YOU MUST POST YOUR HOTEL BABYLON ETHNICITY ESSAYS SO THAT I CAN MARK THEM USING THE EXAM CRITERIA, AND GIVE YOUFEEDBACK BEFORE THE MOCK EXAM.
DO NOT POST YOUR ESSAY THE DAY BEFORE WE GO BACK TO SCHOOL AND EXPECT IT TO BE MARKED, AS I WILL NOT HAVE TIME.
I have chcked the blogs today and most of you have not done this yet.
Wednesday, 28 December 2011
Friday, 16 December 2011
Christmas Holiday Homework
Your AS TV Drama mock exam will be on the Representation of Gender.
To revise for this, watch a few clips from several different sub genres of TV Drama and consider how genders are CONSTRUCTED. Are they stereotypical, or do they challenge stereotypes. For instance, are women shown as passive, in domenstic roles...or are they shown as strong, successful career women. Are they weak and emotional, or are they strong and determined?
Are men portrayed as unemotional and undomesticated? Are they in control and dominant?
What roles is each character playing? What are their occupations? Family situations?
Consider how camera angles, shots and movements, mise en scene, lighting, editing and sound are all used to construct these representations.
Read through the articles and links that I have posted. Make sure that you post your Ethnicity essays, so that I can read through and give you some feedback before the exam. (Preferably not the day before we come back to school please!)
GOOD LUCK!
To revise for this, watch a few clips from several different sub genres of TV Drama and consider how genders are CONSTRUCTED. Are they stereotypical, or do they challenge stereotypes. For instance, are women shown as passive, in domenstic roles...or are they shown as strong, successful career women. Are they weak and emotional, or are they strong and determined?
Are men portrayed as unemotional and undomesticated? Are they in control and dominant?
What roles is each character playing? What are their occupations? Family situations?
Consider how camera angles, shots and movements, mise en scene, lighting, editing and sound are all used to construct these representations.
Read through the articles and links that I have posted. Make sure that you post your Ethnicity essays, so that I can read through and give you some feedback before the exam. (Preferably not the day before we come back to school please!)
GOOD LUCK!
Vladimir Propp’s Character Theory
CHARACTERS
1.The hero (seeks something)
2.The villain (opposes the hero)
3.The donor (helps the hero by providing a magic object)
4.The dispatcher (sends the hero on his way)
5.The false hero (falsely assuming the role of hero)
6.The helper (gives support to the hero)
7.The princess (the reward for the hero but also needs to beprotected from the villain
8.Her father
Can you think of any TV drama characters that fit this description?
1.The hero (seeks something)
2.The villain (opposes the hero)
3.The donor (helps the hero by providing a magic object)
4.The dispatcher (sends the hero on his way)
5.The false hero (falsely assuming the role of hero)
6.The helper (gives support to the hero)
7.The princess (the reward for the hero but also needs to beprotected from the villain
8.Her father
Can you think of any TV drama characters that fit this description?
Representation of Gender
Representation of Gender
•Feminism has been a recognised social philosophy for more than forty years, and the changes that have occurred in women's roles in western society during that time have been nothing short of phenomenal. Yet media representations of women remain worryingly constant. Does this reflect that the status of women has not really changed or that the male-dominated media does not want to accept it has changed?
•Representations of women across all media tend to highlight the following:
•beauty (within narrow conventions)
•size/physique (again, within narrow conventions)
•sexuality (as expressed by the above)
•emotional (as opposed to intellectual) dealings
•relationships (as opposed to independence/freedom)
•Women are often represented as being part of a context (family, friends, colleagues) and working/thinking as part of a team. In drama, they tend to take the role of helper (Propp) or object, passive rather than active. Often their passivity extends to victimhood. Men are still represented as TV drama characters up to 3 times more frequently than women
•The representations of women that do make it onto page and screen do tend to be stereotypical, in terms of conforming to societal expectations, and characters who do not fit into the mould tend to be seen as dangerous and deviant.
•Discussions of women's representation in the media tend to revolve around the focus on physical beauty to the near-exclusion of other values, the lack of powerful female role models, and the extremely artificial nature of such portrayals, which bear little or no relation to the reality experience by women across the planet.
Tuesday, 13 December 2011
The Portrayal of Women on TV
Please read thourgh this academic article on TV representations of women.
http://www.aber.ac.uk/media/Students/pth9601.html
http://www.aber.ac.uk/media/Students/pth9601.html
Friday, 25 November 2011
Tuesday, 8 November 2011
Television Drama and the Representation of Ethnicity
http://www.museum.tv/eotvsection.php?entrycode=racismethni
Read through the information on the history of representaion of ethnic groups in American television drama.
How did Roots and The Cosby Show challenge previous sterotypical representations of black people in TV dramas
What does the article say about the represntaion of black policman in programmes such as Miami Vice and Hawaii Five-O?
Read through the information on the history of representaion of ethnic groups in American television drama.
How did Roots and The Cosby Show challenge previous sterotypical representations of black people in TV dramas
What does the article say about the represntaion of black policman in programmes such as Miami Vice and Hawaii Five-O?
Tuesday, 27 September 2011
Useful link to AS Media Studies theory and terminology
http://www.alevelmedia.co.uk/page25.php
Navigate around this site, it's great for theory and applying critical theory.
Navigate around this site, it's great for theory and applying critical theory.
Monday, 19 September 2011
Monday, 18 July 2011
Audience Theory and Representation
Students of media are taught that media texts do not present a neutral, transparent view of reality, but offer instead a mediated re-presentation of it. The processes by which audience members come to understand media texts in terms of how they seem to relate to people, ideas, events, themes and places. This is a very complex idea, as the reader of a media text will play an active role in constructing these meanings him/herself. At its most simple, it is how media texts are understandable.
Some media theorists that could be incorporated into a discussion of representation:
Stuart Hall
http://www.youtube.com/watch?v=aTzMsPqssOY
Stuart Hall suggests that there are three different positions that the reader of a text can occupy when trying to interpret a text, they are:
Preferred reading is when the reader fully shares the text's codes and accepts and reproduces the preferred reading i.e. the most dominant reading.
Negotiated reading is when the reader partly shares the text's codes and broadly accepts the preferred reading, but sometimes resists and modifies it in a way which reflects their own position, experiences and interests - this position involves contradictions.
Oppositional reading is when the reader, whose social situation places them in a directly oppositional relation to the dominant code, understands the preferred reading but does not share the text's code and rejects this reading, bringing to bear an alternative frame of reference (radical, feminist etc.).
In this instance a 'code' can be interpreted as what a text says.
Roland Barthes:
Roland Barthes concentrated some of his work on a discussion of how myth operates in society and he discussed this in the context of denotation and connotation.
Connotation and denotation are often described in terms of levels of representation or levels of meaning.
Denotation - the literal, 'obvious' or 'commonsense' meaning of an image.
Connotation - is used to refer to the socio-cultural and 'personal' associations (ideological, emotional etc.) of the image. These are typically related to the interpreter's class, age, gender, ethnicity and so on. Images are more open to interpretation - in their connotations than their denotations.
Ferdinand de Saussure:
Semiotics is the study of the social production of meaning from sign systems. A sign could be made up of something which physically resembles the object in some way (icon), or has a direct link between it and its object, it is somehow connected i.e. smoke indicates fire (index) or it can be something with no resemblance at all and it communicates only because people agree that it shall stand for what it does (symbol).
The reading of a sign is determined by cultural experience of the reader. Semiotics pays great attention to the role of the reader in realising and producing meanings out of texts.
Some media theorists that could be incorporated into a discussion of representation:
Stuart Hall
http://www.youtube.com/watch?v=aTzMsPqssOY
Stuart Hall suggests that there are three different positions that the reader of a text can occupy when trying to interpret a text, they are:
- Preferred Reading
- Negotiated Reading
- Oppositional Reading
Preferred reading is when the reader fully shares the text's codes and accepts and reproduces the preferred reading i.e. the most dominant reading.
Negotiated reading is when the reader partly shares the text's codes and broadly accepts the preferred reading, but sometimes resists and modifies it in a way which reflects their own position, experiences and interests - this position involves contradictions.
Oppositional reading is when the reader, whose social situation places them in a directly oppositional relation to the dominant code, understands the preferred reading but does not share the text's code and rejects this reading, bringing to bear an alternative frame of reference (radical, feminist etc.).
In this instance a 'code' can be interpreted as what a text says.
Roland Barthes:
Roland Barthes concentrated some of his work on a discussion of how myth operates in society and he discussed this in the context of denotation and connotation.
Connotation and denotation are often described in terms of levels of representation or levels of meaning.
Denotation - the literal, 'obvious' or 'commonsense' meaning of an image.
Connotation - is used to refer to the socio-cultural and 'personal' associations (ideological, emotional etc.) of the image. These are typically related to the interpreter's class, age, gender, ethnicity and so on. Images are more open to interpretation - in their connotations than their denotations.
Ferdinand de Saussure:
Semiotics is the study of the social production of meaning from sign systems. A sign could be made up of something which physically resembles the object in some way (icon), or has a direct link between it and its object, it is somehow connected i.e. smoke indicates fire (index) or it can be something with no resemblance at all and it communicates only because people agree that it shall stand for what it does (symbol).
The reading of a sign is determined by cultural experience of the reader. Semiotics pays great attention to the role of the reader in realising and producing meanings out of texts.
Tuesday, 12 July 2011
Television Drama Glossary of Terms
CAMERA SHOTS
Aerial Shot – A camera shot taken from an overhead position. Often used as an establishing shot.
Close Up – A head and shoulders shot often used to show expressions/emotions of a character. Also can be a shot of an object, filmed from close to the object or zoomed in to it, that reveals detail.
Extreme Close Up – A shot where a part of a face or body of a character fills the whole frame/dominates the frame. Also can be a shot of an object where only a small part of it dominates the frame.
Establishing Shot – A shot that establishes a scene, often giving ther viewer information about where the scene is set. Can be a close up shot (of a sign etc) but is often a wide/long shot and usually appears at the beginning of a scene.
Medium Shot – the framing of a subject from waist up.
Two Shot – A shot of two characters, possible engaging in conversation. Usually to signify/establish some sort of relationship
Point-Of-View Shot (POV) – Shows a view from the subject’s perspective. This shot is usually edited so that the viewer is aware who’s point of view it is.
Over the Shoulder Shot – looking from behind a character’s shoulder, at a subject. The character facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director wants to create (for example, if the subject is an inferior character, the character facing them may take up more of the frame to emphaise this)
Overhead Shot – a type of camera shot in which the camera is positioned above the character, action or object being filmed.
Reaction Shot – a shot that shows the reaction of a character either to another character or an event within the sequence.
CAMERA ANGLES
Camera Angle – the position of the camera in relation to the subject of a shot. The camera might be at a high angle, a low angle or at eye level with what is being filmed.
High Angle – A camera angle that looks down upon a subject or object. Often used to make the subject or object appear small or vulnerable.
Low Angle – A camera angle that looks up at a subject or object. Often used to make the subject/object appear powerful/dominant.
Canted framing (or oblique) – camera angle that makes what is shot appear to be skewed or tilted.
CAMERA MOVEMENT
Pan – Where the camera pivots horizontally, either from right to left or left to right to reveal a set or setting. This can be used to give the viewer a panoramic view. Sometimes used to establish a scene.
Track - a shot whjere the camera follows a subject/object. The tracking shot can include smooth movements forward, backward, along the side of the subject, or on a curve but cannot include complex movement around a subject. ‘Track’ refers to rails in which a wheeled platform (which has the camera on it) sits on in order to carry out smooth movement.
Crane – A crane shot is sometimes used to signify the end of a scene/ programme /film. The effect is achieved by the camera being put onto a crane that can move upward.
Stedicam - A steadicam is a stabilising mount for a camera which mechanically isolates the operator's movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.
Tilt - where a camera scans a set or setting vertically (otherwise similar to a pan).
Zoom – Using a zoom lens to appear to be moving closer to (zoom in) or further away from (zoom out) a subject/object when in fact the camera may not move (so, strictly not camera movement). Can be used for dramatic effect.
EDITING
Editing – the stage in the film-making process in which sound and images are organised into an overall narrative.
Continuity Editing – the most common type of editing, which aims to create a sense of reality and time moving forward. Also nick named invisible editing referring to how the technique does not draw attention to the editing process.
Jump Cut – An abrupt, disorientating transitional device in the middle of a continuos shot in which the action is noticeably advanced in time and/or cut between two similar shots, usually done to create discontinuity for artistic effect.
Credits – the information at the beginning and end of a film, which gives details of cast and crew etc.
Cross Cutting – the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence or event) with another – usually in different locations or places, thus combining the two: this editing technique usually suggests Parallel action (that takes place simultaneously). Often used to dramatically build tension and/or suspense in chase scenes or to compare two different scenes. Also known as inter-cutting or parallel editing
Cutaways – A brief shot that momentarily interrupts continuous action by briefly inserting another related action. Object, or person (sometimes not part of the principle scene or main action), followed by a cutback to the original shot.
Freeze Frame – the effect of seemingly stopping a film in order to focus in on one event or element.
Eye-line Match – a type of edit which cuts from one character to what that character has been looking at.
Flashback – a scene or moment in a film in which the audience is shown an event that happened earlier in the film’s narrative.
Graphic Match – an edit effect in which two different objects of the same shape are dissolved from one into the other.
Juxtaposition – the placement of two (often opposed) images on either side of an edit to create an effect.
Linear Narrative – a style of storytelling in which events happen chronologically.
Montage Editing – the juxtaposition of seemingly unconnected images in order to create meaning.
Parallel Editing – a type of editing in which events in two locations are cut together, in order to imply a connection between the two sets of events.
Visual Effects - visual effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene.
Match on Action - A shot that emphasises continuity of space and time by matching the action of the preceding shot with the continuation of the action. (For example a shot of a door opening after a shot of a close up of a character’s hand turning a door handle)
SOUND
Diegetic Sound – sound that can be heard by the characters within a scene/ sound part of the imaginary world.
Non-diegetic Sound – sound that the characters cannot hear and is not part of the imaginary world of the story. This includes a musical soundtrack or a voiceover (however this excludes a narration by a character within the story – referred to as an internal monologue and is diegetic).
Score – The musical component of a programme’s soundtrack, usually composed specifically for the scene.
Sound Effects – sounds that are added to a film during the post-production stage.
OTHER KEY TERMS
Artificial Light – A source of light created by lighting equipment, rather than from natural sources.
Convention – a frequently used element which becomes standard.
Disequilibrium – the period of instability and insecurity in a film’s narrative.
Enigma – the question or mystery that is posed within a film’s narrative.
Equilibrium – a state of peace and calm, which often exists at the beginning of a film’s narrative.
Framing – the selection of elements such as characters, setting and iconography that appear within a shot.
Genre – a system of film identification, in which films that have the same elements are grouped together.
Iconography – the objects within a film that are used to evoke particular meanings
Intertextuality – reference within a film to another film, media product, work of literature or piece of artwork.
Mise en scene – a French term, which literally means ‘put into the frame’. When analysing a sequence the term refers to everything you see in the frame (props, costume, lighting, colour, makeup etc.)
Narrative – a story that is created in a constructed format (eg. A programme) that describes a series of fictional or non-fictional events.
Aerial Shot – A camera shot taken from an overhead position. Often used as an establishing shot.
Close Up – A head and shoulders shot often used to show expressions/emotions of a character. Also can be a shot of an object, filmed from close to the object or zoomed in to it, that reveals detail.
Extreme Close Up – A shot where a part of a face or body of a character fills the whole frame/dominates the frame. Also can be a shot of an object where only a small part of it dominates the frame.
Establishing Shot – A shot that establishes a scene, often giving ther viewer information about where the scene is set. Can be a close up shot (of a sign etc) but is often a wide/long shot and usually appears at the beginning of a scene.
Medium Shot – the framing of a subject from waist up.
Two Shot – A shot of two characters, possible engaging in conversation. Usually to signify/establish some sort of relationship
Point-Of-View Shot (POV) – Shows a view from the subject’s perspective. This shot is usually edited so that the viewer is aware who’s point of view it is.
Over the Shoulder Shot – looking from behind a character’s shoulder, at a subject. The character facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director wants to create (for example, if the subject is an inferior character, the character facing them may take up more of the frame to emphaise this)
Overhead Shot – a type of camera shot in which the camera is positioned above the character, action or object being filmed.
Reaction Shot – a shot that shows the reaction of a character either to another character or an event within the sequence.
CAMERA ANGLES
Camera Angle – the position of the camera in relation to the subject of a shot. The camera might be at a high angle, a low angle or at eye level with what is being filmed.
High Angle – A camera angle that looks down upon a subject or object. Often used to make the subject or object appear small or vulnerable.
Low Angle – A camera angle that looks up at a subject or object. Often used to make the subject/object appear powerful/dominant.
Canted framing (or oblique) – camera angle that makes what is shot appear to be skewed or tilted.
CAMERA MOVEMENT
Pan – Where the camera pivots horizontally, either from right to left or left to right to reveal a set or setting. This can be used to give the viewer a panoramic view. Sometimes used to establish a scene.
Track - a shot whjere the camera follows a subject/object. The tracking shot can include smooth movements forward, backward, along the side of the subject, or on a curve but cannot include complex movement around a subject. ‘Track’ refers to rails in which a wheeled platform (which has the camera on it) sits on in order to carry out smooth movement.
Crane – A crane shot is sometimes used to signify the end of a scene/ programme /film. The effect is achieved by the camera being put onto a crane that can move upward.
Stedicam - A steadicam is a stabilising mount for a camera which mechanically isolates the operator's movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.
Tilt - where a camera scans a set or setting vertically (otherwise similar to a pan).
Zoom – Using a zoom lens to appear to be moving closer to (zoom in) or further away from (zoom out) a subject/object when in fact the camera may not move (so, strictly not camera movement). Can be used for dramatic effect.
EDITING
Editing – the stage in the film-making process in which sound and images are organised into an overall narrative.
Continuity Editing – the most common type of editing, which aims to create a sense of reality and time moving forward. Also nick named invisible editing referring to how the technique does not draw attention to the editing process.
Jump Cut – An abrupt, disorientating transitional device in the middle of a continuos shot in which the action is noticeably advanced in time and/or cut between two similar shots, usually done to create discontinuity for artistic effect.
Credits – the information at the beginning and end of a film, which gives details of cast and crew etc.
Cross Cutting – the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence or event) with another – usually in different locations or places, thus combining the two: this editing technique usually suggests Parallel action (that takes place simultaneously). Often used to dramatically build tension and/or suspense in chase scenes or to compare two different scenes. Also known as inter-cutting or parallel editing
Cutaways – A brief shot that momentarily interrupts continuous action by briefly inserting another related action. Object, or person (sometimes not part of the principle scene or main action), followed by a cutback to the original shot.
Freeze Frame – the effect of seemingly stopping a film in order to focus in on one event or element.
Eye-line Match – a type of edit which cuts from one character to what that character has been looking at.
Flashback – a scene or moment in a film in which the audience is shown an event that happened earlier in the film’s narrative.
Graphic Match – an edit effect in which two different objects of the same shape are dissolved from one into the other.
Juxtaposition – the placement of two (often opposed) images on either side of an edit to create an effect.
Linear Narrative – a style of storytelling in which events happen chronologically.
Montage Editing – the juxtaposition of seemingly unconnected images in order to create meaning.
Parallel Editing – a type of editing in which events in two locations are cut together, in order to imply a connection between the two sets of events.
Visual Effects - visual effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene.
Match on Action - A shot that emphasises continuity of space and time by matching the action of the preceding shot with the continuation of the action. (For example a shot of a door opening after a shot of a close up of a character’s hand turning a door handle)
SOUND
Diegetic Sound – sound that can be heard by the characters within a scene/ sound part of the imaginary world.
Non-diegetic Sound – sound that the characters cannot hear and is not part of the imaginary world of the story. This includes a musical soundtrack or a voiceover (however this excludes a narration by a character within the story – referred to as an internal monologue and is diegetic).
Score – The musical component of a programme’s soundtrack, usually composed specifically for the scene.
Sound Effects – sounds that are added to a film during the post-production stage.
OTHER KEY TERMS
Artificial Light – A source of light created by lighting equipment, rather than from natural sources.
Convention – a frequently used element which becomes standard.
Disequilibrium – the period of instability and insecurity in a film’s narrative.
Enigma – the question or mystery that is posed within a film’s narrative.
Equilibrium – a state of peace and calm, which often exists at the beginning of a film’s narrative.
Framing – the selection of elements such as characters, setting and iconography that appear within a shot.
Genre – a system of film identification, in which films that have the same elements are grouped together.
Iconography – the objects within a film that are used to evoke particular meanings
Intertextuality – reference within a film to another film, media product, work of literature or piece of artwork.
Mise en scene – a French term, which literally means ‘put into the frame’. When analysing a sequence the term refers to everything you see in the frame (props, costume, lighting, colour, makeup etc.)
Narrative – a story that is created in a constructed format (eg. A programme) that describes a series of fictional or non-fictional events.
Introduction to TV Drama
Welcome to the course! Here is a list of useful links to use thoughout the course.
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