12491782
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Flashcards by Alyssa Keene, updated more than 1 year ago
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| Question | Answer |
| Action code | A narrative device by which a resolution is produced through action, e.g a shoot out |
| Active audience | An audience who responds to and interprets media texts in different ways and who actively engages with the messages |
| Americanisation | The influence the US has on cultures in other countries, such as their popular culture, cuisine, technology, business practices and political techniques |
| Anchorage | The fixing or limiting of a particular set of meanings to an image, e.g the use of a caption beneath an image |
| Anti-narrative | Describes a text, which seeks deliberately to disrupt native flow in order to achieve a particular effect, such as the repetition of images or the disruption of a chronological sequence of events |
| Apparently impossible positions | Where the camera gives the view a view in the action from an unusual position |
| Aspirers | Psychographic group who need to live up to the standards of the media |
| Audio codes | The diegetic and non diegetic sound e.g dialogue and soundtrack that help establish genre |
| Binary opposition | Conflict that occurs in the narrative hat is caused by a series of opposing forces e.g good vs evil |
| Body facism | Intolerance of those of whose bodies do not conform to a particular view of what is desirable |
| Body image | The idea we have about our bodily-self that is constructed ad determined by a series of individual and socio-cultural factors |
| Brand Indentity | The associations an audience makes with a brand |
| Broadsheet | A large rectangular newspaper such as the Daily Telegraph. Visually associated with serious journalism reporting important events at home and abroad. TA is upmarket professionals |
| Camera angle | The viewpoint chosen to photograph a subject |
| Camera movement | An actual or simulated movement relative to the subject by the camera (zoom, pan, tilt, follow) |
| Censorship | The practice of supressing a text or part of a text that is considered objectionable |
| Chiaroscuro lighting | Low-key lighting used to create areas of light and dark to suggest unease/tension within the scene |
| Circular narrative | Where the narrative starts at the end and then explores the action up to that point |
| Cliffhanger | Narrative device used at the end of an episode where the narrative is left unresolved encouraging the audience to watch the next episode |
| Close-up | Usually defined as a shot framing the head from the neck up, sometimes with parts of the shoulder |
| Codes | Rules or conventions by which signs are put together to create meaning |
| Colloquialism | A informal expression that is more often used in casual conversation that in formal speech or writing |
| Copy | The writing on the media text |
| Construct or construction | The process by which a medai text is shaped and given meaning through a process that is subject to a a variety of decisions and is designed to keep the audience interested in the text |
| Context | Where the representation appears e.g the representation of young people may be different i a news bulletin compared to a comedy sitution |
| Continuity system/continuity editing | A system of editing generally used within mainstream cinema to cut seamless from one shot to another without calling attention to the editing. The system uses invisible editing, eye-line matches and cutting on action |
| Connotation | The meaning of a sign that is arrived though cultural experiences the reader brings to it |
| Content analysis | A method of collecting, collating and analysing large amounts of information about the content of media products |
| Convention | A generally accepted custom or an established rule |
| Cover lines | Used on the cover of a magazine, these suggest the content to the reader and often contain teasers and rhetorical questions |
| Crane shot | A shot in which the camera is mounted on a crane, to achieve striking height or aerial movement |
| Critical acclaim | Quotes from experts the audience will trust |
| Cultivation | The way in which the media influences our perception of the real world |
| Cultural appropiration | Refers to the adoption of specific elements of one culture by a different culture. Used to denote the use of cultural outsiders of a minority, oppressed cultures symbols or other cultural elements |
| Cultural competence | The cultural competence of the audience is the shared knowledge, related to their cultural understanding of that audience, meaning they will take pleasure from that text |
| Cultural/media imperialism | The role the western capitalist media play in dominating third-world developing countries. The dominance of the west around the globe |
| Cut | A clean break between consecutive shots |
| Deconstruct | To take apart, analyse or breakdown a media text into its component parts in order to understand ow its created |
| Demographics | Measurable characteristics of media consumers such as age, race, gender, education and income level |
| Denotation | What an image actually shows and which is immediately apparent as opposed to the assumptions an individual reader may make about it |
| Depth of field | The distance between the objects nearest and furthest from the camera that will be in acceptably sharp focus |
| Desensitisation | Some theorists argue that the constant media diet of violence makes audiences less sensitive to real human suffereing |
| Diegetic/non diegetic | Diegetic sound comes from within the scene, Non diegetic sound is typically music or sound effects not generated in the filimic world but added to indicate characters state or mind or to generate an audience response |
| Demonisation | A negative representation often sensatonalised or reductionist which can create moral panics |
| Discourse | A way of talking about things within a particular group, culture or society which shapes how we percieve the world |
| Disequilibrium | A disruption that occurs in the narrative to change/endanger the equilibrium (Todorov) |
| Dissolve | Film term for the transition between two images where one 'dissolves' into the next |
| Dutch angle (canted angle) | Camera angle in which the camera is tipped sideways so that the world of the film seems to have tipped over, and horizontal and vertical lines run diagonally within the frame |
| Editing | The process by which shots are put together into sequences or scenes |
| Elipsis | Where the sentences are incomplete and finish with a set of dots; the words need to be finished by the reader |
| Encoding | A process by which the media constructs messages |
| Enigma codes | A narrative device that teasers the audience by presenting a puzzle or riddle to be solved - leaves the audience with unanswered questions |
| Establishing shot | A shot which shows the environment in which the action will take place, usually early in the sequence |
| Ethinicity | Defined by your cultural identity customs, dress food, etc. Ethnicity is based on a sense of place, ideology or religion |
| Ethnocentric | Where a media text is concerned with issues that are close to home |
| Extreme close-up | A shot filled by part of someones face |
| Extreme long-shot | A shot showing a scene from a great distance |
| Eye-line | The direction of the characters gaze |
| Feminism | Movements and ideas which advocate the rights of women to have equal opportunities to those possessed by men |
| Film Noir | A style rather than a genre of films made in the 1940's and 50's that had common cinematic features e.g low-key lighting, recogniseable character types and settings |
| Femme fatale | The female character in Film Noir who was beautiful but deadly. Usually destroyed at the end of the film |
| Flashbacks | The narrative jumps backwards in time giving the audience additional information, involving the audience with a character by seeing aspects of their past that may contribute to an understanding of the narrative |
| Flexi-narrative | Layers of interweaving narratives which challenges audiences and keeps them intrigued |
| Formulaic structure | Where the text has a clear structure that is recognisable within the genre and rarely changes |
| Gatekeepers | The people who determine what will be printed, broadcast, produced or consumed in the mass media |
| Genre | The classifying of media texts into groups with similar characteristics |
| Graphics | The precise type of design e.g titles and credits |
| Hand-held camera | Type of camera movement where the camera is manually operated without fixed mounting. Produces irregular movement which often signify point of view |
| Hard Sell | 'In your face' advertising - usually short, loud and clearly tell you the price of the product and where you can get it |
| Hegemony | The concept used to describe how people are influenced into accepting the dominance of a power elite who imposes their will and worldview. Argued that the role of the media is to persuade it is in our best interests to accept the dominance |
| Homogenous | Consisting of parts or people which are similar to each other or are of the same type |
| House style | Recognisable layout and design established through colour, font style, and the general look of the text |
| High-angle | A shot looking down on the action |
| Hybrid | Media texts that incorporate features of more than one genre |
| Hyperbole | Over-exaggerated language or action to create a dramatic effect |
| Hypodermic needle | This suggests that the media 'inject' ideas into a passive audience |
| Hypermasculinity | An extreme version of masculinity where stereotypical traits of masculinity are shown in an exaggerated form |
| Icon | A sign that works by resemblence |
| Iconography | Those particular signs that we associate with particular genres, such as physical attributes, dress of actors and the settings |
| Ideology | A system of beliefs, which determine how power relations are organised within society. A shared set of ideas and values reinforced or challenged by the media |
| Imperative | Words or phrases that contain a command word or order. The usually end with n exclamation mark |
| Index | A sign that works by a relationship to the object or concept it refers to e.g smoke is the index of fire |
| Intertextuality | The way in which texts refer to other media texts that producers assume audiences will recognise |
| Jump cut | A cut between two shots of the same object, characters or scene where the angle of the camera is less than 45 degrees |
| Lexis | The specific language used to engage an audience |
| Linear narrative | A plot that moves forward in a straight line without flashbacks or digressions |
| Low-angle shot | A shot looking up at the action - can establish power relations |
| Masthead | The name of the magazine, along with font style, may give clues to the genre |
| Mark of quality | To convince an audience that the product is credible |
| Master shot | A shot that allows all the action of a scene, usually cut together with other shots |
| Media platform | This is a range of different ways of communicating e.g television, newspapers, internet |
| Medium long shot | Normally shows the human figure from the knees up |
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