Viewers, listeners and readers of a media text. Also identified in demographic, socio-economic categories.
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Anchorage
how meaning is fixed, as in how a caption fixes the meaning of a picture
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Binary Opposites
the way opposites are used to create interest in media texts, such as good/bad, coward/hero, youth/age, black/white
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Catharsis
the idea that violent and and sexual content in media texts serves the function of releasing ‘pent up’ tension aggression/desire in audiences
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Censorship
Control over the content of a media text – sometimes by the government, but usually by a regulatory body like the British Board of Film censors
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Code
a sign or convention through which the media communicates meaning to us because we have learned to read it
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Technical codes
all to do with the way a text is technically constructed – camera angles, framing, typography, lighting etc.
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Visual codes
codes that are decoded on a mainly connotational level – things that draw on our experience and understanding of other media texts, this includes
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Iconography
which is concerned with the use of visual images and how they trigger the audiences expectations of a particular genre, such as a knife in slasher horror films.
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Consumer
purchaser, listener, viewer or reader of media products.
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Context
time, place or mindset in which we consume media products.
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Conventions
the widely recognised way of doing things in particular genre.
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Other cards in this set
Card 2
Front
how meaning is fixed, as in how a caption fixes the meaning of a picture
Back
Anchorage
Card 3
Front
the way opposites are used to create interest in media texts, such as good/bad, coward/hero, youth/age, black/white
Back
Card 4
Front
the idea that violent and and sexual content in media texts serves the function of releasing ‘pent up’ tension aggression/desire in audiences
Back
Card 5
Front
Control over the content of a media text – sometimes by the government, but usually by a regulatory body like the British Board of Film censors
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