Friday, 16 March 2012
Saturday, 3 March 2012
Reflection on Coursework
How did you work together as a group?
As a group, our areas of skills were widened through each member having a skill in each specific type of media technologies. Warren was in charge of the video editing, Muaadh was in charge of the sound, while I was in charge of mainly the print media. Although each member had specific specialties, we still had to work together to get our coursework completed and in the best possible professionalism possible using our specific skills - each helping out on every angle of our work to give ideas.
As Warren was in charge of the video, we have agreed upon him being the director. Our decision upon him being the director wasn't for naught as he also had experience in producing low-budget music videos. What me and Muaadh did to help out in this part was to give ideas - from props to what angle we should include - just to increase the authenticity of our media product through the mise-en-scéne and apply the uses & gratification theory to the audiences and entice them to watch the full film.
Muaadh, being in charge of the sound, created the sound clips for us which we used for the trailer. We came to this conclusion by him having enough time to do the software needed.
What were you responsible for doing?
In the crew, I was responsible for mainly the print media designs and some acting and camera-work. I was also in charge of the storyboard planning and photographic experiment.
In terms of the filming, I was responsible for drawing and planning the storyboard and getting which camera angles we would have to use and taking part in some acting as one of the protagonists. I've also took some shots for the trailer such as the scene of Warren and Muaadh conversing. I feel like I've done my role good enough as our camera angles did vary and merge effectively. In addition, to create the authenticity of this project of ours being a realistic horror film trailer.
In terms of acting, you would've noticed in the film trailer that I was dragged. This scene had at least four takes since it was an important part in the trailer to portray the disruption of the equilibrium. We used Tzvetan Todorov's narrative theory because we wanted to convey the typical codes and conventions of a horror trailer as the majority of the trailer I've studies contained a disequilibrium in the middle of the trailer. The feeling of being dragged at least four times was quite intense since the ground's dirt hurt, and I had to try and keep my actions similar - I had to maintain facial expression to fit in the mise-en-scéne of the horror genre to make our film trailer seem realistic and entice the audience to watch the film.
My role in the storyboard planning was drawing and being able to work with my team mates on whatever techniques we agreed upon doing. With some photography experience, I had the main ideas upon which would actually work practically, and not only in theory to make the final trailer seem as professional as possible and add authenticity to our product. With my artistic experience, I was able to draw shots in the storyboard which were later on filmed.
In the print media, I designed the magazine cover and the film poster. My specialism in graphic designing is an advantage, which is why we've agreed for me to be in charge of the print designs. I've used graphic software such as Adobe Photoshop, Adobe InDesign and Adobe Illustrator to create a professional magazine front cover and film poster. In the magazine front cover and film poster, I've used a variety of graphic programmes to suit each job which they specialize in: using the accuracy of Illustrator in terms of vector designing, I created the film strips and other elements; Photoshop, with it's strong photo manipulation qualities, was used for photo manipulation such as cropping and image adjustments; while InDesign has been used, with it's accurate placement, for placing each element in our magazine together to create a professional finish.
What locations did you choose and why?
From the trailers I researched, I've observed that the majority of locations for horror film trailers were set in the woods. Films such as "Wilderness" and "The Hills Have Eyes" are some trailers which inspired us to base our syntagm's codes and conventions.
Since one of our issues would've been the weather and the time of the day, which has different lighting (unpredictable British weather), we thought of using the woods too, so that we can create the illusion of the woods looking the same to add authenticity to our media text.
The other location which we used was the boss' office. We thought of using a teacher's office in our academy to create the business feel to it and support the location's authenticity.
What props did you use in your trailer?
Props we used were quite minimal but specific. To compensate the horror genre, we used a variety of props such as the camping clothes, bags, etc. to portray that the characters are in an outdoor location and is at a different timeline to when they were in the office to support the narrative structure. Another prop which we used was the knife, which we added fake blood onto to symbolize the killer's weapon and signify danger to reinforce our trailer's genre of horror. To add authenticity and establish the narrative structure, we used two sets of props, which varied in the woods scene and the office scene - in the office, we added a map, business suits, a desk, paperwork, etc., these props symbolize a feeling of safety since it is indoors, while in the woods, we used logs and others which the audience would denote to see in the woods. One more prop which we used was the map in the office's white board, which we used to support the fact that the boss really is asking the protagonists to go on a business trip.
How did you create a realistic atmosphere?
To create the realistic atmosphere, we used different sections of the woods such as the river, the bridge, the entrance to the woods and the middle of the woods. We did this to create a realistic structured narrative. We used specific shots to highlight the location of where we were - for example, when Warren was running away from the killer, he jumped over the small river and we used medium and long shots to capture the actions in those particular areas. We dressed the actors in camping clothes for the audience to denote that they are outdoors and to reinforces the narrative structure. Contrasting the office room and the woods, we tried to vary the costumes here to make the atmosphere seem believable enough to be different due to the contrast between the business suits against the camping clothes.
Were there any difficulties you faced whilst creating your products? How did you resolve this issue?
While we were filming the trailer, some people were walking around, which is why we had to redo some shots to avoid an unprofessional film trailer. Another problem which we've faced was the weather and time - due to our tight schedules, we were only able to film on media times and sometimes even had to do some in our own time. This restriction brought up the issue of the us having to wait for the lighting to match or find any other place which has a suitable lighting to reflect our continuity editing.
Another difficulty which we had was that we filmed a torch scene, which was already included in the final product, after gaining feedback from our audience they have suggested that it is not necessary for a torch to be used in daylight. What we did to overcome this difficulty was to re-film the scene, which is the part where Muaadh was looking for Robert (me) in addition, we found that filming this was difficult because it was getting dark early. To resolve this we agreed to film at specific times when it was light in the day to maintain continuity in the time-span of the day.
As a group, our areas of skills were widened through each member having a skill in each specific type of media technologies. Warren was in charge of the video editing, Muaadh was in charge of the sound, while I was in charge of mainly the print media. Although each member had specific specialties, we still had to work together to get our coursework completed and in the best possible professionalism possible using our specific skills - each helping out on every angle of our work to give ideas.
As Warren was in charge of the video, we have agreed upon him being the director. Our decision upon him being the director wasn't for naught as he also had experience in producing low-budget music videos. What me and Muaadh did to help out in this part was to give ideas - from props to what angle we should include - just to increase the authenticity of our media product through the mise-en-scéne and apply the uses & gratification theory to the audiences and entice them to watch the full film.
Muaadh, being in charge of the sound, created the sound clips for us which we used for the trailer. We came to this conclusion by him having enough time to do the software needed.
What were you responsible for doing?
In the crew, I was responsible for mainly the print media designs and some acting and camera-work. I was also in charge of the storyboard planning and photographic experiment.
In terms of the filming, I was responsible for drawing and planning the storyboard and getting which camera angles we would have to use and taking part in some acting as one of the protagonists. I've also took some shots for the trailer such as the scene of Warren and Muaadh conversing. I feel like I've done my role good enough as our camera angles did vary and merge effectively. In addition, to create the authenticity of this project of ours being a realistic horror film trailer.
In terms of acting, you would've noticed in the film trailer that I was dragged. This scene had at least four takes since it was an important part in the trailer to portray the disruption of the equilibrium. We used Tzvetan Todorov's narrative theory because we wanted to convey the typical codes and conventions of a horror trailer as the majority of the trailer I've studies contained a disequilibrium in the middle of the trailer. The feeling of being dragged at least four times was quite intense since the ground's dirt hurt, and I had to try and keep my actions similar - I had to maintain facial expression to fit in the mise-en-scéne of the horror genre to make our film trailer seem realistic and entice the audience to watch the film.
My role in the storyboard planning was drawing and being able to work with my team mates on whatever techniques we agreed upon doing. With some photography experience, I had the main ideas upon which would actually work practically, and not only in theory to make the final trailer seem as professional as possible and add authenticity to our product. With my artistic experience, I was able to draw shots in the storyboard which were later on filmed.
In the print media, I designed the magazine cover and the film poster. My specialism in graphic designing is an advantage, which is why we've agreed for me to be in charge of the print designs. I've used graphic software such as Adobe Photoshop, Adobe InDesign and Adobe Illustrator to create a professional magazine front cover and film poster. In the magazine front cover and film poster, I've used a variety of graphic programmes to suit each job which they specialize in: using the accuracy of Illustrator in terms of vector designing, I created the film strips and other elements; Photoshop, with it's strong photo manipulation qualities, was used for photo manipulation such as cropping and image adjustments; while InDesign has been used, with it's accurate placement, for placing each element in our magazine together to create a professional finish.
What locations did you choose and why?
From the trailers I researched, I've observed that the majority of locations for horror film trailers were set in the woods. Films such as "Wilderness" and "The Hills Have Eyes" are some trailers which inspired us to base our syntagm's codes and conventions.
Since one of our issues would've been the weather and the time of the day, which has different lighting (unpredictable British weather), we thought of using the woods too, so that we can create the illusion of the woods looking the same to add authenticity to our media text.
The other location which we used was the boss' office. We thought of using a teacher's office in our academy to create the business feel to it and support the location's authenticity.
What props did you use in your trailer?
Props we used were quite minimal but specific. To compensate the horror genre, we used a variety of props such as the camping clothes, bags, etc. to portray that the characters are in an outdoor location and is at a different timeline to when they were in the office to support the narrative structure. Another prop which we used was the knife, which we added fake blood onto to symbolize the killer's weapon and signify danger to reinforce our trailer's genre of horror. To add authenticity and establish the narrative structure, we used two sets of props, which varied in the woods scene and the office scene - in the office, we added a map, business suits, a desk, paperwork, etc., these props symbolize a feeling of safety since it is indoors, while in the woods, we used logs and others which the audience would denote to see in the woods. One more prop which we used was the map in the office's white board, which we used to support the fact that the boss really is asking the protagonists to go on a business trip.
How did you create a realistic atmosphere?
To create the realistic atmosphere, we used different sections of the woods such as the river, the bridge, the entrance to the woods and the middle of the woods. We did this to create a realistic structured narrative. We used specific shots to highlight the location of where we were - for example, when Warren was running away from the killer, he jumped over the small river and we used medium and long shots to capture the actions in those particular areas. We dressed the actors in camping clothes for the audience to denote that they are outdoors and to reinforces the narrative structure. Contrasting the office room and the woods, we tried to vary the costumes here to make the atmosphere seem believable enough to be different due to the contrast between the business suits against the camping clothes.
Were there any difficulties you faced whilst creating your products? How did you resolve this issue?
While we were filming the trailer, some people were walking around, which is why we had to redo some shots to avoid an unprofessional film trailer. Another problem which we've faced was the weather and time - due to our tight schedules, we were only able to film on media times and sometimes even had to do some in our own time. This restriction brought up the issue of the us having to wait for the lighting to match or find any other place which has a suitable lighting to reflect our continuity editing.
Another difficulty which we had was that we filmed a torch scene, which was already included in the final product, after gaining feedback from our audience they have suggested that it is not necessary for a torch to be used in daylight. What we did to overcome this difficulty was to re-film the scene, which is the part where Muaadh was looking for Robert (me) in addition, we found that filming this was difficult because it was getting dark early. To resolve this we agreed to film at specific times when it was light in the day to maintain continuity in the time-span of the day.
Saturday, 14 January 2012
Questionnaire
The people who I’ve distributed my questionnaire onto are predominantly male to gain results from our trailer’s target audience.
The majority of the people who I’ve distributed my questionnaire onto are aged 15-17 to focus more on the opinions of our target audience.
Passively, we may have to include red and white to apply the uses & gratification theory and satisfy a wider audience.
Tuesday, 15 November 2011
Magazine Research & Ideas
Magazine Research:
These two magazines on top are some magazines which I've done research onto. To make my research relevant, I've thought of researching for film magazines to touch down the codes and conventions of real media texts and apply these conventions to my final magazine piece.
The "EMPIRE" magazine seems to include a film strip on the lower part to initially denotate that this magazine has something relevant to do with movies - this makes the audience recognise this signifier and relate it to a film magazine. The magazine's title is the same typeface as what EMPIRE's logo is to reflect the corporate identity and entice the loyal EMPIRE audience to purchase this magazine. This magazine's colour scheme is limited to possibly make the composition match as an artwork to make the viewers like the magazine's presentation. I could take note of this due to the fact that most magazines which I've seen limit their colour scheme. The main protagonist, Bruce Willis, is used in the main photograph - this technique makes the audience recognise an iconic actor, while at the same time, connotating that he is the main protagonist, together along with other actors behind him to apply the two-step flow theory and get anyone who idolises these celebrities to be enticed easier due to the celebrity endorsement.
The Tron magazine, as well as the EMPIRE magazine, has limited their colour scheme. To reinforce this idea, the design has added graphics around the front cover to symbolise the Tron world. Just like the EMPIRE magazine again, they've added the main protagonist on the photograph to make the viewers recognise quickly and using the two-step flow theory, for the audience to idolise these people on the front cover and become enticed. This magazine contains a gimmick, ""WIN! AWESOME PRIZES!" to make the audience feel like they are getting something from purchasing this magazine by having a deal.
Magazine Ideas:
The title of our magazine is 'Memory' which we've agreed upon by connoting it to death and remembering the bloody incidents which happened in the past, therefore "Memory". Memory, as a universal name, can also relate to different genres of movie reviews when used in the future.
In terms of pricing, we came upon our magazine to be £1.50 since our target audience are around the 15 year olds, they may not have that much money to purchase a much more expensive magazine. The magazine should be monthly as not much films are released too frequently.
In the magazine, according to my research of codes and conventions in movie magazines, our magazine title should be on top, preferably middle or top left. Although, with a long name, we've decided upon putting it on the middle to blend with the composition of film magazines. The font should be simple, but with the special horror edition, we could add signifiers of gore, horror, etc. such as blood splatters on the magazine's title, with the agreed colour of red to signify blood.
The main photo should contain a mid shot or a long shot of the three main protagonists with red eyes of the "monster" behind the trio showing the protagonists' facial expressions to inject emotion onto it and signify the genre of the magazine's main headline.
I plan on including a rhetorical question on the front cover such as "Will they all survive?" to entice the readers to look into the magazine and purchase it. Also, an additional celebrity endorsement for the actors can be done with lines such as "find out what they like about...", etc. to engage the viewers about the actors and purchase the magazine. Along the cover, I plan on including gimmicks such as special offers, and other films which will come out to widen the topic pool of the magazine and gain more audience.
The main target for our magazine are over 15 year olds, predominantly male. Our niche audience should be anyone who is interested in horror films, and possibly target people who are interested in rock, emo, metal, etc. music by being related to the featuring film's main genre, and add additional gimmick lines such as "See My Chemical Romance Live!", etc. to entice the audience of special offers, while at the same time, applying the two step flow theory onto it.
The "EMPIRE" magazine seems to include a film strip on the lower part to initially denotate that this magazine has something relevant to do with movies - this makes the audience recognise this signifier and relate it to a film magazine. The magazine's title is the same typeface as what EMPIRE's logo is to reflect the corporate identity and entice the loyal EMPIRE audience to purchase this magazine. This magazine's colour scheme is limited to possibly make the composition match as an artwork to make the viewers like the magazine's presentation. I could take note of this due to the fact that most magazines which I've seen limit their colour scheme. The main protagonist, Bruce Willis, is used in the main photograph - this technique makes the audience recognise an iconic actor, while at the same time, connotating that he is the main protagonist, together along with other actors behind him to apply the two-step flow theory and get anyone who idolises these celebrities to be enticed easier due to the celebrity endorsement.
The Tron magazine, as well as the EMPIRE magazine, has limited their colour scheme. To reinforce this idea, the design has added graphics around the front cover to symbolise the Tron world. Just like the EMPIRE magazine again, they've added the main protagonist on the photograph to make the viewers recognise quickly and using the two-step flow theory, for the audience to idolise these people on the front cover and become enticed. This magazine contains a gimmick, ""WIN! AWESOME PRIZES!" to make the audience feel like they are getting something from purchasing this magazine by having a deal.
Magazine Ideas:
The title of our magazine is 'Memory' which we've agreed upon by connoting it to death and remembering the bloody incidents which happened in the past, therefore "Memory". Memory, as a universal name, can also relate to different genres of movie reviews when used in the future.
In terms of pricing, we came upon our magazine to be £1.50 since our target audience are around the 15 year olds, they may not have that much money to purchase a much more expensive magazine. The magazine should be monthly as not much films are released too frequently.
In the magazine, according to my research of codes and conventions in movie magazines, our magazine title should be on top, preferably middle or top left. Although, with a long name, we've decided upon putting it on the middle to blend with the composition of film magazines. The font should be simple, but with the special horror edition, we could add signifiers of gore, horror, etc. such as blood splatters on the magazine's title, with the agreed colour of red to signify blood.
The main photo should contain a mid shot or a long shot of the three main protagonists with red eyes of the "monster" behind the trio showing the protagonists' facial expressions to inject emotion onto it and signify the genre of the magazine's main headline.
I plan on including a rhetorical question on the front cover such as "Will they all survive?" to entice the readers to look into the magazine and purchase it. Also, an additional celebrity endorsement for the actors can be done with lines such as "find out what they like about...", etc. to engage the viewers about the actors and purchase the magazine. Along the cover, I plan on including gimmicks such as special offers, and other films which will come out to widen the topic pool of the magazine and gain more audience.
The main target for our magazine are over 15 year olds, predominantly male. Our niche audience should be anyone who is interested in horror films, and possibly target people who are interested in rock, emo, metal, etc. music by being related to the featuring film's main genre, and add additional gimmick lines such as "See My Chemical Romance Live!", etc. to entice the audience of special offers, while at the same time, applying the two step flow theory onto it.
Friday, 11 November 2011
The Omen (2006) Media Promotions
Dissecting The Omen’s Media:
DVD Cover:
Being taught Media knowledge, I’ve noticed how the Omen has been successful. The box’s colour-scheme is in red, white, and black, which is a convention for horror designs. This semiotics also connotes blood, which symbolises gore, which relates to the horror genre. The child’s body is is desaturated and pixelated, leaving the eyes red, which connotates an evil inside of the child.
The evil typeface of the title comes in the horror conventions which signify that this DVD cover is of horror genre.
This DVD cover attracts the audience by adding the shades of red to the cover, which make it stand out from other DVD covers on a shelf since most DVD covers may have a black casing, and, with the Blu Ray Disks being commercially available in this year, a wide contrast between red and blue makes the DVD cover stand out even more.
Trailer:
The trailer, representing the horror film, The Omen, is a remake of the first 1976 The Omen film. Applying Jack Cohen's theory of moral panic, which states that when a crisis is in progress, the media tends to target a social group as the main problem stereotypically, 20th century fox possibly released this movie in this year to synergize with the panic of the stampede in the Stoning The Devil ritual which killed 362 pilgrims in the 12th of January, 2006. The institution possibly rushed the movie to intensify the fear of the devil by representing the devil in the movie.
Website:
http://omen2006.omenchronicles.com/
The Omen's website is actually linked to the other Omen chronicles, which allows the audience to be exposed to other Omen movies, enticing the audience further into the concept of the chronicles. With The Omen films including mystery around the story, the audience will want more after each movie, which is what made the 20th Century Fox produce episodes of the movie. To the extend where the The Omen chronicles' audience amount grew further together with the technology, the institution which held The Omen applied the uses & gratification theory by connecting the movies together to fulfill the audience's needs of finding the other movies, plus, saving the audience time of searching for the other The Omen films by collaterating them into a single place, which gives the audience a sense of product satisfaction, therefore, gaining the audience's loyalty and trust upon the institution.
The minimal design in the website creates a clear and easier user interface for the audience as the episodes of The Omen have a wide mix in their release dates, in where they contain elderly audiences which may not be as skilled as the modern generations, which therefore, widens their audience pool.
The website's colour scheme compliments the genre of the film, black, to immediately inject the fact to the audience that the website is of a horror genre relevance by the colour black being perceived by the people to be related to darkness, which is what the film is connected to.
DVD Cover:
Being taught Media knowledge, I’ve noticed how the Omen has been successful. The box’s colour-scheme is in red, white, and black, which is a convention for horror designs. This semiotics also connotes blood, which symbolises gore, which relates to the horror genre. The child’s body is is desaturated and pixelated, leaving the eyes red, which connotates an evil inside of the child.
The evil typeface of the title comes in the horror conventions which signify that this DVD cover is of horror genre.
This DVD cover attracts the audience by adding the shades of red to the cover, which make it stand out from other DVD covers on a shelf since most DVD covers may have a black casing, and, with the Blu Ray Disks being commercially available in this year, a wide contrast between red and blue makes the DVD cover stand out even more.
Trailer:
The trailer, representing the horror film, The Omen, is a remake of the first 1976 The Omen film. Applying Jack Cohen's theory of moral panic, which states that when a crisis is in progress, the media tends to target a social group as the main problem stereotypically, 20th century fox possibly released this movie in this year to synergize with the panic of the stampede in the Stoning The Devil ritual which killed 362 pilgrims in the 12th of January, 2006. The institution possibly rushed the movie to intensify the fear of the devil by representing the devil in the movie.
Website:
http://omen2006.omenchronicles.com/
The Omen's website is actually linked to the other Omen chronicles, which allows the audience to be exposed to other Omen movies, enticing the audience further into the concept of the chronicles. With The Omen films including mystery around the story, the audience will want more after each movie, which is what made the 20th Century Fox produce episodes of the movie. To the extend where the The Omen chronicles' audience amount grew further together with the technology, the institution which held The Omen applied the uses & gratification theory by connecting the movies together to fulfill the audience's needs of finding the other movies, plus, saving the audience time of searching for the other The Omen films by collaterating them into a single place, which gives the audience a sense of product satisfaction, therefore, gaining the audience's loyalty and trust upon the institution.
The minimal design in the website creates a clear and easier user interface for the audience as the episodes of The Omen have a wide mix in their release dates, in where they contain elderly audiences which may not be as skilled as the modern generations, which therefore, widens their audience pool.
The website's colour scheme compliments the genre of the film, black, to immediately inject the fact to the audience that the website is of a horror genre relevance by the colour black being perceived by the people to be related to darkness, which is what the film is connected to.
Monday, 3 October 2011
What factors influence the representation of British Youth in Media?
Influences in the British youth involve a varying number of areas which can affect stereotypes and the general representation of British youth. These factors include: current events, producers, TV programming, dominant ideology, institutions, news channels, films, trends and fashion, race and religion, age and gender, sexuality.
The current trends/context while in the production of a Media text can affect how the representation of the British youth is at this time. When the London Riots were being held, the Media gave a negative representation to the British youths to the audience, presenting them as being mindless looters, while the initial idea of the riots were to give the public awareness of their feeling of being left out. Factors which mainly affected this way of representation were when mostly the burning and looting were broadcasted, and minimal of the positive and/or calm approach of some.
The producers can give any type of representation they want to the audience using the people they produce. As some producers create reality shows, a part who do a fixed winning on who is the most marketable, while representing the some British youth in a way either negatively or positively in any way the producers want. Their main purpose for creation can also be to create a stereotype representation to the British youth, especially when the programme has just started due to the fact that the audience would perceive the characteristics of the character easier when viewing a stereotype, which also leads to maintaining the stereotype itself, which can cause problems when the stereotype is negative, such as how the majority of how the British youth is being represented today.
The current trends/context while in the production of a Media text can affect how the representation of the British youth is at this time. When the London Riots were being held, the Media gave a negative representation to the British youths to the audience, presenting them as being mindless looters, while the initial idea of the riots were to give the public awareness of their feeling of being left out. Factors which mainly affected this way of representation were when mostly the burning and looting were broadcasted, and minimal of the positive and/or calm approach of some.
The producers can give any type of representation they want to the audience using the people they produce. As some producers create reality shows, a part who do a fixed winning on who is the most marketable, while representing the some British youth in a way either negatively or positively in any way the producers want. Their main purpose for creation can also be to create a stereotype representation to the British youth, especially when the programme has just started due to the fact that the audience would perceive the characteristics of the character easier when viewing a stereotype, which also leads to maintaining the stereotype itself, which can cause problems when the stereotype is negative, such as how the majority of how the British youth is being represented today.
What responsibility does the Media have for or understanding of groups in society?
In terms of collected identity, the Media has a huge responsibility upon representing these groups to the audience. Audience can perceive a certain group by how they are represented while an individual would be of a different type of person to their audience pool. This could create clashes of beliefs to the certain people who have been represented.
An example of a big issue in collective identity being represented in media is the London Riots, where mainly hooligan hooded youngsters are the prime suspects who are also only mainly interviewed by Media and published. Due to this, Media corrupted other people’s minds to start up in aggression to how their social group has been described negatively. The BlackBerry Messenger, Twitter, Facebook, and other social networking providers have been hit the hardest due to the lack of publicity they’ve given to the Media for evidence of crimes in exchange for the personal details privacy of their users. Their responsibility in this is crucial due to the fact that they have to give out every person’s personal details, which can create a lack of trust to these companies from their customers.
“Identity is complicated – everybody thinks they’ve got one” – David Gauntlett. This quote shows that collateral representation can create social trespassing when conjuring images of a group of people who have a different identity, since everyone is unique, to the mass audience. Their responsibility in this is to carefully pick out the points, in terms of the character’s representations in mise-en-scene, camera, sound, etc., which can create less criticism towards the media.
Institutions such as the BBC are expected to represent every social group as they are being funded by TV licence. In terms of international group representation, this crosses legal terms in different areas of the world, which can criticise the company holding the media which represented this way. This event is made to happen less by the media gaining more information of not only the story, but the legal terms which apply in an area, also minding the audience they may be hitting, which can cause problems.
Once, Osama Bin Laden has been broadcasted sitting next to Bert, a Sesame Street Muppet. This raised criticism from the creators of Sesame Street. against the world-known terrorists. This collective identity can affect the Muppet negatively, while giving Bin Laden the initial representation of being powerful.
The Media's censorship is a must, but with growing technology, and the introduction of the World Wide Web, people worldwide can read leaked information, which the Media themselves can't stop.
An example of a big issue in collective identity being represented in media is the London Riots, where mainly hooligan hooded youngsters are the prime suspects who are also only mainly interviewed by Media and published. Due to this, Media corrupted other people’s minds to start up in aggression to how their social group has been described negatively. The BlackBerry Messenger, Twitter, Facebook, and other social networking providers have been hit the hardest due to the lack of publicity they’ve given to the Media for evidence of crimes in exchange for the personal details privacy of their users. Their responsibility in this is crucial due to the fact that they have to give out every person’s personal details, which can create a lack of trust to these companies from their customers.
“Identity is complicated – everybody thinks they’ve got one” – David Gauntlett. This quote shows that collateral representation can create social trespassing when conjuring images of a group of people who have a different identity, since everyone is unique, to the mass audience. Their responsibility in this is to carefully pick out the points, in terms of the character’s representations in mise-en-scene, camera, sound, etc., which can create less criticism towards the media.
Institutions such as the BBC are expected to represent every social group as they are being funded by TV licence. In terms of international group representation, this crosses legal terms in different areas of the world, which can criticise the company holding the media which represented this way. This event is made to happen less by the media gaining more information of not only the story, but the legal terms which apply in an area, also minding the audience they may be hitting, which can cause problems.
Once, Osama Bin Laden has been broadcasted sitting next to Bert, a Sesame Street Muppet. This raised criticism from the creators of Sesame Street. against the world-known terrorists. This collective identity can affect the Muppet negatively, while giving Bin Laden the initial representation of being powerful.
The Media's censorship is a must, but with growing technology, and the introduction of the World Wide Web, people worldwide can read leaked information, which the Media themselves can't stop.
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