Theory List
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Nicholas Abercrombie
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“Television
producers set out to exploit genre conventions”.
"Audiences
are not blank sheets of paper on which media messages can be written; members
of an audience will have prior attitudes and beliefs which will determine how
effective media messages are."
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Representation
Audience
Media Language
Genre
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Katie Wales
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'genre is... an
intertextual concept'
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Genre
Media Language
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David Buckingham
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“Genre is not
simply given by the culture, rather, it is in a constant process of
negotiation and change.”
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Genre
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Christian Metz
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genres go
through stages: the Experimental/ the Classic/ the Parody/ the
Deconstruction.
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Genre
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Tzetvan Todorov
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“Equilibrium –
Disequilibrium – New Equilibrium”
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Narrative
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Claude Levi-Strauss’
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binary
opposites
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Narrative
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Roland Barthes
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The Enigma Code
Proairetic/
Action code
Signs and
Signifiers
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Media Language Narrative Representation | |||||||||||||
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Christine
Gledhill
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“Differences
between genres meant different audiences could be identified and catered
to... This made it easier to standardise and stabilise production”
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Audience
Genre |
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Antonio Gramsci
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Hegemony
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Audience
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Hypodermic
Needle Theory
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Audience
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Michel Maffesoli
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"urban
tribes"
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Audience
Genre |
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Denis McQuail
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The genre may be considered as a practical device for helping
any mass medium to produce consistently and efficiently and to relate its
production to the expectations of its customers.
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Audience
Genre
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John Fiske
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A representation of a car chase only makes sense in relation to
all the others we have seen - after all, we are unlikely to have experienced
one in reality, and if we did, we would, according to this model, make sense
of it by turning it into another text, which we would also understand
intertextually, in terms of what we have seen so often on our screens. There
is then a cultural knowledge of the concept 'car chase' that any one text is
a prospectus for, and that it used by the viewer to decode it, and by the
producer to encode it.
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Media Language
Audience
Genre
Representation
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Christine Gledhill
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'Differences
between genres meant different audiences could be identified and catered
to... This made it easier to standardise and stabilise production'
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Genre
Audience
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Andrew Goodwin
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Visuals either illustrate, amplify or contradict the lyrics and
music.
Genres often have their own music style/iconography.
Close-ups should always be included.
Goodwin also suggests that the essential narrative component of
a music video is found in its ability to frame the star.
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Genre Media Language Narrative Audience |
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Firth
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Music videos may be further
characterized by three broad typologies: performance, narrative, and
conceptual.
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Narrative
Media Language |
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Archer |
Music videos
will cut between a narrative and a performance of the song by the band to
show ‘real connection’ with the music. A carefully choreographed dance might
be part of the artist’s performance or an extra aspect of the video designed
to aid visualisation and the ‘repeatability’ factor
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Media Language
Narrative Audience Representation |
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Duff
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"a recurring type or category of text, as defined by
structural, thematic, and/or functional criteria."
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Genre
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Frith
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“musicians, producers, and consumers are already ensnared in a
web of genre expectation.”
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Audience
Genre
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Horton and Wohl –
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Parasocial fans
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Audience
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Hall - encoding/decoding
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Encoding and
decoding model
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Media Language
Genre
Audience |
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Stewart - |
The music video
has the aesthetics of a TV commercial (focus on the star’s face). Stewart’s
description of the music video as ‘incorporating, raiding and reconstructing’
is Intertextuality (using familiar thing to generate both nostalgic
associations and new meanings). The video allows more access to the performer
and the mise-en-scene, in particular, can be used to emphasise an
aspirational lifestyle.
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Genre
Audience
Media Language
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Dyer
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"A star is
an image not a real person that is constructed (as any other
aspect of fiction is) out of a range of materials (eg advertising,
magazines etc as well as films [music])."
"Stars are
commodities produced and consumed on the strength of their
meanings."
" In these
terms it can be aargued that stars are representations of persons which
reinforce, legitimate or occasionally alter the prevalent preconceptions of
what it is to be a human being in this society."
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Genre
Representation
Audience
Media Language
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David Gauntlett
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'The power relationship between the
media and the audience involves a 'bit of both' or to be more precise, a lot
of both. The media sends out a huge number of messages about identity and
acceptable forms of self-expression, gender, sexuality, and lifestyle. At the
same time the public have their own even more robust set of diverse feelings
on the issues. The media's suggestions may be seductive but can never simply
overpower contrary feelings in the audience.'
" A CULTURAL SHIFT TO A
'MAKING-AND-DOING' CULTURE:
We are (hopefully) moving from a 'sit-back-and-be-told culture' to more of a
'making-and-doing culture'. This can be seen in the shift from
television-watching to the more creative uses of interactive media,"
"the
notion of 'audience' is collapsing as people become producers as well as
consumers of media."
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Audience
Media Language
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Richard Kilborn
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Uses and gratifications
theory 1. Part of routine and entertaining reward
for work 2. Launchpad of social and personal interaction 3. Fulfilling
individual needs – a way of choosing to be alone or of enduring enforced
loneliness 4. Identification or involvement with characters 5.Escapist
fantasy 6.Focus of debate on topical issues 7.Kind of critical game involving
knowledge of rules or conventions of the genre
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Audience
Media Language
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Ien Ang
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“Audiencehood is becoming an even more multifaceted,
fragmented and diversified repertoire of practices and experiences.”
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Audience
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Propp
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He concluded that
all the characters could be resolved into 8 broad character types in the 100
tales he analyzed:
1.
The
villain — struggles against the hero.
2.
The donor
— prepares the hero or gives the hero some magical object.
3.
The
(magical) helper — helps the hero in the quest.
4.
The
princess or prize — the hero deserves her throughout the story but is unable
to marry her because of an unfair evil, usually because of the villain. the
hero's journey is often ended when he marries the princess, thereby beating
the villain.
5.
her
father — gives the task to the hero, identifies the false hero, marries the
hero, often sought for during the narrative. Propp noted that functionally,
the princess and the father can not be clearly distinguished.
6.
The
dispatcher — character who makes the lack known and sends the hero off.
7.
The hero
or victim/seeker hero — reacts to the donor, weds the princess.
8.
False
hero — takes credit for the hero’s actions or tries to marry the princess.
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Narrative
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Saussure
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SIGNIFIER +
SIGNIFIED = SIGN
• The SIGNIFIER is the sign’s physical form
in the real world while the SIGNIFIED is the mental concept evoked by
the signifier.
• If we perceive a four legged animal with a very
long neck (the signifier), this evokes the mental concept of a giraffe (the
signified). This combination creates the sign “giraffe”.
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Media Language
Genre
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Burton
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Repetition and
novelty
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Genre
Audience
Media Language
Representation
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Hall . |
There are three different approaches to
understanding how representation works: Reflective, Constructionist, Intentional
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Representation
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Peirce |
Levels of signs
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Media language |
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