot can change, yet if you remove elements known as satellites, there can create a minor change to the narrative and plot.

Memento: narrative

Narrative Theory

  • Structuralism has been very powerful in its influence on narrative theory. Its main virtue is that it is most interested in those things that narratives have in common, rather than in the distinctive characteristics of specific narratives.” – Turner p.85 ‘Film as Social Practice
  • Many narratives (Film, TV, Radio) are usually LINEAR and SEQUENTIAL, in that they start at ’00:00′ and run for a set length. This means that they normally have a beginning, middle and end

Narrative…story…plot

  • According to Thompson (1990) ‘in studying narrative structure, we can seek to identify the specific narrative devices which operate within a particular narrative, and to elucidate their role in telling a story . . . it can be illuminating to focus on a particular set of narratives . . . and to seek to identify the basic patterns and roles which are common to them.’ (288)
  • STORY is often associated with themes and meaning and can be decoded from all of the different elements that are used, for example, the characters, setting, props and themes etc.
  • PLOT is the way in which the story (elements/themes/ideas/meaning) is organised and sequenced.

Todorov – Tripartite Narrative Structure

  • Every narrative has a beginning, middle and end

Propp – Character Types

  • Hero
  • Helper
  • Princess
  • Villain
  • Victim
  • Dispatcher
  • Father
  • False Hero

Spheres of Action

  • As Turner makes clear ‘these are not separate characters, since one character can occupy a number of roles or ‘spheres of action’ as Propp calls them and one role may be played by a number of different characters’ (2000:78)

 Propp proposed that his list of stock characters are structured into a narrative that has 31 different functions that play an important role in organising character and story into a plot. Without going into detail for each, overal they can be dvided into the following sections:

  1. PREPARATION
  2. COMPLICATION
  3. TRANSFERENCE
  4. STRUGGLE
  5. RETURN
  6. RECOGNITION

Levi-Strauss – Binary Opposites

  • Levi-Strauss examined the nature of myths and legends in ancient and primitive cultures, from this analysis he suggested that myths were used to deal with the contradictions in experience, to explain the apparently inexplicable, and to justify the inevitable’ (Turner 2000:83)

Satellites and Kernels

  • Kernels: key moments in the plot / narrative structure
  • Satellites: embellishments, developments, aesthetics

Barthes: Proairetic and Hermenuetic Codes

  • Proairetic code: action, movement, causation
  • Hermenuetic code: reflection, dialogue, character or thematic development
  • Enigma Code: the way in which intrigue and ideas are raised, which encourages an audience to want more information.

Key Words:

  • Ellison/Ellipsis = when you cut things out so things don’t take too long, ie the book burning scene in Memento
  • Flashbacks = going back in time. In Memento, these are clearly identified by the black and white scenes
  • Flash forwards = going forward in time
  • Foreshadowing = flagging up something that needs to be known or will be fully developed later
  • Dramatic Irony = we know something as an audience, but the characters don’t
  • Parallel/simultaneous narrative = when time run simultaneously and two stories are running at the same time
  • Light and Shade = you need some balance, you need to have some heavy stuff, then comedy like jokes. You can’t have the heavy intense stuff (Light) all the way through without any cuts of more calming scenes (shade)
  • Non-sequitur= short story lines which can make up part of an enigma

POST-MODERNISM

Overview

  • Postmodernism can be understood as a philosophy that is characterised by concepts such as RE-IMAGININGPASTICHEPARODY, COPY, BRICOLAGE.
  • It’s an approach towards understanding, knowledge, life, being, art, technology, culture, sociology, philosophy, politics and history that is REFERENTIAL – in that it often refers to and often copies other things in order to understand itself.
  • When you copy, new meanings can be made

Parody vs Pastiche

  • Pastiche is a piece of work, such as art, drama, literature, music, or architecture which imitates the work of a previous artist
  • Parody is a work or performance that imitates another work or performance with ridicule or irony or joke, or taking the mick
  • The Simpsons relishes its self-referentiality and frequently engages in pastiche” – Gray (2006:5)

Intertextuality: surface signs, gestures & play

  • As Shuker notes, two points are frequently made about music videos: ‘their preoccupation with visual style, and associated with this, their status as key exemplars of ‘postmodern’ texts.’ (2001:167). 
  • The fragmentary, decentred nature of music videos that break up traditional understandings of time and space so that audiences are ‘no longer able to distinguish ‘fiction’ from ‘reality’, part of the postmodern condition’ (ibid). 
  • BRICOLAGE is a useful term to apply to postmodernist texts as it ‘involves the rearrangement and juxtaposition of previously unconnected signs to produce new codes of meaning’ (Barker & Jane, 2016:237).
  • Similarly, INTERTEXTUALITY suggests signs only have meaning in reference to other signs and that meaning is therefore a complex process of decoding/encoding with individuals both taking and creating meaning in the process of reading texts.
  • Postmodernism can therefore be understood (more than other creative movements) as deliberate, intended, self-conscious play (about play?), signs about signs, notes to notes
  • Often (and again unlike other creative movements such as modernism or structuralism – see below) this may be frivolous, trite, casual, surface, throw-away. It may even be ironic, joking, or literally, ‘just playing’. However, it is always a deliberate copy (of the old).
  • Therefore, the old has been re-worked into something new, which clearly entails a recognition (a nod and a wink) to what it was and where it came from. In this sense, postmodernism works in terms REITERATION
  • the concept that the meaning of a text does not reside in the text, but is produced by the reader in relation not only to the text in question, but also the complex network of texts invoked in the reading process.

Surface and style over substance

  • If it the priority is play, then the emphasis is on the surface, in other words, if the main focus is the idea of just connecting one product to another, then the focus is superficial, shallow, lacking depth, so ‘in a postmodern world, surfaces and style become the most important defining features of the mass media and popular culture‘ (Strinati: 234). 
  • In terms of the key principles of art and design the priority is in formal elements: of shape, colour, texture, movement, space, time and so on.
  • As opposed to more discursive principles of: narrative, character, motivation, theme, ideology. Or put simply: STYLE OVER SUBSTANCE. Put another way, are we more interested in the surface of an object than its’ inner meaning?

A brief economic, historical and societal backdrop to Postmodernism.

  • In 1959, Richard Hoggart (Uses of Literacy) noted the shift in modern societies particularly the impact on our ‘neighborhood lives’, which was ‘an extremely local life, in which everything is remarkably near‘ (1959:46).
  • As John Urry comments, this was ‘life centred upon groups of known streets’ where there was ‘relatively little separation of production and consumption‘ (2014:76).
  •  Thus, a characteristic of modern (postmodern?) societies, is the creation, development and concentration of centres of high consumption, with a displacement of both consumption and production that has radically altered the nature of societies and individuals living in them.
  • This approach in terms of postmodernism is associated with Fredric Jameson‘s 1984 essay, and subsequently 1991 book; Postmodernism, or the Cultural Logic of Late Capitalism which located postmodern culture (for example, music videos) in the expression of a new phase of capitalism, one which was aggressively consumerist, rampantly commodifying all of society as potential new markets. 
  •  For many this is reflective of the new global economy (globalisation), which has created a high polarized class division between the rich and the poor / underclass made possible through the rapid increase of new forms of technological developments.
  • For instance, it may be possible to identify the extent to which our economic experience is now characterised by what we buy (consumption) than what we make (production).
  • In other words, there is an argument that postmodern culture is a consumer culture, where the emphasis on style eclipses the emphasis on utility or need

Fragmentary consumption = Fragementary identities.

  • This process of fragmented consumption separating, splitting up and dividing previously homogeneous groups such as, friends, the family, the neighborhood, the local community, the town, the county, the country and importantly, is often linked to the process of fragmented identity construction.
  • “Putting it very simply, the transition from substance to style is linked to a transition from production to consumption” – Strinati (235)
  • So in summary, the focus on FRAGMENTATION OF IDENTITY is characterised and linked to an increase of consumption and the proliferation of new forms of digital technologies.
  • In effect, another key characteristic of postmodernism is the development of fragmented, alienated individuals living (precariously) in fragmented societies.

The loss of a meta narrative

  • Although Postmodernism sometimes refers to architectural movements in the 1930’s the most significant emergent point is to be found in the 1980’s with clear philosophical articulations from eminent thinkers such as Jürgen Habermas, Jean Baudrillard, Jean-Francois Lyotard, Fredric Jameson and others. 
  • Fredric Jameson claimed that Postmodernism is characterized by pastiche rather than parody which represents a crisis in historicity.
  • Jameson argued that parody implies a moral judgment or a comparison with previous societal norms.
  • Whereas pastiche, such as collage and other forms of juxtaposition, occur without a normative grounding and as such, do not make comment on a specific historical moment. As such, Jameson argues that the postmodern era is characterised by pastiche (not parody) and as such, suffers from a crisis in historicity.
  • From a societal perspective the ‘real’ seems to be imploding in on itself, a ‘process leading to the collapse of boundaries between the real and simulations’ (Barker & Emma, 2015:242).
  • A process which the French intellectual Jean Baudrillard would describe as IMPLOSION which gives rise to what he terms SIMULACRA.
  • The idea that although the media has always been seen as a representation of reality – simulation, from Baudrillard’s perspective of implosion, it is has become more than a representation or simulation and it has become SIMULACRUM not just a representation of the real, but the real itself, a grand narrative that is ‘truth‘ in its own right: an understanding of uncertain/certainty that Baudrillard terms the HYPER REAL.
  • A way of understanding this comes from Baudrillard’s provocative 1991 book The Gulf War Did Not Take Place which suggests that not only was our experience and understanding of this war a ‘mediated reality’, but it was also constructed as a media experience to the extent that reality did not match mediation
  • Meta-narrative = a big, overall, story

Definitions

  1. Pastiche = a piece of work or art which imitates another artist.
  2. Parody = a piece of work or art which imitates another artist, however a parody can seem comical and is presenting irony, such as the Parody of Blurred Lines by the Women
  3. Bricolage = this is when something is created from a diverse range of different things. For example, there’s a “Bricolage” chain of shops in France that sell groceries, electronics, clothing and a whole range of different things
  4. Intertextuality = this is the shaping of a text based on another text and suggests that signs only have a meaning if they are in reference to another sign
  5. Metanarrative = a big, overall story; meta = big/overall summary, narrative = story
  6. Hyperreality = it is the inability to distinguish something as either real or a simulation, due to its similarity from reality. For example, Dubai is a hyper-realist city as they have rebuilt sone “new and improved” wonders of the world and are currently building a new and better Taj Mahal.
  7. Simulacrum = although media is seen as a representation of something, a simulacrum is not just a simulation of something real, but is in fact the real thing. An example of simulacrum art is pop-art.
  8. Consumerist Society = a society where people give lots of time, energy and resources, which are dedicated to “consuming”. An example of this is the Kinder Egg.
  9. Fragmentary Identities = Something fragmented is made up of little pieces that are unconnected and a fragmented identity is therefore an identity made up if unconnected elements.
  10. Implosion = when a business or corporation suddenly collapses or fails
  11. cultural appropriation = this is when there is an inappropriate adoption of certain cultures, religions, beliefs by one person or a society consisting of members of a different culture.
  12. Reflexivity = it is the process that is used in production of media, which is used to draw attention to itself.

postcolonialism

An overview:

This post is for students (and teachers) who would like some resources – videos, quotes, theorists, key texts, key words etc to help them think about the topic of POSTCOLONIALISM, which may appear in a range of creative, media, culture, communications, English, History and other courses. Overall, this is a topic that concerns IDENTITY and REPRESENTATION. In other words, where does our identity come from? How is our identity formed? How do we understand our own identity and how is our identity represented in the local, national and global media? You can look at another post that looks at identity, representation and the self. But here it is specifically looking at identity and representation through the lens of Empire and Colonialism.

The Shadow of Slavery

Reaction and Reform?

CSP 9: war of the worlds

https://archive.org/details/OrsonWellesMrBruns

This is a Targeted Close Study product for which you will need to focus on the following areas of the Theoretical Framework:
> Media Industries
> Media Audiences

You will need to listen to excerpts from the broadcast but the main focus will be the technological development of radio as an institution.

War of the Worlds is an early example of a hybrid radio form, adapting the H.G Welles story using news and documentary conventions. The broadcast and the initial response to it has historical significance as an early, documented, example of the mass media apparently having a direct effect on an audience’s behavior. The academic research carried out into the broadcast (and the ongoing dispute about the extent of the effect) provided some of the early media audience research and the findings have been extremely influential in the media, advertising and political campaigning.
A useful overview and discussion of the context can be found here (not part of the CSP for assessment): https://www.wnycstudios.org/story/war-worlds

Media Institutions

War of the Worlds provides an historical context for broadcasting, being produced at a period when radio was the only form of domestic media; the 1930s and 1940s became known as the ‘golden age’ of radio.

  • War of the Worlds was broadcast by Columbia Broadcasting Company – an institution still in existence (in a very different form) today.
  • Radio broadcasting was seen as direct competition to newspapers which had previously been the only way of receiving news.
  • The broadcast is typical of the way institutions are always looking for new styles in order to attract audiences.
  • Regulation – radio broadcasting was regulated by the Federal Communications Commission and it investigated the broadcast to see if it had broken any laws.
  • The broadcast provides an excellent example to consider the effect of individual producers on media industries (known as ‘auteur theory’) as this is the work of Orson Welles.

Media Audiences

War of the Worlds has become a real-world test case for a variety of audience theories, although the exact nature of the audience response is still disputed.

  • What techniques (ie Media Language) does the broadcast use to convince the audience that what they’re hearing is really happening?
  • Consider the way that external factors – global political context, gender, religion, education etc. – are likely to also affect audience response
  • The ways in which audiences interpret the same media product differently – at the time of broadcast and now (Reception theory including Hall)
  • Cultivation theory including Gerbner

Historical, political, social and cultural contexts

For many, the wider social, political, historical and cultural contexts are not just clearly connected to media studies but they are in some ways more important.

I’ve always said you can’t understand the world without the media nor the media without the world” (Professor Natalie Fenton, quoted in Fake news vs Media Studies J. McDougall p.17 2019, Palgrave)

I do spend long periods of time with my gaze turned away from the media, because I’m seeking to understand what’s going on out there, and then the role of the media in that context. I’m always putting the social, the political and the economic (contexts) first.” (ibid)

War of the Worlds can be considered in a historical context as it provides an interesting study of the power and influence of radio as a form during its early days of broadcasting. It is also useful to consider the product in a social, cultural and political context when considering audience responses to the programme. It was first broadcast on the eve of World War II and reflected fears of invasion in the US and concerns about international relations.

Some other thoughts regarding this text center around contemporary ideas of Fake News. In other words, do we / can we trust the media? Where do you get knowledge and information? It also a text that shows the power of the media, to influence vulnerable audiences. Although I wonder if the stories around audiences reacting passively as if it were a true story were exaggerated almost as a marketing exercise, that in itself is a form of made up information? Indeed, isn’t all information made up? How do we know what is truth? What is clear is that the distinction between fact and fiction is often blurred and relies upon audience members recognising and understanding specific codes and conventions that relate to each Media Language. In this instance, the Language of Radio is used creatively to structure a text that could be taken as fact, but is clearly fiction. Recognising the particular social and historical moment that this media text was produced is significant, so was this a comment on the ability of the mass media to create propaganda and manipulate a compliant and vulnerable mass audience? Is that still relevant today? Think about twitter, Trump, Brexit etc. If so, then Chomsky‘s argument that the media is used by powerful groups – ‘Manufacturing Consent‘ – is the most appropriate theory to structure an understanding of media, technology, control, manipulation and power.

Other areas to think about (but unlikely to form part of your assessment)

Media Language

  • War of the Worlds is a good case study for students to understand the way codes and conventions of radio drama (sound, dialogue, SFX, microphone technique, silence, words, accents, dialects etc) are put together to create meaning and construct a recognisable and familiar genre (Steve Neale). War of the Worlds also belongs to the genre of sci-fi and invasion – how are the conventions evident?
  • But can War of the Worlds be considered as an intertextual product? Or pastiches of other genres.
  • Consider how developing technologies affect media language: in 1938 radio was still a relatively new mass media technology, the broadcast could experiment with the form in a way not possible later on.
  • At the time of the broadcast the idea of hybrid genres was unfamiliar, with clear boundaries between fact and fiction, making this a significant development in the form.

Media Representations

While there are representations of social and cultural groups in War of the Worlds, this broadcast is particularly significant for studying how a media product constructs a representation of reality, drawing on issues in society to convince the audience of its reality.

  • How does the use of media language construct the representation of the real?
  • Is this programme an early example of fake news?
  • What signifiers of different groups and social classes are used?
  • The representation of the alien invaders in sci-fi genre.
  • As a broadcast in October 1938, can War of the Worlds be interpreted as representing particular political concerns to US – and international – society?