A (B)yron (S)tory Media Studies Blog

This teaser poster borrows the visual conventions of a WWE/ Grudge Match advertisement to immediately reinforce the idea that this is the form of conflict that the viewer can expect from the film. The composition centralises its typography, whilst positioning its lead characters with near to equal thirds of the frame at the sides, an example of the rule of thirds at play simultaneously drawing as much attention as possible to all three. The side profile midshot photograph of the film's leads within full focus emphasises the conflict between the two, as I mentioned, this paired alongside the proairetic code of their alert stances. (Godzilla's open claw, and Kong's agape mouth.) clearly emphasises that they are on the precipice of a fight. The bold, capital lettered sans serif font, indicates that this is modern and fresh, arguably encoded to be reminiscent of newspaper headlines. Reinforcing this film as an unmissable event. The bright colour palette of oranges and reds conn

  Explore how codes and conventions are used to construct meaning in the theatrical poster for the film Midsommar (2019) Why unconventional? Directors might feel that audiences have become bored with the conventions of the Horror film genre, and seek to offer them something different. This is for purely financial reasons, as it allows the producer to potentially target new audiences. This conforms to Steve Neale's genre theory. Films must strike a balance between repetition and difference.  The white serif font implies a sense of purity, goodness and sophistication. This reinforces that this film is in stark juxtaposition to pre-existing films within the horror genre, and may appeal to an older more sophisticated horror audience. The poster is immediately unconventional due to its colour palette choice. It's lack thereof conventional horror poster elements such as black or red. The colourful, brightly lit image and aesthetic of the piece stands in stark binary opposition to the

The 19 theories we study on the course are entirely there to help us answer questions, they are not fact. But ways of interpreting media, and the world around us. Therefore, all of theories we look into have inherent flaws that can and should be criticised. Important to remember, the names of the theorists don't need to be referenced within exam questions, the name of the theory alone works just fine.  Media language theories - How do we make sense of the world? Key theory 1 - Roland Barthes - Semiotics 'We make sense of the world through a series of signs that hold meanings.' 1) Hermeneutic codes - Anything that poses a question, or holds a meaning. Also known as enigma codes.  EG: 'who shot Mr Burns?' we as the audience expect this to be solved. 2) Proairetic codes - The suggestion of something happening. For example, the cracking of knuckles connotates violence or a punch, the puckering of the lips to a kiss. So forth.  3) Symbolic codes - Anything with a deeper

Component one is called Media Products, Industries and Audiences. And features two sections. The first, section A is unseen material (print/audiovisual text) this is an opportunity to explore media language and representation. Meanwhile, Section B is about industry and audience and you use /your own/ case studies to answer it. The Industries that might pop up in each section: Section A: Advertising, music videos, newspapers. Section B: Advertising, newspapers, film industry, radio, videogames. Component two is called Media forms and Products in-depth, which will have three questions , with the same products that come up every year. The questions focus upon one or more of media language, representation, industry and audience. Component three is a cross-media production, of which we've already practically entirely finished. :) Component one: Media Products, Industries and Audiences Component two: Media Forms and Products in Depth Component three: Cross-Media Production T

 Unseen text - KFC Walkers The actor chewing into the crisp cutting to the drone shot creates an exciting aura to the product.  Electronic music -> Younger urban black audience The lexis is deeply informal, and panders typically to the aforementioned younger audience,  upbeat Black British voice actor.  Media language combines to specifically target a young urban ethnically diverse audience. The setting is somewhat unconventional for a crisp ad, a working class urban jungle setting, lots of concrete, low-key lighting, night life, etc. Filmed in Catford, South London to make a relatability for the audience due to the familiar location. Constructs intertextual references to crime and drama shows, like 'Top Boy', etc. Features a famous footballer, Gary Lineker,  who might evoke meaning to the preferred target audience of the advertisement.  Intertextuality but also branding and franchising is heavy,  reference to the KFC iconography via the Colonel Sanders costume reveal at the

Representations are re-presentations. Media products allow producers to use representations, in order to reconstruct the world, and this Nike advertisement is no different. Representations demonstrate the ideological perspectives and biases of the producer. Explore how the Nike promotional video uses representations to construct reality: The message is of inclusiveness and perseverance during 'trying times' (Power and media industries - Curran and Seaton) The synced up split-screen and parallels in cinematography between the shots on screen constructs a reality that the world is united and connected through sport, via its visuals. Editing - Different types of athletes but shown mostly in a related environment that transitions in a synchronized and seamless fashion from one side to the other. This editing connotes the differences within humanity all the whilst still showing the similarities they share with sports, Ultimately, creating and destroying binary oppositions within the

 How does media language and intertextuality create meaning in this video? Codes and conventions – performance/narrative/experimental features Relatively conventional in many aspects, despite the somewhat 'edgy' narrative. For example, the inclusion of a hegemonically attractive singer,  a stereotypically hegemonically beautiful love interest, dancing to the beat of the song, etc. Camera work (framing – shot types, angle, position, movement) The shot types change drastically, edited in a montage, going from close-ups of faces to distant long shots of the erratic movements performed by the artist. Its inconsistent nature implies the instability of the artist, which is making reference to drug abuse. The opening shot is an extreme close up, blood is coming from his mouth, his facial expression symbolises he is in pain which creates a hermeneutic code for the audience. Mid-way through the music video, the sound slows down and warps as the camera angle changes to a first-person sho

 Explore how audiences can respond to and interpret the video to this is America by Childish Gambino. Make reference to media language. This is America music video media language notes: When Glover executes the guitar player, the gun is handled with care, whilst the man is roughly dragged off. This could be connotative to America's relaxed manner upon gun laws, and the violence that spawns from that. (particularly directed at Black people) as the man plays the guitar we see Donald Glover (Childish Gambino) appear from behind a post, this uses an enigma code to create an ominous feeling, as Donald Glover approaches he is standing and the man is sitting, presenting the unequal power dynamic. the way in which Childish Gambino bends over to shoot the man with the guitar within his performance is an imitation of the Jim Crowe character. American is represented entirely as a concrete jungle through the mise-en-scene set dressing and choice in location. There is no greenery at any g