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125 Cards in this Set
- Front
- Back
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Media Anchorage |
Adding text to an image to generate meaning |
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Open texts: polysemic meaning |
A picture has many different meanings. Therefore it is polysemic. An image alone can be described as an open text. Open to interpretation. |
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Closed texts |
Adding text to an image 'anchors' its meaning. This helps the audience to understand what is happening (or what the producers want the audience to think is happening) and as a resuly the text now becomes closed. |
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Sensationalism/ Tabloidisation |
Sensationalism is a type of editoral bias in nass media in which events and topics in news stories and pieces are anchored in an over hyped manner, usually to attract attention. |
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The 'dumbing down' debate |
The media is often accused of 'dumbing down' news stories and events. This means that texts are becoming less intellectual challenging in order to attract more audiences. |
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Political bias |
Often media texts will contain political bias, in order to influence audiences. This is paricuarly true fir print media and the facy we have a 'free press' in the uk |
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Cropping |
Quite often media producers will crop images in order to get the audience to focus on something in particular. Then a caption/headline is added to 'anchor' the meaning and close the text. |
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Encoding |
Message is sent |
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Decode |
Message is recieved and understood |
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Compostion |
What it is made uo of |
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Framing |
What our attention is being drawn to and how |
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Semiotics |
The signs and codes that are contained within the text. |
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Sign |
This can be a physical form to which we give meaning (whats there) |
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Signifier |
The physical form we can see ot hear (whats working together) |
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Signified |
The meaning whuch we attatch to the signifier (what does it mean) |
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Denotation |
What an image actually shows and what is imediately apparent. |
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Connotation |
The meaning in which we give a denktation |
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Visual codes |
Codes that can be seen |
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Written codes |
Methods included in a text for particular effect |
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Audio codes |
Elements of sound used in a moving image text |
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Narrative codes |
Related to the content of the text and are associated with the story, structure or layout/composition |
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Tecnical codes |
These are tools related to the practical aspect of creating a moving image or print text. |
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Genre |
Type/kind |
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Rick altnam theory |
Semantic- genre conventions Syntactic- plot and script Pragmatic- institution context |
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Character |
Acotors |
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Metz theory |
Classical - experimental - parody - deconstruction |
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Nick lacy |
Repertoire of elements |
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Steve neal |
Repetition and difference |
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Conventions |
The repetition of elements. Predictable pleasures. |
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Mise-en-scene |
Everything in a scene (visual codes) -Setting -Character -Look/style -Colour -Costume -Props/objects |
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Framing |
The composition of the image and how it has been put together to create meaning |
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Camera shot size |
The size of a camera shot is determined by how much and what distance we see a subject. |
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Camera angle |
Normally eye level but can be set to a low or high angle. |
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Camera movement |
The movement of a camera is used to help create meaning. |
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Extreme close-up |
Where a shot is used to magnify and focus on something. |
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Close-up |
This shot type focuses on a face ot the specifiv detail of the mise-en-scene |
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Medium close-up |
Shows a little more than a close up eg shoulders |
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Medium mid-shot |
From waist up |
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Medium long shot |
Knees up |
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Long shot |
Full body and plenty of background detail |
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Very long shot |
See more of the setting |
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Establishing shot |
Sets the scene |
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High angle shot |
Above the subject, making it appear smaller |
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Low angle shot |
Below the subject, making it appear bigger |
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Over the shoulder shot |
Shoulders up from the back of the character. Another face will be visable |
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Two shot |
Two characters, often standing side by side or facing eachother |
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Moving subject enters space |
Subject moves from off-camera into the frame |
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Pan/whip-pan |
Camera moves from left to right, or right to left |
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Tilt up/ dow or down/up |
Camera moves up or down |
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Move up or down |
Moves up or down with the object. Doesnt tilt |
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Zoom in or out |
Zooms in or out |
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Tracking |
Follows a person or object |
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Hand held |
Makes a lot of shaking and instability |
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Steady cam |
Follows a person with stability |
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Crane |
Provides a sweeping movement |
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High key lighting |
High key lighting creates a realistic looking shot. (Fill light) |
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Low key lighting |
Creates very deep contrasts and dark shadows. (Key light) |
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Diegetic sound |
Comes from within the film world |
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Non-diegetic sound |
Comes from outside the film world |
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Sound bridge |
Links two scenes together |
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Contrapuntal sound |
Sound which contradicts the visuals |
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Film language: editing and special effects |
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Editing |
The process of looking at all the footage which has been shot during the making of the film, placing it in the desired order and actually joining it together. |
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Speed of editing |
How long does each shot last? Helps to determine the mood of what is taking place on the screen |
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Style of editing |
How is each shot joined to the next? |
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Transitions |
The change in shot is reffered to as the transition |
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Straight cut |
What it says on the tin, simple and most common |
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Fade |
Where the image slowly disapeares/appears |
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Dissolve |
Where one image is brought in beneath another |
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Wipe |
Where one part of the screen moves across another |
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Fade from or to black |
Where the shot slowly disapears to a black screen or appears from a black screen |
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Jump cut |
When an unexpected shot suddenly appeard on the screen |
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Cross cutting |
It consists of editing together shots of events from different locations, which are expected to coincide with each other. |
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Reaction shot |
Is any shot in which the character reacts to a previous shot seen by the audience. |
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Shot reverse shot |
Helps to clarify situations by joining together shots from different angles to provide us with different perspectives, creating a fuller understanding |
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Freeze frame |
One shot is printed in a single frame several times. To give the illusion of a still photograph. |
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Montage sequence |
A series of shots are edited into a sequence to condense the narrative/story. |
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Stunts |
What it says on the tin |
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Pyrotechnics (explosions/fire) |
Used to wow the audience |
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Computer generated imagry (CGI) |
What it says on the tin |
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Motion capture |
Process of recording a live motion event and translating it into actionable data that allows for a 3d recreation of the performance. |
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Models/miniatures |
They will be built to make the scene seem more realistic. |
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Prosphetics |
The use of rubber to manipulate the shape and appearance of a characters face |
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Camera speed |
Eg slow or fast motion |
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Narrative |
Coherancr/organisation given to a media text |
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Fabula |
The plot of a narrative |
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Syuzhet |
How the plot has been put together |
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Linear narrative |
Where events happen in chronological order |
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Non linear narrative |
Not in chronological order |
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Enigma code |
Questions left to the audience |
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Action code |
Codes used to promote upcoming action or ongoing action |
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Open narrative |
A narrative left without conclusion eg cliffhanger |
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Closed narrative |
Has a conclusion |
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Restricted narrative |
When the audience know as much as the characters |
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Unrestricted narrative |
Where the audience knows more than the characters |
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Binary opposition |
a pair of related terms or concepts that are opposite in meaning |
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Intertextuality |
The way in which texts refer to other media texts |
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Ideology |
A study of the ideas/values/beliefs held by the media producers in their texts |
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Dominant ideology |
An ideology that is agreed upon by the masses |
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Archetype |
A traditional representation of people, places, issues and events |
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Stereotype |
Generalised views |
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Subversion |
When media producers want to challenge typical representations/archetypes/stereotypes/dominant ideologies |
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Representation |
How a media text is composed, lit, written, framed, cropped, captioned, branded, targeted and censored by their producers |
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Triangulation |
The relationship between producer, text and audience. Each part informs another. |
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Marxism |
A system of economic, social, and political philosophy based on ideas that view social change in terms of economic factors |
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Conglomerate |
A company that owns a large number of companies in various mass media |
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Cross media ownership |
Where a company produces more than one type of media |
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USP |
The factor that differenciates a product from its competitors |
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Production process |
The stages in getting a product to an audience. Production - distribution - exchange |
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Horizontal intergration |
This allows conglomerates to cross-promote a product using the subsidaries that make up the conglomerate |
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Comercial objectives |
These are a company's intentions in relation ti gaining money/profit from the products |
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Synergy |
This means that the result is greater or different from the sum of the constituent parts. Subsideries magnify exposure of the product. |
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Independent company |
A company that is a single entity working for itself. |
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Verticle intergration |
The result of a conglomerate being able to produce, advertise and distribute its products. |
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Public service broadcaster |
Made up of different subsideries, but their objective is not to make a profit but to serve the public. |
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Joint venture |
An entity formed between two or more parties to undertake an economic project together |
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Documentary |
The creative treatment of actuality |
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Key conventions |
-Archive/stock footage -Non diegetic music -Interviews -Dramatic/cinematic fimed footage -Ideological stance -voice of god |
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Christian Metz: genre evolution |
Eperimental (fly on the wall)- Classic (representing the real)- Parody (mockumentary)- Deconstruction (Reality tv) |
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Expository |
Make an argument |
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Observational |
To create a direct engagement with every day subjects (fly on the wall) |
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Partcipatery mode |
Documentary maker is part of the documentary |
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Poetic mode |
Abstract visuals and experimental tonal or rhythmic approach |
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Reflexive mode |
Increases awareness of construction. Includes mockumentary |
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Performative mode |
Highlights the subjectives or expressive aspect of the fim makers. Own involvement and filmakers opionion. |
