NEA Feedback & Midterm Feedback

Friday 29th November 2024

CourseWork:

- rerecord performance in studio

- add more narrative shots for variety

- more images

- more digital convergence

Midterm:

3)

What could have been mentioned:

- representations to construct viewpoints to target audience 

- Stereotypes,  counter stereotypes, essentialism, social constructionism

- meanings constructed

- advertising often constructs a variety of aspirational viewpoints

- different representations may be communicated within the same advert.

- meaning are likely to be uncontroversial to avoid alienating the audiences

- audiences may no respond in a more active way.

representations:

- campaign objectives: challenge stereotypes

- Disability, disabled sports person, 'smooth moves' - not restrained by his disability, happy

- French, romantic 'smooth moves', multiculturalism,

- men with disabilities

Target:

Don't forget to answer the broad question, advertising in general.

4)

- media language!!!!!!!!!

conforms:

- Vibrant colour palette

- star model

- large masthead

Subverts:

- split masthead

- masthead takes up space

- supportive of homelessness

- one image

- graphic/illustrated style

- only two topics

What could have been mentioned:

Typical magazine cover elements

- conventional elements presented unconventionally

- collage nature of the colour. 

- focus on cover star, obscure celebrity (to some), may be mainstream or not.

Target:

Don't get carried away with discussing the elements, mention the media language that is use with them.

Wednesday 4th December 2024

Midterm Feedback - Q3

Do Now:

1) More LIAR, More terms employed from the theorist

2) Media Language, Media Industry, Media Audiences, Media Representations

3) Economic, Social, Cultural, Historical, Political

4) References to another media text/real things - reuses ideas and meanings

5) Baudrillard, Neale, Gilroy, Butler, Hall, Barthes, Hesmondhalgh

TARGETS:

Q3:

1- All areas of LIAR

2- Contextual Issues

Q3 Plan:

P1: Production & consumption contexts:

KE: High budget, BBC America - American Audience - PSB - BBC known for dramas, All female production team - #metoo

Hesmondhalgh - Sandra Oh - internationally known - Big in America - minimises risk, 

L: Low budget, Lockdown - more people at home watching - need for more production & a wider taste, Netflix,

Minimised risk using a popular genre W/ codes & conventions - hesmondhalgh

 

P2: Media contexts & intertextuality:

Setting:

KE: Tuscany, Paris, London, Vienne - big capital cities recognised by a international audience, recognised by national audiences from those places

Red double decker buses, rainy weather - refers to the UK, appeals to a UK audience - UK cultural experience - realistic representation that appeals to both audiences through the intertextuality of iconic imagery - BARTHES.

L: Paris - French TVD - national audience.

louvre, Eiffel tower - appeals to international audience - iconic imagery

Banlieus/Slums - national audience - over 80% of the population - BARTHES, HALL - representation,

Barthes - meanings & imagery

P3: Genre

KE:

MI5, interrogations, Russian Villain, eve & Villanelle subverts tradition. Representations

L:

Flashback of heist - Oceans 11, majority male characters

Thursday 5th December 2024

Midterm feedback - Q4:

Intro: detail the theory & 3 main points that make it up

1. Element 1 of the theory: apply to KE & L

2. Element 2 of the theory: apply to KE & L

3. Element 3 of the theory: apply to KE & L

conclusion: limitations of the theory and then if it works to analyse LFTVDs

INTRO:

Butler's theory states that gender is created through 'gender performativity' & through that it creates stereotypes. Through doing this, it creates and reinforces heteronormative ideologies, which then creates 'gender trouble' for those who do not fit the traditional  binary. Butler aims to challenge and remove those traditional, fixed stereotypes surrounding gender identity and sexual identity that are found in the media and brought into society.

P1:

We can see the creation of gender through performance throughout Killing Eve and Lupin. In Killing Eve, we can see the traditional representations of Male characters and some Female characters. For example, the character 'Frank' fully embraces traditional stereotypes and expectations of masculinity. We can see this in the Mise-En-Scene of him wearing a formal suit. This creates connotations of formality and power in male characters. This is further reinforced by his role as the head of MI5.

We can see similar representations of gender in Lupin. This is seen in the relationship between Assane and his Ex-Wife. Assane's role as an absent father with a strained relationship with his kid, whilst his ex-wife raises their child as a single mother reinforce stereotypes associated with masculinity and femininity. We can see this in the opening scene, where Assane gives her money for child support. This reinforces ideas that women rely on men for support.