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media studies website – all info from this

Themes

Television – Deutschland 83 + CapitalMedia Language Media Representations Media Industries Media AudiencesSocial, political, economic, cultural PAPER 2

Radio – Newsbeat + War of the WorldsMedia Industries Media AudiencesHistorical, social, political, cultural PAPER 1

Video Game – Tomb Raider + Metroid + Sims FreePlay – Media Language Media Representations Media Industries Media AudiencesSocial, cultural PAPER 2

Advertisements – Maybelline (That Boss Life) + ScoreMedia Language Media RepresentationsHistorical, social, cultural PAPER 1

Newspaper – The Daily Mail + The iMedia Industries Media AudiencesSocial, political, economic, cultural PAPER 1

Magazine – Oh Comely + Men’s HealthMedia Language Media Representations Media Industries Media AudiencesSocial, cultural PAPER 2

Online news sites – The Voice + Teen VogueMedia Language Media Representations Media Industries Media AudiencesSocial, political, economic, cultural PAPER 2

Music Video – Letter to the Free + Ghost TownMedia Language Media RepresentationsHistorical, social, political, economic, cultural PAPER 1

Film – Blinded by the LightMedia IndustriesSocial, economic, cultural PAPER 1

Theorists

semiotics

Sassure

Barthes

Pierce

Baudrillard

narrative

Propp

Todorov

representation

Gauntlett

Gilroy

Van Zoonen

Male Gaze – Laura Mulvey

bell hooks – hooks was born Gloria Jean Watkins, she chose her pen name to honor her late grandmother, Bell Blair Hooks. But, hooks said she preferred to have her first and last name written with all lowercase letters, to focus on her message rather than herself.

Gauntlett

Butler

industries

Hesmondhalgh

audience

Lasswell

Lazarsfeld

Gerbner

Hall

Maslow

Jenkins

Key words

Semiotics

Binary Opposition

Uses and Grats

Moral Panic

Intertextuality

Vertical Integration – When a single company owns most of the chain of production for media text.

Horizontal Integration – A company buys a competitor in the same sector.

REVISION – THEORISTS

Barthes:

  • Semiotics, Signs (Index, Symbol, Icon)
  • Denotation VS Connotation
  • Mise-en-scene
  • Myths (Ideological effects)
  • Hermeneutic/ Proairetic codes

Strauss:

  • Binary oppositions
  • Encode/ Decode
  • Media constructs ideologies

Todorov:

  • Narrative theory
  • 3-part structure: Equilibrium, Disruption, New Equilibrium
  • Plot/Sub-plot
  • Flexi-narratives
  • Ideological meanings – Power of stories lie in deeper meanings

Propp:

  • Stock characters
  • 31 plot moments – Narratemes

Neale:

  • Genre
  • Repetition and difference
  • Sub-genres/ Genre hybridisation

Media Representation

Butler:

  • Gender as performance
  • Distinction: Sex/ Gender
  • Repeated acts

Gauntlett:

  • Identity: Constructed, Fluidity, Negotiated, Collective
  • Heteronormativity

REVISION – TERMINOLOGY

Media Language

Semiotics (Saussure)

Sign A representation of a physical object. “Signifier + Signified = Sign”
Signifier The sign that we ‘read’ and extract meaning from.
SignifiedThe meaning we extract from the signifier (sign).
Dominant SignifierThe most prominent ‘sign’.

Semiotics (Pierce)

IconHas a ‘close physical resemblance’ to what it signifies. Eg. A line drawing that looks like a TV
IndexHas some physical resemblance with what is signifies. Eg. Paw prints
CodeA system of signs, a group of symbols that represent something.
Symbol Has no resemblance between the signifier and the signified. Eg. Symbols that are used to identify gender.

Semiotics (Barthes)

SignificationThe representation of the meaning.
DenotationThe literal meaning of the sign.
ConnotationThe inferred or representational meaning of the sign.
MythHow words and images are systematically used to communicate cultural and political meanings.
ParadigmA set of signs that are similar and are connected but different.
SyntagmA sequence of signs that work together to create meaning.
AnchorageWords that accompany a sign and help to provide context and meaning associated with the sign.
IdeologyA body of ideas or set of beliefs that people have regarding different technologies.

Narratology

Narrative Codes
Narration
Diegesis
Quest narrative
Character types
Causality
Plot
Masterplot

Narratology (Todorov)

Narrative structure
Equilibrium
Disruption
New equilibrium

Narratology (Aristotle)

Anagnorisis
Pathos
Unity
Peripeteia
Catharsis

Genre (Neale)

Conventions and rules
Sub-genre
Hybridity
Genres of order and integration
Genre as cultural category

Structuralism (Strauss)

Binary oppositions
Mytheme
Cultural codes
Ideological reading
Deconstruction

Post-modernism

Pastiche
Bricolage
Intertextuality
Implosion

Post-modernism (Baudrillard)

Simulacra
Simulation
Hyperreality

BANDURA

Social Learning Theory

Modelling Effects

In the 1960’s, Bandura conducted a behaviour experiment to explore how when children witness a certain behaviour, they will replicate this.

In today’s society, this seems pretty obvious. So we can look at this idea in terms of how actions represented through the Media can have effect on their audiences.

Bandura called the behaviour we replicate from cinema or television; Symbolic Modelling. (PASSIVE AUDIENCES)


“Human behaviour is to a large extent, socially transmitted, either deliberately or inadvertently”

— Bandura (1973)

Video Violence

  • The media relies on violence to quickly engage audience attention
Attention factorsThe video game player can control avatars to carry out violent acts. This causes a direct correlation between a certain action having violent effects. This translates into the real world and individual behaviour.
Players are rewarded for violent actionsVideo game designers create a positive response to violent actions. For example, for so many kills in a game, the player would receive a certain score. This generates a negative action, positive response loop which feeds violent behaviour in the real world.
Violence is portrayed without moral justification or explanationViolent acts featured in video games are often unprovoked or lack justification (they are casual/normalized). Perhaps this could desensitise players to violence or the effects of violent acts in their lives.
Video games are immersive Video games are often played alone, without the input of others.
Video games are addictivePlaying video games for increased duration means that players are exposed to negative behaviours more often, this becomes addictive.
Realistic violenceGraphic designers have ways of making video games look even more realistic (or hyper-real). This means that the violent acts are similar to real life, meaning it is increasingly difficult to find the division between simulation and true being.

NEW MEDIA (EXAM PREP)

New Media Questions

  • Key ideas: Producers, changing social/cultural contexts, audiences

Teen Vogue

  • Owner = Conde Nast (‘a global media company that produces some of the world’s leading print, digital, video and social brands’) They “celebrate the extraordinary. Creativity and imagination are the lifeblood of all that we do. We are a media company for the future, with a remarkable past.”
  • First print edition = Spring 2002
  • Last print edition = 2017 when they ceased print publishing in favour for online articles through their website
  • They have shifted from stereotypical/ conventional content for young women to more societal/ideologically driven content which comments on issues regarding humanity and representation (see first and last print article and their move to online publishing)

The Voice

  • Owner = GV Media Group LTD
  • First print edition = 1982 launched at Notting Hill Carnival of that year
  • Audience statistics:
  • “The media bias” of the previous year’s civil unrest in Brixton was noticed by Val McCalla. So, at the 1982 Notting Hill Carnival, he launched The Voice because he “saw the need for a newspaper that would address the issues that mattered to British-born African-Caribbean people who were trying to stake their claim to the only country they had ever known.”
  • Linking to Paul Gilroy: It seems evident that ‘The Voice’ are ever trying to dispel negative stereotypes and views of diversity across the UK by giving a voice to Black people who share their experiences/stories/words for change. He too noticed the racial binaries that were present in the media saying that “Black communities are constructed as an ‘other’ to white culture and are associated with criminal activity and lawlessness”
  • Key ideas: Products, shaped by economic/political context

Sims Freeplay

Background of The Sims Freeplay:

  • What: It’s a strategic life simulation game where Players can control their Sims (custom characters) to satisfy their wishes, and let them complete different kinds of actions. The game runs in real-time, and takes real time to complete actions.
  • Who made it: Developed by EA Mobile and later with Firemonkeys Studios. The Sims FreePlay is a spin-off from the hugely successful Sims franchise first published by Electronic Arts (EA) in 2000.
  • Targeted at: Ages 12+. The Sims franchise has demonstrated there is a strong and lucrative market in female gamers as Will Wright (Game Designer) described it as a ‘doll house’. Furthermore, both twitter and facebooks accounts display more female sim characters specifically younger sims than young male sims, as well as the large amount of both pregnant sim characters and children being present.
  • When released: IOS: December 15th 2011 / Android: February 15th 2012 / BlackBerry 10: 31st July 2013 / Windows Phone 8: 12th September 2013.

Statistical Data for Sims Freeplay:

  • The game has seen 200 million downloads since 2011 – remarkable success.

Notes:

  • The video game was banned in China, Saudi Arabia, United Arab Emirates, Oman, Kuwait, Qatar and Egypt due to the possibility of establishing a homosexual relationship. – governmental control

Theorists:

  • Baudrillard: when it comes to postmodern simulation and simulacra, “It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the real” = As the game is still being updated to present since being released on iOS to begin with in 2011 and tries to imitate real life – simulation of real life events.

Exam Question:

  • Media effects theories argue that the media has the power to shape the audiences thoughts and behaviours. (25 marks) – Tomb Raider / Metroid / Sims Freeplay
  • Target audiences for video games change because of the historical and economic contexts in which they are produced. (25 marks) – Tomb Raider and Sims Freeplay

CSP Teen Vogue

https://www.teenvogue.com

This is an in-depth CSP and needs to be studied with reference to all four elements of the Theoretical Framework (Language, Representation, Industries, Audience) and all relevant contexts. Online, social and participatory: Fashion, lifestyle, political and campaigning website and social media sites. The different sites should be studied in detail including the home page of the website and the ‘Culture’ section.

What needs to be studied? Key Questions and Issues


This product relates to the theoretical framework by providing a focus for the study of:

Media Language
How are the codes and conventions of a website used in the product? How are these conventions used to influence meaning?
The website should be analysed in terms of:
the composition of the images, positioning, layout, typography, language and mode of address
The application of a semiotic approach will aid the analysis of the way in which the website creates a narrative about the world it is constructing – often to do with age, beauty and social and
political issues.
The genre conventions of websites will be studied and the genre approach should also include reference to the content of lifestyle websites.
Narrative in the context of online material can refer to the way that the images and the selection of stories construct a narrative about the world – one which is likely to be ideological.

Media Representations
The choice of this online product provides a wide range of representational issues. These include the representation of the target audience of young women in the United States but also globally.
The focus on representation will build on work done in the analysis of visual images and can also be used to explore target audiences and ideological readings
Representation of particular groups (age, gender, race), construction of a young female identity.
• Who is constructing the representation and to what purpose?
(Stuart Hall)
The focus on politics, social issues and technology (in addition to fashion and celebrity) suggests a new representation of young women.
• Analysis of the construction and function of stereotypes
• Representation and news values – how do the stories selected construct a particular representation of the world and particular groups and places in it?
(‘Rise, Resist. Raise your
Voice’ is the slogan for the website).

Media Industries
Teen Vogue is a commercial media product but could also be seen as fulfilling a public service through its political reporting and social campaigns. The website also demonstrates the way that publishing institutions (in this case Conde Nast) have developed their reach through new technology and convergence.
Teen Vogue’s web and social media sites show how institutions respond to changes in consumption
• The use of digital platforms to expand the output and reach of the products demonstrates how institutions have responded to the impact of new technology

Media Audiences
The close study product provides an example of a clearly targeted, primary audience through demographics of gender and age which should encourage the study of issues of identity. Related to this would be a discussion of the changing relationship between producers and audiences in
the context of participatory media. (Clay Shirky ‘End of audience’ theories).
Definitions of mass and minority or specialised audiences.
• Debates around the idea of targeting specialised audiences
(by age, gender, lifestyle etc.) and how successful that targeting is.
Differing interpretations by different groups – those belonging to and outside the primary
audience.
(Stuart Hall – reception theory)
Opportunities for audience interactivity and creativity.

Social, political, cultural and economic contexts
Teen Vogue is culturally significant in its marrying of the political with fashion and lifestyle to target a young female audience more traditionally seen as interested in more superficial issues. Its explicit feminist stance and reporting on the Trump presidency has made it a relatively radical voice in the context of mainstream US media. The social and economic contexts can be addressed in terms of how the product has been received and how it has succeeded when other
magazines (online) are struggling to maintain audiences.

Ownership

Published by Condé Nast (Owns Vogue, The New Yorker, Architectural Digest), & Advance Publications. Vogue also sells mid-high end clothes.

Target Audience

Obviously primarily teens, but although the brand name suggests a teenage audience, the typical Teen Vogue reader has evolved in recent years. The move to more political content has broadened the appeal and changed the genre – young women now expect more from their media. Teen vogue uses means specific to their audience such as popular opinion leaders (Two Step Flow) to engage their readers.

The CSP Teen Vogue, although it is clearly aimed at teens they do cater to a rather large demographic. Over the years their readers have broadened. quote from ABC News

“When Teen Vogue started out, Teen Vogue was an aspirational fashion magazine for fashion lovers. You know it was the little sister to Vogue. And over the years we’ve realized that our mission was really to become more focused on making this an inclusive community, that speaks to every kind of young person,” Elaine Welteroth, Teen Vogue’s 31-year-old editor-in-chief, told ABC News’ “Nightline.”

The digital magazine, now primarily online, is filling more of its page with stories that appeal to its socially conscious audiences on topics including: immigration, race, wellness and politics.

You can see that they cater to a large demographic through their articles: https://www.teenvogue.com/story/teens-angola-prison-louisiana – (formal article.) In a article I found in the Politics section of the website, formal language was used as was discussing what older viewers may find as a serious matter. The article from January 20th title reads: Teens Are Being Sent to Louisiana’s Angola Prison and Held on Its Former Death Row by Yasmin Cader. This Teen Vogue writer has written this article with formal language to convey the importance of the contents of the article. It is in this place of despair — this site of racial oppression, punishment, and brutality — that Louisiana is now detaining children, most of whom are Black. This quote from the article suggests the writer is using this language to produce an ideology of what shocking actions are taking place.

On the contrary, another article I have found an article in the style section titled 41 Best Valentine’s Day Gift Ideas That’ll Spoil Your BFF from January 9th by Shauna Beni and Bianca Nieves. This article includes language that a reader may decide to be informal. “#showertok, besties, goodies”

NEW MEDIA

AI (Artificial Intelligence)

  • The simulation of human intelligence processes by machines, especially computer systems.
  • AI systems include search engines, recommendation systems and algorithms, automated decision making systems, machines that can understand human speech

Change and Transformation

  1. The transformation of social interaction (audiences)
  2. The transformation of individual identity (audiences and representation)
  3. The transformation of institutional structures (industry)
  4. The changes in textual content and structure (language)
  5. The transformation of audience consumption

In summary, this could be described as the changing nature of symbolic interaction

Transformation of The Media

Traditionally, media was LINEAR and followed on from one element to the other in a logical sense. It was in a physical form meaning it was less instant. In this post-modern era, the media is NON-LINEAR, confusing, complex and random. Most previous media forms now have digital versions which are more improved and advanced. The need for less complex media has been removed from our daily life.

Key Ideas: The transformation of the media

  • Speed
  • Time
  • Share
  • Feedback
  • Space
  • Access
  • Storage
  • Connectivity
  • Participation
  • Discover
  • Retrieval
  • Adaptation
  • Knowledge

shareactivecreativehost
example or commentExpressing your own ideas, beliefs, knowledge on a platform for others to see/utilise

Eg. Sharing a post on social media is a way of inviting connectivity with others through comments etc.
story

re-connectpersonalisestream
example or commentA linear or non-linear
experiencestorescaleimmerse
example or comment
interfaceliveadaptbinge
example or commentThe idea of something being viewed as it is happening in real time. Rather than a representation of something that has previously taken place Changing yourself/attributes dependent on circumstances and environmentNetflix allows users to watch many episodes of shows whereas traditionally, television broadcast programmes periodically meaning viewers had to wait in-between
conversationre-performcirculateendless

example or comment

THEORY REVISION

SEMIOTICS

ROLAND BARTHES – Concept 1: Denotation and Connotation

Barthes’ tells us by using a ‘denotative reading’ is how viewers decode media products. This occurs when a reader recognises the literal and physical content, e.g. an older man with his fist in the air, the style and colour of clothing. After this, readers quickly move beyond the recognition of the product and engage with what he calls ‘cognitive decoding.’ This refers to the deeper understanding prompted by advertisers to the emotional, symbolic/ideological significances, e.g. the older man’s fist may suggest defiance or aggression, the clothes may suggest a class.

WHEN LOOKING AT A MEDIA TEXT:

Image Features:Look out for:
POSE
(Subject positioning, stance or body language)
Breaking the 4th wall creates: confrontational/aggressive or invitational feel.
Off screen gaze: Right side – adventure/optimism. Left side – regret/nostalgia.
Body language: strong/weak/passive/active/open/closed
Subject Positioning: Where the person/people stand.
Proxemics: Their distance from people/things.
MISE-EN-SCENE
(Props, costume and setting)
Symbolic Props: rarely accidental
Pathetic fallacy: weather connotations to add meaning – character’s thoughts/tone
Costume Symbolism: Stereotypes help to decipher a character’s narrative function
LIGHTING CONNOTATIONSHigh-Key lighting: no shadows – positive and upbeat with a lighter feel
Low-Key lighting: Serious/ sad/moody connotations.
Chiaroscuro lighting: contrast lighting (light sharply cuts through darkness) – hopelessness/mystery
Ambient: infers realism
COMPOSITIONAL EFFECTS
(Shot distance, positioning of subjects in the frame)
Long shots: dominated their environment
Close-ups: intensifies emotions/impending drama
Open/closed frames: open- freedom, closed – entrapment
POSTPRODUCTION EFFECTSColour control: Red- anger, white – innocence
High saturation: Vibrant colours – cheerful
Desaturation: Dull colours – serious/sombre

Barthes’ recognised that text also gave meaning. He says it helps to ‘anchor’ image meanings in advertisements. Without anchorage, media imagery is likely to produce polysemic connotations (multiple meanings).

“a vice which holds the connotated meanings from proliferating”

Concept 2: The media’s ideological effect

Barthes’ suggests media replaces/replicates functions of myth making. The press, television, advertising, radio – convey the same sort of authority as myths and induce similar ideological effects. Anonymisation of myths shows it’s a collective view rather than singular –> media replicates this.

Naturalisation: Media products present ideas as natural/fact/common sense. When a range of media texts repeat the same idea, audience believe it is a fact rather than perspective, social norm.

Media myths are reductive: Media simplifies and reduces/purifies ideas to make it more digestible. – message reduction discourages audiences to question and analyse thoroughly.

Media myths reinforce existing social power structures: “the oppressor has everything, his language is rich, multiform, supple.” Those who have power tend to control the myth making process through the privileged access – maintain illusion that the system that benefits the powerful is naturally ordered and unchangeable.

C.S PEIRCE:

Peirce did not believe that signification was a straightforward binary relationship between a sign and an object, he viewed this innovative part of his triad as how we perceive or understand a sign and its relationship to the object it is referring to. The representamen in Peirce’s theory is the form the sign takes, which is not necessarily a material or concrete object. Peirce theorised that we interpret symbols according to a rule, a habitual connection. ‘The symbol is connected with its object because the symbol-user and a sign exists mainly due to the fact that it is used and understood. Peirce’s triad of signs concludes of:

Icon – A sign that looks like an object/person, e.g picture of a lamp.

Index – A sign that has a link to its object, e.g smoke and fire.

Symbol – A sign that has a more random link to its object, e.g colour, shape

FERDINAND DE SAUSSURE:

According to Saussure theory of signs, signifier and signified make up of signs. A sign is composed of both a material form and a mental concept. The signifier is the material form, i.e., something that can be heard, seen, smelled, touched or tasted, whereas the signified is the mental concept associated with it. C.S Peirce based his research off of Saussure.

Signifier – Stands in for something else.

Signified -Idea being evoked by signifier.

REVISION – NARRATIVE

Narrative Theory Quick Recap

Linear, Chronological, Sequential, Circular, Narrative arc, foreshadowing,

Propp:

  • Stock characters
  • Narratemes
  • Characters and their roles (hero, villain, helper, princess, false hero, father)

Freytag:

  • Freytag’s Pyramid
  • Beginning, Middle, End
  • Exposition, Climax, Denouement
  • Rising action, falling action

Todorov:

  • Equilibrium, Disruption, New Equilibrium
  • Frame stories (stories within stories)
  • Single character transformations: The idea that characters follow a journey that leads to a realisation, changed personality. Linking to Ancient Greek narrative structures:

Peripeteia = The reversal of fortune

Anagnorisis = Recognition or discovery of fate

Catharsis = Emotional response from audience

Strauss:

  • Binary Oppositions
  • Narrative is a structure of themes that relays a dominant message

Chatman:

  • Kernels = Key moments
  • Satellites = Developments or ‘fluff’

Barthes:

  • Semiotics
  • Hermeneutic code = Dialogue, character, reflection
  • Proairetic code = Action and movement
  • Enigmas = Puzzles, keeping the audience guessing

Moving Image