Saturday, 8 October 2011

Theorists

Risemen - Minority and majority with mass media
-People like to listen and do the same things that their friends do.
- If people like 'different' music its usually because they are brought up with it.
- beleives there are 3 types of direction

  • Traditional direction
  • Inner direction
  • Other direction
Hoggart - society and mass media
- He beleives that popular music and its impact on people - the working class people, is down to mass media producing songs causing 'weak communalism'
- he feels that Mass media threatens working class traditions

David Gaunlett - Wed 2.0
- People are now producers and recievers due to things like youtube rather than just being recievers making us no longer a traditional audience.
- Because of things like social networking and youtube we are our own audience as well as having an audience, which he believes is creating new platforms to audiences and producers

Barthes - Semiotics
- a system of signs, meaning that no word is just what it is, but that it has more than one ossociation
- People will not all interperate something in the same way
- producer can set a conitation

Andrew Goodwin - The theory of music video
-he believes that visuals can
  • Illustrate
  • Amplify
  • Contradict
- He things that music videos must have most/all of the following things :
  • Genres must have their own musical style and iconography
  • There must be close-ups in the music video to promote the band and song
  • The artist must interage their own unquie star iconography and develop an image that makes them ifentifiable
  • The theme of voyerism
  • Intertextual reference
  • The female performer is objectified
  • Often through combinations of camera work and fragmented body shots effictivly sexual the star


    Laura Mulvey - The Male Gaze
    - The audience is put into perspective as a hetrosexual man
    -Denys women there human agency
    -'In their traditional exhibitionist role women are simulatanceously looked at and displayed with their appearence coded for strong visual and erotic imputs so that they can be said to compete to be-looked-at-ness' and as a result contends that in films women are the 'bearer of meaning not the maker of meaning'

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