Showing posts with label Reading. Show all posts
Showing posts with label Reading. Show all posts
Thursday, December 24, 2015
Friday, April 26, 2013
Digital Identity Resources (vis @catherinecronin)
Here are the links from Cathrine's presentation on Digital Identity that I think will be most helpful in terms of postmodernism.
Social network sites as networked publics (2010) by danah boyd (@zephoria)
Digital identities: Six key selves of networked publics (2012) by Bonnie Stewart (@bonstewart)
Digital dualism and the fallacy of web objectivity (2012) by Nathan Jurgenson (@nathanjurgenson)
The IRL Fetish (2012) by Nathan Jurgenson (@nathanjurgenson)
You are not your name and photo: A call to reimagine identity (2011), Wired article by Tim Carmody (@tcarmody)
We, our digital selves, and us – YouTube video (2012) by Alan Levine (@cogdog)
Social network sites as networked publics (2010) by danah boyd (@zephoria)
Digital identities: Six key selves of networked publics (2012) by Bonnie Stewart (@bonstewart)
Digital dualism and the fallacy of web objectivity (2012) by Nathan Jurgenson (@nathanjurgenson)
The IRL Fetish (2012) by Nathan Jurgenson (@nathanjurgenson)
You are not your name and photo: A call to reimagine identity (2011), Wired article by Tim Carmody (@tcarmody)
We, our digital selves, and us – YouTube video (2012) by Alan Levine (@cogdog)
Please read and make notes!
Tuesday, April 16, 2013
Reading and annotating an article [Screencast]
After today's revelation, that some of you are not actively reading and annotating articles as part of your preparation for the Audiences and Institutions section of the exam, I decided to create a screencast to show you how I expect you to read and annotate an article. It's a bit rough and ready but it does the job!
Link to the original article: http://www.economist.com/node/21556635
Where to look for articles about the Magazine Industry...
To help you get to grips with reading around the topic of the magazine industry, I thought it would be helpful to share a few websites that you can trust (to an extent).
MediaMagazine - Remember to ask me for the username and password.
Guardian Newspaper (Media Section)
Independent Newspaper (Media Section)
The Association of Magazine Media
The Economist
Wired
TechCrunch
Please remember that even sites like these are open to bias and should be handled critically.
MediaMagazine - Remember to ask me for the username and password.
Guardian Newspaper (Media Section)
Independent Newspaper (Media Section)
The Association of Magazine Media
The Economist
Wired
TechCrunch
Please remember that even sites like these are open to bias and should be handled critically.
Thursday, November 29, 2012
From Structuralism to Postmodernism
As promised here is your homework... it is in many parts...
First, I want to discuss audience theory in more detail next week. Please read through and make notes on the audience theories covered in the 'Audience' presentation in this post: http://chalfontmediablog.blogspot.co.uk/2010/05/a2-series-of-student-made-presentations.html
Then read the section on audience in the document, embedded in this post: http://chalfontmediablog.blogspot.co.uk/2010/05/a2-more-media-theory-courtesy-latymer.html
Second, read through this quotation from Jameson again, and respond to the questions that follow:
First, I want to discuss audience theory in more detail next week. Please read through and make notes on the audience theories covered in the 'Audience' presentation in this post: http://chalfontmediablog.blogspot.co.uk/2010/05/a2-series-of-student-made-presentations.html
Then read the section on audience in the document, embedded in this post: http://chalfontmediablog.blogspot.co.uk/2010/05/a2-more-media-theory-courtesy-latymer.html
Second, read through this quotation from Jameson again, and respond to the questions that follow:
"Jameson characterizes postmodern society with four elements: (1) superficiality and lack of depth; (2) the waning of emotion or affect; (3) a loss of historicity; and (4) new technologies. A consequence of this is that people are unable to make sense of an increasingly complex society."
- What are the implications of this?
- How does this support/develop the arguments and ideas that we have encountered with Strinati and Baudrillard?
Third, consider the following statements. Do they accurately reflect the ideas we encountered within each paradigm?
- Structuralism: The 'Media' has the power to control
- Post-structuralism: The 'Media' does not have control
- Postmodernism: The 'Media' is control
Monday, September 10, 2012
Semiotics (Homework)
Just a reminder for AS students to work through the pages of this resource on Semiotics:
Make notes as you go and come to tomorrow's lessons with any questions that you might have.
---
If you want to push yourself, you could also begin reading through this resource:
It is a degree level text covering the basics of semiotics and beyond, including 'Encoding/Decoding' and 'Intertextuality'.
See you tomorrow...
Mr. M.
Make notes as you go and come to tomorrow's lessons with any questions that you might have.
---
If you want to push yourself, you could also begin reading through this resource:
- 'Semiotics for Beginners' by David Chandler
It is a degree level text covering the basics of semiotics and beyond, including 'Encoding/Decoding' and 'Intertextuality'.
See you tomorrow...
Mr. M.
Thursday, February 23, 2012
What is a Meme?
Read this: internetmeme.net
Then read and play with this: whatismeme.com
Watch this:
And then have a look at these: Lolcats
Then read and play with this: whatismeme.com
Watch this:
And then have a look at these: Lolcats
Thursday, February 16, 2012
Everything is a Remix - Part 4
It seems fitting that just as we are nearing the end of our unit on Postmodern Media, Kirby Ferguson has published the final part of his 'Everything is a Remix' series.
Please watch the video and make notes. I recommend that you click through to his site and re-watch parts one to three.
Link: Everything is a Remix
Wednesday, February 08, 2012
AS: Half-Term Homework - TV Drama Revision
Read through and make notes from the following slides:
They are from Pete Fraser. He is the chief examiner for A-Level Media Studies.
Also, complete your audience survey analysis and finish reading the various articles you were given on Wednesday.
View more presentations from petefrasers
Also, complete your audience survey analysis and finish reading the various articles you were given on Wednesday.
Tuesday, January 24, 2012
A2: Coen Brothers, Postmodernism, Fargo
Please complete the following reading:
Coughlin, Paul., 2003, Joel and Ethan Coen, Senses of Cinema, Issue 26: http://www.sensesofcinema.com/2003/great-directors/coens/
Sharrett, Christopher., 2004, Chapter 4: Fargo, or the Blank Frontier, The Coen Brothers' Fargo, Cambridge University Press:
Thursday, January 12, 2012
Postmodernism: Chris Holmlund on Miller's Crossing
Please read the section about Miller's Crossing, from the bottom of page 39 to the end of page 31 and make notes.
The reference for the text is as follows:
HOLMLUND, Chris., 2008, American cinema of the 1990s: themes and variations, Rutgers University Press.
HOLMLUND, Chris., 2008, American cinema of the 1990s: themes and variations, Rutgers University Press.
- How does this add to your understanding of 'Miller's Crossing' as both a 'genre' piece and an example of postmodern filmmaking?
Friday, January 07, 2011
AS: Editing and Representation
Must read material on how editing effects representation by David Allison.
As a technical code, editing is primarily related to narrative, and many students struggle to make connections between editing and representation. They see how camera-work Рsuch as close-ups and low angles Рconveys status and emotion to the audience. The use of costume, props and settings Рfunctions of mise en sc̬ne Рare also pretty transparent. But what does match-on-action have to do with character or representation?
This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation. It is not an exhaustive list, and you should be wary of assuming these suggestions are either a) complete or b) foolproof – for the same reason that black and white don’t always represent good and evil (just ask a penguin). The role of editing in representation is open to interpretation, and is greatly dependent on context.. So use your own intelligence!
Action match
When following a single character (e.g. Billy Elliot) this is a purely technical device. However, when an action match is used for intercutting, it can heighten the parallels/contrasts between two different characters in two different situations – an opportunity for juxtaposition. eg: in Skins, the young Russian woman’s swinging of the axe – all sex and power – is juxtaposed with the fat Russian dinnerlady’s heavy serving of congealed mashed potato. It draws attention to the contrasting ways in which Russian women are being represented.
Eyeline match
Eyeline match usually provides insight to a character's private thoughts. eg: In Doctor Who: Last of the Time Lords, Martha exchanges glances with all the people she loves, as though this may be the last chance she has to communicate with them before she dies. Similarly, as she confronts the Master, we keep cutting from her to the family and friends watching her, signifying that she, the woman, is the centre of the action.
Final shot
In any scene, which character or characters are shown in the final shot of the sequence? This is often the character with whom the audience is expected to identify. eg: In Primeval, although Abby saves the day, the last shot is on Cutter, signifying that the audience is intended to adopt the male, not female, point of view. See also every EastEnders cliffhanger ever.
Intercutting: juxtaposition
Although typically a narrative device, intercutting can set up juxtaposition between parallel storylines, exaggerating the impact or meaning of each by highlighting a point of difference. eg: in EastEnders: Wedding Night, the warmth, light and music of the happy pre-wedding feast is in stark contrast with the two unhappy families represented in the cold and dark whenever we cut away. This provides a more favourable representation of Asian family life over white Londoners.
Intercutting: tension
When intercutting is used to draw two storylines together, this can be structured to create tension, and therefore heighten the audience;’s identification with a particular character. eg: in Primeval, intercutting between the tiger’s pursuit of Cutter and Abby’s running in with the rifle is action code and prompts the question: will she get there in time? In Hotel Babylon, intercutting offers both tension and juxtaposition: just as Adam is saving his colleague’s life with a jar of jam, another African immigrant, Ibrahim, is being lost. These lead the audience to identify with both characters
Jump cuts
These are rarely used in TV or film; when they are, they tend to suggest either a) chaos and disorder, b) self-conscious ellipsis (drawing attention to the rapid pace of the action) or c) a director who likes to break the rules! eg: In Primeval, two jump cuts accelerate Cutter’s preparation to slide down the zip-wire; this could be read as speedy and decisive.
Motivation
A motivated edit is any transition ‘forced’ on the editor by the development of the action, narrative or character. Whenever shot (a) refers to the existence of an event outside the frame, and we then cut to (b) which shows that event, that’s a motivated edit. We can sometimes judge a character’s worth or importance by the number of cuts they motivate. eg: In Primeval, Cutter runs away from the tiger, drawing it away from Abby. His constant motion motivates many cuts in this sequence, reinforcing his status as the protagonist, if not the Proppian hero. Not sure who Propp is? Then read this: Narrative.
Pace of editing
This can imply character qualities, especially if only one or two characters are in the sequence. A fast pace might suggest energy or panic (depending on context) while infrequent cuts (long takes) might suggest calm, a casual attitude, or provide documentary-style realism (as in Cast Offs). Similar effects can be achieved with speed ramping and slow-motion.
Prevalence
How much screen time does a character get? The more time we see them on screen, the more important their role. This can develop during a scene to change characters’ status. eg: in Hotel Babylon, Adam is invisible – just one of many refugees – until he steps forward to treat the diabetic maid. Suddenly, the editing favours him, and we realise his importance and skill, despite his menial status in the hotel.
Selection: to show or not to show
As experienced film-makers yourselves, it can sometimes be interesting to ask what information has been included or omitted in an edit. eg: in Primeval, as Jenny comes under increased threat from West, at no point do we cut away to her colleagues approaching the barn. To do so might have reduced the tension in the scene; not doing so arguably increases Jenny’s apparent vulnerability. Narratively, it’s also a nice surprise when the team arrive in a single cut, which contrasts with the early tiger chase (see intercutting).
Shot/reverse shot and reaction shots
S/RS indicates the relationship between two characters: it signifies and sometime exaggerates their closeness – or their opposition (depending on the context). The amount of time given to a character’s reaction shots can convey their status in the scene. For example, if two character are in S/RS conversation, do they get equal screen time, or do we spend more time looking at one character, speaking and reacting? Equally (though this is also a function of camera, are the two characters framed equally? eg: in Doctor Who, the S/RS between Martha and the Master gives Martha CUs and the Master MCUs, conveying Martha’s greater status as a character, even if narratively she appears defeated.
Keep thinking
This is just the start. What ways can YOU see in which editing influences representation in TV Drama? And are you sure all of these are right? They won’t always mean the same thing!
As a technical code, editing is primarily related to narrative, and many students struggle to make connections between editing and representation. They see how camera-work Рsuch as close-ups and low angles Рconveys status and emotion to the audience. The use of costume, props and settings Рfunctions of mise en sc̬ne Рare also pretty transparent. But what does match-on-action have to do with character or representation?
This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation. It is not an exhaustive list, and you should be wary of assuming these suggestions are either a) complete or b) foolproof – for the same reason that black and white don’t always represent good and evil (just ask a penguin). The role of editing in representation is open to interpretation, and is greatly dependent on context.. So use your own intelligence!
Action match
When following a single character (e.g. Billy Elliot) this is a purely technical device. However, when an action match is used for intercutting, it can heighten the parallels/contrasts between two different characters in two different situations – an opportunity for juxtaposition. eg: in Skins, the young Russian woman’s swinging of the axe – all sex and power – is juxtaposed with the fat Russian dinnerlady’s heavy serving of congealed mashed potato. It draws attention to the contrasting ways in which Russian women are being represented.
Eyeline match
Eyeline match usually provides insight to a character's private thoughts. eg: In Doctor Who: Last of the Time Lords, Martha exchanges glances with all the people she loves, as though this may be the last chance she has to communicate with them before she dies. Similarly, as she confronts the Master, we keep cutting from her to the family and friends watching her, signifying that she, the woman, is the centre of the action.
Final shot
In any scene, which character or characters are shown in the final shot of the sequence? This is often the character with whom the audience is expected to identify. eg: In Primeval, although Abby saves the day, the last shot is on Cutter, signifying that the audience is intended to adopt the male, not female, point of view. See also every EastEnders cliffhanger ever.
Intercutting: juxtaposition
Although typically a narrative device, intercutting can set up juxtaposition between parallel storylines, exaggerating the impact or meaning of each by highlighting a point of difference. eg: in EastEnders: Wedding Night, the warmth, light and music of the happy pre-wedding feast is in stark contrast with the two unhappy families represented in the cold and dark whenever we cut away. This provides a more favourable representation of Asian family life over white Londoners.
Intercutting: tension
When intercutting is used to draw two storylines together, this can be structured to create tension, and therefore heighten the audience;’s identification with a particular character. eg: in Primeval, intercutting between the tiger’s pursuit of Cutter and Abby’s running in with the rifle is action code and prompts the question: will she get there in time? In Hotel Babylon, intercutting offers both tension and juxtaposition: just as Adam is saving his colleague’s life with a jar of jam, another African immigrant, Ibrahim, is being lost. These lead the audience to identify with both characters
Jump cuts
These are rarely used in TV or film; when they are, they tend to suggest either a) chaos and disorder, b) self-conscious ellipsis (drawing attention to the rapid pace of the action) or c) a director who likes to break the rules! eg: In Primeval, two jump cuts accelerate Cutter’s preparation to slide down the zip-wire; this could be read as speedy and decisive.
Motivation
A motivated edit is any transition ‘forced’ on the editor by the development of the action, narrative or character. Whenever shot (a) refers to the existence of an event outside the frame, and we then cut to (b) which shows that event, that’s a motivated edit. We can sometimes judge a character’s worth or importance by the number of cuts they motivate. eg: In Primeval, Cutter runs away from the tiger, drawing it away from Abby. His constant motion motivates many cuts in this sequence, reinforcing his status as the protagonist, if not the Proppian hero. Not sure who Propp is? Then read this: Narrative.
Pace of editing
This can imply character qualities, especially if only one or two characters are in the sequence. A fast pace might suggest energy or panic (depending on context) while infrequent cuts (long takes) might suggest calm, a casual attitude, or provide documentary-style realism (as in Cast Offs). Similar effects can be achieved with speed ramping and slow-motion.
Prevalence
How much screen time does a character get? The more time we see them on screen, the more important their role. This can develop during a scene to change characters’ status. eg: in Hotel Babylon, Adam is invisible – just one of many refugees – until he steps forward to treat the diabetic maid. Suddenly, the editing favours him, and we realise his importance and skill, despite his menial status in the hotel.
Selection: to show or not to show
As experienced film-makers yourselves, it can sometimes be interesting to ask what information has been included or omitted in an edit. eg: in Primeval, as Jenny comes under increased threat from West, at no point do we cut away to her colleagues approaching the barn. To do so might have reduced the tension in the scene; not doing so arguably increases Jenny’s apparent vulnerability. Narratively, it’s also a nice surprise when the team arrive in a single cut, which contrasts with the early tiger chase (see intercutting).
Shot/reverse shot and reaction shots
S/RS indicates the relationship between two characters: it signifies and sometime exaggerates their closeness – or their opposition (depending on the context). The amount of time given to a character’s reaction shots can convey their status in the scene. For example, if two character are in S/RS conversation, do they get equal screen time, or do we spend more time looking at one character, speaking and reacting? Equally (though this is also a function of camera, are the two characters framed equally? eg: in Doctor Who, the S/RS between Martha and the Master gives Martha CUs and the Master MCUs, conveying Martha’s greater status as a character, even if narratively she appears defeated.
Keep thinking
This is just the start. What ways can YOU see in which editing influences representation in TV Drama? And are you sure all of these are right? They won’t always mean the same thing!
Monday, December 13, 2010
AS: Homework: Media Ownership: Convergence and Expansion
Read the following article: Media Ownership: Convergence and Expansion - located on the VLE.
Make notes and bring them to the first lesson back with Mr. M.
Make notes and bring them to the first lesson back with Mr. M.
Saturday, October 16, 2010
A2: Contemporary Media Regulation - Links!
Don't forget that you should be doing as much wider reading as possible during this unit. Here is the site you used in Mrs. Neale's lesson last week: http://www.visual-memory.co.uk/amk/index.html
There is a wide range of articles discussing Kubrick's films and the controversies that have surrounded them, including The Clockwork Orange.
For further reading please make sure that you are making full use of the SBBFC site: http://www.sbbfc.co.uk/
It has an interactive timeline of Film/Video Games regulation and censorship; as well as case studies, articles and essays - including an fabulous range of info about The Clockwork Orange as well.
Remember - you need to offer a critical understanding in your response so you must read both popular and academic criticism around the case studies that Mrs. Neale's shows you. Watching the clips and disucssing them in class is only the beginning...
There is a wide range of articles discussing Kubrick's films and the controversies that have surrounded them, including The Clockwork Orange.
For further reading please make sure that you are making full use of the SBBFC site: http://www.sbbfc.co.uk/
It has an interactive timeline of Film/Video Games regulation and censorship; as well as case studies, articles and essays - including an fabulous range of info about The Clockwork Orange as well.
Remember - you need to offer a critical understanding in your response so you must read both popular and academic criticism around the case studies that Mrs. Neale's shows you. Watching the clips and disucssing them in class is only the beginning...
Wednesday, May 19, 2010
Monday, May 17, 2010
Tuesday, March 23, 2010
Year 12 Cover Work From Mr Ford
Please continue researching your second magazine to compare and contrast with NME!
- Please use the hub in 72 and Chikara/LRC. Don't forget to actually get a physical copy of your chosen magazine and analyse it too!
- In preparation for Weds, I want you to present to me briefly what you have learned when comparing the production practices of the 2 magazines.
- A brief 2-3 minute presentation is all that is needed.
Wednesday, February 03, 2010
A2: "The Armchair Assassin"
Click on the picture below for some some must read material on video games and violence, particularly the controversy surrounding 'Manhunt'.
Tuesday, January 19, 2010
A2: Google V China - The dispute continues...
Google have postponed the release of two "Android" mobile phones in China - see the BBC article here...and the Guardian's perspective here!
The question is: When and how will this dispute end? And what will the consequences be - for Google, it's employees in China, the Chinese public and the Chinese government?
Saturday, January 16, 2010
A2: Only Google Could Leave China
Article from Wired Magazine reflecting on and putting into context Google's announcement to not censor the search results of "google.cn" and the likely-hood that they will be forced to abandon a market of "340 million users"!
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