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92 Cards in this Set
- Front
- Back
- 3rd side (hint)
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WHY IS STRUCTURALISM CRITISIZED |
It assumes everyone makes sense of stories in the same way. |
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WHAT CONFERS DIFFERENT DEGREES OF MEANING |
The way in which we consume a novel, film or television show. |
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WHAT ARE FAN THEORIES |
The interpretation or speculation by fans about a particular creative work. |
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STUART HALL: ENCODING AND DECODING MODEL WHAT RELATIONSHIP DID HALL INVESTIGATE |
The relationship between media and ideology. |
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HOW DID HALL INVESTIGATE THIS RELATIONSHIP
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The semiotic analysis of signification systems in texts i.e. television.
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WHAT IS AN IDEOLOGY
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A set of ideas, values, tastes or beliefs practiced by a social group or culture.
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WHAT IS AN EXAMPLE OF AN IDEOLOGY
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Masculinity in Western countries is associated with strength, cars, technological gadgets, etc.
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WHAT THEORIES DOES HALL ATTACK
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Behaviorist theories of media. |
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WHAT ARE BEHAVIORIST THEORIES OF MEDIA
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The theory that the success of the communication process derives from its reliability i.e. that if messages are not received as intended then a failure of communication has occurred via a technical or behavioral sense. |
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WHAT IS AN EXAMPLE OF A TECHNICAL OR BEHAVIORAL SENSE AS IT RELATES TO BEHAVIORIST THEORIES OF MEDIA
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Technical: media, behavioral: differing opinions.
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WHY IS THE BEHAVIORIST MODEL FLAWED
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It does not take into account media communications within existing cultural structures i.e. meanings in messages are interpreted differently accordingto the positions of the senders and receivers in those cultural systems. |
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WHAT ARE CULTURAL SYSTEMS |
Social, economic, political
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WHAT DOES HALL EMPLOY TO UNDERSTAND THE DECODING PROCESS
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Semiotics |
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HOW DOES THE DECODING PROCESS UNFOLD
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Language is encoded i.e. made to mean something by producers, and then is decoded i.e.made to mean something by audiences. |
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WHAT IS THE MAIN DIFFERENCE BETWEEN HALL’S THEORY AND THE BEHAVIORIST THEORY
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Hall’s approach does not assume that a direct correspondence will occur between the meaning intended by a sender, and the interpreted meaning of the recipient. |
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DEPICT HOW THE PROCESS UNFOLDS
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Production of Text - Encoding - Media Text as Meaningful - Decoding - Reception of Text
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WHY ARE MEANING STRUCTURES OF MEDIA MESSAGES NOT REFLECTIVE OF REALITY
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Objectively encoding and decodingare distinct and determinant moments. |
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WHAT IS AN EXAMPLE OF NON-REFLECTIVE MEDIA STRUCTURES
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A news report of a particular event cannot be representative of the actual experience of living through the event, can only signify the experience through meaning structures.
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WHAT IS HALL INTERESTED IN WITH REGARDS TO MEDIA
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How media represent/misrepresent what they mean versus reflecting those meanings onto their audiences.
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HOW ARE MEDIA STRUCTURED
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Through setsof rules, codes and values prone to ideological constructions of meaning. |
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WHO IS A MAIN CONSTRUCTOR OF IDEOLOGY
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Television. |
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HOW DOES TELEVISION CONSTRUCT MEANING
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Editing/selection/camera operation and arrangement. |
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WHAT ARE THE THREE CATEGORIES OF DECODING
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Dominant code, negotiated code and oppositional code. |
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WHAT IS A DOMINANT CODE
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A code which accepts the preferred meanings transmitted by encoders (media producers). |
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WHAT IS AN EXAMPLE OF A DOMINANT CODE
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2014 Parliament Hill Shooting.
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WHAT IS A NEGOTIATED CODE
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A code which accepts some of the preferred meanings of a media production but opposes others. |
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WHAT IS AN EXAMPLE OF A NEGOTIATED CODE
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Parliament Hill shooter may not have been converted Islam but this religion is nevertheless abig societal problem. |
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WHAT IS AN OPPOSITIONAL CODE
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A code where the audience completely disagrees with preferred meanings of a media production and decodes the messages in a globally contraryway. |
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WHAT IS AN EXAMPLE OF AN OPPOSITIONAL CODE
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CNN news coverage of the Parliament Hill shooting as an act of terrorism. |
"Why stoke religious tension? Here in Canada, our media is reporting facts not amplifying hate. Grow up!" |
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WHY ARE MEDIA INSTITUTIONS AND TEXTS IMPORTANT
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They generate important ideological dimensions through which audiences make sense ofthe world. |
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WHAT IS INTERACTIONISM
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The way society acts in relation toothers in specific social environments. |
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WHAT IS STRUCTURATION
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Everyday actions produce and reproduce social structures of power i.e. going to work. |
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WHAT IS THE FIRST PREMISE OF INTERACTIONISM
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Human beings act toward objects/events on the basis of the meanings that those objects/events hold. |
Ex.: Interactions between colleagues vs. friends, etc.
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WHAT IS THE SECOND PREMISE OF INTERACTIONISM
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Meanings arise from social interaction amongst individuals.
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WHAT IS THE THIRD PREMISE OF INTERACTIONISM
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Meanings are managed through interpretive processing during encounters via a complete assessment of those specific meanings. |
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WHAT IS THE DIFFERENCE BETWEEN INTERACTIONISM AND BEHAVIORIST/STRUCTURALIST THEORIES
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STRUCTURALIST tend to emphasize power of media texts and technologies to determine meaning, BEHAVIORIST considers the dynamic relations amongst producers and audiences. |
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HOW IS MEDIA DEFINED VIA INTERACTIONISM
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Thesocial phenomena which contribute to our social environment/consciousness. |
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WHO IS ERVING GOFFMAN
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Creator of Goffman’s Theory of Self-Presentation.
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WHAT DOES GOFFMAN MEAN BY SELF-PRESENTATION
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Describing the techniques deployed by individuals and groups to perform an expression of themselves to others. |
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WHAT DOES GOFFMAN USEAS A MODEL TO UNDERSTAND SELF-REPRESENTATION
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Theatrical stage; human beings and actors who are skilled in interaction and communication.
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WHAT DIFFERENCE DOES GOFFMAN DRAW BETWEEN EXPRESSIONS AND IMPRESSIONS
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Expressions are controlled by individuals through self-representation techniques, impressions are managed but not controlled. |
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WHAT DOES ‘FRONT’ REFER TO AS IT RELATES TO GOFFMAN’S THEORY
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Capacity to control the way they present themselves to others, sometimes subconscious. |
Ex.: Thanking clerk forreturning your change. |
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WHAT DOES ‘BACK’ REFER TO AS IT RELATES TO GOFFMAN’S THEORY
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The withdrawal from social performances and the elimination of one’s front. |
Ex.: Stuttering at a jobinterview when unprepared for particular questions |
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WHAT DOES GOFFMAN BELIEVE REPRODUCES/ACCENTUATES CHARACTER
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Media interactions. |
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WHAT ARE MEDIA-FRIENDLY ACCOUNTS OF SELF-REPRESENTATION
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Those on broadcasting who amplify certain social conventions familiar to their audiences, using a FRONT which encompasses diversity and is able toconceal their BACK. |
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ALTHOUGH NOT PHYSICALLY ABLE TO INTERACT WHY IS SELF-REPRESENTATION IMPORTANT TO INTERACTIONISM
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Producers and audiences encounter expressions/impressions in dynamic interactions whichconstruct what is produced/why it is produced. |
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WHAT IS GENDER DISPLAY
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Adverts which are created to mimic real life, but are in reality a distortion.
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WHAT IS THE FEMININE TOUCH
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A pose by women inwhich their fingers/hands are used to trace/cradle/caress a surface to create desire for a product. |
Ex.: Perfume adverts. |
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WHAT IS THE RITUALIZATION OF SUBORDINATION
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Women advertised lying down (vulnerable) versus men advertised as standing up(powerful). |
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WHAT IS THE LICENSED WITHDRAWAL
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Women advertised as dreamy/introverted/psychologically removed. |
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WHAT IS FUNCTION MAKING
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A man advertised as performing an executive role while a woman assists. |
Ex.: Male surgeon and assisting nurse. |
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WHAT IS COMMERCIAL REALISM
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Advertisers try to present the advert world in the most realistic way possible to ensure the audience relates to the message. |
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WHAT IS THE MAIN DIFFERENCE BETWEEN HALL’S MODEL AND GOFFMAN’S THEORY
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Hall’s model looks at meanings as structured separately during production/reception, Goffman’s theory invokes that meanings are structured during the interaction between producers/audiences. |
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WHAT IS HYPER-RITUALIZATION
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Media ritualize forms of interaction that are already rituals in reality. |
Ex.: Showering versus a physically fit, tanned man showering. |
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WHAT IS POST-MODERNITY
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The socio-economic poli-technological development which characterizes the transition from modern to newly organized ways of life.
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WHAT IS THE FIRST IMPORTANT ASPECT OF POST-MODERNITY
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Emergence of new media/information/communication technologies which trigger social change/indicative of globalization |
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WHAT IS THE SECOND IMPORTANT ASPECT OF POST-MODERNITY
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The rise of consumer culture. |
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WHAT IS THE DIFFERENCE BETWEEN MODERNITY AND POST-MODERNITY
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The transition from elitist values/high culture to flattening of hierarchies. |
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WHAT ARE SOME NEGATIVE ASPECTS OF POST-MODERNITY
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Shallow relationships, consumerism driven and lack of moral responsibility. |
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WHAT DOES JEAN BAUDRILLARD ARGUE WITH SIMULATION
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Post-modern societies saturated with media and info-technologies have entered an age of simulation. |
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WHAT IS THE FIRST ORDER OF SIMULATION
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Signification where signs imitate real things and reality is constructed though representation. |
Ex.: Maps |
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WHAT IS THE SECOND ORDER OF SIMULATION
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Reproduction where signs refer to signs which imitate real things reproduced by mechanical technologies. |
Ex.: Film |
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WHAT IS THE THIRD ORDER OF SIMULATION
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Simulation where signs no longer represent real things but mask the absence of reality |
Ex.: Disneyland |
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HOW DOES POST-MODERN CULTURE REINFORCE THE LOGIC OF CONSUMER CAPITIALISM
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It does this my embracing popularity and rejects non-commercial high art. |
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WHAT IS MODERNISM
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It is the ability to distinguish high culture from popular culture and values individuality.
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WHAT IS POST-MODERNISM
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It is the disappearance of individuality and originality.
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WHAT IS FREDERIC JAMESON’S PASTICHE
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It is the practice of parody. |
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WHAT IS A PARODY
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A technique of duplication, which has comic intention intended to mock theoriginal. |
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WHAT IS IMPORTANT TO UNDERSTAND ABOUT PARODIES
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Understanding that while parodies mock original meanings they do not threaten their existence/sanctity of the original. |
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WHAT IS AN EXAMPLE OF A PARODY? |
The Simpsons and Breaking Bad/famous paintings |
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WHAT IS INTERTEXTUALITY
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The audience’s understanding of media texts and pop culture to create new meanings. |
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WHAT IS PASTICHE
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Similar to a parody except that is refuses to acknowledge the original form it appears to be imitating, plagiarism versus comedy.
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HOW DO FANS CREATE SOCIAL INTERACTIONS ACCORDING TO HENRY JENKINS
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Assert their mastery over mass-produced texts. |
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WHAT ARE CHARACTERISTCS OF FANS
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They are nomadic and freely move from text-to-text. |
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WHAT IS NOT CHARACTERSTICS OF FANS
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They do not use any of Hall’s codes, they continuously reconstruct meanings according to their immediate interests. |
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WHAT DO FANS WANDER AWAY FROM
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Preferred meanings. |
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WHY DO FANS WANDER AWAY FROM PREFERRED MEANINGS
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They consume texts intertextually and experience pleasure in connections. |
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DO FANS INTERACT OFTEN
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Yes via social events, annual conferences.
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Ex.: Comic Con
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IS THERE ARELATIONSHIP BETWEEN FANS AND PRODUCERS
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Yes, fans frequently interact with producers to develop their views and ideas for relationships and content. |
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WHAT IS LAURA MULVEY’S MALE GAZE THEORY
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The way visual arts in general are structured around a masculine viewer. |
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WHAT IS A NEGATIVE ASPECT ABOUT THE MALE GAZE
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It allows mainstream media to be gendered and sexist. |
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WHAT DOES THE MALE GAZE DENY
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It denies women a human identity, admired as objects of physical appearance. |
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WHAT IS THE MALE GAZE
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The theory that male characters give attention to or ‘look’ at female characters who are physically and sexually desirable and submissive.
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WHAT IS MASCULINISATION
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In film, when audiences view through the eyes of the male leads and are addressed as heterosexual men even if we are heterosexual, women or homosexual. |
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WHAT IS THE FIRST CONTRADICTORY PLEASURE OF VIEWING TECHNIQUES
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Scopophilia |
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WHAT IS SCOPOPHILIA (PLEASURE OF LOOKING)
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The enjoyment of making others the object of a controlling gaze.
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Ex.: Staring at an attractive person. |
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WHAT IS THE SECOND CONTRADICTORY PLEASURES OF VIEWING TECHNIQUES
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Process of Identification. |
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WHAT IS THE PROCESS OFIDENTIFICATION
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It is the pleasure taken from identifying an ideal image on screen. |
Ex.: Audiences identifying with icons on screen as reflections of themselves.
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WHAT IS VOYEURISTIC FANTASY
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The combination of narrative cinema and contexts of screening. |
Ex.: Close ups and filming in the dark. |
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WHO ARE FEMME FATALES
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Female characters in film who threaten male characters in film.
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WHAT IS THE DIFFERENCE BETWEEN THE MALE GAZE AND FEMME FATALE
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Femme fatales are subject to the male gaze as they are not fetishized as sexual objects and offer the threat of castration. |
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WHAT GENERALLY OCCURS TO FEMME FATALES IN FILM ROLES
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They are killed or incarcerated to protect the phallic power of men. |
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