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media theory > Theorists & their Theories > Flashcards

Theorists & their Theories Flashcards

1
Q

Bandura - Media ‘modelling’

A

1 - violent behaviours are learnt through modelling

2 - audiences copy media representations of negative behaviour

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2
Q

Gerbner - Cultivation theory

A

1 - fear cultivation / warps perception of the world

2 - media consumption leads audiences to accept mainstream ideologies and established power structures

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3
Q

Hall - Reception theory

A

1 - encoding and decoding

2 - dominant, negotiated and oppositional decoding

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4
Q

Jenkins - Fandom

A

1 - fan appropriate media texts, producing readings that are not fully authorised by media producers

2 - audience / producer convergence in the digital age

3 - fans use participatory culture to effect wider social change

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5
Q

Shirky - End of Audience theory

A

1 - everybody makes the media

2 - everyday communities of practice

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6
Q

Barthes - Semiotics

A

1 - constructs meaning through denotation / connotation

2 - codes: hermenuetic, proairetic, semantic, semiotic, symbolic + cultural

3 - mythemes / ideological effect on audiences

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7
Q

Levi-Strauss - Structuralism

A

1 - binary oppositions

+ 2 - ideological significance

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8
Q

Todorov - Narrative

A

1 - equillibrium -> disruption -> new equillibrium

+ 2 - ideological significance

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9
Q

Neale - Genre

A

1 - repitition + difference

2 - audience pleasure

3 - genre-driven content

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10
Q

Baudrillard - Postmodernism

A

1 - real v hyperreal

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11
Q

Curran + Seaton - Ownership

A

1 - media concentration

2 - effects of concentration on the media

3 - diverse ownership = diverse products

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12
Q

Livingstone + Lunt - Regulation

A

1 - citizen / consumer models of media regulation

2 - regulation in globalised media

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13
Q

Hesmondhalgh - Culture Industry

A

1 - minismising risk / maximising profit

2 - effects of the internet are difficult to diagnose

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14
Q

Hall - Representation

A

1 - media representation

2 - stereotypes + power

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15
Q

Gilroy - Postcolonialism

A

1 - racial binaries, hegemony, otherness + civilisationism

2 - legacy of Empire + British identities

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16
Q

van Zoonen - Feminist Theories

A

1 - female bodies as spectacles

2 - masculinity in the media

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17
Q

bell hooks - Intersectionality

A

1 - interconnected oppression

2 - call to action!

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18
Q

Butler - Gender Performativity

A

1 - gender identity is made through repitition

2 - gender subversion / hierarchies

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19
Q

Gauntlett - Media + Identity

A

1 - traditional / post-traditional media consumption

2 - reflexive identity construction

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20
Q

What is Mise-en scene? (Barthes)

A

symbolic props

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21
Q

What is the Hermeneutic code (enigmas)?
(Barthes)

A

mystery / intrigue that hooks audience, compelling further viewing to find answers

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22
Q

What is the Proairetic code?
(Barthes)

A

meaning is conveyed through action or demonstration

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23
Q

What is the Semantic code?
(Barthes)

A

elements within media texts that produce connotative effects

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24
Q

What is the Symbolic code?
(Barthes)

A

repeated symbols convey a deeper meaning

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25
Q

What is the Cultural code?
(Barthes)

A

references to outside the text

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26
Q

What is Naturalisation?
(Barthes)

A

media’s ability to look and feel realistic, social norms

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27
Q

What are reductive?
(Barthes)

A

Media myths

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28
Q

What can reinforce existing soical power structures?
(Barthes)

A

Media myths

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29
Q

What is Anchorage?
(Barthes)

A

fixing meaning through the use of another component (with a header or caption)

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30
Q

What is Denotation / Connotation?
(Barthes)

A

literal meaning / symbolic meaning

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31
Q

What is Message Reduction?
(Barthes)

A

media’s reductive impulse discourages audiences from questioning the presented ideas

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32
Q

What is Signification?
(Barthes)

A

process of creating meaning

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33
Q

What are Character Oppositions?
(Levi-Strauss)

A

audiences expect meaning through oppostional characters (hero vs villain)

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34
Q

What are Narrative Oppositions?
(Levi-Strauss)

A

media is constructed to have moments of opposition

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35
Q

What are Stylistic Oppositions?
(Levi-Strauss)

A

media producers encode products using juxtaposed stylistic presentations

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36
Q

What are Genre-driven Binary Oppositions?
(Levi-Strauss)

A

some binary oppositions are repeated so often that they become a convention

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37
Q

What are the function of Binary Oppositions?
(Levi-Strauss)

A
  • clearly explain ideas
  • create compelling narratives
  • create identifiable character types
  • create audience identification
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38
Q

Who are Propps’ 7 Character Types?
(Todorov)

A

1 - hero
2 - villain
3 - princess + her father
4 - donor
5 - helper
6 - dispatcher
7 - false hero

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39
Q

What is the Equilibrium?
(Todorov)

A

stable beginning world

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40
Q

What is the Disruption?
(Todorov)

A

oppositional forces that destroy stability

41
Q

What is the New Equilibrium?
(Todorov)

A

repair and restoration = transformed world

42
Q

What are Anachronic devices?
(Todorov)

A

flashforwards / flashbacks

43
Q

What is Subplot?
(Todorov)

A

own stories which accompany master plot

44
Q

What is Media Res?
(Todorov)

A

stories which begin mid-action

45
Q

What are Multi-perspective narratives?
(Todorov)

A

told from different characters

46
Q

What are Metanarratives?
(Todorov)

A

audiences are aware they are watching a story (fourth wall breaks)

47
Q

What is Unreliable narration?
(Todorov)

A

designed to deliberately decieve audiences

48
Q

What are Frame Strories?
(Todorov)

A

stories told inside stories

49
Q

How are storys structured to have an ideological effect?
(Todorov)

A
  • Narratives are significations (world that holds ethical + moral viewpoints)
  • Stories articulate desire (audiences want ideals of the equillibrium)
  • Stories invoke desire (prompts readers to change too!)
  • Transgression (characters who stray from social norms are punished) -> reiterates values
  • Ideological villainy
50
Q

What are ideological effects?
(Todorov)

A

channel audiences to believe ideas

51
Q

What is verismiltude?
(Neale)

A

media product reflects real world

52
Q

What is Iconography?
(Neale)

A

visual encodings presented to audiences (like mise-en-scene)

53
Q

What is Audience Targeting?
(Neale)

A

specific genres are crafted for specific audience segments

54
Q

Why does Genre Subversion take place?
(Neale)

A

based on
- audience needs (gain enjoyment from repitition + difference)
- contextual influences (historal, political or social influences)
- economic influences (falling sales or poor engagement create imperatives to change)

55
Q

How is Genre-Hybridity created?
(Neale)

A
  • quick tonal shifts
  • piggybacking
  • individual product character
  • high/low culture remixing
  • expands audience appeal
  • nostaligia
  • knowing audiences
  • mirrors contemporary audience consumption
56
Q

What are Auteur Effects?
(Neale)

A

the effects that individual producers have on genre-driven products

57
Q

What is High/Low Culture Remixing?
(Neale)

A

producers mix pop culture and series themes

58
Q

What is Hybridisation?
(Neale)

A

using styles, narratives or motifs from mutliple genres in one product

59
Q

What is Institutional mediation?
(Neale)

A

effects of the institution in shaping genre-driven products

60
Q

What is Early Modernity?
(Baudrillard)

A

(renaissance -> industrial revolution)
- religion dominated
- singular ideology

61
Q

What is Modernity?
(Baudrillard)

A

(industrial revolution -> WW2)
- religious certanties begin to crumble
- mass media forms
- competing versions of reality

62
Q

What is Postmodernity?
(Baudrillard)

A

(present)
- mass media dominates
- multi perspective, fragmented culture
- whirlwind

63
Q

What are the effects of Postmodernity?
(Baudrillard)

A
  • media is everywhere
  • privacy is invaded
  • authenticity is impossible to find
64
Q

What is Hyperreality?
(Baudrillard)

A

unable to seperate real world from world of media - we live in the hyperreal

65
Q

What is Inertia?
(Baudrillard)

A

constant stream of media paralyses us, unable to act in a way that creates deep meaning

66
Q

What is Implosion?
(Baudrillard)

A

sheer volume of voices, opinions is hard to detangle

67
Q

Why are Stereotypes important?
(Hall)

A
  • reflect social attitudes
  • media contributes to construction
  • can be reshaped or repurposed
  • increase visibility of some key groups
  • infer negative traits are natural
68
Q

What is Internalisation?
(Hall)

A

marginalised groups assimilate the behaviours of mnegative media representations

69
Q

What are ‘others’?
(Gilroy)

A

those are excluded from society because they are deemed as different

70
Q

What is Albionic Nostalgia?
(Gilroy)

A

whitewashed / idealised representation of Englishness

71
Q

What is Civilisationism?
(Gilroy)

A

representation where Western democracy is is pitted against extremist others

72
Q

What is Cosmopolitan convivality?
(Gilroy)

A

describes real world + high levels of racial harmony that mark most people’s day-to-day experience. media portays media disharmony as a norm

73
Q

What is Post-colonial melancholia?
(Gilroy)

A

deep-rooted shame felt as a result of the loss of the British Empire

74
Q

What is Female identification?
(van Zoonen)

A

female spectators internalise traditional gender stereotypes

75
Q

What is the Active Gaze?
(van Zoonen)

A

Males are active, strong …

76
Q

What are Active / Passive representations?
(van Zoonen)

A

Males are active / women are passive - leads to social dominance

77
Q

What is the Male Gaze?
(van Zoonen)

A

viewers take erotic pleasure from women posed in the media

78
Q

What is Objectification?
(van Zoonen)

A

degrades the subject

79
Q

What is Patriarchy?
(van Zoonen)

A

societal construct - male dominance

80
Q

What is a Subversive representation?
(van Zoonen)

A

challenges an idea

81
Q

What is the Black Female experience?
(hooks)

A

sexualised stereotypes, oppressed because of race and sex

82
Q

What is white feminism?
(hooks)

A

overtly racist

83
Q

What are recurring representations / stereotypes of Black women in media?
(hooks)

A
  • absent representations!
  • Jezebels (over-sexualised representations of black femininity)
  • Aunt Jemimas (domestic service)
  • Sapphires (comedic depiction)
84
Q

What is Intersectionality?
(hooks)

A

oppression has interconnected causes

85
Q

What does Butler believe about gender?

A
  • gender does not exist inside the body
  • genders are culturally rather than naturally formed
  • genders are constructed through repeated action
86
Q

What are absent representations?
(Butler)

A

lack of alternative representations in the media helps reinforce heteronormitivity

87
Q

What are abjected representations?
(Butler)

A

representations that any identities other than hetero are unnatural, disgusting or repellent

88
Q

What are parodic representations?
(Butler)

A

exaggerated representation in a comedic way

89
Q

What is compulsory heterosexulaity?
(Butler)

A

we assume male / female identities and hetero relationships

90
Q

What is the difference between gender / sex?
(Butler)

A

gender - socially constructed
sex - body born in to

91
Q

What is gender trouble?
(Butler)

A

an identity or representation that falls out of heteronormativity

92
Q

What is gender performativity?
(Butler)

A

repeating acts or rituals to define gender

93
Q

What is gender subversion?
(Butler)

A

representational process that undermines heteronormativity

94
Q

What is heteronormativity?
(Butler)

A

dominance of heterosexulaity as a normal or preferred identity

95
Q

What is active audience engagement?
(Gauntlett)

A

audiences who are in control of the way they watch or interact with the media

96
Q

What is an aspirational narrative?
(Gauntlett)

A

a product that offers means to self-improvement or offers audiences an ideal lifestyle choice

97
Q

What is a fixed identity?
(Gauntlett)

A

do not give individuals a great deal of choice about who they want to be

98
Q
A

media theory (4 decks)

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