After analyzing a scene from "Star Wars: Revenge of the Sith", it is apparent that Lucas has utilised a number of techniques in order to create an evil/sinister ambiance. For example, the use of sombre lighting sense of foreboding leading up to the culmination of the scene.
The scene begins with the use of a low-angled shot to place emphasis on Mace Windu's authority, before revealing Palpatine who tries to engage in conversation with Windu, turning his back on the backdrop of the city. This signifies there is a side to the Chancellor that civilians of the city are unaware of, a sense of corruption. Palpatine is extremely agile - subverting the popular stereotype that older men are less mobile. This also reinforces how Palpetine is perceived as evil - this subversion renders him unpredictable and manifests his inquantifiable power. The use of high tempo, non-diegetic sounds (intense music) indicate to the consumer that the scene is building to a climax, and again, it creates a sense of foreboding for the veiwer.
Througout the scene, no natural light falls on Palpatine, only the artificial light of the city shines, agreeing with the notion that Palpatine is an ostensible and evil character. A two shot is used for the duration of the fight scene in order to include both parties (good and bad) and represent a clear binary opposite, of course, until the arrival of Anakin. Close ups are also used intermittently, manifesting the characters emotions during the fight.
After it is announced that Anakin will be influenced under Palpatine's tutelage, he is subsequently represented through a low angled shot. On the other hand, after this revelation, Palpatine is represented through the use of a high-angled shot. Dark music is then introduced to signify the implications of Anakin's transferral to the dark side - the use of these non-diegetic sounds reinforce the seriousness of the situation. After this revelation, the light dims further, and is filmed in a manner that makes conspicuous a scar on Anakin's face, which can be interpreted as a reference to evil.
Palpatine's posture (sitting) upon the arrival of Mace Windu and his respective authoritative bodies suggests he is physically inferior. His white hair and pale complexion connote that he is frail and aged, and that he may not deserve such retribution (as there is no evidence of his crimes before the scene). In essence, Palpatine is not presented as the archetypical male protagonist, as he is positioned in order to be perceived as subordinate to those that surround him.
During a frenetic light saber duel, a window is fragmented - which creates a sense of foreboding, as the audience can expect a tragedy to occur in the moments building up to the culmination of the scene. After Mace Windu's murder, he spirals into the depths of the city - suggesting he has joined the civilians who believe in the good, as the two arguably most evil characters are left in the building alive.
Friday, 15 November 2013
Monday, 21 October 2013
Censorship
Censorship refers to the extent of which certain material such as cultural, social, sexual and violent is exposed. Censorship is installed in order to determine the influence such matters have on mass audiences, interlinking with the effects model and selective exposure.
Selective exposure is a theory that suggests media recipients consume texts based on preconceived ideologies and beliefs, meaning individuals are more compelled to indulge in sources that agree with their interests and beliefs. As a result of this theory, media recipients are unlikely to consume materials contradictory to their beliefs/ideologies.
Censorship concerns the suppression of media platforms/sources conveying messages that may be considered rude or inappropriate due to moral, ethical, harmful or politically incorrect issues. Censorship is implemented to prevent more vulnerable, receptive minds such as those of children absorbing explicit information before they are even able to comprehend the meaning of these views. It is also important that explicit content is monitored, as children/adolescents are likely to imitate unfavorable behaviour if it represented through humor. One very notable example of censorship is 'The Hays Code': this was a principle that established a set of rules in 1930 that governed what was eligible for inclusion in the film industry. For example, film producers where not permitted to show women's legs any where above the knee, as it was believed that this could evoke sexual thoughts and therefore by adhering to the Hays Code it was possible to control audiences.
The Effects Model
The three components of the effects model are as follows:
a) Imitation
b) Desensitisation
c) Catharsis
Imitation
The primary stage of the effects model suggests that if an audience passively participates in a media text, it is likely that they will imitate this behaviour as it has been presented as acceptable. The media has often criticised games in the mould of Grand Theft Auto (GTA) because it provides the consumer with a virtual world in which they can cause mass destruction, it is debated that some gamers can still be influenced by these games - despite the age restrictions, which are often ignored.
Desensitisation
Throughout the world, images and videos are displayed in the media that thirty years ago would have been seen as socially unacceptable. Desensitiation is the process by which we have become acclimatised to more explicit content due to the exessive but gradual leniency on factors such as swearing, sexual content and violence. Fundamentally, if an explicit threat was to be made on television past the hour of nine o'clock, how many recipients of the text would actually be gobsmacked? This has transmitted through to the real world, it is not uncommon for people to swear on a regular places in working environments or educational institutions, because we have become desensitised to this content.
Catharsis
When watching, reading or listening to a media source that represents a poor living standard or life struggle, it often renders the consumer reassured safe in the knowledge that their life could be worse. When indulging in these texts, it provokes a sense of happiness as we realise that our lives are not as bad as we assume, because we are watching a ficticious world in which life is less favorable. Subconciously, we become much more satisfied with the things around us due to the information processed.
Selective exposure is a theory that suggests media recipients consume texts based on preconceived ideologies and beliefs, meaning individuals are more compelled to indulge in sources that agree with their interests and beliefs. As a result of this theory, media recipients are unlikely to consume materials contradictory to their beliefs/ideologies.
Censorship concerns the suppression of media platforms/sources conveying messages that may be considered rude or inappropriate due to moral, ethical, harmful or politically incorrect issues. Censorship is implemented to prevent more vulnerable, receptive minds such as those of children absorbing explicit information before they are even able to comprehend the meaning of these views. It is also important that explicit content is monitored, as children/adolescents are likely to imitate unfavorable behaviour if it represented through humor. One very notable example of censorship is 'The Hays Code': this was a principle that established a set of rules in 1930 that governed what was eligible for inclusion in the film industry. For example, film producers where not permitted to show women's legs any where above the knee, as it was believed that this could evoke sexual thoughts and therefore by adhering to the Hays Code it was possible to control audiences.
The Effects Model
The three components of the effects model are as follows:
a) Imitation
b) Desensitisation
c) Catharsis
Imitation
The primary stage of the effects model suggests that if an audience passively participates in a media text, it is likely that they will imitate this behaviour as it has been presented as acceptable. The media has often criticised games in the mould of Grand Theft Auto (GTA) because it provides the consumer with a virtual world in which they can cause mass destruction, it is debated that some gamers can still be influenced by these games - despite the age restrictions, which are often ignored.
Desensitisation
Throughout the world, images and videos are displayed in the media that thirty years ago would have been seen as socially unacceptable. Desensitiation is the process by which we have become acclimatised to more explicit content due to the exessive but gradual leniency on factors such as swearing, sexual content and violence. Fundamentally, if an explicit threat was to be made on television past the hour of nine o'clock, how many recipients of the text would actually be gobsmacked? This has transmitted through to the real world, it is not uncommon for people to swear on a regular places in working environments or educational institutions, because we have become desensitised to this content.
Catharsis
When watching, reading or listening to a media source that represents a poor living standard or life struggle, it often renders the consumer reassured safe in the knowledge that their life could be worse. When indulging in these texts, it provokes a sense of happiness as we realise that our lives are not as bad as we assume, because we are watching a ficticious world in which life is less favorable. Subconciously, we become much more satisfied with the things around us due to the information processed.
Monday, 14 October 2013
The Ideology Behind Classroom Posters
After observing an eclectic range of posters from around the school classrooms, it is evident that they all convey a common message concerning success, the attitudes that mould a successful human being and the importance of organisation. Whilst also emphasizing the importance of life skills (organisation etc.) they also promote the importance of the corresponding subject i.e. English posters stress the key components required to succeed in that subject.
Quotes from famous people that students can take inspiration from are a technique that has been deployed in numerous classrooms, statements that will evoke a sense of introspection within pupils and relate their thoughts to the individual that made the comment: an inspiring Michael Jordan quote reads "I can accept failure, everyone fails at something. But I can't accept not trying". When the quote is read and processed, it seems logical - if you do not fear failure then there is no reason why you cannot succeed in your chosen field, however, when placed in the context of an athlete who has won numerous awards and titles it can only be perceived as breath taking. It appeals not only to a basketball orientated demographic, but to millions - who hasn't heard of Michael Jordan? And that's what makes the quote fantastic, the fact that a man who possesses such an illustrious career has refused the notion of failure can only induce a positive energy within the psyche of a young human being, when the mind is still so delicately receptive.
The colours utilised in the posters clearly target the younger generation: bright colours and graphic texts that draw in the attention of young individuals. Patterns such as flow charts are focused on heavily, probably due to the theory that the human brain thrives upon patterns and sequences, therefore engaging with the subconscious mind of young students.
Quotes from famous people that students can take inspiration from are a technique that has been deployed in numerous classrooms, statements that will evoke a sense of introspection within pupils and relate their thoughts to the individual that made the comment: an inspiring Michael Jordan quote reads "I can accept failure, everyone fails at something. But I can't accept not trying". When the quote is read and processed, it seems logical - if you do not fear failure then there is no reason why you cannot succeed in your chosen field, however, when placed in the context of an athlete who has won numerous awards and titles it can only be perceived as breath taking. It appeals not only to a basketball orientated demographic, but to millions - who hasn't heard of Michael Jordan? And that's what makes the quote fantastic, the fact that a man who possesses such an illustrious career has refused the notion of failure can only induce a positive energy within the psyche of a young human being, when the mind is still so delicately receptive.
The colours utilised in the posters clearly target the younger generation: bright colours and graphic texts that draw in the attention of young individuals. Patterns such as flow charts are focused on heavily, probably due to the theory that the human brain thrives upon patterns and sequences, therefore engaging with the subconscious mind of young students.
Discussion: How far do you agree with the comment that mass audiences are still passive recipients of media texts?
Throughout the media, whether it be newspapers, magazines, advertisment and social networking it is said that discrete, subliminal messages are deployed to engage with the subconcious mind in order to influence the recipient of a media text.
Conjecturally, these messages are represented through personal beliefs and manifested through fashion and even personas. For example, are 'regional identities' really perceived stereotypes, or merely vague representations of how we should behave as, for instance, residents of East London. Women are often exploited solely on their asthetic qualities in 'lads mags' - which suggests that it is acceptable for women to strut around half naked, refusing self-respect to attract the attention of testoserone fueled men, degrading women and showcasing them as objects rather than human beings.
During a lesson, we discussed how things the public (passive recipient) are fed in the media are expressed through their actions. We analysed an image depicting Jim Royle from "The Royle Family" engulfed in an armchair, with a cup of tea. The text connoted he was watching television - he seemed immersed, slumped lethargically whilst holding a cup of tea adjacent to the remote control. This can be interpreted through two ideologies:
a) Jim is represented as a passive recipient of media text, there is ambiguity as to what he is watching it could be anything from the news to Top of the Pops. The picture elicits a valid argument - is the photo a metaphor for passive recipients of media texts? The lazy manner in which Jim is sat whilst indulging in the television represents a 'passive recipient', susceptible to the subliminal messages the media transmits in order to interact with the psyche.
b) Is the depiction of Jim Royle a 're-presentation' of the way we behave, tinkering with the concept of regional identity (tea, armchair etc.) or is it a representation of how we should behave, suggesting that we should indulge and soak up the media's ideas.
Obviously, The Royle Family was first broadcast in 1998, when there was less access to the sophisticated technology such as smart phones that are available now. Therein, it is becoming apparent that we are even more vulnerable to the media due to how accessible the these materials are - most teenagers are able to surf twitter at the touch of the button, absorbing the ideology 'tweeted' by journalists and newspapers second by second. Is this to suggest that in the formative years of the media had a rather more mild effect on it's recipients? Quite possibly, yes. The contemporary human can be influenced, some would say controlled by the new wave of technology exploited by the media in order to reach vulnerable minds.
Programmes such as "The Only Way Is Essex" (TOWIE) have in some senses evolved youth culture in their fashion and terminology, because young demographics believe that if something is televised and accessible, then it must be socially acceptable. Some argue it also represented Essex as unsophisticated, adding to the 'Essex' stereotype.
To emboss the importance of the media's affect on it's audience, it must be established exactly what a 'passive recipient' is:
A passive audience is a recipient which the media are able to inject messages into without the individual being completely aware of this. For example, children are a passive recipient of media texts, as they do not interact with the media but are receptive to it's content. They have no control over the media influence that affects them.
Conjecturally, these messages are represented through personal beliefs and manifested through fashion and even personas. For example, are 'regional identities' really perceived stereotypes, or merely vague representations of how we should behave as, for instance, residents of East London. Women are often exploited solely on their asthetic qualities in 'lads mags' - which suggests that it is acceptable for women to strut around half naked, refusing self-respect to attract the attention of testoserone fueled men, degrading women and showcasing them as objects rather than human beings.
During a lesson, we discussed how things the public (passive recipient) are fed in the media are expressed through their actions. We analysed an image depicting Jim Royle from "The Royle Family" engulfed in an armchair, with a cup of tea. The text connoted he was watching television - he seemed immersed, slumped lethargically whilst holding a cup of tea adjacent to the remote control. This can be interpreted through two ideologies:
a) Jim is represented as a passive recipient of media text, there is ambiguity as to what he is watching it could be anything from the news to Top of the Pops. The picture elicits a valid argument - is the photo a metaphor for passive recipients of media texts? The lazy manner in which Jim is sat whilst indulging in the television represents a 'passive recipient', susceptible to the subliminal messages the media transmits in order to interact with the psyche.
b) Is the depiction of Jim Royle a 're-presentation' of the way we behave, tinkering with the concept of regional identity (tea, armchair etc.) or is it a representation of how we should behave, suggesting that we should indulge and soak up the media's ideas.
Obviously, The Royle Family was first broadcast in 1998, when there was less access to the sophisticated technology such as smart phones that are available now. Therein, it is becoming apparent that we are even more vulnerable to the media due to how accessible the these materials are - most teenagers are able to surf twitter at the touch of the button, absorbing the ideology 'tweeted' by journalists and newspapers second by second. Is this to suggest that in the formative years of the media had a rather more mild effect on it's recipients? Quite possibly, yes. The contemporary human can be influenced, some would say controlled by the new wave of technology exploited by the media in order to reach vulnerable minds.
Programmes such as "The Only Way Is Essex" (TOWIE) have in some senses evolved youth culture in their fashion and terminology, because young demographics believe that if something is televised and accessible, then it must be socially acceptable. Some argue it also represented Essex as unsophisticated, adding to the 'Essex' stereotype.
To emboss the importance of the media's affect on it's audience, it must be established exactly what a 'passive recipient' is:
A passive audience is a recipient which the media are able to inject messages into without the individual being completely aware of this. For example, children are a passive recipient of media texts, as they do not interact with the media but are receptive to it's content. They have no control over the media influence that affects them.
Monday, 7 October 2013
Analysis of Regional Identity
Britain broadcasts many soap operas that act as a microcosm for reality, bearing resemblance to the real world targeting a certain demographic - which is why 'Eastenders' and 'Corination Street' attract different viewers - they cater for different audiences (the North and South of England). In the lesson, we discussed the ways in which an extract from Eastenders constructs the representation of a regional identity. It centres on the modern archetypes/stereotypes of South England, East London to be precise. Most obviously, accents and slang where most noticable, however, it was also costume that played a part in the building of the stereotypical 'eastender'; excesivelly large hoop earings and an abundance of make-up that make the charaters all the more conspicuous. One specific juncture of the scene gave reference to the streets of East London providing a detailed, visual insight of the streets that manifested architecture heavily associated with London, plenty of pubs and scafolding were shown whilst the key components that make up the city's infrastructure where also alluded to: London buses and mini cabs where also alluded to.
It became clear that soap operas (and the majority of television) are built on the ideology of versismilitude - the appearance of being true or real. To put this into perspective, if an individual who is of a completely different origin to the stereotype presented in Eastenders where to watch the programme (regardless of the political, economic and social principles) it would be of such little relevance. A few things that could be identified in the clip were:
Semic Code - Recognised through connotation
Cultural Code - The social expressions, fashion and generic terms used to encapsulate a certain culture
These are some of the basic elements which help construct (although it is arguable that these archetypes/stereotypes have already been created) regional identity.
These are some of the basic elements which help construct (although it is arguable that these archetypes/stereotypes have already been created) regional identity.
Termonology: Sign, Signifier, Signified etc.
Everyday we associate different symbols with certain meanings e.g. road signs and even numbers. This is true in a media sense as well, we can interprete the content of scenes as signs which are given specific terms.
Sign - A symbol that conveys a message
Signifier - The object itself, literally
Signified - What the object represents, the indication of what the object transmits
Polysemic - A sign that conveys numerous messages, offering alternative interpretations - more than one meaning
Connote - Interpreted meaning of the sign, what it may imply judging my it's denotation
Denote - An indictation of something, what it implies/suggests: "The use of a high angled shot denotes the individual is inferior."
A sign is essentially the smallest element of meaning, which can be subdivided into many different contexts.
Symbolic - Those which are learnt e.g. a red circle bearing a white oblong in the centre has been established as 'No Entry', because it has been learnt. Signs in certain languages are also significant, fundamentally, a sign in one language would make little sense in another.
Iconic - Those which work through resemblance
Indexical - Those which work through a casual link e.g. smoke as an index of fire
Structuralism - The notion that everything is defined by opposites e.g. there would be no black without white and vice versa. Meanings are determined by binary opposites - Jacques Derrida was a strong proponent of structuralism.
Sign - A symbol that conveys a message
Signifier - The object itself, literally
Signified - What the object represents, the indication of what the object transmits
Polysemic - A sign that conveys numerous messages, offering alternative interpretations - more than one meaning
Connote - Interpreted meaning of the sign, what it may imply judging my it's denotation
Denote - An indictation of something, what it implies/suggests: "The use of a high angled shot denotes the individual is inferior."
A sign is essentially the smallest element of meaning, which can be subdivided into many different contexts.
Symbolic - Those which are learnt e.g. a red circle bearing a white oblong in the centre has been established as 'No Entry', because it has been learnt. Signs in certain languages are also significant, fundamentally, a sign in one language would make little sense in another.
Iconic - Those which work through resemblance
Indexical - Those which work through a casual link e.g. smoke as an index of fire
Structuralism - The notion that everything is defined by opposites e.g. there would be no black without white and vice versa. Meanings are determined by binary opposites - Jacques Derrida was a strong proponent of structuralism.
Sounds: Diegetic and Non-Diegetic
Sounds, from narratives to music, often correspond to a films genre, characters and era. In todays lesson we studied and discussed the concept of diegetic and non-diegetic sounds and how they influence the audience's perception of the scene/film.
Similar to 'Mise En Scene' (although not necessarily focusing directly on what was presented on screen) we observed how the music and scene progressed together. We analysed an extract from ' The Notebook ' in which two lovers enjoy a romantic boat trip down a river, not long before a storm breaks. As the first wave of thunder stuck, it generated a sense of forboding which elicited the more negative characteristics between the two lovers, resulting in an argument. However, in the formative stages of the scene, both characters interacted romantically in a rather more tranquil environment. Therein, the first strike of thunder signified to the audiences subconcious that something more destuctive was imminent - this is due to the fact that we associate thunder with more unwanted emotions. Midway through the argument, some romantic music eased its way into the scene and the lovers subsequently indulged in a passionate kiss. Fundamentally, it was the music that faded into the scene/argument that hinted the lovers possessed mutual feelings for one another.
We then established the difference between diegetic and non-diegetic sounds. In essence, the word diegetic refers to the ficticious world in which the characters of a film/tv series reside. This made the concept of diegetic and non-diegetic sounds easier to comprehend when applied to an example. We watched a clip from the acclaimed 'Inbetweeners', in which one of the main characters, Will, gives a comical narrative whilst the camera pans over the scene. The fact that the character addresses the audience directly denotes that it is a non-diegetic sound, as in the ficticious world, a narrative is not a sound heard by everyone in the realm of reality. Essentially, that is the difference between diegetic and non-diegetic sounds: diegetic sounds are sounds that would be expected to be heard e.g. footsteps, a glass smashing etc., whereas non-diegetic sounds are sounds used to supplement the atmosphere of the scene e.g. music, narratives - sounds that would not be expected to be heard in the realm of reality.
Similar to 'Mise En Scene' (although not necessarily focusing directly on what was presented on screen) we observed how the music and scene progressed together. We analysed an extract from ' The Notebook ' in which two lovers enjoy a romantic boat trip down a river, not long before a storm breaks. As the first wave of thunder stuck, it generated a sense of forboding which elicited the more negative characteristics between the two lovers, resulting in an argument. However, in the formative stages of the scene, both characters interacted romantically in a rather more tranquil environment. Therein, the first strike of thunder signified to the audiences subconcious that something more destuctive was imminent - this is due to the fact that we associate thunder with more unwanted emotions. Midway through the argument, some romantic music eased its way into the scene and the lovers subsequently indulged in a passionate kiss. Fundamentally, it was the music that faded into the scene/argument that hinted the lovers possessed mutual feelings for one another.
We then established the difference between diegetic and non-diegetic sounds. In essence, the word diegetic refers to the ficticious world in which the characters of a film/tv series reside. This made the concept of diegetic and non-diegetic sounds easier to comprehend when applied to an example. We watched a clip from the acclaimed 'Inbetweeners', in which one of the main characters, Will, gives a comical narrative whilst the camera pans over the scene. The fact that the character addresses the audience directly denotes that it is a non-diegetic sound, as in the ficticious world, a narrative is not a sound heard by everyone in the realm of reality. Essentially, that is the difference between diegetic and non-diegetic sounds: diegetic sounds are sounds that would be expected to be heard e.g. footsteps, a glass smashing etc., whereas non-diegetic sounds are sounds used to supplement the atmosphere of the scene e.g. music, narratives - sounds that would not be expected to be heard in the realm of reality.
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