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MEDIA STUDIES > MEDIA-ADVERTISMENT > Flashcards

MEDIA-ADVERTISMENT Flashcards

1
Q

Lexis

A

The language used and choice of words

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2
Q

Written Language

A

Another word for lexis

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3
Q

Colloquial Language

A

Another word for slang

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4
Q

Alliteration

A

Words that start with the same letter

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5
Q

Pun

A

A play on words

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6
Q

Direct mode of address

A

Audience are spoken to directly-“ buy me now”

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7
Q

Personal/familiar mode of address

A

Informal language used

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8
Q

Strapline

A

Slogan After the product

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9
Q

Slogan

A

A product catch phrase

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10
Q

Mode of address

A

the language that has been chosen and how it talk to the audience

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11
Q

Conversational mode of address

A

Informal mode of address

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12
Q

Formal mode of address

A

Serious tone, spoke to more formally

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13
Q

Linguistic devices

A

A language technique used

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14
Q

High angle shot

A

It is a shot where the camera is looking down on the subject, shows character is weak or could be in danger

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15
Q

Low angle shot

A

It is a shot where the camera is looking up at the subject, shows the character is powerful and superior

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16
Q

Birds eye shot

A

it is a shot where the camera is directly above the subject

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17
Q

Extreme close up

A

shows the detail that will fill the the frame; eye mouth or significant other

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18
Q

Close up

A

shot of someone from the shoulders up

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19
Q

wide/long shot

A

where audience can see the person/object from head to toe

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20
Q

Canted angle/canted shot

duct shot/angle

A

it is a shot where horizon line isnt level

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21
Q

medium close up

A

a shot of someone from the chest up

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22
Q

mid-shot

A

shot of someone from the waist up

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23
Q

Medium long shot

A

shot where the audience can see from the knees upwards

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24
Q

Cut

A

the process of re-arranging shots

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25
Q

wipe

A

pushes shot out of screen, most used for a comedic purpose

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26
Q

continuity editing

A

editing that appears to be natural suspend the audience disbelief in logical order

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27
Q

Montage editing

A

editing together using jump cuts, can be used to compress time to show something to the audience quickly

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28
Q

Jump cuts

A

two picture together that dont fit together, used to compress time

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29
Q

shot>reverse>shot

A

used it show a conversation used to manipulated reality

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30
Q

fade/fade up/fade out/fade to black

A

a shot moves to colour screen or just a another shot

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31
Q

dissolve

A

a type of fade

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32
Q

pace of editing

A

how quick or slow something is editied

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33
Q

cross dissolve

A

when one host dissolves and appears on top of each other

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34
Q

eye line match

A

character eye line matches in different shots

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35
Q

cross-cutting

A

when the film maker cut between two strands of narrative

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36
Q

transitions

A

the way the editor moves from a shot to another shot

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37
Q

match on action

A

when the shots match

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38
Q

rule of third

A

screen can be divide into imaginary parts (main image in the centre of the screen)

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39
Q

aspect ratio

A

1.2.35>.1-1.85>1-1 shape of the screen

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40
Q

frame within a frame

A

frame within a frame, show the characters entrapment

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41
Q

Dolly

A

tracking shot on a bulit track

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42
Q

Tilt

A

vertical

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43
Q

Zoom

A

moving forward and backwards

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44
Q

Track

A

follows the action

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45
Q

pan

swish pan/whip pan

A

side to side horizontal`

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46
Q

Steadicam

A

helps balance and smooth out the movement when the camera is handheld

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47
Q

handheld

A

camera that is held

48
Q

crane

A

camera that is on a long movable arm

49
Q

360’ rule

A

camera goes in a full circle

50
Q

180’ rule

A

cant pass imaginary line when two subject are being film-natural

51
Q

Foley

A

the artificial creation of sound post production

52
Q

diegetic sound

A

sound that are part of the world of the film characters can heat these sounds

53
Q

pleanastic sounds

A

dietetic sound are exaggerated in a film imitates sound that are in the film

54
Q

Orchestral

A

music played by an orchestra

55
Q

silience

A

no sound can be heard

56
Q

score

A

the theme music for a film or tv show

57
Q

non-diegetic sound

A

sound that are artificial character can not hear these sounds

58
Q

contrapuntal sounds

A

sound that dont hit the action on the screen non-diegetic sounds

59
Q

artificial lighting

A

lighting that has been created artificially

60
Q

mid-key

A

natural lighting

61
Q

low key

A

dull/dark

62
Q

high key

A

bright

63
Q

chiaroscuro

A

another term for high contrast but extreme

64
Q

front lighting

A

the object is lit from in front

65
Q

side lighting

A

the object is lit from the side

66
Q

natural lighting

A

light is natural

67
Q

available light

A

when the director uses the light that is available

68
Q

hard lighting

A

a strong shadow

69
Q

soft lighting

A

shadows are soft not really noticeable;

70
Q

high contrst

A

opposite to high contrast

71
Q

overhead lighting

A

objects are lit from above, creates an unsetting, usual and unconventional look

72
Q

under lighting

A

object lit from underneath, unnatural look

73
Q

colour temp

A

how much red or blue is in an image Red-warm Blue-cold

74
Q

lighting colour

A

how they change colour

75
Q

3 point light

A
  • 2 light on face
  • 1 light on left side of face
  • 1 light on right side of face
76
Q

key lighting

A

main light used to light an object

77
Q

fill light

A

fills in the shadows

78
Q

back light

A

soften the edges of the object-classic hollywood light

79
Q

silhouette

A

shadows of an object unable to see object face

80
Q

back light

A

object is light from behind

81
Q

props

A

object that are used in a media text

82
Q

casting

A

the choice of actress/actors for a media text

83
Q

performance/pose

A

movement?body language and dialogue

84
Q

verisimilitude

A

another word for realism

85
Q

suspense of disbelief

A

the process of media audience temporary forgetting that the media text has been created

86
Q

hyperreality

A

it is more staged than reality itself

87
Q

set

A

a set is something that has been artificially created

88
Q

costume

A

the clothes that the characters wear includes make-up and hair

89
Q

Mise-en-scene

A

a french term “put in the scene” everything the audience see

90
Q

setting

A

location where the action takes places includes;

  • time of day
  • weather
91
Q

prosthetic

A

artificial make up created to change actor/actress appearance “hell boy”

92
Q

focus puller

A

the person that changes the depth of field

93
Q

pull focus

A

depth of field changes during the shot

94
Q

deep depth of field

A

everything in focus

95
Q

shallow depth of field

A

one part of the scene is in focus

96
Q

depth of field

A

amount of the shot that is in focus

97
Q

ISO

A

how sensitive the film is to light

98
Q

black and white film stock

A

media text are in black and white

99
Q

low speed/low ISO/slow film stock

A

film stock that is very smooth and low grain

100
Q

high contrast film stock

A

big difference between dark and light areas of a shot

101
Q

high gain image

A

an effect on an image

102
Q

high speed/high ISO/fast film stock

A

film stock that is very sensitive and means film makers can film low light conditions allowing more movement and more of a grainy look

103
Q

colourisation

A

process of changing colour of the film-post production

104
Q

low grain film stock

A

smooth

105
Q

Production

A

the creating of the product

106
Q

Distribution

A

the sharing of the product

107
Q

Consumption

A

the using of the product

108
Q

Pre-Production

A

planning before making the form of media

109
Q

Post Production

A

after the media product was produced

110
Q

Semiotics theory

A

Roland Barthes
Semiotics simply means the study and interpretation of signs and symbols. It is the idea that texts communicate their meanings through a process of signification and codes – using the colour red and low key lighting for example uses signs or codes that an audience might associate with danger or fear. These signs within a text can function at the level of denotation, which is the ‘literal’ or common-sense meaning of the sign, and at the level of connotation, which involves the meanings associated with or suggested by the sign.
According to Barthes these constructed meanings can come to seem self evident, achieving the status of myth or normality through a process of naturalisation. Barthes’ interest in the structure of texts and how these structures communicate meaning also lead him to identify five “codes” that are present in the structures of the narratives of many texts and engage audiences. These are:
- The Enigma or Hermeneutic code – the way tension is built up in a narrative, engaging an audience by holding back information or leaving clues to create a sense of mystery and anticipation and leaving the audience wanting to know what happens next.
- The Semantic code – the way objects, characters and settings take on additional meanings. The audience are engaged by understanding elements in the text that have symbolic meaning and go beyond what is simply denoted.
- The Symbolic code – the larger symbolism in a text, particularly the way that many narratives are constructed around a conflict between binary opposites (see Levi Strauss below).
- Proairetic or Action code – these are signs that tell the audience that something is about to happen, they are shorthand ways of advancing the action. For example a cowboy putting his hand on his gun, looking straight ahead and chewing on a matchstick tells the audience he is going to kill the other man in a shootout without it being explicitly stated.
- Cultural code – elements of a narrative that refer to the audience’s wider cultural knowledge. The audience need to have this knowledge to understand the reference.

In a nutshell: Barthes maintained that all elements of a media text are codes that need to be read and interpreted. These can all be understood as the thing they are (denotative level) and the responses they create (connotative level).

111
Q

Structuralism Theory

A

Claude Levi Strauss
Structuralism is an intellectual movement which began in France in the 1950s. Structuralists, such as Claude Levi Strauss and Roland Barthes, believe that cultural texts (books, paintings, and in our case media texts such as films, TV programmes, adverts etc) can best be understood by breaking them down and examining their underlying structures and codes. One of Levi Strauss’s key observations in examining the structure of cultural texts is that meaning is often created through the conflict between “binary oppositions”. In simple terms this means that the narratives of many cultural or media texts are constructed around two opposing forces: night vs day, good vs evil; clean vs dirty etc. Levis Strauss maintained that the way in which these binary oppositions are resolved (i.e. whether or not good triumphs over evil by the end of a film or book or whether or not the washing powder washes away the dirt in an advert) can have particular ideological significance.

112
Q

Representation/ Reception Theory

A

Stuart Hall
Cultural theorist Stuart Hall describes representation as the process by which meaning is produced and exchanged between members of a culture through the use of language, signs and images which stand for or represent things. Hall developed the idea that communication is a process involving encoding by producers and decoding by audiences. He stated that there are three hypothetical positions from which messages and meanings may be decoded: the preferred reading, the negotiated reading or the oppositional reading. The preferred reading is the producer’s intended message, the negotiated is when the audience understand the message but adapt it to suit their own values and the oppositional is where the audience disagrees with the preferred meaning. In a nutshell: producers want audiences to respond in a particular way to a text. Some audiences do (preferred reading), some audiences don’t (oppositional reading) and some are in the middle (negotiated reading).

113
Q

Identity Theory

A

David Gauntlett
David Gauntlett maintains that the media provide us with ‘tools’ or resources that we use to construct our identities. Whilst in the past the media tended to convey singular, straightforward messages about ideal types of male and female identities, the media today offer us a more diverse range of stars, icons and characters from whom we may pick and mix different ideas. In a nutshell: we use the Internet and other media texts to help us to create our own sense of identity and work out who we are. We now have more of a variety of representations to identify with than in the past.

114
Q

Feminist Theory

A

Liesbet Van Zonen
Liesbet Van Zonen maintains that gender is constructed through discourse (through social expectation, the way it is spoken about, and how it is represented in the media and culture more widely) and that its meaning varies according to cultural and historical context. Along with many other feminist critics Van Zonen also puts forward the idea that the display of women’s bodies as objects to be looked at is a core element of western patriarchal culture. She also states that in mainstream culture the visual and narrative codes that are used to construct the male body as
spectacle differ from those used to objectify the female.

115
Q

Feminist Theory

A 
Bell Hooks
Bell Hooks argues that feminism is a struggle to end sexist/patriarchal oppression and the ideology of domination. She puts forward the idea that feminism is a political commitment rather than a lifestyle choice (something that you have to be committed to and fight for rather than something you can just label yourself as). She also states that race and class as well as sex determine the extent to which individuals are exploited, discriminated against or oppressed. In a nutshell: according to Hooks feminism is a political struggle to end patriarchal domination and other factors affect this domination,including race and class.
116
Q

Cultivation Theory

A

George Gerbner
The idea that exposure to repeated patterns of representation over long periods of time can shape and influence the way in which people perceive the world around them (i.e. cultivating particular views and opinions). The idea that cultivation reinforces or naturalises mainstream values (dominant ideologies/hegemonic values). In a nutshell: - The more we see the same representations and messages in the media or in the culture we live in more widely, the more we believe they are true.

MEDIA STUDIES (7 decks)

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