Tuesday, 6 December 2016
Wednesday, 3 August 2016
A point we'll raise frequently in Media is how gender is socialised or encoded from birth, with established commercial, retail logic and expected behaviour and aspirations signified through the prevailing binary of toys and clothing.
This Gap ad is an especially clear example of this, putting the future scholar (boy) in an Einstein tee-shirt but the 'social butterfly' (girl, presumably aspiring to become reality TV or gossip mag fodder) in a showy splash of pink...
How a sexist T-shirt harms us all http://www.theguardian.com/commentisfree/2016/aug/02/gap-advert-sexist-t-shirt-harms-us-all-boys-girls-distorted-reality?CMP=Share_AndroidApp_Blogger
Thursday, 23 June 2016
Monday, 9 May 2016
The photographer's work, Boundaries, is edgy material; relevant to but not suitable for younger teens. For A-Level or Year11 students, especially if also studying Art, this could be an interesting reference to widen the filmic or other mass media textual analysis you undertake.
Thursday, 21 April 2016
Here's a starter to get you going with analysis; you can use the additional screenshots (or your own) to continue analysing the use of media language (how meaning has been created) in this scene, referencing sound, editing, camera, miss-en-scene...
There are mixed messages from the framing and mise-en-scene here. The framing carries connotations of a peephole, a classic horror or voyeurism signifier (seen in Hitchcock's 1960 classic Psycho for example). The two shot might connote a bond, perhaps romantic, between the two seated, and the wood cabin could be 'read' (using Stuart Hall's term) as relaxed and romantic. The voyeuristic framing and shadow suggest otherwise though, and, despite the relaxing diegetic ambient sound of birds cheeping, the large room and high windows could be read as ominous, making the characters vulnerable.
THE 2ND, PANNING SHOT
Rather than cut from the opening long two shot to a tighter two shot to reinforce any sense of a bond between the two we get a panning shot instead, which seems to signify the distance or difference between the two rather than closeness of similarity, although the dialogue through most of this scene presents a very different reading. It is notable that we do not see the man in this pan, just his arm as he plays a move, but we do get a medium shot of the young woman, suggesting that she is a more important character or protagonist than him.
The backgammon set is a clever device to connote the competition or even battle between these two; despite the appearance of bonding and dialogue to support this, the editing and framing throughout this scene, which mostly relies on shot reverse shot with medium shots or medium close-ups (avoiding two shots) connotes a sophisticated battle between the two. A Ludo set or some other more childish game would not have carried such connotations, but backgammon is a sophisticated game more likely to be played by intelligent adults.
So...take up the analysis from here. I have provided screenshots in narrative order below, but that does not mean you have to analyse these in narrative order - you may wish to consider editing across several scenes, then sound (etc) for example.
Several more shot reverse shot, then, with the male saying "you're about a million miles away" we get a two shot:
Sad music flares up: "he doesn't exactly belong here" says man ... but emotion is not his... Consider his framing and compare with woman's: light v dark?
Woman: "its nice having someone normal to talk to"; man laughs; then this:
Several tightly framed shots then...
Verisimilitude? Clearer costume shot. Uses and gratifications in less muscular woman winning? "Its not like I can benchpress a small hatchback" ... stereotyping...?
Costume design + representation issues clearer now?
There's quite a lot going on here...
Music building tension...
Friday, 8 April 2016
Thursday, 31 March 2016
Be aware that the video linked in the article has 1 use of strong language and some disturbing images, as it frankly tackles the social impact of the normative sexualisation of females across our media, not least advertising.
Can such campaigns work? Media content won't be transformed by this, but it will increase awareness of the issue and maybe lead to more single issue campaigns such as the anti-page 3 campaign that has seen topless, often teen, models removed from The S*n, with Murdoch himself tweeting that this was maybe an idea beyond its time.
The difficulty of addressing such issues without being censored by the very same media that are being protested against is notable, with social media offering a distribution outlet independent of the old media giants (all of which are gradually being dwarfed by the new media giants though!)
(The S*n hasn't exactly gone PC; it recently invited readers to submit cleavage selfies for a boobs of Britain competition. Unilad reported on some of the satirical responses this generated, often men photographing their chests; as with the video, be aware that there are sexualised images, and that comments, as with so much of social media, are often crude. http://www.unilad.co.uk/viral/the-sun-asks-women-for-cleavage-selfies-gets-brilliantly-trolled/)