1b theorists from Mr Smith
All my life I believed I knew something. But then one strange day came when I realized that I knew nothing, yes, I knew nothing. And so words became void of meaning. I have arrived too late at ultimate uncertainty.
1.24.2018
Section 1b - Lesson 9 Audience Question
"A product’s success is determined by its audience.”
Explore this statement in relation to one of your products and discuss how you have tried to influence your audience’s response to it.
Your response needs to be handed to your teacher by the end of the lesson.
Before handing in ensure you have highlighted the following things
Audience
Preferred
Oppositional
Negotiated
Blumer
McQuail and Katz
Ethnographic model
There will be a detention for non-submission of this essay.
Explore this statement in relation to one of your products and discuss how you have tried to influence your audience’s response to it.
Your response needs to be handed to your teacher by the end of the lesson.
Before handing in ensure you have highlighted the following things
Audience
Preferred
Oppositional
Negotiated
Blumer
McQuail and Katz
Ethnographic model
There will be a detention for non-submission of this essay.
Section 1b Lesson 8 Audience
The next theoretical approach is audience. To prevent you having to write yet more essays I have made a booklet.
Download the booklet.
Print it off.
Staple.
Complete it.
Download the booklet.
Print it off.
Staple.
Complete it.
Audience Booklet A2 Mr Smith by MrSmithLC on Scribd
Section 1b Lesson 6 Audience
Analyse one of your media texts using audience theory. [25 marks]
Top Tips
P1. Always define the theory first - for audience establish what was the original belief - Blumer (Mass audience) and how we now have an active audience theory which operates through the decoding process of mode of address as well as an ethnographic approach.
P2. Identify your audience and what use/gratification they would take from the text - ensure you give multiple examples. Link this to UK tribes data.
P3. Apply active audience theory and give the preferred, oppositional and negotiated readings of your text - ensure you give multiple examples.
P4. Apply the ethnographic model (domestic, cultural and technological) to your text. Comment on the impact of where your text is available on the audience it would attract (domestic). Comment on what cultural knowledge (this links to Genre) you audience would need in order to understand your text. Comment on whether your audience would be information rich or information poor.
Top Tips
P1. Always define the theory first - for audience establish what was the original belief - Blumer (Mass audience) and how we now have an active audience theory which operates through the decoding process of mode of address as well as an ethnographic approach.
P2. Identify your audience and what use/gratification they would take from the text - ensure you give multiple examples. Link this to UK tribes data.
P3. Apply active audience theory and give the preferred, oppositional and negotiated readings of your text - ensure you give multiple examples.
P4. Apply the ethnographic model (domestic, cultural and technological) to your text. Comment on the impact of where your text is available on the audience it would attract (domestic). Comment on what cultural knowledge (this links to Genre) you audience would need in order to understand your text. Comment on whether your audience would be information rich or information poor.
Section 1b Lesson 5 Genre The Vixens AFL activity
Watch the video below and then read the accompanying 1b genre answer. Your task is to improve their response using appropriate genre theory.
Your second task is then to write a 30 minute 1b exam answer to the question below
"Analyse one of your media products using genre theory"
Your second task is then to write a 30 minute 1b exam answer to the question below
"Analyse one of your media products using genre theory"
Section 1b Lesson 4 - Representation
Dyer argues that if we use textual analysis alone, we risk a narrow understanding of representation- seeing representations as fixed within a text, ready for us as readers to draw out of the text, analyse, and then judge (in terms of their veracity/ accuracy/ truthfulness).
Dyer’s typography of representation offers a model that emphasises this idea of representation as process. We can use it to help us consider how representation constructs meaning at various stages in the process.
Dyer identifies 4 stages/ areas for us to consider:
1) Re-presentation– media language in a media text conveys a representation; textual analysis (conventions of camerawork, mise-en-scene, lighting, and editing) help us understand how the representations in your text convey meaning.
2) Being representative of- How much have you used ‘types’ and thereby reinforced dominant representations of particular social group. For example, if your main subject is a British Asian Muslim woman, how does your representation relate to those found elsewhere in the media? (issues of gender and religion). To what extent are you reinforcing dominant ideas about this social group? To what extent are you challenging dominant discourses? Is this group often stereotyped in the media? How is your text offering a more informed, nuanced representation by providing a portrait of one person- not a type, but an individual with a unique and unstable, contradictory sense of self (as honest as possible, not least because you as filmmaker are acknowledging from the start that it can only ever be a mediated representation).
3. Who is responsible for the representation “that is, in the sense of speaking for and on behalf of”. Institutions creating a media text obviously influence representation. Consider representations of gender, ethnicity, religion…and the contentious issue of white middle class men doing much of the representing.
4. What does the audience think is being represented to them?Audiences can construct different readings of media texts than those intended by the texts producers. Stuart Hall’s reading positions (preferred, negotiated, oppositional, and aberrant) are useful here, as they offer a way for us to think about how individuals actually make meaning from media texts.
Dyer’s typography of representation offers a model that emphasises this idea of representation as process. We can use it to help us consider how representation constructs meaning at various stages in the process.
Dyer identifies 4 stages/ areas for us to consider:
1) Re-presentation– media language in a media text conveys a representation; textual analysis (conventions of camerawork, mise-en-scene, lighting, and editing) help us understand how the representations in your text convey meaning.
2) Being representative of- How much have you used ‘types’ and thereby reinforced dominant representations of particular social group. For example, if your main subject is a British Asian Muslim woman, how does your representation relate to those found elsewhere in the media? (issues of gender and religion). To what extent are you reinforcing dominant ideas about this social group? To what extent are you challenging dominant discourses? Is this group often stereotyped in the media? How is your text offering a more informed, nuanced representation by providing a portrait of one person- not a type, but an individual with a unique and unstable, contradictory sense of self (as honest as possible, not least because you as filmmaker are acknowledging from the start that it can only ever be a mediated representation).
3. Who is responsible for the representation “that is, in the sense of speaking for and on behalf of”. Institutions creating a media text obviously influence representation. Consider representations of gender, ethnicity, religion…and the contentious issue of white middle class men doing much of the representing.
4. What does the audience think is being represented to them?Audiences can construct different readings of media texts than those intended by the texts producers. Stuart Hall’s reading positions (preferred, negotiated, oppositional, and aberrant) are useful here, as they offer a way for us to think about how individuals actually make meaning from media texts.
Section 1b Lesson 3 Re-presentation
In the exam you could be asked to analyse the use of 'representation' on one of your media texts.
It is important to remember that representation mean to RE-PRESENT, that is the media show us things a version of the truth, they can never show the truth.
TASK 1
On a word document select the 'characters' from your video and/or and screen shot each main 'character'. Do the same for your AS magazine
TASK 2
Next you you need to decide what 'type' of character you have represented, generally there are just three 'types' as described below
Character Typing
There are three different kinds of character typing:
1. An archetype is a familiar character who has emerged from hundreds of years of fairytales and storytelling.
2. A stereotype is a character usually used in advertising and marking in order to sell a particular product to a certain group of people. They can also be used ‘negatively’ in the Media – such as ‘asylum seekers,’ or ‘hoodies’.
3. A generic type is a character familiar through use in a particular genre (type) of movie.
Explain which type of character(s) you have used and connect to existing texts (i.e. music videos or films)
TASK 3
Annotate you character screen shots with answers to the following questions (the codes referred to are narrative codes)
Key Questions about Specific Representations
What is being represented?
How is it represented? Using what codes? Within what genre?
How is the representation made to seem 'true', 'commonsense' or 'natural'?
Whose representation is it? Whose interests does it reflect? How do you know?
At whom is this representation targeted? How do you know?
What does the representation mean to you? What does the representation mean to others? How do you account for the differences?
How do people make sense of it? According to what codes?
With what alternative representations could it be compared? How does it differ?
A reflexive consideration - Why is the concept of representation problematic?
It is important to remember that representation mean to RE-PRESENT, that is the media show us things a version of the truth, they can never show the truth.
TASK 1
On a word document select the 'characters' from your video and/or and screen shot each main 'character'. Do the same for your AS magazine
TASK 2
Next you you need to decide what 'type' of character you have represented, generally there are just three 'types' as described below
Character Typing
There are three different kinds of character typing:
1. An archetype is a familiar character who has emerged from hundreds of years of fairytales and storytelling.
2. A stereotype is a character usually used in advertising and marking in order to sell a particular product to a certain group of people. They can also be used ‘negatively’ in the Media – such as ‘asylum seekers,’ or ‘hoodies’.
3. A generic type is a character familiar through use in a particular genre (type) of movie.
Explain which type of character(s) you have used and connect to existing texts (i.e. music videos or films)
TASK 3
Annotate you character screen shots with answers to the following questions (the codes referred to are narrative codes)
Key Questions about Specific Representations
What is being represented?
How is it represented? Using what codes? Within what genre?
How is the representation made to seem 'true', 'commonsense' or 'natural'?
Whose representation is it? Whose interests does it reflect? How do you know?
At whom is this representation targeted? How do you know?
What does the representation mean to you? What does the representation mean to others? How do you account for the differences?
How do people make sense of it? According to what codes?
With what alternative representations could it be compared? How does it differ?
A reflexive consideration - Why is the concept of representation problematic?
Section 1b Lesson 2 - MEDIA LANGUAGE
Download the booklet and complete the tables
Media Language booklet
The kahoot is here:
https://create.kahoot.it/#quiz/8d49cf0c-edc2-49e6-ad51-337981edb412
Media Language booklet
The kahoot is here:
https://create.kahoot.it/#quiz/8d49cf0c-edc2-49e6-ad51-337981edb412
Section 1b - Lesson 1 Narrative Theory Angel's Narrative Answer
As examples are a weakness for us, here is Angel's 25/25 response for narrative.
https://drive.google.com/open?id=0BwqZRopnG_XKVGd5R1MyaWt6TVU
https://drive.google.com/open?id=0BwqZRopnG_XKVGd5R1MyaWt6TVU
Section 1b Lesson 1 - Narrative task
All
texts have a 'narrative', as media producers you construct these
narratives using certain tools. Here are some of the tools which you
will have used to construct and which your audience will have used to
decode.
Task 1
Print screen FIVE shots from your music video
Shot 1 MUST be the establishing shot for your video
Shot 5 MUST be the final shot of your video
The other 3 shots MUST contain at least one shot from your songs chorus.
Task 2
Annotate each image identifying as many of the following as possible, ensure you briefly explain HOW and WHY this is an example of the code.
Roland Barthes narrative codes.
The Enigma code is a question within the narrative which must be answered
The Action code is an event in the narrative which means a further action will occur.
These first codes are reliant on ‘time’, they only work if you read a book or view a filmtemporally, i.e. from beginning to end.
The next three codes tend to work "outside the constraints of time" and are, therefore, more properly reversible, which is to say that there is no necessary reason to read the instances of these codes in chronological order to make sense of them in the narrative.
The cultural code is an element within a narrative which can only be decoded if you are a member of the culture responsible for creating the text
The symbolic code is an element within a narrative which represents a political, moral or symbolic point
The semantic code is an element of a text which has both a literal meaning and a series of associated meanings (e.g. a drum kit is a drum kit, however it has connotations of rock music)
Task 3
Apply music video theory (Goodwin)
Now annotate your images to indicate as many of the following as possible
Star Image (be sure to name the angle used)
Amplification (be sure to note the lyric/instrument used)
Illustration (be sure to note the lyric/instrument used)
Disjunture.
Keep these in your class folder.
Task 1
Print screen FIVE shots from your music video
Shot 1 MUST be the establishing shot for your video
Shot 5 MUST be the final shot of your video
The other 3 shots MUST contain at least one shot from your songs chorus.
Task 2
Annotate each image identifying as many of the following as possible, ensure you briefly explain HOW and WHY this is an example of the code.
Roland Barthes narrative codes.
The Enigma code is a question within the narrative which must be answered
The Action code is an event in the narrative which means a further action will occur.
These first codes are reliant on ‘time’, they only work if you read a book or view a filmtemporally, i.e. from beginning to end.
The next three codes tend to work "outside the constraints of time" and are, therefore, more properly reversible, which is to say that there is no necessary reason to read the instances of these codes in chronological order to make sense of them in the narrative.
The cultural code is an element within a narrative which can only be decoded if you are a member of the culture responsible for creating the text
The symbolic code is an element within a narrative which represents a political, moral or symbolic point
The semantic code is an element of a text which has both a literal meaning and a series of associated meanings (e.g. a drum kit is a drum kit, however it has connotations of rock music)
Task 3
Apply music video theory (Goodwin)
Now annotate your images to indicate as many of the following as possible
Star Image (be sure to name the angle used)
Amplification (be sure to note the lyric/instrument used)
Illustration (be sure to note the lyric/instrument used)
Disjunture.
Keep these in your class folder.
Section 1b Lesson 1 My Head Is A Jungle - Narrative
TASK 1
Watch the above music video and make notes between each screening focusing on
Roland Barthes: semiotic, cultural, enigma, action and symbolic narrative codes.
Mise en scene
Goodwin's theory: amplification, illustration, disjuncture.
Vernallis' theory: editing matches the music, editing matches the beat, fragmented 'narrative'.
Allan Rowe: “Narrative involves the viewer in making sense of what is seen, asking questions of what we see and anticipating the answers. In particular, narrative invites us to ask both what is going to happen next and when and how will it all end. Narrative operates on the tension between our anticipation of likely outcomes drawn from genre conventions and the capacity to surprise or frustrate our expectations.”
Intertextual references
TASK 2 - Deadline: 13 W end of lesson period 4 Wednesday LZD.
Using the video above, answer the question below on lined paper.
In Question 1(b) you must write about one of your media coursework productions.
Apply the concept of narrative to one of your coursework productions. [25 marks]
Apply the concept of narrative to one of your coursework productions. [25 marks]
Section 1a Skills development lesson 6 - Speed Writing Revision Section 1a
Speed tasks a2 media from Mr Smith
NOW DO THIS
Explain the most significant ways in which your media productions were informed by your understanding of the conventions of real media texts. Refer to a range of examples in your answer to demonstrate how this developed over time. [25 minutes]
To help you write your answer you will need
Your annotated AS magazine
Your annotated A2 music video
Ensure you use all the terminology from your annotations.
NOW DO THIS
Explain the most significant ways in which your media productions were informed by your understanding of the conventions of real media texts. Refer to a range of examples in your answer to demonstrate how this developed over time. [25 minutes]
To help you write your answer you will need
Your annotated AS magazine
Your annotated A2 music video
Ensure you use all the terminology from your annotations.
Question 1a - Skills development lesson 4a - Real Media Conventions essay
In Question 1(a) you need to write about your work for the Foundation Portfolio and Advanced Portfolio units and you may refer to other media production work you have undertaken.
Explain the most significant ways in which your media productions were informed by your understanding of the conventions of real media texts. Refer to a range of examples in your answer to demonstrate how this developed over time.
Section 1a Skills Development Lesson 4 - Conventions of Real Media Texts
Today's lesson
Today you have ONE hour to print off and annotate 5 scenes from your A2 music video; scan it using the photocopier AND then upload it to this folder
So
1 - ANNOTATE
2 - SCAN
3 - UPLOAD
1. Screen grab from YouTube 5 key scenes from your music video and then ANNOTATE with the following:
Camera Angle (high/low)
Camera Shot
Mise en Scene
Lighting
Sound (lyrics/words)
Timing (shot duration)
Edit/transition
Amplification/disjuncture/illustration
Star Image
2. Go to the photocopier, SCAN IT IN
3. Upload to this folder
Today you have ONE hour to print off and annotate 5 scenes from your A2 music video; scan it using the photocopier AND then upload it to this folder
So
1 - ANNOTATE
2 - SCAN
3 - UPLOAD
1. Screen grab from YouTube 5 key scenes from your music video and then ANNOTATE with the following:
Camera Angle (high/low)
Camera Shot
Mise en Scene
Lighting
Sound (lyrics/words)
Timing (shot duration)
Edit/transition
Amplification/disjuncture/illustration
Star Image
2. Go to the photocopier, SCAN IT IN
3. Upload to this folder
Section 1a Skills development lesson 3 - Conventions of Real Media Texts
Today's lesson 13W and 13X
Today you have ONE hour to: print off and annotate your AS magazine cover, contents and dps. Scan it using the photocopier AND then upload it to these folders
13V
13W
So
1 - ANNOTATE
2 - SCAN
3 - UPLOAD
1. Print off your AS Magazine Cover, Contents and Double Page spread and then ANNOTATE with the following
Block quote: A long quotation - four or more lines - within body text, that is set apart in order to clearly distinguish the author’s words from the words that the author is quoting.
Byline: A journalist's name at the beginning of a story.
Caption: An identification (title) for an illustration, usually a brief phrase. The caption should also support the other content..
Centre of visual interest (CVI): The prominent item on a page usually a headline, picture or graphic.
Column: A regular feature often on a specific topic, written by the same person who is known as a columnist.
Column gutter: The space between columns of type.
Copy: Main text of a story.
Cropping: the elimination of parts of a photograph or other original that are not required to be printed. Cropping allows the remaining parts of the image to be enlarged to fill the space.
Deck: Part of the headline which summarises the story. Also known as deck copy or bank.
Drop cap: a large initial letter at the start of the text that drops into the line or lines of text below.
Filler: extra material used to complete a column or page, usually of little importance.
Flush left: copy aligned along the left margin.
Flush right: copy aligned along the right margin.
Golden ratio: the rule devised to give proportions of height to width when laying out text and illustrations to produce the most optically pleasing result. Traditionally a ratio of 1 to 1.6.
Headline: The main title of the article. Should be in present or future tense to add to urgency. Must fit the space provided. If it doesn’t, you are using the wrong words.
Masthead: Main title section and name at the front of a publication.
Negative space (or white space): the area of page without text, image or other elements
Orphan: First line of a paragraph appearing on the last line of a column of text. Normally avoided.
Overline: introductory headline in smaller text size above the main headline
Pull quote: A brief phrase (not necessarily an actual quotation) from the body text, enlarged and set off from the text with rules, a box, and/or a screen. It is from a part of the text set previously, and is set in the middle of a paragraph, to add emphasis and interest
Talkie headline: a quote from one of the people in the story used as a headline
Top heads: Headlines at the top of a column.
Wob: White text on a black or other coloured background
NEED HELP? Look at these examples
EXAMPLE 1
EXAMPLE 2
EXAMPLE 3
2. Go to the photocopier, SCAN IT IN
3. 13 W Upload to this folder
4. 13 V upload to this folder
Today you have ONE hour to: print off and annotate your AS magazine cover, contents and dps. Scan it using the photocopier AND then upload it to these folders
13V
13W
So
1 - ANNOTATE
2 - SCAN
3 - UPLOAD
1. Print off your AS Magazine Cover, Contents and Double Page spread and then ANNOTATE with the following
Block quote: A long quotation - four or more lines - within body text, that is set apart in order to clearly distinguish the author’s words from the words that the author is quoting.
Byline: A journalist's name at the beginning of a story.
Caption: An identification (title) for an illustration, usually a brief phrase. The caption should also support the other content..
Centre of visual interest (CVI): The prominent item on a page usually a headline, picture or graphic.
Column: A regular feature often on a specific topic, written by the same person who is known as a columnist.
Column gutter: The space between columns of type.
Copy: Main text of a story.
Cropping: the elimination of parts of a photograph or other original that are not required to be printed. Cropping allows the remaining parts of the image to be enlarged to fill the space.
Deck: Part of the headline which summarises the story. Also known as deck copy or bank.
Drop cap: a large initial letter at the start of the text that drops into the line or lines of text below.
Filler: extra material used to complete a column or page, usually of little importance.
Flush left: copy aligned along the left margin.
Flush right: copy aligned along the right margin.
Golden ratio: the rule devised to give proportions of height to width when laying out text and illustrations to produce the most optically pleasing result. Traditionally a ratio of 1 to 1.6.
Headline: The main title of the article. Should be in present or future tense to add to urgency. Must fit the space provided. If it doesn’t, you are using the wrong words.
Masthead: Main title section and name at the front of a publication.
Negative space (or white space): the area of page without text, image or other elements
Orphan: First line of a paragraph appearing on the last line of a column of text. Normally avoided.
Overline: introductory headline in smaller text size above the main headline
Pull quote: A brief phrase (not necessarily an actual quotation) from the body text, enlarged and set off from the text with rules, a box, and/or a screen. It is from a part of the text set previously, and is set in the middle of a paragraph, to add emphasis and interest
Talkie headline: a quote from one of the people in the story used as a headline
Top heads: Headlines at the top of a column.
Wob: White text on a black or other coloured background
NEED HELP? Look at these examples
EXAMPLE 1
EXAMPLE 2
EXAMPLE 3
2. Go to the photocopier, SCAN IT IN
3. 13 W Upload to this folder
4. 13 V upload to this folder
Section 1a Skills Development Lesson 2 - Research and planning question
1a
Describe how you developed research and planning skills for media production and evaluate how these skills contributed to creative decision making. Refer to a range of examples in your answer to show how these skills developed over time.
Describe how you developed research and planning skills for media production and evaluate how these skills contributed to creative decision making. Refer to a range of examples in your answer to show how these skills developed over time.
Section 1a Skills development Lesson 1 - Digital Technology and Creativity - Potential Question 1a
Example Question from OCR
"Digital technology turns media consumers into media producers.” In your own experience, how has your creativity developed through using digital technology to complete your coursework productions? (25 Marks - 30 minutes)
Ideas and theories to help you.
"A process needed for problem solving...not a special gift enjoyed by a few but a common ability possessed by most people" (Jones 1993)
"The making of the new and the re arranging of the old" (Bentley 1997)
"Creativity results from the interaction of a system composed of three elements: a culture that contains symbolic rules, a person who brings novelty into the symbolic domain, and a field of experts who recognise and validate the innovation." (Csikszentmihalyi 1996)
"There is no absolute judgement [on creativity] All judgements are comparisons of one thing with another." (Donald Larning)
Themes and Questions
1. Is creativity an internal cognitive function, or is it an external social or cultural phenomenon?
2. Is creativity a pervasive, ubiquitous feature of human activity, or a special faculty, either reserved for particular groups, individuals, or particular domains of activity, in particularly artistic activity?
3. Is creativity an inevitable social good, invariably progressive, harmonious and collaborative; or is it capable of disruption, political critique and dissent, and even anti-social outcomes?
4. What does the notion of creative teaching and learning imply?
Benaji, Burn and Buckingham (2006)
"Digital technology turns media consumers into media producers.” In your own experience, how has your creativity developed through using digital technology to complete your coursework productions? (25 Marks - 30 minutes)
Ideas and theories to help you.
"A process needed for problem solving...not a special gift enjoyed by a few but a common ability possessed by most people" (Jones 1993)
"The making of the new and the re arranging of the old" (Bentley 1997)
"Creativity results from the interaction of a system composed of three elements: a culture that contains symbolic rules, a person who brings novelty into the symbolic domain, and a field of experts who recognise and validate the innovation." (Csikszentmihalyi 1996)
"There is no absolute judgement [on creativity] All judgements are comparisons of one thing with another." (Donald Larning)
Themes and Questions
1. Is creativity an internal cognitive function, or is it an external social or cultural phenomenon?
2. Is creativity a pervasive, ubiquitous feature of human activity, or a special faculty, either reserved for particular groups, individuals, or particular domains of activity, in particularly artistic activity?
3. Is creativity an inevitable social good, invariably progressive, harmonious and collaborative; or is it capable of disruption, political critique and dissent, and even anti-social outcomes?
4. What does the notion of creative teaching and learning imply?
Benaji, Burn and Buckingham (2006)
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