Tuesday 24 September 2024

TECHNICAL RESEARCH TASK: Lighting and Exposure

Over the next few weeks, we will be starting to look at manipulating light to create meaningful effects in your work. With that in mind, the following research task is in three parts:

Part 1: 

Using YouTube / Vimeo / Any other online sources, look for tutorials on:

i)  The Exposure Triad/Triangle.  

ii) Lighting Techniques, including:

  • Studio Lighting
  • Natural Lighting
  • Lighting with a single portable light source (LED light panel or Ledzilla). 

Part 2:

When you find one that you find interesting, post the link in the comments section below and include:

i) A quick summary of the content.

ii) A review of why you found it interesting or informative.

NB: Ideally, you should look for a tutorial that you would like to try out yourself.

Part 3:

Look through at least three tutorials posted by other people and leave a comment on their review. 


DEADLINE: THIS IS AN ONGOING TASK, ANY TIME YOU FIND A TUTORIAL ABOUT LIGHTING, ADD A LINK BELOW.

Thursday 19 September 2024

BRIEF THREE: Fashion and Beauty Ad

You will be working in threes on the following task:

You work for an independent marketing firm. You have been approached by a foreign pharmaceutical company (NTL) which is looking to launch a new fragrance for their home market. They have tasked you with identifying a leading product and brand in the EU because they are looking to replicate their marketing campaign. There are three phases to the brief:


Phase one: Choose a product and advert you wish to replicate. You will need to present this to your client and using media language to clearly identify the codes and conventions of the advert.

NB: Try to use terminology that demonstrates your knowledge of theory.

e.g. Sign, Signifier, Signified, Myth, Ideology, Connotation, Denotation


Phase two: Recreate the main image from the print advert as accurately as possible. You must use your photography skills to try and 'carbon copy' the image.


Phase three: Using Photoshop, recreate a full print advert of the original advert and, using the same codes and conventions, ONE new advert for your new fragrance. 


Phase four: Present your final pieces to the board, explaining the process you went through and how you have applied the AIDA principles to your final design. 

Wednesday 18 September 2024

SNOW WHITE - Research and presentation task

Over the next two weeks, you will be working in groups of 2 or 3 to produce a presentation about Snow White. 

You will be assigned one of the questions below and you will research the topic, prepare a resource for the class, write the essay and present them all to the class. In all cases, you will need to refer closely to the original 1938 version of Snow White in your answer. 


QUESTIONS: 

If possible, reference the theorists from Media Ownership (Industries) and/or Audiences. As a reminder this would be:

Curran and Seaton, Livingstone and Lunt, Hesmondhalgh (industries)
Bandura, Gerbner, Hall, Jenkins, Shirky (audiences) 

1. Discuss differences in production, distribution and promotion between Snow White 1937 and Shang-Chi 2021. What do these differences tell us about the way media audiences have changed? 

2. How has the marketing and promotion of films changed over the years? Refer to both Snow White 1937 and Shang-Chi 2021 in your answer.

3. How do film companies use social media and online platforms to promote, distribute and show (exhibit) their films?

4. Show how the film industry ensures that mainstream films reach the widest possible audiences.

5. How are changing attitudes to race and gender reflected in the two films you have studied. Use clear examples from both Snow White and Shang-Chi in your answer.

6. How has the Disney corporation evolved since their early success with Snow White in 1937 to its recent acquisition of other brands such as Marvel?
.

AS YOU PREPARE, REMEMBER: Your presentations / essays need to contain thoughtful and thorough analysis of the question. You need to use specific and detailed information (keep a record of all research). If you learn a new piece of terminology, you will need a slide to explain the meaning. 

NB: YOU HAVE TWO WEEKS TO PREPARE. YOU WILL BE PRESENTING IN THE LAST WEEKS OF TERM.

13A
1. Larisa
2. Scarlet
3. Katlin and Finlay
4. Luke and Ed
5. Mary and Bessie
6.Aleksandra and Annabella

13B
1. 
2. Tilly, Lydia, Janki
3. Alyssa, Shira, Meredith 
4. 
5. Monty, Zackery, Isabella
6.Maddie and Willow








Tuesday 17 September 2024

BRIEF TWO: CODES AND CONVENTIONS RESEARCH + USING FOUND IMAGES

You work for an independent media production company. You have been given the task of creating a mockup version of the front cover of a new newspaper called Guardian Youth. This paper will be aimed at 16 to 25 year olds, who share similar social and political biases to the current readership of The Guardian newspaper. 

STEP ONE

Find (AT LEAST) six front covers of The Guardian from 2024.

Guardian-7.jpg (1609×2048) (tomorrowspapers.co.uk)

Use the link to navigate to different dates by changing the 03 (Month) or the 7 (Day).

STEP TWO

Create a PowerPoint in which you present an analysis of the conventions of the cover of the newspaper. 

You should include analysis of:

  • The Masthead.
  • The use of images (Think about what is in the image and the intended effect)
  • Captions (Text that is beneath or inlaid into the image)
  • The Header and Footer 
  • The layout of the page.
  • The content of lead article (splash)
  • The content of the off lead (secondary article)
  • The language used in headlines (is it sensationalist/subtle)
  • Pull Quotes
  • Teasers 
  • PLUS - Anything else that you notice.
In addition, consider: 
  • The ideological messaging.

STEP THREE

Once you have a clear sense of the conventions of  The Guardian, create a cover that develops and adapts these conventions to appeal to your target audience. 

NB: Your finished product should be recognisable as a Guardian product, but should clearly appeal to the new target audience.

STEP FOUR

Add your production to your PowerPoint and evaluate how you developed and adapted the conventions of The Guardian. Post the task to your Practice Tasks section of your blog using the title: PRACTIC BRIEF TWO: CODES AND CONVENTIONS RESEARCH + USING FOUND IMAGES


NB: This is a mockup task, so you may use found images. 


MARKSCHEME FOR LIVE MARKING

 

L1

L2

L3

L4

L5

Research is thorough and well presented

 

 

 

 

 

Clear understanding of the conventions of the original text

 

 

 

 

 

Clear understanding of the needs of the target audience

 

 

 

 

 

Representations are appropriate to the genre and the audience

 

 

 

 

 

Clearly follows the details of the set brief

 

 

 

 

 

L1: Minimal, L2: Limited, L3: Adequate, L4: Good, L5: Excellent

1

2

3

4

5

Monday 9 September 2024

BRIEF ONE: PHOTOGRAPHY 101

The purpose of this brief is to get you to think carefully about lighting and focus and to work out what is possible with the equipment you have available.


STEP ONE

Search online for THREE examples of EACH of the following:

  • High Key Lighting
  • Over Exposed Lighting
  • Low Key Lighting
  • Shallow Focus
  • Deep Focus
  • Monochrome
  • Back lighting
  • Chiaroscuro


STEP TWO

Using your phone (or any other camera if you have one) replicate ONE of each type. The main challenge here is to try and replicate the image as accurately as possible. 


STEP THREE

Create a post in the Practice Briefs section of your blog called PRACTICE BRIEF ONE: PHOTOGRAPHY 101. Display your inspiration and your own work in a way that makes it clear what you are presenting (I won't give you any more instructions than that).


DEADLINE TBA

Tuesday 3 September 2024

CREATING YOUR BLOG

 Hello everyone and welcome to Media Studies at CCVI. This first task can be a little bit fiddly and I can virtually guarantee that some of you will have a problem with blogger, but we'll go ahead steadily and have it up and running as soon as possible. 

So, you're about to set up your blog. Follow the steps below as best you can. I'll be there to help if you get stuck. It's boring but have patience...

Step 1: Create a gmail account. NB: Make your password and email easy to remember

Step 2: Go to Blogger.com 

Step 3: Create an account using the following format:

Blog Address - Surname First Name CHS mediablog

Account Name - First Name Surname Media Studies Blog

Step 4: Choose THEME from the left hand menu and look for Awesome Inc.

Step 5: On the left, click on layout, find side bar right 1, add a gadget, labels.

Step 6: (This might take a while) Create a series of labelled posts so that your labels read: 

01 Coursework Brief

02 Statement of Intent

03 Research - Production

04 Research - Website

05 Planning - Production

06 Planning - Website

07 Completed - Production

08 Completed - Website

Essays

Practice Briefs        

Step 7: When you have finished, post you address in the comments section of this post.

Tuesday 16 July 2024

How and Why do music videos use...

Typically, questions on music videos will ask about HOW and WHY music videos use:

Representation, Genre Conventions, Stereotypes

Or, HOW and WHY they communicate values and ideologies to their target audience. 


These questions are almost always GENERAL questions about music videos, so you need to remember the purpose of music videos: 

To promote the artists by...

- Constructing a representation of the artist as a skilled/passionate/exciting performer.

- Constructing a representation of the artist as an aspirational figure (wealthy, fashion icon?) 

- Representing an avatar of the target audience who is seen interacting with the artist.

- Indicating socio-political value alignment between the artist and the audience.

- Indicating value alignment between the artist and the audience in the context of art and media.

Here is a great example...

Michael Jackson - Thriller (Official 4K Video) - YouTube

Thursday 13 June 2024

Newspapers Question 1

Today, in preparation for your exam, we will be looking back over Question 1, and reviewing the theorists that can be applied to Question 1.



  


Remember, you only NEED to know Barthes, Levi-Strauss and Hall to be able to answer the question.




Wednesday 12 June 2024

NEWSPAPERS QUESTION 1 AND 2 - SOURCE QUESTIONS

 Look carefully at the two sources below and consider the following questions:

Question 1: 

Analyse the media language used in Sources A and B in relation to the political contexts.

Apply Barthe's theory of Semiology in your answer.

and

Question 1:

Analyse the different political representations in Sources A and B.

Apply Hall’s theory of representation in your answer.


and 

Question 2:

Source A and Source B cover the same news event from two different sources, one tabloid cover and one broadsheet cover.

How do these covers use codes and conventions to convey viewpoints and ideologies?

In your answer you must:

  • explain how newspaper covers, use genre conventions to convey viewpoints and ideologies,
  • analyse the way that meaning is constructed in these two newspaper covers,
  • make judgements and reach conclusions about how far the sources construct viewpoints and ideologies.

15 Marks (25 minutes)


SOURCE A: Front Cover of The Metro - 16/06/2023























SOURCE B: Front Cover of The Independent - 16/06/2023



Thursday 6 June 2024

CODES AND CONVENTIONS & VIEWPOINTS AND IDEOLOGIES QUESTION

Source A and Source B cover the same news event from two different sources, one tabloid cover and one broadsheet cover.

How do these covers use codes and conventions to convey viewpoints and ideologies?

In your answer you must:

  • explain how newspaper covers, use genre conventions to convey viewpoints and ideologies,
  • analyse the way that meaning is constructed in these two newspaper covers,
  • make judgements and reach conclusions about how far the sources construct viewpoints and ideologies.

15 Marks (25 minutes)

SOURCE A: THE GUARDIAN NOV 25 2021























SOURCE B: THE DAILY EXPRESS NOV 25 2021
























STEP 1:

Read through the two sources and decide what message's they are presenting:

  • The Guardian is presenting the viewpoint that...
  • The Daily Express is presenting the viewpoint that...

STEP 2: 

Consider how this relates to the ideological background of the paper:

  • This is in keeping with the inclusionary left-wing ideology of the Guardian. 
  • This is in keeping with the nationalistic right-wing ideology of the Daily Express.
STEP 3: 

Based on what you have noticed about the two sources, write your introduction.

POST IN THE COMMENTS SECTION
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V

STEP 4: 

Read through the two sources again, identifying generic conventions. Consider:

  • Images and Anchoring text
  • Headlines and Sub headlines - including Typography and Language choices.
  • Anything else - including: 

layout and design, gatekeeping (what else is on the cover?), standfirst, copy, pull quotes etc.


STEP 4: 

Choose one or more of the conventions you have noticed and write a paragraph in which you

i) Identify a convention that is either used or broken.

ii) Analyse/Interpret the way that the convention is being used to express a viewpoint.

iii) Link this to the ideological position held by the newspaper/audience.

For example:

The Guardian follows the convention of using an engaging image to capture the attention of the reader, with anchoring text to explain what is being shown in the image. The anchoring text, is conventional because it encodes a dispassionate message, avoiding any hyperbole or emotive language. This is in keeping with The Guardian's reputation for unbiased reporting.  However, we could argue that the image is unconventional as it is far more emotive, picturing a desperate mother carrying one child and dragging another behind her, her facial expression clearly selected to show her discomfort and effort and framed in the centre of the image for greatest impact. While the Guardian wishes to maintain its reputation for unbiased reporting, it also has a reputation for left-wing messaging and for protecting/defending marginalised people. This may be why the image selected attempts to elicit sympathy for the migrant and also why the Guardian choose to frame her as a refugee. This viewpoint is encoded using a pull quotation which dominates the central column of the page. The quotation reads: "Now is the time to end the cruel tactic of seeking to push away those who seek safety here." The quotation uses far more emotive language, the phrase "cruel tactic" connoting deliberate and organised inflicting of suffering on people who "seek safety." Again. the use of the pull quote is a convention of The Guardian cover and allows them to encode a countertypical representation of illegal migrants showing a mother and two children and framing them as refugees, while still maintaining its journalistic distance from the subject. This viewpoint aligns with the left wing inclusionary ideological position that readers expect from The Guardian. 

STEP 5:

Write a paragraph about the way that The Daily Express uses an image/anchoring text:

Remember to:

i) Identify a convention that is either used or broken.

ii) Analyse/Interpret the way that the convention is being used to express a viewpoint.

iii) Link this to the ideological position held by the newspaper/audience.


POST IN THE COMMENTS SECTION
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V



Thursday 30 May 2024

A REALLY GOOD STUDENT ESSAY

 'Producers of Long Form TV Drama, construct versions of reality that target the viewpoints and ideologies of their audiences." How far do you agree with this statement? 

All successful Long Form T.V. drama, must, on some level, construct versions of reality that appeal to their audience. However, in the case of ‘Stranger Things’ and ‘D83’ we might ask whether the global impact of U.S. television on cultural hegemony is more significant than the need to appeal to national audiences. We might also wish to consider whether genre has a more significant effect on representation than an attempt to appeal to the target audience on the basis of ideology. 

(Reshaped) ST Economic Contexts: Firstly, when considering the economic contexts of long form TV dramas, theorists such as Hesmondhalgh may suggest that producers rely on repeated narratives, ‘star power’, and the use of franchises to avoid financial risks that may arise from deviating from the industry norm. To a certain degree, Stranger Things aligns with this, evidenced by Winona Ryder’s (an actress with a respected film repertoire) prevalence in the shows early marketing, and critics consistently referencing to the show’s similarities to other sci-fi/horror/coming of age films and television. However, Stranger Things doesn’t entirely rely on these industry conventions as Hesmondhalgh might suggest. As The Duffer Brothers are part of the writing, directing, and producing team on ‘Stranger Things’, the potential conflict that could occur between ‘symbol creators’ and producers is mostly eliminated, allowing them to have almost full creative autonomy. Therefore, they were able to construct their creative vision to its full potential, creating a genre hybrid, nostalgia-inducing, hyperreal fusion of a serial TV drama. The show itself was an example of textual poaching – as theorised by Jenkins – often intertextually referencing famous films from the 70s and 80s through music, mise en scene, and lighting e.g. the teen bikeriding scenes that are reminiscent of ET. The Duffer Brothers even incorporated Spielberg’s Leica Simmilux-C lens into the filming process to mimic his style. The Duffer Brothers have not created a version of reality that is ‘real’, they have purposefully constructed a microcosm of the historical ‘American Dream’ myth that is echoed throughout the history of film, far preceding Spielberg, as Baudrillard theorised is often depicted. They construct an a-political universe that seems to exist isolated from its historical context. Gerber’s theory may suggest that the Duffer Brothers intended the show to target the ‘mainstream’, politically moderate audience of Netflix viewers, who may not have any specific loyalties to certain ideologies. However, it could also be argued that they may be intending to create this version of reality to focus on the supernatural elements of the show, as they create and drive the plot. Todorov’s theory of narratology suggests that the elements that alter the story, and lead to ‘solution’ of narrative tumult construct the ‘transformative values’ or viewpoints and ideology of a text. In the case of Stranger Things, it is the values of camaraderie and loyalty that shape the meaning of the story, rather than socio-political statements. It is a simple narrative targeted at a near-universal audience, allowing commercial viability. 

Moreover, economic contexts can also shape the construction of reality and subsequent presentation of ideology in relation to audience tastes. For example, in the espionage-thriller, ‘Deutschland 83’, setting, music and mise en scene is utilised as a mode of signification to construct a diegesis that feels historically accurate. The programme had a small budget in comparison to Stranger Things – a total of 8 million euros for the first series – but still managed to amass global success and recognition, including winning the ‘International’ Emmy award in 2016. Theorists such as Gauntlett may suggest that people may seek media to shape their personal identity. In the case of D83, viewers would be seeking sophisticated, complex narratives and may have a personal interest in historical or espionage dramas. The producers of 83 have constructed ambiguity within their plot to attract an audience that seeks nuance and multiple viewpoints (the equally critical and sympathetic portrayals of both the East and West); its critical acclaim only helping to draw in a wider audience. However, this is not D83’s target audience. D83 is a German-language drama and had its launch in Germany. Yet, its initial release was not met positively by German audiences, with producer Joerg Winger believing audiences disliked the overly stylized look of the programme, though he protests they were aiming to encapsulate ‘psychological realism’ rather than ‘historical detail’. This messaging was received by international audiences (Hall’s theory would consider this the accepted ‘preferred’ reading), supported by the creation of (UK) Channel 4’s new foreign language sub-division of their VOD service, dubbed ‘Walter Presents’ where D83 was one of the first features. Overall, it seems that producers also construct versions of reality that may subvert the ideology and viewpoints of their target audience to reach a wider viewer-base, or even to implement viewpoint diversity to challenge increasing homogenisation of media messaging. 

On the other hand, social and historical contexts also seem to have impacted how producers construct versions of reality. In the first season of Stranger Things, the town of Hawkins, Indiana exists in small-town America in the 1980s, where there were still – to a certain extent – social restrictions for groups such as women. For example, the character of Mrs Wheeler is simply represented as a stay-at-home wife and mother, only shown in the first episode from the confides of her own home, assisting her family in their day-to-day lives. She is given a passive role in a patriarchal society. However, her daughter Nancy subverts this traditional representation, presented as an intelligent, motivated student, intent on reaching academic excellence. Throughout the first episode, we see her determination to study for a chemistry examination despite continual distractions from her boyfriend Steve. The producers of Stranger Things seem to have created Nancy’s character to subvert negative, stereotypical, aged stereotypes of women, adhering to the critiques pioneered by media theorists such as Laura Mulvey and Liesbet Van Zoonen who resent men and women being presented far differently in the media. Nancy actively shapes and progresses the plot of Stranger Things (helping defeat the government and monster antagonists later in the season), countering typical representations and appealing to the modern, progressive viewpoints and ideology of the youthful target audience of Stranger Things. Though it is difficult for us to say whether this is a realistic representation of 1980s American teenagers, the construction of reality is appealing to – and gratifies – its audience nonetheless. 

(Reshaped) D83 Social/Historical Contexts: Furthermore, the social and historical contexts that exist in D83 have impacted the versions of reality constructed by the producers, though there are a varying number of ways we could interpret this. Firstly, West Germany is depicted as a traditional, patriarchal societyevidenced by the structure of the Edel family, with the father overseeing family events and determining his daughter’s education- reflecting the context of the 1980s. Yet, there is also the depiction of Lenora, a woman in power in a male-dominated field, portrayed as ruthless and influential. The creators of D83 have created a representation that would appeal to modern audiences due to its (somewhat) feminist ideological implications, possibly subverting Liesbet Van Zoonen’s ideas that women were, and are often, depicted as overly passive in media texts. However, it must also be acknowledged that this could also simply be a generic trope and, as Neale suggests, could be repeated characterisation to reflect the spy genre (e.g. ‘M’ of the Bond franchise) rather than the producers intentionally subverting historical contexts and media traditions. Additionally, we can also apply Todorov’s theory once again, to understand that a text needs to undergo a ‘transformation’ in order to shift from one equilibrium to the next, and demonstrate the text’s narrative values. Yet, in D83 these values seem to be fairly ambiguous. In episode 1, Martin continuously faces new disruptions, such as his kidnapping and coercion into espionage, yet they are resolved messily. Martin realises he must remain in West Germany to ensure his mother’s surgery, but he is aware that in the process he partakes in an activity (the HVA agency) which is not fully morally sound e.g. the murder of ‘Moritz’ so Martin can steal his identity. The audience may not fully agree with Martin’s actions, but are led to hold him in a somewhat sympathetic view despite his questionable actions. The producers of D83, Joerg and Anna Winger, seem to have intentionally created a nuanced perspective (supported by their German and American heritage) in their construction of reality to invite audiences to question their own viewpoints and ideologies. Interestingly, this appealed to their international audience much more than their targeted, German one. German audiences initially rejected the show for its tired and outdated marketing, over- stylised look, and sympathetic representation of East German spies. This may suggest that the Winger’s constructed this version of reality for its ‘new’ appeal to the wider world, than simply just Germany, where it is likely this concept has already been explored due to it being their own national history; international audiences are far less likely to have been exposed to these perspectives, making its ‘unique’ factor very marketable (evidenced by its feature on US subscription service Sundance TV).   

Conclusion 

While it is clear that both TV shows construct versions of reality that appeal to the viewpoints of and ideologies of their audiences, we can see that both ‘Stranger Things’ and ‘Deutschland 83’ demonstrate U.S. cultural and economic dominance over the TV industry, with international audiences comfortable with accepting a  hyperreal diegesis built around U.S. TV and Film, and foreign language TV prioritising its  U.S. audience over its domestic audience. Furthermore, it seems more likely that appealing to a shared understanding of genre conventions may be more influential over representation, than a desire to appeal to the target audience at an ideological level.