7. Quick Exercise
Get into pairs
Tell each other ONE thing you have learned in the last week
8. Quick Exercise
Get into pairs
Tell each other ONE thing you have learned in the last week
Now question your partner
9. Quick Exercise
Get into pairs
Tell each other ONE thing you have learned in the last week
Now question your partner
How did they learn that thing?
10. Quick Exercise
Get into pairs
Tell each other ONE thing you have learned in the last week
Now question your partner
How did they learn that thing?
Where?
11. Quick Exercise
Get into pairs
Tell each other ONE thing you have learned in the last week
Now question your partner
How did they learn that thing?
Where?
What was important about it?
12. Quick Exercise
Get into pairs
Tell each other ONE thing you have learned in the last week
Now question your partner
How did they learn that thing?
Where?
What was important about it?
What are you going to do with what you have learned?
13. LEARNING OUTCOMES
• An understanding of a range of critical approaches to the
study of media
•Adeveloping understanding of the relationship between
media texts and their cultural and historical contexts
•A developing understanding of the relationship between
theory and practice
• Developing skills in textual analysis and an awareness of
institutional context
14. LEARNING OUTCOMES
These aren’t just any outcomes. . . these are Media
Production outcomes
We use these to develop your assessment criteria (More
later . . .)
16. WHAT WILL THEORY DO FOR
(TO) ME
• Gives you a framework for your production work
• Helps you understand the industry and its practices
• Provides a shared language
• Improves your ability to judge your own work
• Stops you appearing silly
• (Impresses parents)
25. WHY STUDY THE MEDIA?
• Interesting • Ubiquitous
• Novelty? • Constantly Changing
• Need • Economy - Numbers involved
• Growing Industry • Political significance - POWER
32. AESTHETICS
• Branch of Philosophy dealing with beauty and the ‘nature’ of
art, particularly universal features or commonalities
• Study beginning with the Ancient Greeks:
• Plato - proportion and harmony
• Aristotle - order and symmetry
33. MODERN AESTHETICS
• Immanuel Kant
“Our faculty of judgment that enables us to have
experience of beauty and grasp those experiences as
part of an ordered, natural world with purpose” (IEP)
• Friedrich Schiller
“Aesthetic education is necessary, he argued, not only
for the proper balance of the individual soul, but for the
harmonious development of society.” (Taylor 2003)
34. CRITIQUED BY
• e.g. TerryEagleton - in the late twentieth century, notions of
‘universality’ are questioned
• Aesthetics seen as intertwined with politics and ethics
35. TWENTY-FIRST CENTURY
• Renewed interest in ‘screen aesthetics’
• Implicit focus on ‘artistic merit’
• Inorder to illuminate ways in which audiovisual work may be
effective, affective or thoughtful
• Also how film expresses philosophical ideas
36. ALL OF THIS IS
CONSTRUCTED - NOT
ACCIDENTAL -
AND ANALYSTS ARE
CONCERNED WITH
CONTEXT
38. MEDIA LITERACY
• ‘the
ability to access, understand and create communications in
a variety of contexts.’
• ‘Ata more advanced level it moves from recognising and
comprehending information to the higher order critical
thinking skills such as questioning, analysing and evaluating that
information.’
Ofcom (2010)
39. In explaining visual literacy, Messaris (1994) listed four specific
benefits that apply equally to media literacy:
(a) It is a prerequisite for the comprehension of how the world is
structured for the screen,
(b) the cognitive skills that are brought into play in the interpretation
of television may be applicable to other intellectual tasks,
(c) it will help to make the viewer aware of how meaning is created in
media presentations, and . . .
(d) it provides the basis for aesthetic appreciation(Zettl 1998, 83)
41. PRODUCTION AS
‘AESTHETIC VARIABLE’
Silverblatt (1995) list[s] four major “keys” that provide
insight into interpreting media messages: process,
context, structure, and production values. He is one
of the few people who lists aesthetic variables (i.e.,
production values) as one of the primary keys for
analysis. (Zettl, 1998, p 81)
47. From Hamlet, Act 3, Scene 1
"To sleep: perchance to dream: ay, there's the rub; For in that
sleep of death what dreams may come When we have
shuffled off this mortal coil . . . “
68. A MAJOR ROLE OF
EDUCATION IS THE
ACQUISITION OF
CULTURAL CAPITAL
69. FOR NEXT WEEK . . .
• Pleaseensure you have read the first chapter of Long & Wall -
on ‘rhetoric’
• Read the module handbook
• Complete the first online assignment ‘Working in the Media’