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| Develops & challenges structuralist approaches; Take into account context audiences can produce meaning of. |
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| Sign that has many possible meanings |
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| Positions cameras take, and whose viewpoint they show the viewer |
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| A liberal pluralist society is one that includes groups with different viewpoint that should all have the liberty & opportunity to speak out |
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| A sequence of events taking place over a given period of time that are linked; cause and effect |
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| Refers to the way a text speaks to or addresses its audience |
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| The process of knowingly referring to other texts |
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| A process in which we internalise ideologies as a response to being addressed |
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| The process by which rebellious and radical ideas are made acceptable by incorporating them |
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| The relationship between the signifier and the signified has no natural link and is based on culture, context, and convention |
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| The relationship between the signifier is one of indication, direction or measurement, sequence or causation |
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| The relationship between the signified and the signifier is based on likeness or resemblance |
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| Generic hybrids are texts that blend the codes and conventions of two or more genres to produce a new combination |
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| Financial pressures and other forces lead all media products to become similar, standard, and uniform |
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| Power and leadership maintained through processes of struggle and negotiation |
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| British cultural theorist and sociologist. Known for encoding/decoding |
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| Italian writer, politician, political philosopher and linguist. Known for cultural hegemony |
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| International community influenced by technological development and economical, political, and military interests. Increase in interdependence and inter connectivity |
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| Groups of texts that share a set of conventional characteristics such as content, narrative structure, and visual style |
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| Gender in Narrative Structures |
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Men - Identity, control, main character, active, strong, known
Women - Objects, spectacle, passive, emotions, weak, home, unknown |
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| French philosopher, social theorist, and historian of ideals |
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| When the proletariat or subordinate class internalizes and accepts the ideas of the ruling class |
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| Paradigms or ways of understanding that are communicated through texts and language use, and that organize knowledge and social power |
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| The increasing gap between those who have and who don't have access to technology, content, ICT skills and money to pay for digital services |
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| The emotions, values, and associations that a sign gives to the reader, viewer, or listener |
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| The most obvious level on which a sign communicates |
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| Imperial domination of the world maintained partly through dissemination of cultural projects |
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| A form of media activism that subverts and reworks the intended meaning of existing media texts, or parodies major corporations, public figures and their media images |
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| A world view or activity that is in opposition to a challenges the dominant world view |
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| Methods of organizing signs to communicate meaning in ways that become habituated and widely shared over time |
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| Meaning taken from sources external to the production |
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| Interpreting meaning through who filmed, wrote, as well as who produced it and the conditions of the production; who it's aimed for. What financial or political constraints; whose paying for it. |
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| Constructionist Theory of Language |
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| Language doesn't describe a pre-existing world. It constructs the world through naming it |
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| Standardized formulae for communicating meaning |
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| Characters as Elements of Structure |
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| The villain; The donor; The helper; The Princess; The dispatcher; The hero; The false hero |
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| Joseph Campbell's Hero's Journey |
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Stages:
1. Departure (call to adventure)
2. Initiation (Road of Trials)
3. Return (Freedom to Live) |
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| American mythologist, writer, and lecturer. Hero's Journey |
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| A means of cultural classifications that splits the world into sets of dualistic opposing categories, such as male & female, black & white, good & evil, etc. |
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-Base is the economic foundations of society
-Superstructure is the social, political, and legal relations built upon the base |
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A French literal theorist, philosopher, critic, & semiotician.
Ideas include structuralism, semiotics, social theory, anthropology, and post-structuralism |
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| An ideal reader who is constructed by the text, or who is imagined/intended by the producers of the text |
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| French Marxist philosopher. RSAs and ISAs |
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| The process of interpreting and analyzing any media text |
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| Pertains to an individual's personal thoughts and experiences |
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| A method of analysis that involved looking for and examining the underlying structures of meaning and language |
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| Todorov's Narrative Pattern (Dramatic Triangle) |
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Equilibrium -> Problem -> Solution -> Equilibrium
Middle
/ \
Begin - End |
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| Study of signs and sign processes |
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| Founder of semiology (science of signs) |
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| ISA (Ideological State Apparatus) |
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The institutions of socialization and persuasion that societies use to control people.
- Religion
- Family
- Media |
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| RSA (Repressive State Apparatus) |
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The institutions of force that society uses to control people
- Army
- Police |
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| New ideas and beliefs held by a few people at first and then gradually becoming more accepted |
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| Contemporary ideas and beliefs shared by a majority of people |
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| Sets of ideas and beliefs from the past that are still accepted by some people |
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- To stand in for someone
- To look like or resemble
- To present a second time |
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| Reflective Theory of Language |
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| Suggests that language simply describes the world |
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Propp's Characters:
- Hero
- Villain
- Princess
- Assistant
- Magical Helper |
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| Audiences interpret the text completely against the preferred reading |
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| Audiences only accept some of what is being presented to them |
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| Audiences accept what is being presented without questioning the meaning intended by the media producers |
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James Dean and Tupac are 'Rebels.'
Other examples are the unwilling hero, mentor, trickster, cowboy, etc. |
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Encoding: The meaning the creators of the media put into their work.
Decoding: The meaning the audience takes away from the work. |
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| Media: Definition and Characteristics |
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Technologically developed communication industries, normally making money, which can transmit information and entertainment across time and space to individuals and/or large groups of people; they are literally in the middle of this process, the means for communication.
Characteristics:
- Communications systems
- Utilizes industrialized technology
- Aim to reach large audiences or to be used by many people
- Facilitate communication across distance/time
- The middle chain; hence, the term 'media'
- Potentially highly profitable |
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Things that shape how media work:
- Technology: Necessary for media
- Economics: All media costs money
- Creativity: Media are a way to express creativity
- Social Controls: There are organizations/people who want to control what media we can consume/have access to
- Audiences: Do audiences shape the content? |
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| Media Studies: Pro and Con Views of the Media |
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For:
- Contributes to development of popular knowledge
- Can inspire and develop us
- Help us explore and develop our understanding of sex and violence.
- Media are truthful and informative
- Media allow all people a voice
- Enable free thought and speech
- Create a global village
- Give space to voices of different groups and cultures
- Agents of social change
Against:
- Repetitive diet of worthless trivia
- Make us passive observers
- Corrupt and pervert our children and us
- Media are a series of false constructions serving minority political interests.
- Serve commercial interests
- They want to control our consciousness
- Make us all the same
- A form of cultural imperialism
- Media maintain the status quo |
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| New Media: Characteristics |
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New media is horizontal
Many to many
Networked media, not mass media
From us to us
Moving 'their' stuff through our distribution system
New media generally refers to digital media |
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| New Media: Democratization |
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| Increased access to information and participation in communication. Nearly anyone can produce new media, and it can be accessed worldwide |
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| Social vs. Psychological Problems in Narrative |
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Social: Narrative revolving around social issues and problems (hunger, poverty, bad economic system, etc.)
Psychological: Narrative's problems revolve around flaws in character (mistrustful, lazy, cowardly, etc.) |
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