Media langauge

Media langauge

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   A wayof constructing meaning in media texts to communicate ideas and impressions for an audience. Technical codes include camera angles, sound and lighting (How Technology is used to create meaning). Symbolic codes include the language, dress and actions of characters (Mise-En-Scene). Media LanguageThis is how the media communicates to the audience. There are different types of media languages which includes written, verbal, non verbal, visual and aural.
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   In orderto achieve the highest grade possible, it is vital that students learn to use the vocabulary and media lexicon.  Media terminology is an important factor as the examiner, will get the idea that you know what you’re talking about, and that you have a general knowledge of the media industry. You will also be marked on the terminology, as it part of the mark scheme. Without the vocab, you will most likely not be getting anything higher than a D.  http://www.youtube.com/watch?v=ynWCtJo-iJ0
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   The studyof signs and symbols, the literal and potential meanings. There are two identified orders of signification, denotation and connotation. > Theorist (Roland Barthes)  The literal or obvious meaning, description of what is physically seen or heard.  The potential or suggested meaning  E.G Cross – (Christianity, Crucifix, Maths)
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  In Media areassuch as television, radio and film. How the language is delivered and its context used are important factors in the way meaning is generated for the audience. This is in terms of body language : Gestures and actions. The meaning received by the audience is seen through how the actor uses their body. Television and Film. What is on the screen has been chosen specific to generate a series of effects and meanings (Semiotics). Specific camera angles and movements are chosen to tell the story and meaning of that scene. Match each word with the definition
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  Barthes, Roland usedthe term Myth in order to refer to a second order of signification with a chain of concepts widely accepted throughout a culture and used to understand an experience. Our myth of the countryside, for example, refers to a chain of concepts such as: it is good; it is natural; it is peaceful; it is beautiful; it is a place for leisure and recuperation. Then there is the traditional myth about the British policeman which includes concepts of friendliness, helpfulness and non-aggressiveness. Maslow. The American psychologist Abraham Maslow devised a six-level hierarchy of motives that, according to his theory, determine human behaviour. Maslow ranks human needs as follows: (1) physiological; (2) security and safety; (3) love and feelings of belonging; (4) competence, prestige, and esteem; (5) self-fulfilment; and (6) curiosity and the need to understand. No single theory of motivation has been universally accepted, but a direction is evident. Formerly, many psychologists stressed the reduction of stimulation to its lowest possible level. An organism was thought to pursue that behaviour most likely to bring about this desired state of no stimulation. Many human physiological systems do in fact operate in this manner. Recent cognitive theories of motivation, however, portray humans seeking to optimise rather than minimise stimulation and are thus better able to account for exploratory behaviour, the need for variety, aesthetic reactions, and curiosity. His theories have been adapted by Media critics and theorists and they are applicable to the topics of Audience and Advertising & Marketing.
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   Marx, Karl(1818-1883), German political philosopher and revolutionist, cofounder with Friedrich Engels of scientific socialism (modern communism), and, as such, one of the most influential thinkers of all times. Communism, is a concept or system of society in which the major resources and means of production are owned by the community rather than by individuals. In theory, such societies provide for equal sharing of all work, according to ability, and all benefits, according to need. Some conceptions of communist societies assume that, ultimately, coercive government would be unnecessary and therefore that such a society would be without rulers. Until the ultimate stages are reached, however, communism involves the abolition of private property by a revolutionary movement; responsibility for meeting public needs is then vested in the state.
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   Mulvey attacksthe way that the dominant system in film presents only certain types of pleasure, arguing that the narrative fiction film creates images of women which are used for the gratification of men. The male hero in film acts as ‘the bearer of the look’ meaning that he possesses the controlling power of the male gaze and that the film sees everything in the narrative through his eyes. See Media Studies, Stuart Price, Ps.259 - 263.  See this useful summary of Mulvey's: Visual Pleasure and Narrative Cinema Todorov, Tzvetvan argued that narratives begin with a state of equilibrium, where there is harmony and balance between characters and their environment/situation. Then comes some form of disruption which sets in motion a train of events. At the end of the narrative a new equilibrium is reached. Note how this model is particularly applicable to sitcoms where, however, the equilibrium achieved at the end is usually identical to that which began the narrative. Propp, Vladimir. In ‘Morphology of the Folk Tale’ Propp analysed folk tales as a basis for his 32 character types all of whom perform some kind of function in the way a narrative is organised and developed. Amongst these types are to be found the Hero, the Heroine, the Villain and the Donor, the latter, for example, providing advice, magic or a talisman to help the Hero. This type of analysis is useful when considering simple texts - especially formulaic popular cinema. More complex art is beyond Propp’s system. See also, Joseph Campbell and Christopher Vogler.
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   Representations  Institutions Stereotype  Dominant ideology  Hierarchy  Hegemony  Fair/Unfair  regressive/Progressive  Submissive/Subordinate  Powerful/Authority  Safe/Problematic  Connotations  Denotations  Reinforces/Conveys/Illustrates  Binary opposites  Archetype  Antagonist/ Protagonist  Codes/ Convention  Enigma   Realism  Escapism  Signifier  Narrative  Mid shot  Establishing shot  Extreme close up shot  Long shot  Bird’s eye view shot  Worms eye view shot  Dolly  Pan  Track  Matched action  Mise En scene  Convergence  Synergy  Audience  Jump cut  Fade  Digetic  Non Digetic Create A word bank, it could help your essay writing a lot better >
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  Rihanna “Rude Boy”music video Taylor Swift “You Belong With Me” music video
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   Rihanna isan unusual pop singer, she does not have the clichéd image that pop singers ideally have. Rihanna represents rebellion as well as youth, where as an artist like Taylor Swift is viewed to be more of a role model and innocent because of her clean cut image. Taylor Swifts Fan base is different to Rihanna's, Swift aims her music towards teenagers , whilst Rihanna’s fan base is aimed at an older audience.  What is wrong with this Paragraph?  What went well?  What would you grade it based on this paragraph?
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  Rihanna is anunconventional pop singer, she does not have the stereotypical image that pop singers ideally have. Rihanna represents rebellion as well as youth, where as an artist like Taylor Swift is viewed to be more of a role model and innocent due to her clean cut image. Taylor Swifts Fan base juxtaposes to Rihanna's, Swift aims her music towards teenagers , whilst Rihanna’s fan base is aimed at an older demographic.