Monday, 19 December 2011
Saturday, 17 December 2011
Friday, 16 December 2011
Thursday, 15 December 2011
Tuesday, 13 December 2011
Monday, 12 December 2011
Media is?
Types of Media
- Print
- Radio
- Music
- Internet
New media gives us:
- new ways of connecting and communicating with eachother
- New cultures
- Youtube Stars http://youtubestars.blogspot.com/
- New ways of information
- Collaborating
This interconnectivity is tagged, controlled and connected. Youtube is affecting old media. For example, a person uploading a video of themselves singing can lead to a record deal.
It can also cause a loss of community. People are trying to find them through networking online. Online it gives people network individualism.
Cultural Inversion
Express > Individualism
Value > Community
Express > Independence
Value > Relationships
Express > Commercialisation
Value > Authenticity
Collapse of Context: "As if everybody is watching where nobody is"
"Freedom without fear or anxiety"
Cultural Tension, Advertising on popular videos.
- Radio
- Music
- Internet
New media gives us:
- new ways of connecting and communicating with eachother
- New cultures
- Youtube Stars http://youtubestars.blogspot.com/
- New ways of information
- Collaborating
This interconnectivity is tagged, controlled and connected. Youtube is affecting old media. For example, a person uploading a video of themselves singing can lead to a record deal.
It can also cause a loss of community. People are trying to find them through networking online. Online it gives people network individualism.
Cultural Inversion
Express > Individualism
Value > Community
Express > Independence
Value > Relationships
Express > Commercialisation
Value > Authenticity
Collapse of Context: "As if everybody is watching where nobody is"
"Freedom without fear or anxiety"
Cultural Tension, Advertising on popular videos.
Sunday, 11 December 2011
Genre - Why is it important?
Denis McQuail refers to the commercial and industrial significance of genres.
- The genre may be considered as a practical device for helping any mass medium to produce consistently and efficiently and to relate its production to the expectations of its customers. Since it is also a practical device for enabling individual media users to plan their choices, it can be considered as a mechanism for ordering the relations between the two main parties to mass communication.
- In other words it helps producers target audiences and capitalize on the success of previous films because audiences may choose to see a film based on the genre or generic content of the film. They can repeat a successful formula based on audience expectation.
Christine Gledhill notes that ‘difference between genres meant different audience could be identifies and catered to – This made it easier to standardise and stabilise production’.
In relation to the mass media, genre is part of the process of targeting different market sectors.
Contemporary theorists ten to emphasise the importance if the semiotic notion of intertextuality: of seeing individual texts in relation to others,
- Katie Wales notes that ‘genre is… an intertextual concept’ (Wales 1989, 259).
- John Hartley suggests that ‘we need to understand genre as a property of the relations between texts’ (O’Sullivan et al. 1994, 128).
- Tony Thwaites et al. put it, ‘each text is influenced by the generic rules in the way it is put together; the generic rules are reinforced by each text’ (Thwaites et al. 1994, 100).
- Roland Barthes (1975) argues that it is in relation to other texts within a genre rather than in relation to lived experience that we make sense of certain events within a text.
- There are analogies here schema theory in psychology, which proposes that we have mental ‘scripts’ which help us to interpret familiar events in everyday life.
Genre – it’s not just about definition but about change
There are no ‘rigid rules of inclusion and exclusion’
Christine Gledhill – ‘Genres… are not discrete systems, consisting of a fixed number of listable items’.
It is difficult to make clear-cut distinctions between one genre and another: genres overlap, and there are ‘mixed genres’ or ‘hybrids’, (such as comedy-thrillers). Specific genres tend to be easy to recognize intuitively but difficult (if not impossible) to define.
Genres are dynamic and change they are not fixed.
Steve Neale – genres are not systems, but processes of systematization.
Generic forms and function are always changing.
David Buckingham – ‘Genre is not... Simply “given! By the culture: rather, it is in a constant process of negotiation and change’.
Genre can be seen as the repetition and variation of familiar conventions. Generic hybrids are also popular watch the trailer or extract from the film examples below.
Paul – ET, extraordinary within normality – sci-fi comedy.
Cowboys and Aliens – cloverfield - a hybrid sci-fi and westerns
Super 8 – cloverfield - sci-fi
- The genre may be considered as a practical device for helping any mass medium to produce consistently and efficiently and to relate its production to the expectations of its customers. Since it is also a practical device for enabling individual media users to plan their choices, it can be considered as a mechanism for ordering the relations between the two main parties to mass communication.
- In other words it helps producers target audiences and capitalize on the success of previous films because audiences may choose to see a film based on the genre or generic content of the film. They can repeat a successful formula based on audience expectation.
Christine Gledhill notes that ‘difference between genres meant different audience could be identifies and catered to – This made it easier to standardise and stabilise production’.
In relation to the mass media, genre is part of the process of targeting different market sectors.
Contemporary theorists ten to emphasise the importance if the semiotic notion of intertextuality: of seeing individual texts in relation to others,
- Katie Wales notes that ‘genre is… an intertextual concept’ (Wales 1989, 259).
- John Hartley suggests that ‘we need to understand genre as a property of the relations between texts’ (O’Sullivan et al. 1994, 128).
- Tony Thwaites et al. put it, ‘each text is influenced by the generic rules in the way it is put together; the generic rules are reinforced by each text’ (Thwaites et al. 1994, 100).
- Roland Barthes (1975) argues that it is in relation to other texts within a genre rather than in relation to lived experience that we make sense of certain events within a text.
- There are analogies here schema theory in psychology, which proposes that we have mental ‘scripts’ which help us to interpret familiar events in everyday life.
Genre – it’s not just about definition but about change
There are no ‘rigid rules of inclusion and exclusion’
Christine Gledhill – ‘Genres… are not discrete systems, consisting of a fixed number of listable items’.
It is difficult to make clear-cut distinctions between one genre and another: genres overlap, and there are ‘mixed genres’ or ‘hybrids’, (such as comedy-thrillers). Specific genres tend to be easy to recognize intuitively but difficult (if not impossible) to define.
Genres are dynamic and change they are not fixed.
Steve Neale – genres are not systems, but processes of systematization.
Generic forms and function are always changing.
David Buckingham – ‘Genre is not... Simply “given! By the culture: rather, it is in a constant process of negotiation and change’.
Genre can be seen as the repetition and variation of familiar conventions. Generic hybrids are also popular watch the trailer or extract from the film examples below.
Paul – ET, extraordinary within normality – sci-fi comedy.
Cowboys and Aliens – cloverfield - a hybrid sci-fi and westerns
Super 8 – cloverfield - sci-fi
Saturday, 10 December 2011
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