Media Theorys Flashcards
Steve neale - genre theory
Genre is defined by repetition and difference; audiences enjoy familiar tropes but also expect variation.
Genre evolves overtime, with conventions becoming established, challenged and re-imagined.
Genre films appealed to audiences by combining expected elements of innovation
Audience, and produces both play a role in shaping genre conventions
Christian Metz - genre stages
Genres pass through stages: experimental, classical, parody, and deconstruction.
The experimental phase introduces new conventions.
The classical stage solidifies these conventions into a recognisable form.
Parody mocks these conventions, while deconstruction questions and breaks them apart
Tzvetan Todorov - narrative structure
Most narratives follow a five part structure: equilibrium, disruption, recognition, attempt to repair, and return to equilibrium
Stories often start with a state of normality (equilibrium), which is then disturbed.
Resolution is the key to returning the narrative back to a state of equilibrium, either changed or restored
Roland Barthes - semiotics
Media texts, communicate meaning through codes (denotations, and connotations)
Barthes’ enigma codes creates mystery and suspense, encouraging audience engagement
Texts have multiple layers of meaning, with hidden messages that need interpreting by the audience
Levi-Strauss - binary oppositions
Narratives are structured by opposites (good versus evil, heroes versus villains)
These oppositions create conflict which drives the narrative.
Meaning is generated through the contrast between these opposing elements
Freytags pryamid - narrative structure
Narrative follows five key stages: exposition, rising action, climax, falling action and denouement.
The climax is the turning point of the story, where tension reaches its peak
Denouement is the final resolution , where conflicts are resolved, and then directive closes
Vladlmir propp - character roles
Narratives feature recurring characters archetypes (hero, villain, doner helper)
Characters follow specific functions within the story (hero, embarks on a quest, the villain opposes the hero)
Propp identified, 31 narrative functions that move the plot forward
Desensitisation
Repeated exposure to violent or disturbing media, content producer, emotional sensitivity towards the real world violence
Copycat violence
Individuals mimic violent behaviour seen in media, particularly Among younger
Hypodermic syringe model
An outdated theory suggesting that media messages are directly injected into passive audience influencing behaviour and attitudes
Mean world syndrome
Audiences who consume large amounts of violent media believe the world is more dangerous than it is
Active versus passive audiences
Debate between audiences who can actively interpret media (active) versus those who simply absorb content (passive)
George gerbner - cultivation theory
Repeated exposure to media content, particularly to television shapes, audiences, perceptions of reality.
Overtime audiences who consume a lot of media are likely to believe the real world is more dangerous a violent (mean world syndrome)
Cultivation theory suggests that media gradually influences societal attitudes and expectations
Craig Anderson - violent media affects
Anderson’s research suggests a link between exposure to violent media, e.g. video games, and aggressive behaviour, particularly in children
He argues that violent media can desensitise viewers making them less sensitive to real world violence
The effects are more prominent in younger impressionable audience, who consume violent media regularly
Stanley Cohen - moral panics
Moral panics occur in the media, amplifies an issue, often portraying it as a significant threat to society
These panics typically centre around social issues, such as youth, culture, or crime, leading to heightened public concern and media sensationalism
Media plays a crucial role in creating and sustaining moral panics by framing certain groups or behaviours as deviant
David gauntlett- media affects critique
Gauntlett critiques older simplistic models of media effects, such as hypodermic syringe model
He argues that audiences are not passive ; they interact with media in a complex ways actively construction meaning an identity
Media influences is not as straightforward as previously thought it varies across different individuals and context
Livingstone and Lunt - regulation in the digital age
The shift to digital media has created a new challenges for regulators in balancing consumer protection and freedom of expression
They argue that traditional regulatory framework struggle to keep up with the global and fast paced nature of digital media
Media institutions and governments must navigate tensions between the market competition. Audience needs and content control.
Ien ang - active audiences
Audiences are not passive consumers; they actively interpret media, based on personal contacts and cultural background
Media products are polysemic, meaning they have multiple meanings, interpreted differently by each audience member
Audiences create their own meaning, often shaping media texts, according to their individual experiences
Denis mcquail- users and gratification
Audiences engage with media to fulfil specific needs: information, personal identity, social interactions and entertainment
The theory emphasises the active role of audiences in choosing media that satisfies their desires
Media consumption is purposeful and audience seek different types of media depending on their current needs
Stuart Hall - encoding/decoding
Major producers, encode messages and text based on societal values and ideologies
Audiences decode these messages in different ways (preferred negotiated, oppositional readings)
Media is a tool for the production and reinforcement of dominant ideologies but audiences can resist or reinterpret these messages
John Hartley - audience construction
Media institutions actively construct audiences by targeting specific groups based on demographics and psychographics
Audiences are not naturally occurring; they are shaped by the marketing strategies of media producers
Hartley highlights the power media institutions have in defining what kind of audiences consume their products
Stuart Hall- representation theory
Representation is the process by which media construct meanings through signs and codes
Audiences, decode, video texts in different ways
Tessa Perkins - stereotypes
Stereotypes are not always negative, or false, they can contain elements of truth
Stereotypes of shorthand that helps audiences, understand characters quickly
They evolve, overtime and can be challenged or subverted by media producers
Earp and Katz - violent masculinity
Media representations, often glorify, violent masculinity, reinforcing, traditional, male stereotypes
Films TV shows an advertisement frequent need to speak to men as aggressive, dominant figures
This portrayal can influence societal views on gender roles and contribute to toxic masculinity
Raewym Connell- hagemonic masculinity
Media reinforces the dominance of traditional male, rows and values known as hegemonic masculinity
This perpetuates gender inequality, by presenting masculinity, is superior to femininity
Media representations, often marginalise alternative masculinity or feminine characteristics
Laura mulvey - male gaze
Media, particularly film often represents a woman from a heterosexual male perspective
Women are objectified presented as passive and exist to please male viewers
This betrayal limits, the agency, a female characters, reinforcing gender, stereotypes
Richard dyer - star theory
Celebrities are constructed through media to represent societal ideals or fantasies
Are stars image is a combination of on-screen rolls and offscreen persona, carefully controlled by the media
Stars often embody, societal ideologies, such as consumerism or power influencing audience behaviour.
Curran and seaton- power and media industries
Media ownership is concentrated among a few corporations, prioritising profit over diversity, which limits creativity and variety
David hesmondhalgh - cultural industries
The cultural industries use strategies like horizontal and vertical integration to maximise profit and minimise risk, often leading to homogenised content
John Hartley - audience construction
Audiences are not passive, they are constructed by media producers through targeting, assumptions and categories
