Tuesday, 19 November 2024

ECONOMIC CONTEXT - LFTVD



TASK 1: Mark the following paragraph.

TASK 2: After identifying the weakness of the paragraph, make corrections and then post your improved paragraph in the comments section below. 

Q. 2021: ‘Audiences and producers no longer find the concept of genre relevant to long form television drama.’ How far do you agree with this statement?

It is almost impossible to discuss the relevance of genre without considering economic contexts. ‘Stranger Things’ represents a flagship product for Netflix, and its release marked an important milestone in its progression as a company with the reputation for high quality entertainment, a core element of its brand identity. NEALE points out the importance of genre hybridity in the evolutions of genre. Part of the pleasure of ‘Stranger Things’ comes from the way that it skilfully moves between adventure, teen drama, Science Fiction, comedy, action and horror. The sheer scope of Long Form TV Drama lends itself to experimentation with this kind of hybridity, and a number of popular LFTVDs (including Stranger Things) have set the expectation in audiences that LFTVDs will experiment with genre and challenge their audience. Neale also points out that genre codes are also established beyond media products themselves through sources such as reviews and marketing (the intertextual relay). This is definitely true for ‘Stranger Things’, with reviewers on Rotten Tomatoes highlighting the blend of genres and the teasers and trailers emphasising the variety of generic influences. It is clear then that genre is extremely relevant to both audience and producers of LFTVDs. Furthermore, HESMONDALGH allows us to look at ways in which  ‘Stranger Things’ is designed to appeal to a broad audience. Producers used a range of strategies including the use of well-known actors such as Winona Ryder, the intertextual references to popular films and filmmakers (e.g. E.T.), 1980s nostalgia but also the use of a range of popular genres, thereby avoiding significant risk. Netflix also avoid risk through the use of data and algorithms to engineer original productions to appeal to a targeted audience. This also links to Hesmondhalgh’s view that digital technology has led to increased surveillance of audiences by companies. Given that Netflix offers the option to search by genre and even uses genre-based data to curate recommendations for their audiences, it is very difficult to agree that audiences and producers find the concept of genre irrelevant.  

SOCIAL AND HISTORICAL CONTEXT - LFTVD

 


LFTVD - INTRODUCTION AND CONCLUSIONS?

TASK: Write/Rewrite the following 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?

  • consider the contexts in which long form television dramas are produced and consumed,
  • explain how media contexts may have influenced representations in the set episodes of the two long form television dramas you have studied,
  • refer to relevant academic theories,
  • make judgements and reach conclusions about the reasons for the differences in representation between the two episodes.
Feel free to make it a collage of points lifted from the various PowerPoints, but make it fit your answer carefully. Also, if you are picking elements from elsewhere, make sure that you understand and can reproduce them.

Look carefully at the following introduction and conclusion:

  • Think about whether you agree with them. 
  • Consider how you might bend them to fit other essays about LFTVDs. 
  • Consider how you might include or exclude elements to make your essay more manageable.
  • Consider how you could use them to shape the essay you write.


Introduction

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.

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.


CORE POINT 1:

U.S. LFTVDs want to reach an international audience, but hegemonic cultural dominance by U.S. Media means that they can do this by targeting the viewpoints and ideologies of their domestic audience, whereas foreign language LFTVDs may prioritise the U.S. market for financial reasons.

CORE POINT 2:

The decisions that producers make about representations of reality (from historical diegesis, to messages about gender) may be influenced by shared understanding of genre more than ideological reasons.


A VERY GOOD STUDENT RESPONSE

 '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

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. 

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 society – evidenced 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).   

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.


Thursday, 14 November 2024

BRIEF 4: MUSIC VIDEO + LIGHTING + BEHIND THE SCENES

This is a fairly complicated brief, so read it carefully.

IMPORTANT: For this task you may work in groups of three or four, but each person will need to produce their own version of the brief. So, you may choose to produce four different and distinct pieces, or you may share some footage across groups. However, you MUST ALL produce separate edits of BOTH pieces.


Brief: You work for an independent video production company. You have been tasked with producing an extract from a new music video (Piece 1) for an artist aged between 16 and 18. There is no restriction on genre, but the production company have insisted that the video must be set in a UK school. In addition, you must also produce a 'behind the scenes' documentary (Piece 2) of the video shoot. 

Step 1: Even if you intend to shoot on your own camera or school camera, find a FREE app that allows you to control the exposure triangle when shooting video on your mobile phone.     

                  -    Aperture    -    Shutter Speed    -    ISO    -

NB: The task will need at least two cameras (or phones) working together. 

Step 2: Produce an extract from a music video (30 - 60 seconds). You will need to include:

  • A performance element (Lip Syncing) shot from at least two different angles or shot lengths. 
  • A narrative element (Lip Syncing optional). 
  • At least one of the performance shots must use a single, controlled, light source (Ledzilla or Light Panel) and no other.
  • At least two different social groups.
I'm going to post a few interesting Youtube videos about using a single light in your production. If you find any of your own, please post a link in the comments section below.

Step 3: Produce a 'making of' video about the production of the music video (60 - 180 seconds). You will need to include:

  • Director's commentary.
  • Behind the scenes footage. 
  • Reference to the technical resources that you used in the production.
NB: You may include MORE ELEMENTS than is stipulated in the brief but the music video extract should not exceed 60 seconds. 

Step 4: Present these elements on your blog in a post entitled:
BRIEF 4: MUSIC VIDEO +  LIGHTING +  BEHIND THE SCENES

DEADLINE: 20th December 2024


 



Monday, 11 November 2024

APPLYING HALL'S THEORIES ON REPRESENTATION

Scroll to the bottom for the tasks:

Question
Analyse the representations in Source A and Source B. 
Apply Hall's theories about representation in your answer.

Points from Hall (NOT ALL WILL BE APPLICABLE):

  • Hall points out that there is no 'true' meaning, but that a representation can generate many meanings.
  • Hall theorises that meaning is constituted by what is present, what is absent and what is different. 
  • Hall implicates the audience in creating meaning. 
  • Hall explains that power (hegemony) tries to 'fix' a preferred meaning through stereotyping.

1. Who is the target audience for these two publication?

The Guardian is a left wing/liberal publication, with an affluent, educated readership that favours progressive and internationalist socio-political messaging.
The Daily Express is a centre right/conservative publication, with an older readership that favours more nationalist and exclusionary socio-political messaging.


2. What is the messaging in each piece? (What meaning are they trying to convey to their audience?)

The Guardian is attempting to construct a representation of the migrants which positions the reader to see them as refugees, predominantly women and children, and of the UK government as neglectful in their responsibility to help them.
The Daily Express is attempting to construct a representation of the migrants as predominantly male. It also attempts to construct representations of the French authorities as uncaring and derelict in their duty, of people traffickers as murderous and of Boris Johnson as heroic in his fight against these forces.


3. Who or what is present?  4. Who or what is absent? 5. What is different to our expectations?

Guardian Image:

Present:  

The image is dominated by a woman who is burdened by a child in one arm and dragging a child with her other hand. There is a clear expression of distress and discomfort shown by the facial expression of the

woman carrying the child. This creates an emotional connection to the refugees.


Absent:

The faces of the coastguard/UK authorities cannot be seen. Also absent are the men that must also be crossing.


Different:

The reader may expect a more negative picture of immigrants, but the messaging of them being refugees is emphasised by focusing on women and children rather than the majority view of them being 'fighting aged' men. This is different to what the government and other news sources have described the refugees in small boat crossings as and challenges the narrative that the Conservative government have created. 



Daily Express Image:

Present:  

The picture includes a police truck in the background and in the foreground it shows a group of men carrying the boat to the shoreline. They have selected an image with lots of men carrying a boat to the sea most of them have life jackets that could be uses to make the danger they are in appear lesser than it is and make it seem almost like a military operation to create the fear in the readers of the ‘invasion.’ The French authorities watching on is one of their main points as they take the position (Try - construct the messaging that) the French are to blame for the crossings.


Absent:

The French police may be present in their truck, but they are not shown as being active or interacting with the migrants. This paints a picture (Try - constructs a representation or reinforces a stereotype) of the French police as bad or not doing their job diligently. The rough sea is absent, which further takes away from the idea that the migrants are facing danger.


Different:

The representation within the image is largely stereotypical, though they may be surprised by how organised the migrants seem to be, or by how derelict the French authorities are in their duties.

6. What stereotypes are being constructed? 7. What is the 'preferred meaning' that 'Power' is trying to fix?

The Guardian image is constructing a representation of refugees as helpless and downtrodden. They would argue that this is a response to the institutional power of the Conservative government that is trying to fix or naturalise a stereotype of refugees as being like an invading force. The Daily Express image is precisely the opposite; it is attempting the naturalise the stereotype of a well organised, able bodied group of men, which reinforces the 'preferred meaning' constructed in support of the Conservative government, while simultaneously naturalising anti-French sentiment.

 

SOURCE A: The Guardian - November 25th 2021






































SOURCE B: The Daily Express - November 25th 2021








































Task 1: Write an opening paragraph in which you summarise the content of Hall's theories on representation. POST IN THE COMMENTS SECTION BELOW

Task 2: Write a paragraph applying Hall's theory on representation to Source A (The Guardian Cover).  POST IN THE COMMENTS SECTION BELOW

MARK SCHEME
1. Answer the question [0,1,2]​     
2. Correctly characterise the theory [0,1,2]​ 
3. Use specific and detailed examples [0,1,2]​      
4. Apply the theory to the examples [0,1,2]​
5. Use Media Studies terminology [0,1,2]

Task 3: Write a paragraph applying Hall's theory on representation to Source B (The Daily Express Cover).  POST IN THE COMMENTS SECTION BELOW

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.

Saturday, 31 August 2024

LEVI-STRAUSS - ANALYSIS

https://www.slideshare.net/slideshow/language-levi-strauss-intro-to-theory-and-written-task/272490626


Question

Analyse the way that Media Language is used to present social and cultural contexts in Source A (The Daily Mail) and Source B (The Guardian Online).​

Apply Levi-Strauss theories about structuralism in your answer.


CONTEXT: 

On March 7th, 2021, Meghan Duchess of Sussex gave an Interview to Oprah Winfrey in which she accused the Royal Family of racism. This came just a few hours after the Queen's speech to the British Commonwealth in which she stressed the importance of duty.

 SOURCE A: DAILY MAILCOVER MARCH 8th 2021

SOURCE B: THE GUARDIAN ONLINE MARCH 8th 2021





















INTRODUCTION

Levi-Strauss theorises that all narratives are organised into binary oppositions. By analysing the underlying oppositions within a text, we may understand the ideological positions that are being taken.  In addition, these binary oppositions may be used as a shorthand to clarify ideas or as a way to make narratives compelling. They may also be used to construct easily identifiable character and to encourage audience identification.

TASK 1: 

Look carefully at the paragraph below and use the mark scheme to grade it.

  • As if it was the first paragraph in an essay.
  • As if it followed the introduction above.

The two images encode a binary opposition between Markle - connoting selfishness and progressivism - and the Queen - connoting duty and traditionalism. Her smile and direct mode of address positions the reader to identify with the Queen, while Markle is looking off camera and appears smug. The text is constructing the underlying ideological assumption that it values traditionalism and duty (right-wing cultural values) over progressivism (a left-wing cultural value) and selfishness. This messaging appeals to the right-wing values of Daily Mail readers.  The anchoring text furth encodes the opposition between the Queen making a 'Speech' as British monarch and Markle 'Speaking Out' against her treatment. Daily Mail readers are socially conservative and patriotic so they will respect the Queen being dutiful, but will view Markle's speaking publicly about private issues as distasteful. 

MARK SCHEME

1. Answer the question [0,1,2]​     2. Correctly characterise the theory [0,1,2]​ 

3. Use specific and detailed examples [0,1,2]​      4. Apply the theory to the examples [0,1,2]​

5. Use Media Studies terminology [0,1,2]


TASK 2: 

Take 15 minutes to write a second paragraph based on your discussion of:

  • Banner Headline​     
  • Sub headline​
  • Stand first​
  • Sub-headline 2​
  • and Teasers (MAYBE)?
You may wish to refer back to the previous paragraph and to the Mark Scheme to help you structure your response. Once you have completed your paragraph, post it to the comments section below.

TASK 3: 

Now look at Source B. Discuss and annotate the extract thinking about Levi-Strauss and Social and Cultural context. Focus on:
  • Image​
  • Anchoring Text​
  • Headline​
  • Sub-headlines​
  • Bullets​
  • Standfirst​
  • Copy​ (The body of writing)​
  • Read more​ (Treat it like a teaser)​?
  • Most viewed​ (Treat it like a teaser)?
Prepare for 20 minute timed essay on the second source.