Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

Media Studies A-Level > Media Language > Flashcards

Media Language Flashcards

1
Q

Analepsis

A

flash backs

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

Anchorage

A

the text-based element that stabilises the polysenic nature of the text

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

Auteur

A

a media creative who has an identifiable style or approach that is visible across the products they make or feature in. Actors, directors and sound composers could be auteurs

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

Auteur Effects

A

argues that genre subversion is often caused by the effects that key contributors have in production (directors, actors and so on). Auteurs style genre driven content using individual hallmarks

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

Balancing Elements

A

a technique whereby background interest is balanced with the foreground subject

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

Bard

A

storyteller

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

Bardic Influence

A

refers to the nature of the media as a storyteller or information provider within the culture

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

Binary Thinking Structures

A

Strauss argues that humans naturally order the world using binary thinking. This thinking blueprint is expressed in the cultural products of any given society - in myths or television drama for example

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

Character Fallibility

A

where writers give heroes character flaws to construct vulnerability and to enable audience relatability; heroes inevitably have to overcome these flaws to successfully complete narrative quests

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

Character Oppositions

A

where the construction of characters is juxtaposed; oppositions might be based on age, ability, physical appearance or the moral outlook of each character

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

Charles Pierce

A

theorised that there are three types of signs: icon, index and symbol

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

Close-Up

A

a shot taken at close range

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Code

A

an aspect of text from which the audience can derive meaning through decoding or deconstructing

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

Hermeneutic/Enigma Code

A

a mystery within a text that is not immediately answered. As an audience, we assume that this mystery is going to be solved at some point

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

Proairetic/Action Code

A

parts of a narrative which are related to things happening

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

Semantic Code

A

something within a text that means something, often multiple meanings

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

Symbolic Code

A

a part of the text that stands in for, or means, something else

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

Referential Code

A

where a part of a text refers to something outside of the text, assuming the audience has knowledge of whatever it is the text is referring to

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

Condensed Equilibrium

A

contemporary audiences have a much lower boredom threshold, expecting products to deliver actions or disruption quickly, so producers therefore propel narratives towards moments of immediate disruption to hook audience engagement from the outset

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

Contextual Effects

A

genre conventions are reshaped by social forces

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

Colour

A

use complimentary or opposing colours in the background

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

Connotation

A

1st order of signification
the possible hidden meanings behind the denotation, which are down to the audience to interpret, designates secondary meaning; for example, red has connotations of danger, love, blood, etc

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

Cowboy Shot

A

often used in Western films, where people are shot from roughly the thighs upwards

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

Cultural Codes

A

elements that require external information or cultural knowledge to be decoded

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

Dead Space

A

space with nothing in it

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
26
Q

Decoding

A

the process of getting from denotation to connotation

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

Denotation

A

2nd order of signification
object placed within the text, designates primary meaning; for example, red denotes a colour

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
28
Q

Depth of Field

A

a technique whereby the background or foreground is blurred to separate your subject

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
29
Q

Depth of Layers

A

a technique whereby the subject is positioned in front of or behind objects to create 3D depth

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
30
Q

Diegesis

A

the act of telling a story through narration

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
31
Q

Diegetic Sound

A

sound that is part of the storyworld of the film

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
32
Q

Differential Focus

A

a technique whereby the subject is left in sharp focus to guide the eye

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
33
Q

Direct Effect

A

where producers encode messages and audiences decode them as expected

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
34
Q

Disruption Stage

A

usually the second act of a narrative wherein the harmony of the hero’s world is disrupted by a series of events, propels the hero on a quest to repair their world

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
35
Q

Encoding

A

what message is communicated by a product’s producer

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
36
Q

Enculturation

A

the process of learning social norms or behaviours through matching others or by engaging with a culture, a process that Gerbner argues that the media contributes to

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
37
Q

Enigma Codes

A

conventionally used at the start of narratives to hook audience interest by creating mystery, also known as hermeneutic codes

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
38
Q

Episodic Narrative

A

narrative that is introduced and concluded within the episode

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
39
Q

Establishing Shot

A

a shot that is at the head of a scene that clearly shows the location of the action, sometimes done by drones

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
40
Q

Extreme Close-Up

A

often used to put focus on an aspect of someone or something, such as a smile in a toothpaste advert

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
41
Q

Extreme Wide Shot

A

a shot with an extremely large amount of space around it

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
42
Q

Ferdinand Saussure

A

theorised that we form signs in the order: signifier, signified, sign

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
43
Q

Fill the Frame

A

a technique whereby you get in close and fill the frame with your subject

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
44
Q

Fisheye Shot

A

an extremely wide shot, typically 180 degrees, giving an abstract yet dynamic aesthetic that appears distorted

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
45
Q

Five-Act Model

A

Tsvetan Todorov’s narrative theory focuses on the structure of a narrative. Todorov states that when a film ahs a distinct narrative, it becomes more organised and structured, making it easier for the viewer to understand the story and plot. Todorov theorised that a film is separated into five main stages

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
46
Q

a state of equilibrium

A

first stage of Todorov’s narrative theory; the first section of the narrative, sets up the basis of the film by showing a state of normality as it is at the start of a film

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
47
Q

disruption of equilibrium

A

second stage of Todorov’s narrative theory; the film gains a purpose: to create a new equilibrium

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
48
Q

recognition of the disruption

A

third stage of Todorov’s narrative theory; this allows the film to move forward in its goal of restoring the equilibrium

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
49
Q

reinstatement of a new equilibrium

A

last stage of Todorov’s narrative theory; the final section of the film restores the equilibrium, or creates a new equilibrium

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
50
Q

attempt to repair the disruption

A

fourth stage of Todorov’s narrative theory; something happens to restore the equilibrium of the film

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
51
Q

Flexi-Narrative

A

used in long format television products with some narratives resolved in a single episode and others concluded over the course of a whole series or even longer, nurturing long-term viewing

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
52
Q

Frame Stories

A

stories told inside of stories, testing Todorov’s narrative structure through the presentation of nested moments of equilibrium and disequilibrium

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
53
Q

Framing

A

frame subject with surrounding objects, such as buildings, people and trees

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
54
Q

Full Shot

A

a shot that shows the entire subject and some features of scenery

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
55
Q

Genre Based Oppositions

A

some types of character, stylistic or narrative oppositions are associated with genre driven products. Detective/killer character archetypes, for example, are a common ingredient in crime dramas

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
56
Q

Genre Difference

A

Neale tells us that media producers make products with identifiable genre ingredients to satisfy audience demand, but they also inject novelty so that their output doesn’t feel too repetitive

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
57
Q

Genre-Driven Binary Opposition

A

where some binary oppositions are so deeply entrenched within a genre that they become a convention of the genre, such as how crime drama routinely deploy ‘law enforcer/law breaker’ stereotypes

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
58
Q

Genre Fatigue

A

a phrase used when a genre no longer engages audience interest, might occur when a media market is flooded with output from the same genre or when products no longer innovate genre rules

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
59
Q

Genre Hybridisation

A

using the aesthetic styles, narrative devices or character driven conventions from two or more genres in one product

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
60
Q

Genre Subversion

A

term used when products break genre conventions. Genre subversions are likely to experiment with character, narrative or stylistic expectations

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
61
Q

Genre Theory

A

Steve Neale theorised that genres feed off of stereotypes and repetition, but each time with subject variations and subversions, that genre has a relative and dynamic nature, and that you identify genre by signifiers, allowing audiences to predict what is going to happen, but there are only two genres

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
62
Q

Genre of Integration

A

involves restoring relationships, group dynamics, resolution of emotion and reconnection

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
63
Q

Genre of Order

A

involves restoring order from chaos, a lone central figure and resolution from violent conflict, often killing the bad guy

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
64
Q

Hermeneutic Codes

A

Also known as enigma codes, these elements create mystery. Enigma codes are conventionally used at the start of narratives to hook audience interest.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
65
Q

High-Angle Shot

A

a shot positioned below the eye line of the subject, pointing upwards

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
66
Q

High/Low Cultural Remixing

A

a common form of genre hybridisation that blend pop culture ingredients with motifs from more serious genres

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
67
Q

Homogenised Cultural Effects

A

where TV makes people think the same things and adopt the same attitudes, achieved by the media’s reach and lack of cultural diversity

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
68
Q

Hybridised Tonal Shift

A

the use of ingredients from a number of genres to author a range of emotional effects. A horror/crime hybrid, for example, can shift from moments of fear to suspense or intrigue.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
69
Q

Icon

A

a sign that bears a physical resemblance to what is being signified, such as a photograph

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
70
Q

Iconic Sign

A

a sign that bears a physical resemblance to what is being signified, such as a photograph

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
71
Q

Iconography

A

refers to the visual components in a media product that are genre driven, including mise en scène elements (setting, costume & acting) as well as other stylistics (camerawork, editing or typography)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
72
Q

Idealised Depiction

A

media representation that constructs a perfected image of something or someone, used to create audience interest

73
Q

Ideal Narrative Arc

A

suggests that the ‘ideal’ narrative structure follows an equilibrium, disequilibrium, new equilibrium structure

74
Q

Ideological Effect

A

channel audiences to believe a particular set of ideas or beliefs

75
Q

Ideological Villainy

A

where narrative disequilibrium is constructed through the presence and action of symbolic villains who symbolise qualities the audience are guided to avoid

76
Q

Ideology

A

refers to the unwritten rules that govern how we act or that define socially acceptable behaviours because the media plays a crucial role in shaping and communicating these invisible rules

77
Q

Index

A

a sign that shows evidence of what is being represented; for example, smoke representing a fire

78
Q

Indexical Sign

A

a sign that shows evidence of what is being represented; for example, smoke representing a fire

79
Q

In media res

A

where stories begin mid-action, delivering immediate crisis, inverting Todorov’s narrative theory through the presentation of disequilibrium before equilibrium

80
Q

Institutional Mediation

A

the effect that institutions have in shaping genre driven output

81
Q

Intertextuality

A

referencing of another media text within a media product, rewards knowing audiences or can be used to provoke a nostalgic response

82
Q

Intertextual Relay

A

refers to the marketing materials that identify a product, plays a crucial role in fixing the genre label that audiences use to describe a product

83
Q

Leading Lines

A

road, rails, lines of lampposts, buildings etc, which lead to the subject

84
Q

Left to Right Rule

A

moving objects should go from the left of the frame to the right of the frame

85
Q

Long Shot

A

also known as wide shot or film shot, this has a lot of space around the subject, often dwarfing the subject against an expansive terrain

86
Q

Low-Angle Shot

A

a shot positioned about the eye line of the subject, pointing downwards

87
Q

Master Plot

A

the most basic overview of events

88
Q

Mediated Age

A

the current age, where semiology is most relevant

89
Q

Media Language

A

the way in which text is constructed to create meaning for a reader or viewer of the text

90
Q

Media Text

A

a unit of meaning for interpretation and understanding, a bearer of communication, a mover of meaning, could be any form of media: film, video games, apps, tweets, books, articles, website, songs, podcasts etc.

91
Q

Medium Close Up

A

shows people from roughly the chest upwards

92
Q

Medium Long Shot

A

in between full shot and medium shot, typically shows people from the knees up

93
Q

Medium Shot

A

one of the most common camera shots, where people are shot from roughly the waist upwards

94
Q

Message Reductionism

A

Barthes argues that the media tends to simplify or purify complex ideas. This ‘reductive’ impulse discourages audiences from questioning media messages and can construct ideological effects

95
Q

Message Repetition

A

according to Barthes, this constructs ideological effects because audiences readily believe ideas that the media repeats, recycles or replicates

96
Q

Metanarrative

A

overarching narrative that spans the entire season

97
Q

Mid-Shot

A

the way newsreaders are generally shot, puts you on the same level as the scene

98
Q

Mimesis

A

the act of telling a story through representation

99
Q

Mise-en-scene

A

the collective of everything impacting your decoding

100
Q

Modernism

A

a perspective in support of modern tendancies and thought

101
Q

Monochrome

A

all shades of one colour

102
Q

Multi-Perspective Narrative

A

where stories are told from the point of view of several characters, repurposing the equilibrium as disequilibrium when the story shifts from one character viewpoint to another

103
Q

Multiple Equilibrium/Disequilibrium Stages

A

where contemporary produces try to produce a rollercoaster effect for audiences by deploying several equilibrium/disequilibrium sequences before resolving in a final transformation, offering audiences multiple moments of narrative calm and excitement

104
Q

Mythology

A

3rd order of signification
these shape your understanding of how the world works and/or should be constantly changing

105
Q

Narrative

A

structure of the story

106
Q

Narrative Climax

A

usually occurs at the end of a story when the hero faces a final challenge; the knowledge gained by the hero during this battle communicates an ideological message to the story’s audience

107
Q

Narrative Image

A

refers to the set of expectations and persona built for a media product via its marketing which often crafts narrative images that exaggerates genre driven ingredients to target audience interest

108
Q

Narrative Transformation

A

Todorov argues that heroes often transform their outlooks or attitudes to others in order to complete story quests; these changes model behaviours/outlooks that audiences are encouraged to copy

109
Q

Narration

A

telling of the story

110
Q

Narrative Opposition

A

where narratives conventionally culminate in a grand narrative collision so that they might deliver a finale of story excitement for their audiences, simplifying plot through binary presentations

111
Q

Narratology

A

the study of the way stories are structured. All media products tell stories in some way and there are several elements to the way we consider stories in media products

112
Q

Naturalisation

A

the process of establishing myths

113
Q

Negative Space

A

blank space that is left for the subject to move into

114
Q

Non-Diegetic Sound

A

sound that is not part of the storyworld of the film

115
Q

Opposition Effects

A

Binary oppositions are used in media products to: create compelling narratives, author identifiable character types (heroes & villains) or to simplify explanations

116
Q

Opposition Resolution

A

refers to the way that binary oppositions are resolved. Strauss tells us that one oppositional state tends to dominate in a narrative and that this offers readers a moral or ideological message

117
Q

Paradigm

A

refers to the meaning area and the focus of the narrative, the media version of a sematic field

118
Q

Patterns

A

can be naturally occurring or constructed

119
Q

Plot

A

the content of the story

120
Q

Piggy Backing

A

where media makers use genre driven features, motifs or tropes from previously successful shows and ‘piggyback’ on successful genres to help expand their audience reach

121
Q

Political Theory

A

the theory that politicians maximise their power whilst on the international stage

122
Q

Polysemics

A

with many meanings

123
Q

Post Colonialism Theory

A

developed by Paul Gilroy, suggests that media reinforces the notion of ‘the other’, specifically those of ethnic minorities. This links to binary opposites, as in media, white and non-white are seen as binary opposites. Gilroy suggests that this creates a myth of ‘black criminality’

124
Q

Post Modernism

A

the idea that society has moved beyond modernism

125
Q

Post-Modernism Theory

A

the theory that media is an integral part of society, which individuals actively use to construct their identities, giving them a sense of playfulness, creativity and unpredictably as they are doing this

126
Q

Post-Structuralism

A

an extension and critique of structuralism used in textual analysis

127
Q

Privileged Oppositions

A

Strauss tells us that stories rarely construct balanced presentations of binaries. One set of characters or events always dominates. These ‘privileged oppositions’ often construct ideological messaging

128
Q

Proairetic Codes

A

‘action’ based elements within a media text, create excitement and produce moments of emotional intensity in stories

129
Q

Prolepsis

A

flash forwards

130
Q

Propp’s Theory

A

claims that characters can be classified into certain roles that progress a story because stories are character driven and plots develop from the decision and actions of characters and how they function in a story

131
Q

hero

A

the person on the quest who the audience follow through the narrative

132
Q

antagonist

A

the person who struggles to stop the hero in their quest

133
Q

dispatcher

A

the person that sends the hero on their quest

134
Q

sidekick

A

the person who offers to help the hero in their quest

135
Q

donor

A

the person who prepares the hero for their quest, often by gifting them something

136
Q

princess

A

the person who the hero falls in love with, is often searched for in the quest

137
Q

false hero

A

the person who initially appears as good but turns out to be evil

138
Q

Psychoanalytical Theory

A

the theory that media is influencing the human personality, which is formed through inner conflict

139
Q

Quest Narrative

A

a narrative that sends the central hero on a journey, usually to repair any narrative equilibrium constructed at the start of a story that, when completed, transform heroes

140
Q

Rate of Editing

A

the amount of cuts in a scene

141
Q

Repetition

A

repeating objects, such as piles of fruit or roles of poles

142
Q

Resolved Narrative

A

a story that has a clear ending

143
Q

Reverse Shot

A

a film technique where one character is shown looking at another character and then the other character is shown looking at the character

144
Q

Roland Barthes

A

theorised the difference between denotation and connotation, with denotation leading to connotation

145
Q

Rule of Space

A

leave space around your subject

146
Q

Rule of Thirds

A

subject should be positioned on crosshairs

147
Q

Saturation Effects

A

media makers inject novelty and difference into genre-driven products when a media market is saturated with the same sorts of products

148
Q

Semics

A

meanings

149
Q

Semiology

A

study of signs and how they create meanings

150
Q

Semiotics

A

study of signs

151
Q

Shot Type

A

depends on camera framework, shot sizes and camera angles

152
Q

Sign

A

anything that communicates a meaning that is not the sign itself

153
Q

Signified

A

refers to the mental concept associated with the sign; for example, the cat signifier evokes a mental image of a domestic animal with fur, legs, whiskers and a tail

154
Q

Signifier

A

the physical existence/material form of a sign, made up of sound and letters; for example, in the world ‘cat’, the sounds c, a and t constitute the signifier

155
Q

Simplicity

A

cut out distractions by getting close and blurring or darkening the background

156
Q

Social Taboos

A

Strauss tells us that myths outline unacceptable or socially taboo behaviours. Media products serve a similar purpose when narratives position audiences to reject some traits as flawed or undesirable

157
Q

Spectacle-Based Genre Pleasure

A

A viewing pleasure derived from actor performance, usually dancing or movement based. Genres that prompt spectacle-based pleasures include musicals and slapstick comedy

158
Q

Static Shot

A

a shot that is devoid of camera movement

159
Q

Steve Neale

A

theorised that genre has a relative and dynamic nature, feeding off of stereotypes and repetition, but each time with slight variations or subversions

160
Q

Stigmatisation

A

process of demonising groups repeatedly through media representation

161
Q

Stock Characters

A

genres provide familiarity to audiences via the use of stock characters, characters that are common to a particular genre and that share similar physical traits, outlooks or story arcs

162
Q

Structuralism

A

psychology concerned with resolution of the wind into structural elements, rules that shape the narrative of a media or any text

163
Q

Stylistic Opposition

A

the use of contrasting aesthetic elements using oppositional colour palettes, editing styles, lighting treatments or compositions, for example, might be used to create visual interest

164
Q

Symbol

A

a sign that has no resemblance to the signifier and the signified; for example, the floppy disk represents the save process

165
Q

Symbolic Sign

A

a sign that has no resemblance to the signifier and the signified; for example, the floppy disk represents the save process

166
Q

Symmetric Shot

A

a balanced, symmetrical shot

167
Q

Symmetry

A

when half of the image is a mirror of the other half

168
Q

Syntagm

A

refers to the order of shots or events in a media text

169
Q

Syntax

A

order in which you put words or signs

170
Q

Textual Polysemy

A

argues that media imagery is often difficult to decode and that audiences regularly interpret products in radically different ways

171
Q

Thesis of Man of Colour

A

developed by Guatemalan-born Manuel Alvarado, who theorised that characters of ethnic minorities are generally seen as part of four categories: the pitied, the humorous, the exotic and the dangerous

172
Q

Todorov’s Narrative Ideal

A

A story that follows Todorov’s equilibrium, disequilibrium and new equilibrium narrative formula; Todorovian narratives tend to work as single character quests and progress chronologically

173
Q

Triangles and Diagonals

A

look for diagonals in a scene, create triangles

174
Q

Units of Action

A

moments of narrative that are resolved within a scene or situation of the episode

175
Q

Unreliable Narration

A

deliberately deceive audiences, providing plots that deliver unexpected moments, usually by revealing a character is not who they claim to be

176
Q

Viewpoint

A

where photographs are taken from different angles, either low or high

177
Q

Wobble Free-Hand Shot

A

a shot done by a free hand, which shakes

178
Q

Z-Model

A

states that when looking at a media product such as a poster or a magazine cover, the viewer looks at the top left hand corner, then the top right hand corner, then the bottom left hand corner and then the bottom right hand corner

Media Studies A-Level (6 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions