Realism
- 1. Realism
- 2. Realism The media always mediate or encode reality. It is therefore impossible to gain a first-hand direct experience of the world via the media, no matter how “transparent” or “virtual” their representation of reality is. Even live sports coverage and the News involves selection and manipulation of images that effects the “reality” of the text. However, audiences expect what they see, listen to or read to have some connection to their own lives and experiences, or to appear to be based upon some recognisable reality. This then helps us to identify and understand the text and its meaning. We often judge how successful a text is by measuring it against our own experiences. What is “real” therefore can become a subjective and controversial concept, as what one person considers to be realistic may not be considered so from another perspective.
- 3. Assessing the realism of a media text There are 4 criteria often used to assess the reality of a media text: Surface realism – this means the details have to be right. So a film set in the 60s would need the right costumes, hairstyles, sets, etc. “ Inner” or emotional realism – the audience need to feel that they can identify with the situation characters are in and share or feel their emotions. Plausibility of the plot – for example, the high volume of dramatic murders and disasters in soaps often are seen as implausible. Technical and symbolic codes for realism – There are certain techniques that are used to enhance the realism of texts technically, such as the handheld camera, subtle or unimposing music, surround sound, even real time.
- 4. A knowing audience Increasingly, audiences are becoming more and more media savvy. This means that they are more aware of the process of mediation and therefore do not accept everything as reality. However, we do still “suspend our disbelief” and adjust our perceptions to genres we know cannot be real, such as science fiction and cartoons. We accept the conventions of these types of genre and perhaps discard some of our criteria for a real text. Some audiences also enjoy postmodern texts, which deliberately emphasis that they are constructed or surreal, such as David Lynch’s surreal TV programmes or films or subversive comedy such as Little Britain.
- 5. Realism How does the episode of Big Brother 2007 infer a sense of reality? What factors suggest that it has been constructed/mediated?
- 6. Realism Come Dine With Me – Channel 4 Contestants – contest/game Voiceover/narrator – guiding audience through the show Title sequence Talking heads Edited – aspects of host that are interesting/unusual/elements of character
- 7. Realism Supernanny USA Real family with real problems - dramatised through editing – montage Use of music to create mood/ambience Obvious editing Before/after conventions Talking heads interviews
- 8. Realism Ross Kemp on Gangs Real people/gang members Handheld camera – reality Repercussions of events shown – real actions have real consequences Filmed in real life locations Danger Focuses on most willing gang members Voiceover/talking heads Montages of location shots One sided
- 9. Realism Hairspray The School Musical Background of shots – real people messing about Real location – school Reaction shots Progression of show – learning things – narrative Teachers responses unrealistic Flashbacks Sound effects – heartbeat Children with bad home lives (X Factor – orphan with horse problem) Editing obvious Music
- 10. Realism America’s Top Model Days numbered – reality constructed Interviews – individual reflecting on what happened afterwards (acting) Very heavily edited – week in an hour Arguments – dramatic elements
- 11. Realism The Secret Millionaire Clear premise that this is a game Shaky handheld camera – sound wind etc Invisible camera adds to realism Shabby clothes/swearing Talking heads at end – reality broken after money given Millionaires house – edited together cleverly