8y k.

McCabe 2012
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count audlence flgures
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1. Informat|on
flndlng ouL abouL evenLs, saLlsfylng curloslLy
galnlng a sense of securlLy Lhrough knowledge
2. ersona| Ident|ty
relnforcemenL for personal values, flndlng models
of behavlour, lnslghL lnLo one's self
3. Integrat|on and Soc|a| Interact|on
lnslghL lnLo clrcumsLances of oLhers, soclal
empaLhy, ldenLlfylng wlLh oLhers and galnlng a
sense of belonglng, lnLeracLlon, enabllng one Lo
connecL wlLh famlly, frlends and socleLy
4. Lnterta|nment
escaplng, dlverslon from problems, relaxlng,
geLLlng en[oymenL, fllllng Llme, emoLlonal release
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Audlences !"#$ texts. Halls
kecept|on 1heory sLaLes LhaL
LexLs are encoded for a
speclflc and preferred
read|ng.

lf Lhe consLrucLlon of
meanlng needs Lhe audlence,
lL ls now belleved LhaL, aL besL
audlences 'negot|ate' read|ng
as Lhey modlfy, selecL and
dlscard parLs of Lhe LexL based
upon personal experlences
eLc.

Cppos|t|onal or subvers|ve
readlngs occaslonally happen
when Lhe audlence read a LexL
ls a way unlnLended and
unexpecLed by Lhe LexL
producers. o|ysem|c texts are
open Lo mulLlple readlngs.

1hrough med|a
texts, Aud|ences
are de||vered to
producers as
potent|a|
consumers for
the|r products. 1he
price that the
aud|ence has to
pay for v|ew|ng
the|r favour|te
programme |s
exposure to
cont|nua|, subt|e
and |nvas|ve
advert|s|ng
I|nd
examp|es of
aud|ences
be|ng
sub[ected to
advert|s|ng
|n subt|e
and |nvas|ve
ways.
2- 3%**%4$5" '(")*+
Medla LexLs Lell a
sLory. lrom prlnL
posLers, adverLs,
news arLlcles, fllms,
Lelevlslon
documenLary all
have a narraLlve.
Narrat|ve theory ls
concerned wlLh how
Lhe sLory ls
consLrucLed from
characLer Lypes,
ploL organlsaLlon,
ploL developmenL
and genre
')#)*)5
Clve an example of a 1odorov
narraLlve sLrucLure ln a medla
LexL.
1odorov sLaLed LhaL
narraLlve ls ofLen
sLrucLured wlLh a
paLLern of equ|||br|um
(everyLhlng ls ok,
sLable, as lL has been),
D|sequ|||br|um (a
problem LhaL LhreaLens
Lhe equlllbrlum) and
New Lqu|||br|um (a
new and sllghLly
alLered sLaLe resulLlng
from Lhe confllcL)
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Clve Lwo examples of
blnary opposlLlons ln
medla LexLs and how
Lhey are consLrucLed.
L*);;
ropp analysed
Lyplcal characLer
Lypes from
falryLales. Pe
belleved LhaL mosL
narraLlves a
varlaLlon or
comblnaLlon of
Lhese characLer
Lypes.
ldenLlfy Lhe characLer
Lypes from a soap opera
uslng Propps characLers.
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$%& &2+?6"@ ;2$+< $%& 8+2"< '*&2&' 1%&2 "<< +' #&.&"<&) "2) "<< <00'&
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A Med|a 1ext =
Lhe sum of lLs
many parLs.

1hese parLs
lnclude every
elemenL wlLhln
lL ......

Camera angles,
sound, fonL
cholce, llghLlng,
body language,
colours eLc. eLc.

1hls ls Medla
Language
Med|a
Language
also known
as Codes,
or Iorm
can be spllL
lnLo ....

1echn|ca|


Symbo||c


Wr|tten


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Sem|ot|cs ls Lhe sLudy of Lhe language
of slgns.
lL deals wlLh Lhe meanlngs we aLLach
Lo slgns.
Slgns conslsL of a S|gn|f|er (Lhe Lhlng or
slgn lLself) and the S|gn|f|ed (Lhe
meanlng we aLLach Lo Lhe slgn)

CLher lmporLanL Lerms lnclude....

Denotat|on = Lhe llLeral meanlng of a
Lhlng or a slgn
Connotat|on = Lhe second level of
meanlng agreed by Lhe communlLy
buL noL an lnherenL quallLy ln Lhe Lhlng
lLself.
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Where slgns, codes & synLagm
are repeaLed over Llme, Lhey
become Convent|ons -
expecLed paLLerns ln LexLs.

Llke raln on a 8rlLlsh summer
hollday, ConvenLlons equal Lhe
typical form.
!17/(%0
McLuhan te||s us that a "message" |s, "the change of
sca|e or pace or pattern" that the br|ngs. It |s not the
content of a text , but the change that |t br|ngs w|th |t.
Ior examp|e, the message of theatr|ca| product|on |s not
the mus|ca| or the p|ay be|ng produced, but perhaps the
change |n !"#$%&' that the product|on may encourage. In
the case of a &()*%+%* theatr|ca| product|on, |ts message
may be a change |n att|tude or act|on on the part of the
aud|ence that resu|ts from the med|um of the p|ay |tse|f.
S|m||ar|y, the message of a news broadcast |s not the
news stor|es themse|ves, but a change |n the pub||c
att|tude towards cr|me, or the creat|on of a c||mate of
fear.
A McLuhan message a|ways te||s us to |ook beyond the
obv|ous and seek the non-obv|ous changes or effects that
are enab|ed, enhanced, acce|erated or extended by the
new th|ng.
Mcluhans work was groundbreaklng because lL forces
us Lo conslder medla LexLs ln a radlcal new way.
:"%?$<C
Med|a texts have to -(()-$ to be rea| |n order for the
aud|ence to accept them even a f|ct|ona| dramat|c 19
th

Century per|od p|ece needs to suggest rea||ty through
h|gh product|on va|ues, by not hav|ng an actor tak|ng a
ca|| on the|r mob||e dur|ng the shoot.

Where rea||ty |ssues are a|so |mportant |s |n News,
Documentary, Confess|ona| ta|k shows and of course
kea||ty 1V.

A|| of these are constructs of rea||ty, some w|th h|gher
enterta|nment va|ues than others.

9- :";*"<"04%4$)0
Apple
kepresentat|on relates to how a thing
(person, place, ob[ecL, concepL) ls
presenLed Lo an audlence. 1hls ls a re-
presentat|on as the thing has been
Lhrough a process of modlflcaLlon,
medlaLlon and selecLlon before belng
presenLed. Lven words and phoLographs
are re-presentations. The physical
shape of a word has no meanlng ln lLself
lL ls merely llnes and curves. lL has
been glven an agreed and accepLed
meaning. A photograph is not the thing
buL an lmage or represenLaLlon of Lhe
thing.
undersLandlng Lhe cenLral concepL LhaL presentat|on has been constructed and
mean|ng |s negot|ated or accepted and agreed, means LhaL we can examlne
represenLaLlons more crlLlcally and analyLlcally.
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What is
being
represented?
How are
they
represented?
Who is
creating the
representation
?
Does the
representation
fit with
dominant
ideology?
What is left
out of the
representation
?
Who
benefits from
the
representation
?
erklns
uyer

J4"*")4+;"<
Stereotypes are representat|ons of peop|e that
are repeated over t|me and so become a
symbo| of the group |tse|f. 1hey are
somet|mes thought of as a s|mp||f|cat|on, a
shorthand used to rap|d|y access and
conceptualise a diverse group.

erk|ns argues that Stereotypes are not
simple. They contain complex understanding
of and |nformat|on about ro|es and status |n
soc|ety. erk|ns a|so argued that they are not
a|ways negat|ve and often conta|n truth.

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!"#$%$&' is a set of deep rooted beliefs that impact on a persons
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uyer proposes LhaL:
A star is an |mage noL a real person LhaL
ls constructed (as any oLher aspecL of flcLlon
ls) ouL of a range of mater|a|s (eg adverLlslng,
magazlnes eLc as well as fllms [%&'()])

E"?"Q*$4+
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:.... . .
reality in the modern world
.. ..

. .. ... ,
. .. . ..
presentations of truth or fact
are actually re-,....
... ,... ..

.. .. . .
...

... .. .. ,
.,.. that seems real
.. . .. , .. ,
..

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Cwnershlp
1ext 1ype
or
|atform
rlnL
news
1v
lllm
rlnL
magazlnes
Da||y
Ma||
1he
Sun
1he
1|mes
Independent
Cong|omerate
ub||c
Serv|ce
Commerc|a|
88C
I1V
Ch4
o||t|ca|
8|as
Labour
Green
Cons
1he |
|xar
Dreamworks
Web
ne||o
Goog|e
1o undersLand why a LexL has
been consLrucLed Lhe way lL has, you
have Lo undersLand where lL has
come from, whaL llmlLs and consLralns
lL or glves lL freedom.
L)?$4$1%? '(")*+

Cr|:c: 'oo c|:c !|rx:' :dc| ur'cr. c 'cor:cd '|' 'c :| |rc :n |
way complicit with the ruling power. The mass accept this power, with the
c:c '|' 'c ru:nq c| no. .|' : c' or 'c:. 1c, |qrcc 'o :|:n'|:n
or keep the status quo on the condition that they have the opportunity to
ncqo':|'c or :q' |q|:n' rc'r:c':on '|' 'c, do no' |qrcc .:'. 1: :
c|cd cqc:on,.

!|rx:' 'cor, '|'c '|' | :| ru:nq, c:'c qrou|
|vc con'ro . 1: qrou| do::n|'c 'c |oorcr, c
|o.cru :| - 'c .ororcc, 'c |rqcr qrou|.

K$"*%*1(+ )B 3""#<
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now do Mora| an|cs he|p to

maintain Institutional status
quo?
Who creates them?
Who benef|ts from them?
E)0</C"* J)1$"4+
uyer came up wlLh Lhe followlng ||nes of appea| used ln adverLlslng Lo sell
consumer goods.

Pappy famllles - everyone wanLs Lo belong
Chlldhood deslre Lo go back Lo chlldhood
or nurLure
8lch, luxurlous llfesLyles - asplraLlonal
ureams and fanLasy
Successful romance and love
Self-lmporLance & prlde
Comedy & humour
LllLe people (celebrlLy) or experLs
Clamorous places
Successful careers
ArL, culLure & hlsLory
naLure & Lhe naLural world
8eauLlful women
8y k.McCabe 2012