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English > Codes, Conventions and Techniques > Flashcards

Codes, Conventions and Techniques Flashcards

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1
Q

Conventions

A

The features of a text that are widely acknowledged and recognised

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2
Q

Narrative Conventions: Plot

A

Events, conflict, suspense, structure

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3
Q

Narrative Conventions: Narrative structure

A

Exposition (establish setting and character), conflict (person vs person, person vs self, person vs environment/society), climax, resolution, flashback, chronological structure, foreshadowing

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4
Q

Narrative Conventions: Narrative point of view

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First person (mention effectiveness, reliability of narrator), second person (the reader is the narrator), third person (limited or omniscient)

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5
Q

Narrative Conventions: Characterisation

A

Actions, dialogue, appearance, gender, race, thoughts, relationships, stereotypes, values/attitudes

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6
Q

Narrative Conventions: Minor characters

A

Importance to the text, show features of the main character and explore ideas/issues

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7
Q

Narrative Conventions: Style

A

The author’s style or the way in which words are arranged in the text. Communicated through descriptive language, metaphors, repetitions, similes, sensory imagery, idioms, dialect, colloquial language, etc…

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8
Q

Narrative Conventions: Symbolism

A

Objects, weather, colour, people

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9
Q

Elements of Style: Structure and Organisation

A

How the work is assembled. Includes linear, chronological timeline or timeline utilising flashbacks and foreshadowing. Authors can intentionally leave gaps in writing to allow the reader to fill them in. Structure of a play can be traditional 3 or 5 act or a series of loosely connected scenes.

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10
Q

Elements of Style: Point of view

A

First-person point of view (usually but not always the protagonist). Omniscient or limited. Reliable or unreliable (bias). Narrator and author are not the same.

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11
Q

Elements of Style: Diction

A

Word/lexical choice (e.g. dry, clinical language vs flowery prose with exclamation points)

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12
Q

Elements of Style: Syntax

A

Word order and sentence construction. Establishes an author’s narrative voice. E.g. Ernest Hemmingway is known for writing in short, straightforward sentences, while James Joyce is known for writing in very long, complicated lines.

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13
Q

Elements of Style: Tone

A

The manner of expression showing the author’s attitude towards characters, events or situations. Reflected in the author’s voice. Conveyed through diction, viewpoint, syntax and level of formality. Also reveals assumptions of the writer about the reader (e.g. social characteristics, intelligence, sensitivity)

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14
Q

Elements of Style: Atmosphere

A

The mood or feeling of a text. Diction and syntax contribute to atmosphere. E.g. short, clipped sentences with small simple words might feel brusque, cold or matter-of-fact.

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15
Q

Elements of Style: Imagery

A

Language that appeals to the senses. Sight (visual), Sound (auditory), Smell (olfactory), Taste (gustatory), Touch (tactile). Creates a picture in the reader’s mind.

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16
Q

Elements of Style: Figurative language

A

Language that is not meant to be interpreted literally. E.g. metaphors and similes.

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17
Q

Elements of Style: Symbols

A

Image that serves as a sign or suggestion of something larger. A single image may have many meanings.

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18
Q

Visual language: Subject matter

A

Main elements of a image

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19
Q

Visual language: Mise en scene

A

The arrangement of props/scenery in the setting of an image

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20
Q

Visual language: Composition

A

How the elements of an image are arranged (e.g. foreground/background, central/margins). Empowers and marginalises elements. In western culture, elements positioned to the right are more important (as we read from left to right)

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21
Q

Visual language: Rule of Thirds

A

Placing important elements on the lines dividing the image into nine equal parts. Upper third is empowered, lower third is marginalised. Creates tension and can tell a story

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22
Q

Visual language: Leading lines/focal point

A

Draws the eyes to important elements of the image. Lighting and shade can also be used to lead the viewer. The focal point of an image is the part that the eye is drawn towards.

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23
Q

Visual language: Juxtaposition

A

Placing elements close together to compare and contrast them. Highlights their different meanings.

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24
Q

Visual language: Proximity

A

The closeness of elements within an image. Interpreted differently depending on the context of the image (e.g. family vs team photo)

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25
Q

Visual language: Colour

A

Colours have an emotional effect on the viewer and can be symbolic. Black and white forces the viewer to focus on shape and texture rather than colour. Dominant colours highlight importance of an element.

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26
Q

Visual language: Lighting

A

Light can highlight important elements. Shadows create an atmosphere of danger or suspicion. Figures engulfed in light appear holy and special while figures enshrouded in darkness appear evil or dubious.

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27
Q

Visual language: Symbolism

A

Elements of an image can have symbolic and functional meanings

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28
Q

Visual language: Costume and make-up

A

Can portray class/wealth/social status or power. Can reinforce or challenge gender roles and societal expectations. Can symbolise interests, ideologies, values and beliefs of particular groups. Make-up can also be used to create certain effects (e.g. poorly applied make-up suggests that a character is unhinged)

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29
Q

Visual language: Props

A

Can be considered as symbols. E.g. guns indicate control of a situation, while a woman holding a gun could show the breaking of gender stereotypes

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30
Q

Visual language: Body language

A

Posture can show power or role of a character. E.g. standing upright with raised chin shows confidence, dominance and power. Body language suggests relationships (of power or equality).

31
Q

Visual language: Facial expressions

A

Indicate the emotions of characters. Can show relationships.

32
Q

Visual language: Gestures

A

Culturally determined movements (usually with the hands) to indicate thoughts. Can be self-directed or directed towards others (touching one’s face vs slapping someone on the back)

33
Q

Visual language: Gaze

A

Intra-diagetic: directed towards something inside the image. Extra-diagetic: directed out of frame. Can depict power dynamics as objects gazed upon are disempowered while the gazer is empowered. Gaze directed out of frame suggests that a character is disinterested or deep in thought. Aversion of gaze portrays shame/embarrassment and makes the viewer feel more comfortable. Gaze directly at the viewer portrays confidence and confronts/challenges the viewer. Gaze implies looking at someone through formed sets of ideologies, beliefs and values.

34
Q

Visual language: Action

A

Still images can imply action and movement by capturing moments in time, allowing viewers to piece together what happened before and after. Flowing clothes can be used to show movement.

35
Q

Visual language: Written codes

A

Give further insight into purpose or meaning and can encourage certain interpretations over others.

36
Q

Visual language: Contextual information

A

Gives the reader a better understanding of the producer’s intention/dominant meaning. Consider the production context, genre, purpose and target audience of images.

37
Q

Visual language: Participants

A

Crucial people, animals or objects in an image. Actors are participants who are doing things. Goals are participants who have things done to them (through action or gaze)

38
Q

Visual language: Circumstances

A

People, animals or objects not directly linked to main participants. Circumstances of setting provide a broader context while circumstances of mean provide the means for a narrative process to take place and circumstances of accompaniment are associated not through action or gaze.

39
Q

Visual language: Camera distance

A

Size of the participant/space they occupy promotes particular relationships between viewers and participants

40
Q

Visual language: Extreme closeup

A

Intimate distance. Allows smell and touch as well as sight. Influences viewer to experience feelings such as empathy, sympathy, compassion, horror and disgust. Positions the viewer to share in the participants feelings of happiness, joy, sorrow, etc. Viewers develop emotions on behalf of the participant e.g. anger, confusion.

41
Q

Visual language: Closeup

A

Personal distance. Allows touch. Awareness of the participant’s facial expression and gestures.

42
Q

Visual language: Midshot

A

Social distance. Allows verbal interaction but not touch or smell. Discourages personal interaction. Participants and viewer gaze at each other from their own social and cultural positions. Interaction is one sided. Feelings such as shock and horror as the viewer is forced to gaze at the participant. Can denote loneliness and isolation.

43
Q

Visual language: Longshot

A

Public distance. Extreme separation. Prevents the viewer from interacting with participants. Viewer cannot make value judgements and view events through their own belief systems.

44
Q

Visual language: Camera angles

A

High angle: participant is inferior, submissive, disempowered, weak, frightened. Low angle: participant is superior, dominant, powerful, important or aggressive. Eye level: participant is equal and easily associated, related and sympathised with.

45
Q

Visual language: Positioning

A

Can enable or limit viewer interaction with participant. Whole body facing the viewer = intimacy and invites viewer to become involved. Angled away from the viewer = participant is distanced and remains detached. Mixed signals can be given (e.g. body facing away with head facing towards).

46
Q

Visual language: Salience

A

The element in the image which draws the eye first

47
Q

Persuasive technique: Inclusive language

A

Using words such as us/our/we to include the audience. Directly confronts the audience and pressures them to act on or think about an issue. Makes the reader unite with the author on a certain cause. Can create an us vs them mentality.

48
Q

Persuasive technique: Emotive language

A

Words intended to cause the reader to respond on an emotional level. This makes them more susceptible to persuasion. Also makes the reader feel sympathy or empathy.

49
Q

Persuasive technique: Simile/metaphor

A

Direct comparisons between two ideas. Creates easily understood images that can influence readers to think about a topic in a certain way.

50
Q

Persuasive technique: Personification/Anthropomorphism

A

Applying human qualities to inanimate objects and animals. Used to create sympathy in the reader as they associate non-human objects/animals with humans.

51
Q

Persuasive technique: Imagery

A

Words, usually appealing to the senses, intended to create a vivid picture in the reader’s mind. Engages the reader and may cause them to respond on an emotional level.

52
Q

Persuasive technique: Alliteration/assonance

A

The repetition of consonant/vowel sounds in adjacent words. Puts emphasis on certain words and phrases. Can also be used for a specific effect (e.g. repetition of the ‘s’ sound to portray someone as being slimy or snakelike)

53
Q

Persuasive technique: Expert opinion

A

Inclusion of expert opinion improves the credibility of an argument, making it more persuasive.

54
Q

Persuasive technique: Facts/statistics

A

Use of facts and statistics improves credibility and suggests that the author’s stance is well-researched and backed by the evidence. This makes their argument more likely to persuade the reader.

55
Q

Persuasive technique: Interviews

A

Interviews can be used to suggest the views of certain groups of people. Interviewing people directly affected by an issue makes the author also seem directly involved and improves their credibility.

56
Q

Persuasive technique: Repetition

A

Repetition of words or phrases emphasises these words or phrases to the reader. This may be used to cause the reader to question the ideas presented in the repeated phrase. Repetition can also have more specific effects depending on the text.

57
Q

Persuasive technique: Rhetorical questions

A

Questions posed to make the reader think or to emphasise a point. Starting or ending with rhetorical questions can be particularly effective as it immediately engages the reader in one case and leaves them with something to think about in the other.

58
Q

Persuasive technique: Groups of three

A

Tends to make lists more memorable than other groupings.

59
Q

Persuasive technique: Imperatives (informal commands)

A

Commanding the reader suggests that the author has some level of authority, giving their opinion more weight. Also makes the author’s position seem firm and well-though out.

60
Q

Persuasive technique: Juxtaposition

A

Putting two different ideas next to each other to highlight their differences. Emphasises extreme qualities more effectively than presenting them on their own.

61
Q

Persuasive technique: Anecdotes

A

Can be personal or general. Personal anecdotes can imply a close relationship between the author and the reader. Anecdotes can be used as a substitute for evidence to improve the credibility of an opinion.

62
Q

Persuasive technique: Cliche

A

Well-known and overused phrases and ideas. Authors can use cliches to make the audience feel comfortable as they are familiar. Cliches can also be subverted to put emphasis on certain ideas.

63
Q

Persuasive technique: Jargon

A

Terms that are only understood within certain niche groups. An author’s use of jargon implies that they belong to one of these groups. Includes technical terms, which imply that the author has a level of knowledge on the topic at hand, improving credibility.

64
Q

Persuasive technique: Colloquial language

A

The use of informal/casual words and phrases. This makes the reader feel more comfortable and portrays the author as a normal person rather than someone trying to persuade them. This humanisation of the author in this way makes their argument more likely to persuade.

65
Q

Persuasive technique: Hyperbole/exaggeration

A

Figurative statements and descriptions not meant to be taken literally. Hyperbole can be used to highlight extreme qualities in an idea, making the reader more likely to view the idea as extreme.

66
Q

Persuasive technique: Logic/reason

A

The use of logic and reason suggests that an author is intelligent and well-educated on a topic. This makes them seem more credible and gives their arguments more weight.

67
Q

Persuasive technique: Pun/sarcasm

A

The effect of puns is often that of humour, allowing a point to be conveyed while the reader is ‘off-guard’. Sarcasm can be used to poke fun at and ridicule ideas, positioning the audience against them without necessarily attacking the ideas directly. Both techniques can make the author seem more likeable and in turn, more persuasive.

68
Q

Persuasive technique: Appeal to family values

A

Usually used to persuade a target audience of parents, especially those with traditional views.

69
Q

Persuasive technique: Appeal to patriotism

A

Usually used to persuade to a target audience of people with pride in their nation. Can come with a sense of superiority in a nation or the suggestion that the nation can do no wrong and should be supported.

70
Q

Persuasive technique: Appeal to fear and insecurity

A

Makes readers respond on an emotional level, leading them to a conclusion without the need for reason or logic.

71
Q

Persuasive technique: Appeal to fairness and justice

A

Creates an emotional response, usually of anger, due to an unjust situation.

72
Q

Persuasive technique: Appeal to authority

A

Suggests that an authority position is more likely to be correct.

73
Q

Persuasive technique: Appeal to the hip pocket nerve

A

Appeals to the desire of people to save money wherever possible.

74
Q

Persuasive technique: Appeal to freedom

A

Appeals to the innate human desire of freedom. Suggesting that an audience does not have freedom may be used to instill an emotional response.

English (2 decks)

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