18th May
11th May: iPhone Photography
EXPLAIN & MODEL
Last week we focused (pardon the pun) on the practical elements of how to take a photo using a DSLR and using a lightbox. Today we are going to focus on taking a good photo in terms of subject matter. We are going to consider framing, angles, light, etc.
Many of you said that you planned to use your mobile phone to take your photos. To support you, I found some really good tips.
How to Take Good Photos with a Phone - 10 Killer Tips!
- Good framing (rule of thirds)
- Appropriate shot distance (don't waste frame space with unwanted information)
- Appropriate shot angle
- Focus selection
- Lighting
4th May: Photography
SMART START
What is the Rule of Thirds?
THE BIG PICTURE
To complete your NEA, you need to add some original photography. After today's lesson you should be able to use a DSLR to take your photographs (before some post-production editing in Photoshop).
In today's lesson we will answer the following questions:
- What are the various shooting modes on a DSLR?
- What is aperture?
- What is ISO?
- What is shutter speed?
- What is the exposure triangle?
- How do we manipulate focus?
- How do you use a lightbox?
- What is the difference between a candid and a posed shot?
- A portrait with a deep depth of field (no blurred background)
- A portrait with a shallow depth of field (blurred background)
- A car
- A building
- A camera (using a lightbox)
- A landscape
26th April: High Control Task
At the start of today's lesson, revisit the model answer provided last week. Look at your own analysis of the answer and remind yourself of the paragraph structure.
In today's lesson you will complete a high control task, focusing on music videos. You should not refer to notes or factsheets during the task. You may refer back to the music video (have it minimised in a separate window before you start the task). You will find the assignment on our Google Classroom.
When you have completed the task, you should focus on the photography requirements of your NEA (no pun intended). Have you completed the spreadsheet identifying your intentions / needs?
20th April: Dream Revision & NEA Refinement
SMART START
It's been a couple of weeks, so let's make sure you haven't forgotten: Media Theories Quiz.
REVIEW
Take a moment to review the feedback from the WaterAid / The Hate U Give task. Use the feedback to improve future responses.
MODEL
I will present a single 'perfect' paragraph for last lesson's comparison task using the following paragraph structure:
POINT:
EVIDENCE:
THEORETICAL FRAMEWORK:
Can you identify these elements of the response? Colour code my shared response.
Now attempt to write a second paragraph following a similar structure.
EXPLAIN
Today we are going to revise Dizzee Rascal's Dream video. Let's watch it first and re-read the fact sheet.
Key Foci for Music Videos
- How technical codes communicate meaning (camera angles, editing, graphics, etc)
- How meanings are established through intertextuality (
- reference to other media texts)
- How visual codes construct meaning (colour, setting, clothes, gestures, etc)
- How narrative is constructed (equilibrium, disruption, etc)
Key Theories
- Stuart Hall (Representation)
- David Gauntlett (Identity Theory)
- Levi-Strauss (Structuralism)
- Rolad Barthes (Semiotics)
- (Gilroy: Ethnicity & Postcolonial Theory)
- The idea that texts communicate their meanings through a process of signification. For example, the code of clothing and iconography will help to establish the music sub-genre. The hoodie and track suit bottoms worn by Dizzee Rascal in Dream are indicative of rap/hip hop.
- The idea that signs can function at the level of denotation and connotation (literal meaning vs meanings associated or suggested by the sign). In Dream, the clothing code of the woman playing the piano has the denotation of a smart, older woman, The connotation is related to the cultural differences between her world and that of Dizzee Rascal (the matriarchal presenter vs the black urban youth myth).
- The idea that constructed meanings can come to seem self-evident, achieving the status of myth through a process of naturalisation. In Dream, this idea relates to the use of iconography related to urban youths; for example, the hoodie, which over time has come to signficy rebellion and social deviance in the mainstream media.
- Fans engage with artists and bands and their work as it resonates with their attitudes and beliefs. In this way, music videos provide a 'tool' through which identities can be constructed. This may be positive or negative. How does this compare to historic music videos?
- Music videos are short, so stereotypes provide a quick way of communicating meaning. Often, certain groups are represented as 'other'. Where are these representations apparent in Dream?
- Where are stereotypes supported or challenged in Dream?
- Is a 'narrative' music video (interpretation of lyrics) but has elements of a 'performance' video.
- Reflects Britain in the early 2000s compared to the world of the 1950s.
- References 1950s children's TV to construct a binary opposition; the innocent 1950s vs contemporary social issues.
- The audience are positioned to question this white, matriarchal post-war society.
- Highlights the conflict between urban youth and the police (contemporary social issues).
- Reflects a multi-cultural society and offers a largely positive message.
- Dizzee Rascal subverts stereotypes by celebrating his success and offering encouragement to the youth of society.
- How is meaning established through intertextuality?
- List the binary oppositions that are apparent.
- Which stereotypes are used to construct meaning?
- Which stereotypes are challenged?
- How does the text reflect Paul Gilroy's Ethnicity & Postcolonial Theory?
- Identify original photo content / needs.
- Identify social group to be represented.
- Identify how social group will be represented.
29th March: The Representation of Ethnicity in Advertising & Marketing
To negate any issues concerning access to devices in school, today's lesson is blogged only. However, if you have any questions, email me and I will respond immediately. I will be back in school after Easter.
SMART START
Let's keep on top of these media theories by revisiting the media theories quiz... again!
REVIEW
Review your feedback from last week's essay. Use the feedback to make improvements to future responses... starting with today's main task.
THE BIG PICTURE
In the last couple of lessons, we have looked at how gender is represented in advertising and marketing. The last part of representation that we need to consider is the representation of ethnicity. The relevant set product for this is the WaterAid advert. We have already revised the use of media language in charity adverts (1st March) but now we are going to focus specifically on the representation of ethnicity. As we know, in this part of the specification, the set products are used to establish knowledge that can be used for comparison with an unseen text; this is what we will practise today.
EXPLAIN & MODEL
Revision of Representation in the WaterAid Charity Advert
- The advert challenges typical representations of developing countries and their issues through the central character, Claudia.
- The construction also combines upbeat audio codes, a bright colour palette and codes of expression and clothing that create a positive representation.
- The advert avoids using the emotive and negative terms usually evident in similar compaigns, for example 'famine', 'drought' and 'disaster'. This was in response to research suggesting that such shock tactics were becoming less effective.
- The technical codes also contribute to the construction of representations, including camera shots and editing that establish the independence of Claudia and involve the audience in her journey. In this way, the creators of the product avoid constructing her as a victim, unlike similar campaigns.
- Other charity campaigns are more likely to create a representation of non-Western cultures as distanced from us and 'other'. The choice of Claudia, a young woman who is part of a wider community of women, is a more modern and culturally relevant representation.
- The purpose of the positive representation in this advert is to show an audience the positive effect their donation may have on communities.
- The idea that representation is the production of meaning through language, with language defined in its broadest sense as a system of signs.
- The idea that stereotyping, as a form of representation, reduced people to a few simple characteristics of traits (often exaggerated).
- The idea that stereotyping tends to occur where there are inequalities of power, because subordinate or excluded groups are constructed as different of 'other'.
- The idea that the media provide us with 'tools' or resources that we use to construct our own identities.
- The idea that while in the past the media tended to convey singular, straightforward messages about idea types of male and female identities, the media today offers us a more diverse range of stars, icons and characters from whom we may pick and mix different ideas (to construct our own identities).
- Feminist Theory (bell hooks): Suggests that the idea of feminism is a struggle to end patriarchal oppression and feminism is a political commitment rather than a lifestyle choice. Also suggests that pale-skinned women are represented as more desirable in Western media. Suggests that race and class, as well as sex, determine the extent to which individuals are exploited, discriminated against or oppressed.
- Feminist Theory (Liesbet van Zoonen): Suggests that media contributes to social change by representing women in non-traditional roles. Also suggests the idea that the display of women's bodies as objects to be looked at is a core element of a Western patriarchal society.
PRACTISE
Use your knowledge of the WaterAid advert to answer the comparison question below. Plan your response in the same way we did previously, identifying your point, evidence (described using media language) and linking to the theoretical framework or an ideology. It is really important that you go through this structured planning phase before attemptint to write your answer. Once you have planned your essay structure, write your essay, referring back to your planning as you go. Complete the planning and full response on the Google Assignment posted in our Google Classroom.
Question: Compare the representations of ethnicity in the WaterAid advertisement and the film poster for The Hate U Give (25 marks).
AFTER EASTER
- The need for some original photography in your NEA.
- Revision of music video set product (Dizzee Rascal's Dream)
23rd March
To negate any issues regarding access to devices in school, today's lesson is blogged only. Email me if you have any questions.
SMART START
Complete the Media Theories Summary Quiz. It will prepare you for today's work.
REVIEW
Have a look at the feedback you received for the 'Burying The Ex' task. Everyone is improving and starting to signpost evidence using media language and linking to the theoretical framework. Good stuff! Use the feedback to improve your response to today's task.
PRACTISE
In today's lesson, I would like you to use your planning from last week's gender comparison question to construct a full, essay style response (25 marks). You can write your full response below your planning on the same assignment (I've returned it to you).
Remember how to structure each paragraph:
- Make your point
- Signpost evidence from the text using Media Language
- Link to the Theoretical Framework or Ideologies.
15th March: Gender Representation in Advertising & Marketing
To negate any issues regarding access to devices in school, today's lesson is blogged only. All the information you need to complete today's revision is here. Email me if you experience any difficulties and have any questions. I will repond immediately.
SMART START
Let's see if you can improve on last week's Newspaper Technical Codes score. Did you achieve a higher score? Where are you consistently getting the wrong anwer? Use the information on our lesson blogs to fill these gaps in your knowledge (or the wall if you are in P5). Please notice that there are now some quizzes in the sidebar that can be used for regular self-quizzing revision.
Film Poster Task
To finish off last week's work on the use of media language in advertising print products, open your 'Burying the Ex' Google Assignment on Google Classroom and use the prompt questions to construct a concise response. Use the feedback from your 'Surf' assignment to inform your approach. Don't forget to focus on the use of media language (visual codes) to construct meaning.
- Stereotypes work as they are recognisable to audiences, but they also tend to reinforce rather than challenge common representations.
- Stereotypes can be positive or negative.
- New stereotypes appear to reflect changes in society. In the past, it was women who were pressurised by the 'beauty ideal'; this pressure is now extended to men. This is apparent in the changing representations of masculinity in adverts.
- Representations are constructions and, depending on the product, may convey values, attitudes and beliefs about the world (ideologies).
- Representations in media products do not give a true version of reality; they re-present the world and mediate messages and meanings.
- Beauty and fragrance advertisments, both historical and contemporary, construct aspirational representations of gender that are not a reflection of reality but can be persuasive.
- The attitudes and beliefs of the society of the time will influence the construction of representations in media products. Tide and KOTV both convey messages about gender and as such reflect historical contexts.
- The dominant, powerful groups in society largely control what is producted. As a result, minority groups are marginalised. Consider the under-presentation and misrepresentation of minority ethnic groups advertising.
- Some advertisements, particularly those for beauty products, continue to reinforce ideas about how women should look and behave.
- Historical context may affect the representations in terms of a specific period or event. For example, the changing role of women in the 1960s is evidence in the representations in the KOTV poster.
- How is media language used to construct representations of gender in the historic set products? Consider the process of selection and combination evidence in the products.
- How do gender representations in these historical set products convey the attitudes, values and beliefs of the world at the time they were producted?
- How do modern adverts illustrate the way the representation of gender has developed to reflect social and cultural changes? Can you think of specific examples? (find one & remember it)
- Is there any evividence of the continued existence of historic stereotypical representations of gender in modern adverts & film posters? Can you think of a specific examples? (find one and remember it).
- Do images in beauty product adverts reflect reality and real women? When analysing these products, always consider how media language is used to construct aspirational / unachievable representations.
Compare the choices that have been made in the representation of gender in the film poster and the advertisement [25 marks]
- Present your plan on the 'Gender Representation Comparison' assignment on our Google Classroom. Do not write a full answer (yet) but construct a 'comparison structure' for your response. What will be your approach? Review KOTV in its entirety then compare to the Dior advert? Or take an element of one and compare to the other, bouncing between the texts as you go through your points? What will your points be? What evidence can you signpost (using media language)? How do this reflect an ideology? How does this link to our theoretical framework?You must decide on the best structure for this response! You could use the Unseen Text Analysis document to help you too (see resources in sidebar). Whatever your overall structure, each paragraph should adopt the following structure:
- Make your point.
- Signpost evidence in the media text (reference codes, described using media language)
- Link to a society or cultural ideology or message / meaning.
- Reference the Theoretical Framework
Update
I've added links to revision quizzes in the sidebar. Revisit them regularly to embed knowledge.
9th March: Revision 5: Advertising & Marketing (2)
STARTER
Let's see how many of the Newspaper Technical Codes your can remember! Match the pairs and identify your score and time on your blog using the title 'Newspaper Technical Codes Revision Quiz Score'. Type your score and time in the chat.
REVIEW
Examine the feedback from your charity advert task (last week) and redraft your response, addressing all of the points I have made. This will probably take about 30 mins for most of you. Remember, I am looking for evidence of your ability to support the allocation of an A Level grade, so exploit the opportunity to redraft to represent yourself in the best possible light.
THE BIG PICTURE
Today you will be revising the print advertising products and the associated media language. Our print advertising products are the Tide advert (1950s) and the Kiss of the Vampire film poster (1963). In revising these set products, you will be preparing for the unseen text tasks (practise tasks); usually Section A in the exam. Remember, these practise tasks provide good evidence of your abilities and can be used to support final grade allocations, so complete the practise task to the very best of your ability.
EXPLAIN & MODEL
Print advertisements share common conventions with audio-visal texts but they also employ elements specific to the print advertising form (as they have less time and space to construct a narrative and persuade the audience), including;
Key Points:
- Layout & Design: Consider the construction of the advert and the paradigmatic choices that have been made to communicate meaning.
- Images: Consider the use of still images, some of which may have been manipulated to create a version of reality.
- Typography & Graphics: Consider font styles chosen to communicate messages.
- Visual Codes: These include colour, gesture, expressions and technique codes.
- Technical Codes: They include camera shots, lighting and post-production editing.
- Language and Mode of Address: How does the advert 'speak' to its audience?
- Semiotics, Roland Barthes.(denotation & connotation)
- Structuralist Theory, Levi Strauss (binary oppositions)
- Genre Theory, Steve Neale (repetition & difference)
- Character Theory, Vladimir Propp (hero, false hero, etc)
- Narratology, Todorov (disruptions, equilibriums, etc)
- The idea that texts communicate their meanings through a process of signification: As advertisements must communicate messages rapidly, they use signs and codes that signify messages to audiences. For example, the code of clothing, dressing someone in a particular way, will quickly resonate with an audience, who will have expectations of how that person relates to a product. A woman in evening wear in a perfume advert signifies a sophisticated fragrance.
- The idea that signs can function at the level of denotation, which involves the literal or common-sense meaning of the sign, and the level of connotation, which involves meaning associated with or suggested by the sign. For example, in advertisements and film posters, colours are used to communicate messages. The denotation of red is a primary colour but in an advert or film poster it may connote passion, power or danger, depending on the product, genre and context.
- The idea that constructed meanings can come to seem self-evident, achieving status of myth through a process of naturalisation (repeated use making it 'normal'): For example, the cultural myth encoded in filim posters and advertisements that wearing red has connotations of being sexually attractive or that red cars have more speed or power.
- Barthes identifies five different kings of semiotic codes that are common to all texts. These codes are Hermeneutic (enigma), Proairetic (action), Semantic, Symbolic and Cultural (referential). Enigma codes contain questions or mysteries that the reader needs answered. Action codes suggest sequential elements of action (things that implied to happen). Semantic codes refer to elements that carry additional meaning. Symbolic codes are elements that mean something else (they 'stand in for' something else). Referential codes refer to something outside of the text and presume that the audience has an outside knowledge of what is being referred to (similar to intertextuality).
- A text is like a tangled ball of threads that needs to be unravelled. Once unravelled, we encounter a wide range of potential meanings. A text many be 'closed' with just one obvious, single thread for the audience to pull on or 'open', unravelled in many different ways with many different starting and end points (no obvious beginning or end).
Key Language (General Advertising)
- Visual codes
- Central image
- Slogan
- Language of Persuasion (E.g. hyperbole)
- Soft sell (selling a lifestyle)
- Hard sell ('in your face', aggressive advertising)
- Demonstrative Action (where the product is seen to be used in the advert)
- Logos
- Mode of Address
- Intertextuality
- Product Endorsement (use of celebrities to recommend a product)
- Unique Selling Points: USP (What makes it different from competitors)
- Z-line layout
- Image to text ratio
- Visual codes (clothing, colour, gestures, etc)
- Iconography (Objects and settings widely associated with subjects, places, etc)
- Promise of Pleasure: Words or phrases telling the audience what they will experience (fear, laughter, etc).
- Star Billing: Suggesting a hierarchy of actor importance (positioning of names, etc)
- Tag Line: Memorable phrase that becomes associated with the film and used in marketing.
- Expert Criticism: Quotes from newspapers, film reviews, etc.
- Mark of Quality: The use of a director's name or logo that is associated with another product, used to persuade the audience of the quality.
PRACTISE
Print Advertising Task
Open your 'Surf' Google Assignment on Google Classroom and use the prompt questions to construct a response.
NEXT LESSON
Next week, we will start with a film poster task before moving on to the revision of representation.
1st March: Revision 4: Advertising & Marketing (1)
STARTER
You studied video games with Mr Allsopp, so how about this quick Video Games Industry Quiz.
REVIEW
You now have a few minutes to review the feedback from last lesson's assignment. Use the feedback to improve future responses. Now I'd like you to colour code your response from last lesson, using a yellow highlighter to signpost any references to the theoretical framework (theories) and a green highligher to signpost terminology associated with media language (camera shots, angles, dress codes, audio codes, editing). How much media language did you use? How often did you reference the theoretical framework?
EXPLAIN & MODEL
Key Points:
- Component 1, Section A (Media Language & Representation).
- Set products are Tide (print advert), WaterAid (charity campaign) & Kiss of the the Vampire (film poster).
- Advertisements use media language and construct representations in order to communicate meanings about their products and services.
- Visual codes are used to communicate messages rapidly. Advertisements use non-verbal communications that are recognisable to audiences.
- Persuasive language, including hyperbole and alliteration, is used to engage the attention of the audience.
- Many adverts are similar in style to short films; they have a narrative that aims to involve the audience in the story.
- Adverts, depending on the genre, use soft and hard sell techniques.
- Adverts exploit the established codes and conventions of the genre.
- A brand identity is established through the name, the logo, the slogan and, often, a celebrity endorsement.
- Brand identity
- Demonstrative action (using product in advert to demonstrate effectiveness)
- Hard sell (direct 'in your face' advertising using insistent language)
- Hyperbole (exaggerated statements)
- Intertextuality (exploits a relationship with another media text)
- Mode of address (direct, indirect, formal, hostile, humorous, etc)
- Product endorsement (recommendation)
- Soft sell (subtle, non-aggressive persuasion. Maybe 'selling' a lifestyle not a product directly.)
- Typography and graphics (fonts, images, etc)
- Unique selling point (USP)
- Repertoire of elements (predictable elements of a specific genre)
- Semiotics (Roland Barthes)
- Structuralism (Levi-Strauss)
- Narratology (Tzvetan Todorov)
- Genre Theory (Steve Neale)
ADVERTISING & MARKETING: KEY REPRESENTATION THEORISTS
- Representation (Stuart Hall)
- Identity Theory (David Gauntlett)
- Feminist Theory (Liesbet van Zoonen)
- Feminist Theory (bell hooks)
PRACTISE (CHARITY CAMPAIGNS: MEDIA LANGUAGE)
Complete the assignment on our Google Classroom. Section 1 refers to the WaterAid advert and asks you to identify and analyse key media language. Section 2 requires you to apply your understanding to an unseen charity text.
SECTION 1
Complete the table in the assignment.
SECTION 2
Watch the charity advert below and answer the following questions:
- How do technical codes construct meaning? Consider camera shots & editing.
- How do language and mode of address establish meanings? Consider the use of on-screen graphics and the use of language devices.
- How do visual codes influence meaning? Consider expression, clothing, colour palette & gesture.
- How do setting and iconography convey meaning? Consider settings seen in other forms (e.g. news) and binary opposites.
- How do audio codes establish meaning? Consider diegetic and non-diegetic sound (voice-over, ambient sounds, sound effects).
- What are the recognisable codes and conventions of the charity campaign sub-genre? Consider purpose, characters, setting, narrative, etc).
NEXT LESSON:
Revising print advertising products (Tide) and film posters (Kiss of the Vampire)
23rd February: Revision 3: Representation
STARTER
REVIEW
You now have 5 minutes to review the feedback from last lesson's assignment. Use the feedback to improve future responses.
EXPLAIN & MODEL
THEORETICAL FRAMEWORK FOCUS: REPRESENTATION
Key Points:
- Representation is the way in which aspects of society and social identity, issues and events are re-presented to an audience.
- All media products are constructions, they do not simply reflect the real world and the representations within them are also constructions as they are not real but are often accepted as such by an audience because they give an illusion of reality.
- The creators of media products make choices about how representated through selection and combination.
- The representation is controlled by the product's creators and, as such, encodes values, attitudes and beliefs.
- The repetition by the media of a particular representation may result in that representation being accepted as normal.
- Representations are affected by the context and purpose.
- Media products may construct stereotypes which can be both positive and negative.
- Representations position audiences differently and audience responses may vary.
- Stuart Hall's Representation Theory: Suggests that stereotyping, as a form of representation, reduces people to a few simple characteristics or traits. Stereotyping tends to occur where there are inequalities of power, as subordinate or excluded groups are constructed as different or 'other' (e.g. through ethnocentrism).
- David Gauntlett's Identity Theory: Suggests that while in the past the media tended to convey singular, straightforward messages about the ideal types of male and female identities. The media today offers a more diverse range from which we can pick and mix different ideas to construct our own identities.
- Liesbet Van Zoonen's Feminist Theory: Suggests that media contributes to social change by representing women in non-traditional roles. Suggests the idea that the display of women's bodies as objects to be looked at is a core element of Western patriarchal society.
- bell hooks' Feminist Theory: Suggests the idea that feminism is a struggle to end patriarchal oppression and feminism is a political commitment rather than a lifestyle choice. Suggests pale-skinned women are represented as more desirable in Western media. Suggests that race and class, as well as sex, determine the extent to which individuals are exploited, discriminated against or oppressed.
- Judith Butler (Theory of Gender Performativity): Suggests that identity is performatively constructed by the very 'expressions' that are said to be its results (it is manufactured through a set of acts). Suggests that there is no gender identity behing the expressions of gender. Suggests that performativity is not a singular act but a repetition and a ritual.
- Paul Gilroy (Ethnicity & Postcolonial Theory): Suggests that colonial discourses continue to inform contemporary attitudes to race and ethnicity. Suggests that civilisationism constructs racial hierarchies and sets up binary oppositions based on notions of 'otherness'.
- Construction
- Decoding & Encoding
- Mediation
- Selection & Combination
- Stereotypes
- Context & Purpose
- Tokenism
- The representation of women has developed to reflect changes in society in relation to women's roles, creating more realistic representations and positive role models.
- However, stereotypical representations of women still exist in some media forms and products. These unrealistic representations tend to define women by how they look and their relationships. This creates unattainable aspirations for the audience.
- Where women are constructed in a more positive way, challenging outdated stereotypes, they are seen as more active and have a key role in shaping the narrative. They are defined by what they do, rather than what they have done to them.
- Representations of women change in order to reflect cultural shifts in relation to gender and to satisfy audience expectations.
- Some theorists argue that, while women's roles and representations in the media have changed, they are equally limiting, as women are expected to be 'strong' and demonstrate masculine attributes.
- While there have been some fundamental changes in representations, masculinity tends to be defined by physical strength, sexual attractiveness, success in relationships and power. This is reflected in some media forms more than others, for example, advertising.
- Other forms, for example the music video, while reinforcing some typical male characteristics, have also been a platform that allows men to present themselves as more rounded, realistic individuals.
- Toxic masculinity referes to harmful behaviour and attitudes commonly associated with some men, such as the need to repress emotions during stressful situations and to act in an aggressively dominant way.
- Many areas of the media offer positive representations of minority groups and there are fewer instances whereby these social groups are defined as being 'other'.
- However, the construction of stereotypes and the misrepresentation of these groups remains problematic. The way these groups are presented in the media is often the only experience of these cultures that an audience may encounter and so will accept it as the truth.
- Certain stereotypical representations are reinforced across different forms. This perpetuates a negative representation of these groups. (E.g. young black male defined in terms of gang culture and violence).
- Some newspapers make their dominant ideology evident in their front pages or articles.
- Documentaries can be biased and selective in the information they give about an issue or event.
- Some media forms are creative in the way they represent issues and give a very personal viewpoint.
- In the representation of an issue or event by the media, it is as much to do with what is left out as what is selected for inclusion.
8th February: Revision 2: Genre & Narrative Theories
STARTER
Let's start with a few quick quizzes;
- Revision from last week: Semiotics Key Language
- Revision from last week: Shot Distances
- Media Theories Summary Quiz
KEY THEORY: GENRE THEORY
Key Points:
- Each genre has a repertoire of elements that are recognisable to audiences due to repetition over time.
- However, some contemporary media products may be less easy to categorise; they may belong to sub-genres or hybrid genres.
- The typical codes and conventions may also be subverted by the creator of the product in order to challenge audience expectations while still including familiar elements.
- Steve Neale's Genre Theory:
- Suggests that genres may be dominated by repetition, but they are also marked by difference, variation and change.
- Suggests that genres change, develop and vary as they borrow from and overlap with one another.
- Suggests that genres exist within specific economic, institutional and industrial contexts (broadcaster ethos, existing audiences, revenue & market).
Key Language:
- Conventions
- Repetition
- Difference
- Sub-Genre
- Hybrid
Key Points:
- All media products, both audio-visual and print, have a structure or narrative.
- Narratives are important to construct meaning. The narrative is a way of organising a text so that it makes sense to the audience.
- Narratology is the study of narrative.
- Tzvetan Todorov's Narrative Theory:
- Suggests that all narratives share a basic structure that involves movement from one state of equilibrium to another (Equilibrium, Disruption, Recognition, Repair, New Equilibrium)
- Suggests that the two states of equilibrium are separated by a period of imbalance or disequilibrium.
- Suggests that the way in which narratives are resolved can have a particular ideological significance.
Key Language:
- Equilibrium
- Disruption
- Enigma Codes
- Flexi-Narratives
- Linear
- Manipulation of Time and Space
- Non-Linear
- Privileged Spectator Position
- Three-Strand Narrative (E.g. Casualty)
- Cliffhanger
- How does this film poster illustrate elements of Steve Neale's Theory? Consider the following;
- What are the typical codes and conventions of the film genre used in the poster?
- What elements of hybridity are evident?
- How is the repertoire of elements subverted in order to appeal to a specific audience demographic?
2nd February: Revision 1: The Theoretical Framework
Each lesson we will revise an aspect of the course. You will then be asked to demonstrate your understanding of that aspect by completing an unprepared task. Let's make a start...
KEY THEORY: SEMIOTICS
Key Points:
- Roland Barthes
- Suggests the idea that all texts communicate their meaning through a series of signs, the meanings of which are decoded by the audience.
- Signs function at the level of denotation and connotation.
- Signs can communicate the ideology of a society and, as such, become accepted because they appear natural through repetition over time.
- Audiences may not decode signs in the same way; their responses will be affected by a range of other factors.
- Semiotics
- Denotation
- Polysemic
- Connotation
- Decoding
- Encoding
- Sign
- Codes
- Clothing
- Colour
- Expression
- Gesture
- Graphics
- Iconography
- Images
- Technique (see below)
- Camera Shot (distance)
- Camera Shot (focus)
- Camera Angle
- Camera Movement
- Transitions
- Lighting
- Diegetic / Non-Diegetic Sound
- Contrapuntal / Parallel Underscore
- Design & Layout
- Graphics
- Image shot types
- Image colour, etc
Podcasts
Just listened to your podcasts. Obviously, I can't give you feedback but just wanted to say...
NEA Aims & Intentions Document
Live Lesson at 11:00am on Monday 25th January
SMART START
The often visited Media Quiz checking that you can link theories and theorists. The year 12 students use this every lesson and now over half the class gets full marks every time (the order of questions and answers changes, so not just a familiarity thing). Therefore, I highly recommend taking this quiz on a regular basis; it takes less than 3 minutes. The minimum expectation for today is to achieve 20/26 at this point in the course. If you get below that, please try again.
INTRODUCTION
The Aims & Intentions document is the only assessed non-exam piece of writing you complete for A-Level media. It is short but it's worth a suprising amount of marks; 17% of the total Component 3 marks!
The Aims and Intentions document should be written BEFORE you start the NEA, so should always be written in the future tense, E.g. "I will..." or "It is my intention to...", etc.
You are restricted to a maximum of 500 words for this document but your probably won't be wondering what to write; it'll be getting what you need to write down to just 500 words.
SUCCESS CRITERIA
To begin with, let's have a look at the success criteria;
Use evidence from your research into: similar products; the industry context; your target audience, as well as theoretical perspectives, to explain your decisions:
- How and why will you use media language in your cross-media production?
- How and why will you construct representations of individuals, groups and issues/events?
- How will you target your intended audience?
- How will your production conform to its industry context? How will your cross-media production demonstrate digital convergence?
- Explain how you intend to use media language in your production, e.g. visual codes, technical codes, narrative and design.
- You should include people in your products to allow you to construct appropriate representations. Outline how you intend to do this, e.g. costume, gestures, setting, props, voices, etc
- Who is the intended audience for your production (it says in the requirements below). How do you intend to target this audience in your products? How do you intend to use model of address to target your audience (informal, formal, direct, etc). How will your product appeal to your target audience?
- How do you intend to use the conventions of the genre to illustrate the industry context (context identified in the requirements below).
- You should refer specifically to the research you completed. What similar products did you examine? What did you take from that research (conventions, stereotypes, etc).
- A should refer to each of the magazine elements (front cover, double-page spread, advertorial).
- A final paragraph should tie all your products together, referring to the podcast and explaining how it complements your main print product.
- Refer specifically to elements of our theoretical framework (reference theories / theorists).
- Use product-specific terminology and language (masthead, page furniture, close-up, caption, anchor, stand first, sound bed, fade-in, jingle, on-location interview, etc)
Audio Blocks
I have been informed (by Joe & Cole) that the AudioBlocks subscription has run out. It will be a few days before I can renew the subscription so, in the meantime, use free sound effects websites. A few are listed below;
If you are having difficulty finding a specific sound that you need to complete your podcast, let me know and I'll join the search!
Annoucement
I've posted the Theory Summary document we spoke about on our Google Classroom. Hope it helps.
5th Jan - 25 Jan
At the start of each of these timetabled lessons, you should take our media quiz, maintaining a familiarity with our theoretical framework. I will be monitoring results live! I will base the register on who completes this quiz (i.e. you need to complete the quiz to get an attendance 'present' mark).
NEA Completion & Support
Ok, with mock exams and remote learning requirements it's not a clean start to the term. Unfortunately, once again, I have to shield until the 1st Feb. Really sorry!
With all of this in mind, I have extended the deadline for the podcast NEA which means, despite the exams and disruption, you should now have plenty of time to plan and record your podcast. You have 3 weeks to complete the work and the final submission date is 25th January, 9:00am.
As usual, I will be online during our timetabled lessons to answer any questions you have relating to the use of the software which, in this case, is Adobe Audition (remember, I can't help you with the creative aspects of the NEA or provide any feedback).
Hopefully see you soon!
Finally, a reminder of the NEA requirements for this element.
Monday 14th December: Podcast NEA Practice
SMART START
What about a short, but extended, media Quiz to start the lesson?
BIG PICTURE & EXPLANATION
The first thing we are going to do is to answer the following questions;
- How do I record a single audio file using Adobe Audition?
- How do I trim my audio recording?
- How do I add effects to improve the quality of my audio recording?
- How do you export individual sound files from Adobe Audition?
- How do you make multiple audio recordings using Adobe Audition?
- How do you import other sound files into Adobe Audition?
- How do you set up a multitrack session in Adobe Audition?
- How do you mix tracks in Adobe Audition?
- How do you add key frames to change the volume of tracks at various points?
- How do you export your completed multitrack mix?
- An opening (and appropriate) jingle
- A presenter introduction (who will be the presenter?)
- A continous soundbed that is edited so the interview can be heard clearly throughout.
- An appropriate ending to the interview (thanks, goodbye and jingle).