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| the way in which the meaning of a media text is conveyed to the audience |
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| one of the ways media language works is to convey meaning through --- and --- |
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| turning communication into thoughts, giving meaning on the signs and symbols |
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| Visual, Aural, Written, Verbal, Non-Verbal Language |
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| 5 types of media languages |
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| Sense of sight, has something to do with television and film |
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| what is on the screen has been chosen specifically to generate a series of effects and meanings |
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| Specific camera angles and movements are chosen to tell the story and the meaning of a scene |
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| sense of hearing, has something to do with sounds |
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| It can help create a scene and construct the environment, atmosphere and mood. |
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| It can also help us determine the genre of a piece |
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| the print-based media, also in text such as captions for photographs; subtitles |
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| allows the publication to present a story in a particular way |
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| how the language is delivered and its context used are important factors in the way meaning is generated for the audience |
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| pointing out dialogue, conversation, already spoken |
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| body language such as gestures and action. |
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| The meaning received by the audience is seen through how the actor uses his body |
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| utilized to depict any media item |
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| the main point of our study in understanding how media language create meaning |
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| systems of signs which create meaning to communicate ideas and impression to an audience, producer and stakeholders |
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| Technical Codes and Symbolic Codes |
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| All the ways in which equipment is used to tell the story in a media text |
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| the generally accepted ways of doing something |
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| they are the norms, standards and rules |
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| they are used together in a study of genre |
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| sets the time and geographic location of a narrative |
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| Realism, Atmosphere, Symbolism |
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| Time and place of setting is made known |
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| serves as the subject, concept or the central idea in a narrative |
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| Sympathetic and Unsympathetic Character |
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| with whom the audience strongly identifies with, they share qualities and values |
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| they build mutual association with the audience |
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| they increase sympathy to the main character |
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| they build tension and create conflict |
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| they can influence our interpretation of character as contribution to the atmosphere of the film |
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| all of the things or materials used to add color to a production |
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| Linear Plot, Flashback, Climax and Resolution, A sting in the tail, Open Ending |
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| Types of Narrative and Plot |
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| Events would occur in the same order they would occur in real life |
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| Manipulation of time wherein it takes the narrative back in the past |
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| Main problem occurs, comes to head and is sorted out |
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| Ending is a complete surprise and unexpected |
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| Audience may be left wondering as story seems not over |
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| sensation perceived by our sense of hearing |
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| the extraction of meaningful information from images |
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| how the image was created |
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| one of the key elements in terms of form |
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| the position from which the image was created |
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| border between the space we are allowed to see and that which is out of our sight |
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| Often used to indicate a position of power as it empowers the subject |
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| It makes the subject look weak or vulnerable |
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| refers to the camera's horizontal angle, left to right or vice-versa, eye level |
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| as with the vertical angle, usually it is straight on but the camera can also be tilted on its side to the left or right. |
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| refers to the distance of the object to the camera |
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| landscape, covers a wide area; subject and its surroundings |
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| also called as full shot or wide shot, shows a group of people fully from head to toe and shows people's gestures and movement |
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| captures one or two people |
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| also called as waist shot, captures part of a body; usually used for interviews or newscasting |
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| part of a face, it highlights details such as eye movements and mannerisms |
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| refers to the distance between the nearest and the farthest area from the camera which is in focus |
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| Deep Focus Photography, Conventional Photograph, Soft Focus |
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| Wide-angle lenses, Extreme wide angle, telephoto lens |
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| make the scene appear deeper than it is |
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| will give a fish-eye effect |
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| pulls objects closer together |
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| Panorama, Tracking, Tilt, Crane, Handheld, Zoom |
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| Types of camera movements |
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| the camera moves horizontally from a static position |
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| it is also called as dolly, the camera moves on tracks or wheels to give a smooth movement |
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| the camera moves up or down vertically from a static position |
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| The camera moved on a device that can move up and down and laterally |
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| It gives the frame a shaky look wherein a picture is taken with the camera being supported only by the operator's hands and shoulder |
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| it is technically not a movement but the change of focal length brings us closer or away from the object in the frame |
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| refers to anything that goes into a shot, including sets, props, actors, costumes, camera movements and performances |
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| often seen as the principal vehicle by which a film's meaning is conveyed |
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| Subject, Lightning, Setting |
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| Parts of the Mise-en-scene Analysis |
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| most common set up of lights |
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| the main source of illumination and is directed on the subject |
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| it is hard and direct light which produces sharply defined shadows |
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| the soft or indirect light that fills in the shadow formed by the key light |
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| it shines from behind the subject, usually to differentiate it from the background; to highlight the subject |
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| the study of signs and symbols which discusses the literal and potential meanings |
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| it explores how words and other signs make meanings |
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| Two identified orders of signification |
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| it is the literal or obvious meaning, dictionary meaning |
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| it is the potential or suggested meaning, implied meaning, depending on one's interpretation |
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