Audience Keynotes

A U D I E N C E R E S P O N S E
R E C A P O N T H E O R I E S & A P P LY I N G E X A M P L E S
A S M E D I A S T U D I E S

T O D AY S S E S S I O N
• Revising and application of;
• Audience grouping
• Audience theories
• Audience past question planning
• Issues & events guidance
I will revise audience theories I will revise audience theories
I will revise audience theories I will revise audience theori

A U D I E N C E
In the MS1 exam, audience may be the focus for either Question 2c or 3. So you will need to consider;
• The ways in which audiences can be categorised and described. This may change according to the
industry. For example, the advertising industry describes audiences differently and more specifically
than other media industries.
• The ways in which audiences and users are constructed by media texts and the response an audience
may have to that construction.
• The ways in which media texts position audiences. This may be to involve the audience or to elicit
(evoke or draw-out) a response.
• The ways in which different audiences and users respond to, use and interpret different texts.
• The ways in which media texts target and appeal to audiences. This will also come from an
understanding that all media industries operate in a competitive market and must ensure that they
market to the audience effectively.

Audience Profiling
Age, Gender, Race and
Sexuality
Education
Occupation
Annual Income
Disposable Income
Current Lifestyle/
Aspirational or Desired
Lifestyle
Culture
Media Interests
Buying Habits
Loyalty to Brands
Before planning and producing any product, institutions need to
carry out market research. They plan who is going to buy their
product and why, doing this can influence a number of decisions.
When defining an audience, factors that must be considered
include:

Socio-economic /
Demographics groups
Broken down into 6 categories, demographics defines the adult
population largely by their occupations, income and status.

Psychographic Categories
Who do you think you are?

S U G G E S T T W O D I F F E R E N T A U D I E N C E
G R O U P S F O R T H E N O A H F I L M P O S T E R

A U D I E N C E T H E O R I E S

H Y P O D E R M I C
N E E D L E T H E O RY
• The audience are a mass that behave the same way in
response to a media text.
• The media text injects ideas into the minds of the
assumed passive audience.
• Suggests that the information from a text passes into
the mass audience.
• Often quoted to support moral panics. For example,
video games and ﬁlms, cause the audience to behave
violently.

R E C E P T I O N
T H E O RY
Media Producer -
encodes text and creates
text with preferred
meaning
Different audiences may decode
the preferred meaning differently

R E C E P T I O N T H E O RY
!
!
H T T P S : / / W W W. Y O U T U B E . C O M / WAT C H ?
V = G J D 1 R K D O U R A & L I S T = P L N 3 U K O R J V 4 V S 4 1 2 D H E D S G O N H 4 S P X B 3 _ B J

R E C E P T I O N T H E O RY
Extending the concept of an active audience still further, in the 1980s and 1990s a lot
of work was done on the way individuals received and interpreted a text, and how
their individual circumstances (gender, class, age, ethnicity) affected their reading.
This work was based on Stuart Hall's encoding/decoding model of the relationship
between text and audience - the text is encoded by the producer, and decoded by the
reader, and there may be major differences between two different readings of the
same code.
However, by using recognised codes and conventions, and by drawing upon audience
expectations relating to aspects such as genre and use of stars, the producers
can position the audience and thus create a certain amount of agreement on what the
code means. This is known as a preferred reading.

B A R T H E S -
O B S T I N AT E A U D I E N C E
Media Producer -
encodes text and creates
text with preferred
meaning
Different audiences may decode
the preferred meaning differently
VA L I D
O P I N I O N
VA L I D
O P I N I O N
VA L I D
O P I N I O N

U S E S A N D G R AT I F I C AT I O N S T H E O RY
https://www.youtube.com/watch?
v=Vn9_0mTfT3Y&list=UUZFUrFoqvqlN8seaAeEwjlw

AUDIENCE RESPONSES
STUART HALL
Preferred reading
This is where the audience
accepts the dominant reading
and message of the media text,
interpreting the text in the ways
that the producer intended. The
audience doesn’t usually
challenge this message, often
agreeing with message.

AUDIENCE RESPONSES
STUART HALL
Negotiated reading
This is where the audience
accepts some of the text and
disagree with others, therefore
negotiating over their acceptance
of what is presented to them.

AUDIENCE RESPONSES
STUART HALL
Oppositional reading
This is where the audience may
not agree with the ideology of
the text or its content. This could
be related to the culture, age,
gender, regional identity or other
factors affecting audience
response

C U LT I VAT I O N T H E O RY
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T W O - S T E P F L O W T H E O RY
v=hFpBLeOHfxs&index=9&list=UUZFUrFoqvqlN8seaAeEwjlw

T R A N S C E N D A N C E T R A I L E R
https://www.youtube.com/watch?v=VCTen3-B8GU

T R A N S C E N D A N C E T R A I L E R
Audience groups
• Explorers - universal themes to the effects on the world
• Men - presented to be a male dominated profession
• Women - variations of characters and ages (blonde girl
offered a younger demographic appeal), Depp’s love
interest (romance conventions), women’s position in
profession. Decision makers?
• Mainstreamers - A-list star billing (Depp)
• E>C2 entertainment and social interactions.
• C1>A scientific themes could challenge audience
ideologies and professionals may interested in AI and
educational elements
Audience theories
• Uses & Gratifications - educate and inform (scientific
elements/AI)
• Cultivation theory - the fear of AI and advancements of
technology (presented to be a good idea, but goes
wrong and becomes a threat - moral panic) - borrowing
genre and narrative conventions from similar films to
appeal to audiences.
• E>C2 audiences may contextualise ideas of health
services and reflect on own experiences - would do
anything to help/save loved one.

TA C K L I N G A U D I E N C E Q U E S T I O N S
When approaching audience questions. You should be able to;
• Identify the target audience / potential audiences
• Techniques used to attract this audience and suggest how media texts position
audience - technical codes, visual codes, language, mode of address, genre, stars.
• How audience reacts - passive vs. active (audience theories)
• The expectation is that in your discussion of ‘detailed examples’ that you will
support your answer with at least three examples from more than one media form
in your response.

PA S T A U D I E N C E Q U E S T I O N S -
P L A N N I N G A R E S P O N S E
Summer 2013
• With reference to your own detailed examples, explore what affects
how an audience may respond to a media text [30] 45 minutes
Winter 2013
• With reference to your own detailed examples, explore how
audiences are categorised by the producers of media texts. [15]
20-25 minutes

H O M E W O R K
R E V I S I O N T O O L S - A U D I E N C E G R O U P S & A U D I E N C E T H E O R I E S
C A S E S T U D I E S - A N A LY S I S O F 3 D I F F E R E N T M E D I A T E X T S
For homework, design revision resource for
audience groups and theories -
• Demographics & Psychographics
• Stuart Hall
• Semiotics
• Uses & Gratiﬁcations
• Hypodermic Needle Theory
• Reception Theory & Obstinate audience
• Gauntlett’s Pick & Mix
I will revise audience theories I will revise audience theori

What affects the way in which media
an audience responds to a media text?
• Gender!
• Age!
• Ethnicity!
• Culture and cultural experience - upbringing / psychographics !
• Cultural competence - experiences and understanding!
• Situated culture - where the audience is and who they’re with.

How media texts target and appeal to
audiences
• Technical and audio codes!
• The language and mode of address!
• The construction!
• The context!
• The positioning of the audience

MS1
MEDIA REPRESENTATIONS AND RESPONSES

MS1 EXAM
Aims
1. Demonstrate knowledge and understanding of media concepts, contexts and
critical debates.
2. Apply knowledge and understanding when analysing media products and
processes, and when evaluating their own practical work, to show how meanings
and responses are created.
• Two and a half hours, assessing AO1 and AO2. This will consist of three questions:
Question 1 requires an analysis of an audio/visual or print-based extract (40).
Questions 2 and 3 will be based on representation and audience issues (30 and 30).

MS1 EXAM
Textual Analysis
• Genre and conventions
• Narrative
• Technical codes for moving image and print
• Use of language and mode of address

MS1 EXAM
Representations
• The role of selection, construction and anchorage in creating representations.
• How media texts use representations and the effect those representations
may have upon audiences.
• The point of view, messages and values underlying those representations.
• Study a range of examples that include representations of gender, ethnicity,
age, issues, events and regional and national identities.

MS1 EXAM
Audience responses
• The ways in which audiences can be categorised.
• The ways in which the producers of media texts construct audiences
and users.
• How audiences and users are positioned.

HOW WE APPROACH MS1
PRINT MEDIA
• Magazine front covers
• Print advertisements
• Film posters
• Website pages
• Newspapers
• CD covers
• Computer game covers

Key Concept
Semiotics!
The theory and description of sign systems. !
Examination of the way signs are
produced, disseminated and consumed.

But what actually is it?
Denotation (Signiﬁer) Connotation (Signiﬁed)

Denotation
The literal or primary meaning of something.
Connotation
An idea or feeling that something invokes for a
person in addition to its literal or primary meaning.

• Our perception of reality is inﬂuenced by the words and signs
we use.!
• We don’t just label the world, we give it meaning through our
words and therefore construct it.!
• We give things their meaning, they do not have it implicity.!
• The media have a huge impact in constructing these meanings.
Semiotics

How can we use semiotics to
understand media texts?
• We are exposed to so many different images because of the media.!
• Do the media construct connotations and meanings?!
• Do they use denotations and connotations to create meanings and provoke a reaction?!
• Signs position their audience in particular modes of appreciation and understanding, just as audiences
themselves comprehend signs in particular ways. !
• Semiotics looks at how signs are used, accepted and rejected and this suggests the tastes and desires
of wider society!
• Denotation - What you see?!
• Connotation - What does it mean, what is its purpose, how does it position the audience?

RESPONDING TO MEDIA TEXTS
• Media texts are constructed in order to place audiences in a particular
position in relation to that text.
• Audience positioning concerns the relationship between the text and the
responses an audience may have to the text.
• The producers of the texts encode the texts with signs and denotations and
audience decode these signs with connotations and messages.
• Different audiences will decode the same texts in different ways and will
therefore have a different response.
• In the exam you may be asked to discuss how media texts position audiences.

ACTIVE VS. PASSIVE
Active Audience
• This describes an audience who responds to and interprets the media
texts in different ways and who actively engages with the messages.
Passive Audience
• This describes an audience that does not engage actively with the text.
They are more likely to accept the preferred meaning of the text without
challenge. This also suggests that passive audiences are more likely to be
directly affected by the messages contained within the text.

How different audiences may respond to
Gender Age Ethnicity
Culture and cultural experience Cultural competence Situated culture

RECAP
• What is the study of signs known as?
• What is the difference between an active and a
passive audience?
• Identify ways why different audiences may respond
to a media text differently?

MEDIA PROFILES
Consider
• How you consume; TV, web, on demand, mobile apps, streaming services,
YouTube, through consoles/Smart TV apps.
• Where you consume and who with; at home, on the go, with friends, family, on
own.
• Be honest.
• Provide any relevant information about your background that you believe may
inﬂuence your media consumption.

AUDIENCE RESPONSES
STUART HALL
Cultural theorist who looked at the
role of audiences positioning in the
interpretation of mass media texts by
different social groups.

AUDIENCE RESPONSES
STUART HALL
Media texts are encoded by the producers of the text and decoded
differently by different audiences.
Encoded Decoded

STUART HALL
Within your media proﬁles, state
whether you accept (a) or challenge (c)
any of the media you consume.
Choose some examples you wish to
share with rest of group.

IDEOLOGY
The values and messages held by the producers
of a media text that may appear in the text itself.
Ideologies and values are encoded within texts.

IDEOLOGY
DAILY MAIL
• Conservative values
• Right wing - traditional values,
selﬁsh,unregulated economy,
freedom to succeed over equality.
• Middle class readership
• Directed to appeal to women
• 5.5 million circulation (2nd largest)

IDEOLOGY
What effect can ideologies have to audiences?

IDEOLOGY RESEARCH
• Individually, research a media institutions ideology.
• Either a UK TV channel, newspaper or magazine. You could use a institution that you have included in your
media profile.
• Present the ideologies of the institution in an in-depth fact file. Include;
• history timeline - history > present day - any key developments
• mission statement - usually find on website
• key values and aims - usually find on website
• target audience, audience figures (BARB) and circulation and readership
• types of programs and articles, annotations/textual analysis on program or article, relate to audience
• controversies - include examples of how and why the institution may have caused controversy.
• personal opinion on institution

Target audience
How is the audience positioned by the text?
Audience theories
Audience responses and what might affect that response

A U D I E N C E T H E O R I E S & D O C U M E N TA RY
2 6 . 0 3 . 2 0 1 4

T O D AY S S E S S I O N
• Audience theories and models
• Hypodermic needle
theory
• Reception theory
• Obstinate audience
• Apply these theories to
documentary
• Modes of documentary

A R E Y O U A N A C T I V E O R
PA S S I V E A U D I E N C E ?

R O L A N D B A R T H E S - O B S T I N AT E A U D I E N C E
Write down what the meaning of this picture is - be as honest/creative as possible

When approaching audience questions. You should be able to;
• Identify the target audience / potential audiences
• Techniques used to attract this audience and suggest how media texts
position audience - technical codes, visual codes, language, mode of
address, genre, stars.
• The expectation is that in your discussion of ‘detailed examples’ that you
will support your answer with at least three examples from more than
one media form in your response.

M O D E S O F D O C U M E N TA RY
M S 1

H O W D I F F E R E N T D O C U M E N TA R I E S
P O S I T I O N A U D I E N C E S

DOCUMENTARY STYLES
Bill Nichols (‘Representing Reality’) divides the documentary into ﬁve categories.
• expository
• observational
• interactive
• reﬂexive
• performative

EXPOSITORY
DOCUMENTARY
Voice-of-God commentary and poetic perspectives sought to
disclose information about the historical world itself and to see
that world afresh, even if these views came to seem romantic and
didactic. (pp.32-3)
• authoritative voice-over commentary
• series of images that aim to be descriptive and informative
• voice-over addresses the spectator directly, offering a series of
facts or arguments that are illustrated by the image track
• aim: descriptive and informative or provide a particular argument
• effect: direct and transparent representation

Bowling for Columbine (Moore, 2002, US)
!
v=oHZxA_Zi71k

H O W M AY A U D I E N C E S R E S P O N D T O O P E N I N G O F
B F C ?
• Audience supposed to be shocked and surprised and the easiness and accessibility of getting a gun from a
bank - supposed to be safe, professional i.e. not encouraging the use of owning a gun.
• Comical - because of the ‘ordinariness’ of the situation, bank clerks not effected by the fact they
give free guns to people who open an account.
• Some audiences may feel that it’s great that you can get a gun just by opening a bank account.
• Active audience may question the filmmaker - did they manage to do a background check quickly so
Moore could walk away with a gun. (Actually took 4 weeks - edited to reinforce Moore’s preferred reading.
• Makes audience question America’s gun ownerships laws - active audience may consider events involved
with this issue. Passive audience may make national identity stereotypes, active may not.
• Moores techniques - subject, but appears he is given the opinion and shared opinions of audience.

OBSERVATIONAL DOCUMENTARY
An observational mode of representation allowed the filmmaker to record unobtrusively what people did when they were not
explicitly addressing the camera. But the observational mode limited the film maker to the present moment and required a
disciplined detachment from the events themselves. (p.33)
• characterised by the non-intervention of the filmmaker
• no voice-over, intertitles, interviews
• aim: present a slice-of-life or direct representation of filmed events
• filmmaker attempts to be ‘invisible’ or an uninvolved bystander
• emphasis is placed on recording events as they unfold in real time
• aka: direct cinema
• tends to use long takes
• direct sound (recorded while the camera is rolling)
• the aim is to persuade the viewer that what they are watching is an accurate slice-of-life
• in actuality it is possible to discern the intervention of the director via a number of techniques (choices in relation to camera
distance, edited footage, music etc.)

Educating Yorkshire (Channel 4, 2013, UK)
!
https://www.youtube.com/watch?v=RM1IxV7vyEA

H O W M AY A U D I E N C E S R E S P O N D T O E X T R A C T O F
E D U C AT I N G Y O R K S H I R E ?
• Audience reactions -
• Sympathetic to Musharaf because of his severe stutter.
• Techniques to gain this reading?
• Long take of him struggling to speak - cuts to a close-up of Musharaf to show his emotion/facial expression (angry at himself)
• some sympathy taken away
• Head teacher explains in interview of his recent behaviour and comments on Facebook.
• felt warmed by attitude of head teacher
• Interviews cut with him dealing with the situation - happy conclusion as stutter disappeared (intertitles).

INTERACTIVE DOCUMENTARY
Interactive documentary arose from the desire to make the film maker’s perspective more evident. Interview
styles and interventionist tactics arose, allowing the film maker to participate more actively in present events. (Bill
Nichols, p.33)
• makes the film maker’s presence prominent and interacts with the people and events being filmed
• interviews, which draw out specific comments and responses from those being filmed
• may attempt to offer a ‘balanced’ view by juxtaposing one point-of-view with another
• film maker may or may not appear on screen
• sometimes the questions are heard, sometimes not (edited out)
• the film maker plays the role of mediator in these films
• the audience can see what effect the interview is having on the interviewee
• the power relation is evident here
• shots and scenes (and stock footage) often used by the film maker to make a point

The Most Hated Family in America (Theroux, 2007, UK)
!
https://www.youtube.com/watch?v=YQ8d39xQBUg

H O W M AY A U D I E N C E S R E S P O N D T O L O U I S
T H E R O U X - M H I A
• Audience reaction - angry
• Techniques -
• interview between them both > type of questions asked by Louis
provoked emotional responses. Stays calm whilst interviewee gets angry.
• British audience - Princess Diana - icon of kindness to British audience.
• Long shot to show group and who is involved - young children being
taught these homophobic values.

REFLEXIVE DOCUMENTARY!
Reflexive documentary arose from a desire to make the
conventions of representations themselves more apparent and to
challenge the impression of reality which the other three modes
normally conveyed unproblematically. (p.33)
• attempts to expose the conventions of documentary
representation, with the effect of challenging the documentary’s
apparent ability to reveal the truth
• focus on how events were filmed
• the filmmaking process is revealed to the spectator
• demonstrates how film images are constructed
• illustrates the subjectivity of documentary filmmaking
• example: Dziga Vertov’s The Man With the Movie Camera (1928)
– shows both everyday life and how it is filmed (camerawork,
editing and screening processes)

Live from Space (Channel 4, 2014, UK)
!
v=Q_4yJsWLph0

PERFORMATIVE
DOCUMENTARY
Performative doc. (1980s-90s): stress subjective aspects of a classically
objective discourse.- possible limitations: loss of referential emphasis
may relegate such films to the avant-garde; ‘excessive’ use of style. (p.
95)
• emphasises the expressive dimension of film
• aims to represent the world indirectly
• evokes the mood and atmosphere traditionally associated with fiction
film
• subjective, expressive, stylised, evocative
• but do events become distorted due to the way they are represented?
• Example: The Thin Blue Line (Errol Morris, 1988)

T H E I M P O S T E R
D I R . L A Y T O N ( 2 0 1 2 , U K )

H O M E W O R K TA S K
With reference to particular scenes from The Imposter, answer the
following question;
• Identify two potential audiences
• Identify techniques the producer has used to attract this audience
• How is the audience positioned / how may these audiences respond to
these techniques?

Recap
Gender representation in music videos
• Identify media regulations institutions in the UK
• Deﬁne voyeurism
• Who suggested that in music videos “There are frequent references to the
notion of looking and the voyeuristic treatment of the female body.”

Today’s Session
• By the end of the session, you will;
• Be aware of the structure of the MS1 exam and the types of questions
• Be able to identify purposes of music videos
• Be able to apply Goodwin’s music video codes and convention theory

Exam Structure
Question 1 - stimulus material
How each of the following contribute to create meaning and portray a message/ideology
• Visual codes - clothing, facial expression, gesture, technique, use of colour, mise-en-scéne,
iconography, graphics
• Technical codes - shot types, shot angles, camera movement, editing and audio codes - diegetic and
non-diegetic
• Narrative construction
Magazine front covers, print advertisements, ﬁlm posters, web pages, newspapers, CD covers,
computer games covers, radio extracts, ﬁlm trailers, television extracts, music video.

Exam Structure
Question 2 - audiences
a) identifying and suggesting audiences for stimulus material
b) how text appeals to audience
c) using own examples, how media texts position audiences and how
audiences respond

Exam Structure
Question 3 - representation
• Gender
• Age
• Ethnicity
• Issues
• Events
• Regional and National Identities

What are the purposes of music videos?
• Promotional material to market the artist
and their music.
• They are important to help the artist create
and develop the ‘star image’.
• The iconography employed in the music
video may also give an indication of the
style of the performer and the genre of
music.
• They are used to interpret and anchor the
meaning of a song and to entertain an
audience through a range of strategies.

When analysing music videos…
You will need to analyse each of the following and explain how they contribute
to create meaning and portray a message/ideology
• Visual codes - clothing, facial expression, gesture, technique, use of colour,
mise-en-scéne, iconography, graphics. As well as these are used to address
audience.
• Technical codes - shot types, shot angles, camera movement and editing.
• Narrative construction - use of a narrative and its type and purpose.

Music Video - Starter Task
Analyse how the following music video uses technical codes to create meaning.
shot types, shot angles, camera movement and editing

In groups, write down at least 5 conventions of
music videos. Consider what is typical of
various styles of music video
• Iconography/theme to reinforce
star image
• Genre could inﬂuence style (e.g.
rock - low-key lighting)
• Narrative
• Performance of artists - studio
or within narrative
• rhythmic editing
• Character (could relate to
iconography/motif and star
image) - may not be themselves
could be actors or animation.
• Lyrics sometimes relate to the
video (narrative)
• Focus (close-ups) of lead singer
• Costume and make-up usually
relates to the genre - repetition
to establish star image, could
also relate to lyrics of song
• Colour and connotations will
relate to genre
• Slow motion - same as pace of
music
• Narrative, mise-en-scéne and
location and iconography
usually relates to genre
• Suitable visual and technical
codes for target audience.
• Lyrics may be focus of
iconography/props/costume/
mise-en-scéne

In groups, write down at least 5 conventions of
music videos. Consider what is typical of
various styles of music video
• artist/group visible -
vocalist/lead given more
screen time
• narrative
• abstract - no relation to
lyrics
• performance - could be
live
• actors
• ﬁlm-genre conventions /
short ﬁlm
• rhythmic editing
• close up of artists to
show emotion/reaction to
lyrics
• mise-en-scéne changes
and alters
• clothing style related to
genre
• dancing dancers
• Show of wealth/
materialistic items
• props can relate to lyrics
- theme of song
• pathetic fallacy

Performance
Many music videos include the performance of the artist.
• Shot of playing instruments, warming up, tuning instruments - This is used to show musical skill
with playing instruments. It also gives the audience access to a more personal view of performer,
even though it is usually still constructed.
• Shots of live stage performances - To show fan interaction and advertise tours and live events.
This gives the audience a sense of atmosphere and involvement without being there.
• Shots (lots of close-ups) of artist - Close-ups of iconography may be used to develop star image.
Performer have a direct mode of address in order to engage with audience, this can position the
audience as a voyeur, attracting audiences of both genders.
• To add entertainment value, the artists may perform in unusual places and will be synced.

Narrative
Performer’s aims is to take the audience through the story of their music in some of the following ways;
• Story may be linked to lyrics, may give audience a different interpretation than we may original
connotate with lyrics or that is obviously suggested by the song lyrics.
• Artist may act out narrative - audience may feel it is a personal story/experience. Alternatively, they
will be actors
• Visually the narrative element can be cinematic and feel like a mini-ﬁlm. Particularly, with a high-
budget and a linear narrative structure. Therefore can include conventions of ﬁlm genres as well as
enigmas to maintain attention of audience and intrigue them.
• There may also be intertextual references - using one text within another.
• Sometimes there may be stereotypical representations of characters that communicate the story
effectively in a short time.

Goodwin’s Music Video Conventions
Make sure you write down the following conventions. As you will expected to apply the theory when analysing
music videos.
There are six conventions according to Goodwin;
1. A relationship between lyrics and visuals
2. A relationship between music and visuals
3. Genre characteristics, style and iconography
4. Frequent references to notion of looking, including voyuerism
5. Intertextual references
6. Development of star image

1. A relationship between lyrics and visuals
• Visuals either illustrating,
amplifying or contradicting the
lyrics.
• This can be achieved with
performance and narrative
element of music video
• This can allow audiences to
connate lyrics/words with visual
images.

2. A relationship between music and visuals
• Visuals either illustrating, amplifying
or contradicting the music.
• Shots of instruments and
performance
• This can be achieved with technical
codes - cinematography
• This can also be achieved through
editing (pace, rhythmic, slow-motion)
• This can allow audiences to connate
lyrics/words with visual images.

3. Genre characteristics, style and iconography
Each music genre can have
speciﬁc style and this can be
demonstrated within the visual
codes, for example,
Heavy Metal - head banging
Pop Group - perform a dance
routine
Dance - nightclub, shots of DJ

4. Frequent references to notion of looking,
including voyeurism.
• Voyeurism - the idea of a sexual pleasure by
watching.
• It can be referred as ‘sex appeal’ and this is used to
sell the artist’s music.
• Exhibitionist - somebody who performs to be
watched.
• Dancing, being sexually provocative,
addressing the camera/audience, slow motion.
• As well as the artist being sexually seductive. The
notion of looking can also be referenced in the use
of props;
• Mirrors, TV screens, cameras, telescopes,
binoculars, and magnifying glasses/scopes.

5. Intertextual references
References to other music videos,
TV, ﬁlm, media and popular
culture to create a meaning and/
or establish ‘star image’.

6. Development of star image
• The artist may develop their
own iconography in and out of
their videos, which over time
with consistent effort, this
becomes part of their ‘star
image’.
• The artist may use a particular
recognisable motif that is
echoed throughout their videos.
• How is this done in this video?

Music Video Analysis using
Goodwin’s theory
• Individually analyse the following music videos
• Consider all six conventions as well as discussing how these have been
constructed with visual and technical codes.

Homework
• Analyse a music video of your choice.
• Apply Goodwin’s 6 conventions and, if you can, visual and technical codes.
• Deadline; Thursday 30th January 750 words
!
• Coursework - storyboards and videos needs to be submitted by next Friday (31st January)
• Storyboards - need to arrange to type up
• Videos - need to be completed and on my memory stick
• Report feedback next Tuesday.

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