Media theorists:

Media theorists and theories to consider in audio visual and print text:

(all is research and so is taken from direct quote)

• https://revisionworld.com/a2-level-level-revision/media-studies-level-revision/key-media-studies-theorists/audience-theorists

Audience:

George Gerbner – Cultivation Theory: “The cultivation theory suggests that the more you look at television, the more you are likely to believe in the reality of the representation e.g. believing everything you see and hear on BBC News 24 and not challenging the nature of a constructed text”.

David Gauntlett – Producer as Consumer (Prosumer): “Media Studies students regularly make their own short film productions but are also regular consumers of the media – in doing so they are both producer and consumer blurring the boundaries of traditional media consumption”.

katz and Blumler – Uses and Gratifications Theory: “Different audiences gain different pleasures from a media text e.g. Gravity can be enjoyed via diversion or escapism, it can use surveillance to give information to audiences and can also be discussed on forums and blogs as a form of developing personal relationships (common also in video games). Personal identity can be developed with audiences who relate to certain characters more than others”.

Narrative: 

Roland Barthes – Cultural, Semantic, Symbolic, Hermeneutic, Proairetic Codes (5 Narrative Codes): “The cultural, or referential code in Star Trek (2009) draws on audience pre-existing understanding of science ‘fact’ while symbolism is created from the tension and character development of Spock and Kirk, placed in opposition to each other. Applying the semantic code there are additional connotations to both characters’ dress code; Spock is clean shaven, immaculately dressed with correct posture and gate while Kirk slumps in his chair, is scruffy on Earth (the bouncer calls him ‘farm boy’) and is not so well turned out. When battle commences the proairetic or action code adds suspense and excitement to the narrative while the hermeneutic code in opposition, limits the audience understanding to create enigma making audiences want to know more”.

Propp – 8 Character Roles: “Propp’s character roles mainly only apply to mainstream texts/films e.g. Disney films and Blockbusters but can on occasion, also be useful for understanding running stories e.g. the NOTW Phone Hacking scandal. Propp’s 8 character roles are the hero (can also be the initial victim), the villain, false hero (perceived as good but turns out evil), the Princess (a reward for the hero and much sought after), Her Father (gives, sometimes metaphorically the princess to the hero), the donor (gives the hero a magical gift to help him with his quest e.g. Mrs. Brown in Titanic), the dispatcher (sends the hero on his way) and the helper (helps the hero in his quest) e.g. Samwise in Lord of the Rings.

Levi-Strauss - Binary Oppositions: “In terms of dress code, the hero and the villain in Skyfall are in binary opposition to each other to anchor audience identification”.

Todorov – Four-Act Structure: “In American Beauty, the opening sequence creates an equilibrium or normality for the audience. Lester Burnham’s dramatic decision to leave his job ensures disruption (this disruption is continued throughout the narrative) while resolution is established when Burnham feels ‘at one’ with the world (he works out, smokes cannabis and seems care free) but is ultimately shot and killed by Colonel Frank Fitts. A new equilibrium suggests nothing will ever be the same again (a new beginning) although this is only implied in narrative closure”.  

genre: 

Steve Neale – Genre as Repetition and Difference: “Genre is familiar to audiences through the repetition of conventions like a physically strong, dynamic, violent, male hero in Action Adventure Video Games like Assassin’s Creed and GTAV but is challenged by a female lead character in Tomb Raider and Beyond: Two Souls. Other conventions are the same however, despite this key difference and serve to maintain interest in an apparently evolving genre”.  

representation:

Levi-Strauss – Binary Oppositions and Subordinate Groups: “Levi-Strauss’ theory (see narrative theorists), like Dyer is a way of understanding how representation are deliberately placed in binary opposition to ensure the dominant culture is maintained and the minority representations is seen as subordinate and marginalized. In Game of Thrones southern regional identity is often seen as the preferred culture through representation within the mise-en-scene – there is more money in the south, the southern King speaks with an elaborated language code, the buildings have cleaner lines, dress code is smarter and there is significant daytime shooting. In the North the scenes are often shot at night, characters are rougher, have long hair and beards and are often seen heavy drinking and shouting, talking in an aggressive way about battles and conflict”.