University of Western Macedonia School of Education Postgraduate Studies Program Cultural Studies: Semiotic Structures & Practices Visual Analysis of.

Slides:

Advertisements

Similar presentations

AS Level Media Studies. Mise-en-scene A French term meaning what is put into a scene or frame. Visual information in front of the camera. Communicates.

Advertisements

Aim: To introduce Mise-en-Scene. Mise-en-Scene Pronounced meez ahn sen, it is a French term and originates in theatre. Of all the technical aspects mise-en-scene.

Corrigan, T. (2001). A short guide to writing about film (4 th ed.). New York: Longman.

A brief history of film History, terminology and technique. Film

Controversial TV Ads. TANGO Tango 1992 this commercial was banned when it emerged that children had been copying it in the playground which had resulted.

Qualitative text analysis. Why do qualitative text analysis? A number of scholars say you cannot capture the meaning of a text by counting the number.

Shot Composition Introduction to Shot Selection. Zamore: Intro to Shot Composition 2 The Five Basic Shots  Extreme Long Shot  Long Shot  Medium Shot.

Four Elements of a Good Shot COMPOSITION MOTION DEPTH VISUAL EFFECTS.

Visual Text Identifying and discussing the effectiveness of the visual and critical features of the text.

 Panel: a distinct segment containing a combination of image and text in endless variety. Panels offer a different experience then simply reading the.

Stills From Pan’s Labyrinth

The Rhetorical Situation  Audience  Purpose  Strategies  Context  Speaker.

ELEMENTS OF A PLAY YOU CAN WRITE YOUR OWN PLAY. PLOT The action in the story!

Tools for Analyzing Visual Images

MULTIMODAL METALANGUAGE wordpress.com/about-the- glossary/

POP ART By: Lorena C.S.M.

Week 1 - Lecture Interactive Digital Moving Image Production | CU3003NI | - Pratik Man Singh Pradhan.

From Frames of Mind: A Rhetorical Reader with Occasions for Writing “Analyzing images is similar to reading a verbal text. Like written or spoken language.

The language of art Art is a visual “language,” practiced differently by every culture. Like any language it has a “vocabulary” and a “grammar.” And like.

Visual Literacy Looking at and interpreting images on their own or along with text.

Beauty In the eye of the beholder. Body Image Body image is the mental picture and thoughts and feelings someone has about their body Body image is the.

Mise en Scene CINEMATOGRAPHY.  The frame is defined by the edge of the film or sensor  Aspect ratio refers to how high the image is versus how wide.

SEMIOTICS AS Media Studies. Semiotics The study of the meanings of signs. Seeks to understand how languages, as a system of codes or signs communicates.

Feminism and film theory 1972: the first two women's film festivals organized in New York and Edinburgh; – W omen and Film begins publishing in California.

Representation of Age in TV Drama

Representation AS Level Media Studies. Representation All media texts are a construction of reality. Technical, symbolic and written codes construct the.

Mizoguchi Kenji ‘One scene in one shot’ His visual style.

Analylisis: Portrayal of Women in Men’s Magazines Source: GQ Magazine.

Mass Media Effect on Adolescent Behaviour. Sexualization of Youth.

“ Building Visual Literacy” Teaching American History in Miami-Dade County September 22, 2012 Fran Macko, Ph.D.

Visual Literacy Janelle Van Capelle Chifley College Bidwill Campus.

Question 1. FOR QUESTION 2  Forms and conventions  The male gaze theory…doesn’t really apply to my music video however a female is the main character…nothing.

Visual Texts. What is a visual text? A visual text is a text in which the image plays a major role in the audiences’ response. Although visual texts make.

Julia Szenberg Intro to Critical Media and Cultural Studies Fall Semester One Paper One (Presentation): Textual Analysis The Objectification of Women Goes.

Love, Danger, and the Professional Ideology of Hollywood Cinema Article by Mark Garrett Cooper Presentation by Daniel Voellinger.

Advertising: Layout & Semiotics. Page Layout Terminal Anchor Fallow Point Primary Optical Area We read from top to bottom, left to right.

Analyzing Visual Arguments Visual arguments use images to engage viewers and persuade them to accept a particular idea or point of view. Advertisements.

Media Literacy. Purpose To gain an understanding for the role that media plays in our lives To be able to analyze various forms of media text To make.

In Written Texts and Screens.  Make a list of dominant images in the novel  Categorize the images into binary opposites.

Representations of TV Dramas Lauren Morton. Teen Drama Representations In teen drama Skins, we can see that Kaya Scodelario one of the main characters.

Body Image and Disordered Eating. What is Body Image? What are causes of Eating Disorders? What are eating disorders? Treatment Prevention.

Evaluation question 5. Marketing Tools!  Our film appeals to young male adults and teenagers aged between years old as it follows the story of.

By Naomi Adams BRICK Opening Title Sequence Analysis Director-Rian Johnson Release date- 20 th July 2009.

Visual Literacy A NECESSARY COMPONENT OF TECHNICAL COMMUNICATION.

Still Images In the English course, still images includes posters, single frames from films, cartoons, photographs, billboards, illustrations and paintings.

Reading Visual Images.

Visual Literacy Visual Literacy can be defined as the ability to understand and produce visual messages.

Altoid Mints Sexualized Woman The product being sold in this advertisement is Altoid mints The target audience for this ad appears to be males in their.

11 English Semiotics and advertising. AIDA Attention Attention Every ad competes with many other ads. It must have something about it that attracts attention.

LO: To understand the structure of the exam and criteria needed to write a good answer.

Kuliah Proses Komunikasi Oleh Coky Fauzi Alfi cokyfauzialfi.wordpress.com Visual Semiotics.

VISUALS. Creating Visuals  Creating a visual is a process that requires artistic ability, creative design, and critical thought. Consider the image to.

VISUAL RHETORIC Is a theoretical framework describing how visual images communicate, as opposed to aural, verbal, or other messages.

STEPS THROUGH THE PROCESS OF ANALYSING THE VISUAL LANGUAGE COMMUNICATION THROUGH IMAGES COMMUNICATION AND PROCESSES VERBAL/VISUAL METAFUNCTIONS VISUAL.

The Levels of Visual Framing Lulu Rodriguez Daniela V Dimitrova Iowa State University.

Visual Literacy.

Aim: To introduce Mise-en-Scene

& Introduction to Multimodal Analysis D. Machin (2012)

Advertising: Layout & Semiotics

World Wildlife Fund Advertisements:

Image Analysis: Observing, Analyzing Images

Comic Activity Create a three to four-panel comic strip that depicts an event that took place over your break. Choose an event that turned out differently.

Representation and Ideology

Semiotics – Roland Barthes

A LEVEL FILM STUDIES SEPTEMBER 2018.

Elements and visual analysis strategies

Representation SAC Preparation

2MED443 Approaches to Media

Visual & Media Literacy

Introducing Multimodality

Presentation transcript:

University of Western Macedonia School of Education Postgraduate Studies Program Cultural Studies: Semiotic Structures & Practices Visual Analysis of Teen Drama Promo Posters: Gossip Girl vs. Skins by Konstantia Liouza postgraduate student 15th Early Fall School in Semiotics “Sociosemiotics III”, 5-15 September 2009, Sozopol, Bulgaria.

Intro Aim of this work is the visual analysis of teen drama promotion posters; in particular posters of the advertising campaigns of two teen drama TV series, Gossip Girl (american)& Skins (british). Within the framework of cultural studies and social semiotic approach. What’s the role of these promo posters in culture, how teens and youth are represented and why?

Cultural Studies & Social Semiotics Images are cultural artifacts of representation as a ‘textual practice’ of culture (Lister & Wells, 2001: 61); it’s necessary to understand how are they produced, enacted and consumed. Images are presumed as constructs of reality (van Leeuwen & Jewitt, 2001: 5). The analysis of advertising images can reveal the nature of such constructs.

The analytical framework Visual social semiotic analysis - as it is developed by Kress and van Leeuwen: three ‘metafunctions’ of images: representational, interactive and compositional. Barthian visual semiotics - layering of meaning denotation (what/who is depicted) connotation (ideas and values that are represented).

Description of the sample Promotional posters of Gossip Girl and Skins. Teen drama focuses on teenage characters. Both: are very recent (began in 2007 - broadcasted until now), high ratings, the context is a realistic frame. Why? sharp criticism received, especially because of the ad campaigns which implied an inappropriate context to be shown to underage teenagers (considered as minors).

Gossip Girl: OMFG Two teens are depicted in a sexual scene(Serena and Nate). Intense pleasure: position of female face (lips, closed eyes, head leans back…), Vivid motion (hair) Serena accepts eagerly the action of kissing.

Gossip Girl: OMFG Salient visual element is ‘OMFG’: Oh My F--king God. Young people are familiar to this kind of textual expression. Ideal consumers of this ‘encrypted’ message. Anchors the meaning of what is represented.

Gossip Girl: “EVERY PARENT’S NIGHTMARE” Serena ‘suggestively’ being kissed at her neck by a faceless young man. The ‘hidden’ face – insignificant. Semantic weight is centred on his action.

Gossip Girl: “EVERY PARENT’S NIGHTMARE” Enjoyment and sexual pleasure is the potential meaning inferred from characteristics of Serena’s face (leaned head , closed eyes, half opened mouth, hand entangled in hair…)

Gossip Girl: “EVERY PARENT’S NIGHTMARE” Quote from Boston Herald is used for advertising. Re-framing changes potential meaning. Construct of teenage girl (“daughter”) in contrast with the implied adult (“parent”).

Skins: In the edge of death Tony is depicted lying submerged in a bath with his eyes open. Neglect and depression (dirty tiles, bathtub, water, darkness…) In the edge of death/ threshold of consciousness.

Skins: In the edge of death The ‘point of view’ - a position of symbolic power. Frontality - maximum involvement. Viewer is directly confronted with the depicted face and the directly gaze.

Skins: Banned ‘orgy’ poster This promo poster was banned from the Advertising Standards Authority in UK. It features Michelle and Sid surrounded by couples apparently taking part in an ‘orgy’.

Skins: Banned ‘orgy’ poster Salient visual element is Michelle (placed on the foreground, lighted with exiguous dim light). Despondency and neglect (smudged makeup, only underwear, looking disheveled).

Skins: Banned ‘orgy’ poster Representational meaning: Sid looks at Michelle (‘transactive reaction’), while Michelle looks out of the frame (‘non-transactive reaction’). Interactive meaning: Michelle is closer to the viewer (‘medium shot’) than Sid (‘long shot’).

References Kress, Gunther & Theo van Leeuwen (1996). Reading Images: The Grammar of the Visual Design. London: Routledge. Lister, Martin & Liz Wells (2001). “Seeing beyond belief: Cultural Studies as an approach to analysing the visual”, in van Leeuwen, Theo & Carey Jewitt (eds.) (2001) Handbook of Visual Analysis. London: Sage Publications, 61-91. van Leeuwen, Theo & Carey Jewitt (eds.) (2001). Handbook of Visual Analysis. London: Sage Publications, 5.