Portraiture. Describe the four key elements that are central to portraiture as outlined in Chapter 4‚ David Bate‚ Photography. Face – personal appearance Pose – manner and attitude‚ ‘upbringing’ Clothing – social class‚ sex‚ cultural values and fashion Location – social scene of the person in the picture Each element affects another in the overall potential for meaning. Passport photographs‚ for example‚ usually have plain or simple backgrounds‚ which serve to foreground the face of the
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École de la Communication Introduction to Media Studies ICOE2005 Fall 2012 Mondays 14:45–16:45 Professor: Joseph Bender Course Description What is/are the media? Who produces and influences them and under what circumstances? How do the media represent reality? What effects do they have on the audience? To what extent are the media globalized or different across countries? What is new about the new media? The course considers the nature of mediated communication‚ historical transformations
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of a still scene taken from film „Lost in Translation” (Sofia Copolla‚ 2003)‚ I will explain notion of this classification‚ and‚ using Roland Barthes’s model‚ show layers of denotation and conotation‚ explicitly pointing out compotents of a sign – signifiers and signifieds. Concepts of denotation and conotation as layers of meaning are described by Barthes. Denotation is simply „meaning of the image refering to it’s literal‚ discriptive meaning” and conotation „meanings rely on cultural and
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INDIVIDUAL FANCTION For individual‚ the function of media can be thought of as the motives or reasons. Why individual use media products? They do that in order to feel satisfactions; they receive from the use of these products Herta Herzog 1944 She studied the motivation and gratification of radio soap opera listeners Her interest was to try to understand (why women become such ardent fans of the radio soaps The goal of the study was to determine (what satisfactions
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References: * Chandler‚ Daniel (2002) Semiotics: The Basics. London: Routledge. * Barthes‚ Roland (1973/ 1974) S/Z. London: Cape * Broto
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Critical Theory Cheat Sheet Donald E. Hall. Literary and Cultural Theory: From Basic Principles to Advanced Applications. Houghton Mifflin‚ 2001. Theory Formalism /New Criticism 1920’s forward Reader Response Rhetorical Analysis Marxist/Materialist Analysis Psychoanalytic Analysis Key Ideas -analysis of literary structures (genre; character‚ plot‚ setting‚ etc.) -rejected literature’s historical and biographical contexts -intrinsic meaning of texts; literature expresses
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Critical Brand Evaluation MM36620 A brand is not a logo; a logo is just a symbol that represents the brand. A brand is not a tagline; a tagline is an expression of the brand. It is not a product; a product is a tangible representation of the brand. While products come and go over time‚ brands can live indefinitely; your brand is derived from who you are‚ who you want to be and who people perceive you to be. A brand can be defined as ‘A name‚ term‚ design‚ symbol‚ or any other feature that identifies
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References: Chandler‚ D. (2008). Semiotics for beginners. Retrieved on September 26‚ 2012 from http://www.aber.ac.uk/media/Documents/S4B/sem06.html Clarke‚ R. (n.d.). Roland Barthes myth today. Retrieved on September 26‚ 2012 from http://www.rlwclarke.net/courses/LITS3304/2004-2005/04BBarthesMythToday.pdf Cosmopolitan (2012). Ford‚ go further. Cosmopolitan. Oct2012‚ vol. 253‚ Issue 4‚ p. 123. Gruyter‚ W. (2002). Persuasive
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Theresa Hak Kyung Cha’s book Dictee defies categorization‚ blending media such as poetry‚ historical texts‚ and images in order to form a combination of an autobiography and a work of art. The combination of mediums that form the book is not just a complication of Dictee--it is fundamental to the way we read and understand the work. Through the confusion inherent in approaching Cha’s writing and her use of text (for reasons as simple as the inclusion of French and )‚ the reader is allowed and encouraged
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outrage perhaps) and recognise the basis for shared interpretations. Occasionally‚ when watching a film‚ we may find that its technique or budget might militate against the aspirations of its creators. Then we might find ourselves sneering at its appearance and failure‚ responding to it in ways that were unintended simply because it is not effective in marshalling rhetoric. One final word on the ‘implied audience’ is worth making. Students sometimes leap to the conclusion that a text featuring particular
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