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)
