HYPODERMIC NEEDLE - EFFECTS THEORY - 1920s - FRANKFURT SCHOOL
Passive audience - injecting ideas into masses - film
Bobo doll - Bandura -1961 - Clockwork Orange and violence
CULTIVATION THEORY - GEORGE GARDNER -1980
Passive audience - influences audience over time with repeated messages - reinforces behaviour - advertising and television (people who watch soaps think there is more divide)
TWO STEP FLOW - audiences receives messages via an influencer - e.g. A film critic persuades you to go see a film
RECEPTION THEORY -Stuart Hall - texts are encoded with messages by the producer and are read differently by audiences, depending on their social and cultural background. Preferred, Negotiated and Oppositional are the 3 responses they can have. E.g. in a soap opera if someone sympathetic is having an affair, a religious viewer will have a resistant/oppositonal reading to this.
USES AND GRATIFICATIONS THEORY - audiences use texts to gratify needs - e.g..; Diversion, Escapism, Information, Pleasure, Comparing relationships and lifestyles with one's own (Personal Identity), sexual stimulation
MASLOW'S HIERARCY OF NEEDS - audience's needs are met by media texts - e.g. some adverts for cars promise safety; alcohol adverts usually promise friendship; aftershave adverts promise sexual intimacy etc.
Monday, 17 October 2016
Monday, 26 September 2016
BBFC
1) A brief history of the BBFC - how it was founded, how it's role has changed.
2) What case studies (key films or events) have caused these changes at the BBFC?
3) What the key pieces of legislation are that govern how the BBFC works as a regulator.
4) How the BBFC is different today than it was at other times in it's history.
5) How does the BBFC classify and rate films today? (What are the certificates and what is allowed in each)
6) What challenges the BBFC has going forwards, how it's role has changed?
The British Board of Film Censorship (BBFC) was founded in 1912 as a trade body, administered by the Kinematograph Manufacturers Association, itself formed in 1911, to avert threats of statutory censorship. Over the years the BBFC role has changed as it used to be 'The British Board of Film Censorship' to 'The British Board of Film Classifications' in the 1980s. This shows hows their role changed as they're not a fatherly operation but whereas now they take the view of society in rating films. The BBFC is a trusted guide to media content. Working as an independent, self-financing and not-for-profit media content regulator, the BBFC operates transparent, consistent and trusted co-regulatory and self-regulatory classification and labelling systems in the UK.
The BBFC's mission:
2) What case studies (key films or events) have caused these changes at the BBFC?
3) What the key pieces of legislation are that govern how the BBFC works as a regulator.
4) How the BBFC is different today than it was at other times in it's history.
5) How does the BBFC classify and rate films today? (What are the certificates and what is allowed in each)
6) What challenges the BBFC has going forwards, how it's role has changed?
The British Board of Film Censorship (BBFC) was founded in 1912 as a trade body, administered by the Kinematograph Manufacturers Association, itself formed in 1911, to avert threats of statutory censorship. Over the years the BBFC role has changed as it used to be 'The British Board of Film Censorship' to 'The British Board of Film Classifications' in the 1980s. This shows hows their role changed as they're not a fatherly operation but whereas now they take the view of society in rating films. The BBFC is a trusted guide to media content. Working as an independent, self-financing and not-for-profit media content regulator, the BBFC operates transparent, consistent and trusted co-regulatory and self-regulatory classification and labelling systems in the UK.
The BBFC's mission:
- protect the public, and especially children, from content which might raise harm risks
- empower the public, especially parents, to make informed viewing choices
- recognise and respect adult freedom of choice within the law
- respond to and reflect changing social attitudes towards media content through proactive public consultation and research
- provide a cost-effective, efficient classification service within our statutory remit
- work in partnership with the industry to develop innovative service models to provide content advice which support emerging media delivery systems
- provide an effective service to enforcement agencies
Wednesday, 29 June 2016
Vladmir Propp's Character Theory
Example: James bond - skyfall
- The villain - Raoul Silva
- The dispatcher - Character who makes the villain evil known and send the hero off - M
- The helper - Eve Moneypenny
- The princess or the prize - Bond's Lover
- The donor - M
The 31 Narratemes:
In my film Ronnie boyle is the hero as it is her perspective and she explains the story with flashbacks. Mohammed brake is the princess who is in love with her and wants to marry her. This is ironic as the genders have been swapped around - the hero is a female and the princess is a male. Tamsyns dad played the role of the villain who prevents the marriage taking place by giving mohammed lots of money and telling ronnie that mohammed is dead. the radio plays the part of a dispatcher as mohammed does an interview on the radio of his ugly successful company which is named after ronnie and she recognises the name and listens to him speak.
The 31 Narratemes:
In my film Ronnie boyle is the hero as it is her perspective and she explains the story with flashbacks. Mohammed brake is the princess who is in love with her and wants to marry her. This is ironic as the genders have been swapped around - the hero is a female and the princess is a male. Tamsyns dad played the role of the villain who prevents the marriage taking place by giving mohammed lots of money and telling ronnie that mohammed is dead. the radio plays the part of a dispatcher as mohammed does an interview on the radio of his ugly successful company which is named after ronnie and she recognises the name and listens to him speak.
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