Audience:
McDougall - With the online age it is getting harder to identify a stable audience. but they still give meaning to cultural products. Mass, Niche, mainstream and alternative.
Hall - Encoding and decoding and preferred/negotiated and oppositional readings of texts.
McQuail - Gratification theory - costume text for surveillance, personal identity, personal relationships, escapism/diversion.
High culture- dominant and powerful groups - appreciation of traditional - ballet and opera.
low/popular culture - Everything not approved by high culture. consider vulgar and common by the high.
Ang - ''audiences only exist as an imaginary entity, an abstraction, constructed from the vantage point of the institution in the interest of the institution'' - So the institution imagines the audience before the media product is made.
Hartley - ''Institutions are obliged not only to speak about an audience, but crucially, for them to talk to one as well; they need not only represent audiences but to enter into relation with them'' - institutions must produce - ''invisible fictions of the audience which allow the institutions to get a sense f who they must enter into the relations with'' e.g they must know their audiences so they can target them effectively.
Audience reception theories:
Passive - accepting
Active - resisting
Hypodermic -
the marxist theory - relationship with audience reactions and consumption of media texts - passive, elitist and simplistic.
Narrative:
Todorov - believes three steps in a narrative.
Equilibrium - Balance in both forces/oppositions.
Disequilibrium - A loss of stability, no balance.
New-equilibrium - resolved, back to balance
Levi-strauss - Binary opposites - e.g evil v good
Barthes
Enigma code - the question, puzzle/riddle
denote - what the audience see encoded by the director
connote - what the audience sees it to mean themselves.
action code - a narrative way/device to show a resolution.
Propp - Character types:
The hero
The villain
The donor
The dispatcher
The false hero
The helper
The princess (heroin)
Cook - The hollywood narrative.Cause and effective.
Representation:
Dyer - Analysing media representation
1. what sense of the world is it making?
2. What does it imply? Is it typical of the world deviant?
3.Who is it speaking to? For whom? To whom?
4. What does it represent to us why? how do we respond to the representation?
5. Marxism
6. Feminism
7.Postmodernism
8.Stereotypes
Suggests Klapps distinction can be reworked in terms and typos produced by different social groups
Klapps - Distiction between stereotypes and social types is helpful.
Mulvey - Argues that the dominant point of view is masculine. The female body is displayed for male gaze.
Berger - ''ways of seeing'', ''men act woman appear'', ''men look at woman. women watch themselves being looked act'', ''woman are aware of begin seen by a male spectator''.
McDougall - ''In a media saturated world, the distinction between reality and media representations become blurred and invisible to us''
Baudrillard - Hyper reality - simulations of reality, replace the real.
Genre:
Chandler- Created the word genre, which means a style or category of media. All genres have sub genres.
Neale - Not a structure but a process. These are what goes into the process: Genre characteristics, including: Typical mise-en-scene/visual style, typical types of narrative (plots, historical setting and set pieces), generic types (i.e typical characters, do typical male/female roles exist), typical personnel (directors, producers, actors and stars), typical sound design(sound design, dialogue, sic and sound effects) and typical editing style.
Mittell - Genres are a cultural category and genre allows audiences to make a choice.
Altman - Emotional, visceral ('gut' response) and intellectual puzzle pleasures are what Altman believed are an outcome of genre.
Abercrombie - Believes boundaries within genre are changing/shifting.
Buchingham - 'Genre is not simply 'given' by the culture: rather, it is a constant process of negotiation and change'
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