![PRODUCTION AS
‘AESTHETIC VARIABLE’
Silverblatt (1995) list[s] four major “keys” that provide
insight into interpreting media messages: process,
context, structure, and production values. He is one
of the few people who lists aesthetic variables (i.e.,
production values) as one of the primary keys for
analysis. (Zettl, 1998, p 81)](https://image.slidesharecdn.com/tpweek1uploadversion-110930051601-phpapp01/85/T-p-week-1-upload-version-41-320.jpg)
T & p week 1 upload version
- 1. THEORY AND PRACTICE Week One - 28th September 2011 Justine Mortimer & Paul Carter
- 2. Who are you?
- 3. Why are you here?
- 6. Quick Exercise Get into pairs
- 7. Quick Exercise Get into pairs Tell each other ONE thing you have learned in the last week
- 8. Quick Exercise Get into pairs Tell each other ONE thing you have learned in the last week Now question your partner
- 9. Quick Exercise Get into pairs Tell each other ONE thing you have learned in the last week Now question your partner How did they learn that thing?
- 10. Quick Exercise Get into pairs Tell each other ONE thing you have learned in the last week Now question your partner How did they learn that thing? Where?
- 11. Quick Exercise Get into pairs Tell each other ONE thing you have learned in the last week Now question your partner How did they learn that thing? Where? What was important about it?
- 12. Quick Exercise Get into pairs Tell each other ONE thing you have learned in the last week Now question your partner How did they learn that thing? Where? What was important about it? What are you going to do with what you have learned?
- 13. LEARNING OUTCOMES • An understanding of a range of critical approaches to the study of media •Adeveloping understanding of the relationship between media texts and their cultural and historical contexts •A developing understanding of the relationship between theory and practice • Developing skills in textual analysis and an awareness of institutional context
- 14. LEARNING OUTCOMES These aren’t just any outcomes. . . these are Media Production outcomes We use these to develop your assessment criteria (More later . . .)
- 15. WHY THEORY? (It all looked like fun on the open day!)
- 16. WHAT WILL THEORY DO FOR (TO) ME • Gives you a framework for your production work • Helps you understand the industry and its practices • Provides a shared language • Improves your ability to judge your own work • Stops you appearing silly • (Impresses parents)
- 17. BUT IT’S JUST READING (ISN’T IT?)
- 18. BUT IT’S JUST READING (ISN’T IT?) NO
- 19. THEORY IS: • Talking • Thinking • Analysing • Doing • Creating • Understanding • (...and reading)
- 21. ‘GRADUATENESS’
- 22. THEORY IS NOT: • Unnecessary • Waffle • Boring • Big words • Funny (dead French) people
- 24. WHY STUDY THE MEDIA?
- 25. WHY STUDY THE MEDIA? • Interesting • Ubiquitous • Novelty? • Constantly Changing • Need • Economy - Numbers involved • Growing Industry • Political significance - POWER
- 26. WHAT IS ‘THE MEDIA’?
- 27. WHAT IS ‘THE MEDIA’? • Advertising • Posters • Images? • Newspapers • Communication? • Television • Film • Telecoms • Radio • Animation • Websites • Music • Magazines • PR
- 28. WHAT IS NOT ‘THE MEDIA’? • Notcovered on the programme: • Journalism • Art of photography • Celebrity • Games • Music Production
- 29. MEDIA TEXTS • What is a text? • Analysis vs Consumption • All media texts are constructions • You cannot analyse a text too deeply
- 30. TOOLS FOR ANALYSIS • Why do we need tools? • Objectivity vs Subjectivity
- 31. AESTHETICS Analysis, context & media literacy
- 32. AESTHETICS • Branch of Philosophy dealing with beauty and the ‘nature’ of art, particularly universal features or commonalities • Study beginning with the Ancient Greeks: • Plato - proportion and harmony • Aristotle - order and symmetry
- 33. MODERN AESTHETICS • Immanuel Kant “Our faculty of judgment that enables us to have experience of beauty and grasp those experiences as part of an ordered, natural world with purpose” (IEP) • Friedrich Schiller “Aesthetic education is necessary, he argued, not only for the proper balance of the individual soul, but for the harmonious development of society.” (Taylor 2003)
- 34. CRITIQUED BY • e.g. TerryEagleton - in the late twentieth century, notions of ‘universality’ are questioned • Aesthetics seen as intertwined with politics and ethics
- 35. TWENTY-FIRST CENTURY • Renewed interest in ‘screen aesthetics’ • Implicit focus on ‘artistic merit’ • Inorder to illuminate ways in which audiovisual work may be effective, affective or thoughtful • Also how film expresses philosophical ideas
- 36. ALL OF THIS IS CONSTRUCTED - NOT ACCIDENTAL - AND ANALYSTS ARE CONCERNED WITH CONTEXT
- 37. WHY IS IT IMPORTANT?
- 38. MEDIA LITERACY • ‘the ability to access, understand and create communications in a variety of contexts.’ • ‘Ata more advanced level it moves from recognising and comprehending information to the higher order critical thinking skills such as questioning, analysing and evaluating that information.’ Ofcom (2010)
- 39. In explaining visual literacy, Messaris (1994) listed four specific benefits that apply equally to media literacy: (a) It is a prerequisite for the comprehension of how the world is structured for the screen, (b) the cognitive skills that are brought into play in the interpretation of television may be applicable to other intellectual tasks, (c) it will help to make the viewer aware of how meaning is created in media presentations, and . . . (d) it provides the basis for aesthetic appreciation(Zettl 1998, 83)
- 40. HOW THINGS LOOK AND SOUND INFLUENCE HOW WE RESPOND TO THEM
- 41. PRODUCTION AS ‘AESTHETIC VARIABLE’ Silverblatt (1995) list[s] four major “keys” that provide insight into interpreting media messages: process, context, structure, and production values. He is one of the few people who lists aesthetic variables (i.e., production values) as one of the primary keys for analysis. (Zettl, 1998, p 81)
- 42. End Point (Meta Cognition) Starting Point
- 43. THE ROLE OF INFLUENCES
- 44. WHERE DO PRODUCERS DRAW THEIR INFLUENCES FROM?
- 45. WHAT DREAMS MAY COME
- 47. From Hamlet, Act 3, Scene 1 "To sleep: perchance to dream: ay, there's the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil . . . “
- 48. OTHER LITERARY ALLUSIONS THE DIVINE COMEDY (DANTE ALIGHIERI) GREEK MYTH (ORPHEUS & EURYDICE)
- 49. ARTISTIC INFLUENCES CASPAR DAVID FRIEDRICH CLAUDE MONET VINCENT VAN GOGH HIERONYMUS BOSCH SALVADOR DALI
- 50. Landscape with Solitary Tree, 1822, Caspar David Friedrich
- 51. Wanderer Above the Sea of Fog, 1818, Caspar David Friedrich
- 52. Der Morgen, 1820-21, Caspar David Friedrich
- 53. Rocky Ravine, 1822-33, Caspar David Friedrich
- 54. The Poppy Field near Argenteuil, 1873, Claude Monet
- 55. Path at Giverny, 1885, Claude Monet
- 56. Irises, 1889, Vincent Van Gogh
- 57. Christ in Limbo, circa 1575, ‘Follower of Hieronymus Bosch’
- 58. The Garden of Earthly Delights, circa 1510, Hieronymus Bosch
- 59. La Cara de la Guerra, 1940, Salvador Dali
- 60. Metamorphosis of Narcissus, 1937, Salvador Dali
- 61. SO, WHICH MOVIE SCENE DREW INSPIRATION FROM THIS?
- 62. Three Studies for Figures at the Base of a Crucifixion, 1944, Francis Bacon
- 65. WHY IS THIS IMPORTANT?
- 67. BREADTH PRODUCERS MUST BE INTERESTED IN MORE THAN JUST TECHNOLOGY
- 68. A MAJOR ROLE OF EDUCATION IS THE ACQUISITION OF CULTURAL CAPITAL
- 69. FOR NEXT WEEK . . . • Pleaseensure you have read the first chapter of Long & Wall - on ‘rhetoric’ • Read the module handbook • Complete the first online assignment ‘Working in the Media’
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