GLOSSARY OF TERMS Media Production and Analysis Actuality … a code of realism that involves the recording of images and sounds on location as they actually happen. Actuality footage is used in many non-­‐fiction film and television genres, such as news, current affairs, and some documentaries that depict events, places and people in unrehearsed situations. Aesthetics … originally a concept associated with good taste, quality and an appreciation of beauty in art works. Aesthetics provided a language or discourse that allowed people to think about, discuss, compare and evaluate art according to given criteria, such as form, composition, texture, tone or contrast. Aesthetics in media may best be defined as techniques or codes that are used in a creative or innovative way to give pleasure to an audience. For example, the 2003 award-­‐winning documentary Travelling Birds allowed audiences to follow birds in flight over oceans, plains, cities and snowscapes. Audiences were enthralled by the beauty of the scenery, the patterns of movement and the detailed close-­‐ups. Aesthetic codes … codes that are used in media works to intrigue audiences and give them pleasure. Alternative reading … a reading that is different from the preferred meaning constructed by the media producer. Art films ... a term coined in the 1950s to describe foreign films as opposed to commercial films made in the Hollywood style. It had connotations of exclusivity and class. The term is used today to describe foreign films or independent, small-­‐
budget films. Art films may be experimental and less predictable than large-­‐scale commercial films. They are not promoted as widely and are exhibited in smaller art-­‐house cinemas. Associational editing … another term for ‘montage of attractions’, a style of montage developed by Sergei Eisenstein in the 1920s; unrelated images are juxtaposed to create a meaning (or metaphor) that is not inherent in any one image. Attitudes … a feeling, opinion or way of thinking and talking about something; discussions, debates and arguments are shaped by our attitudes, and attitudes in turn are shaped by our experiences and values. Audience reach ... the distance over which messages can be communicated to audiences. Audio codes … are sounds such as dialogue, music or sound effects that work with other codes to create meaning in films, television and electronic media. Auteur … a film director who has a distinct style and is seen as the prime creator of a film. Traditionally the studio-­‐based Hollywood system gave little scope for the auteur. Contemporary film directors Quentin Tarantino, Woody Allen and the Coen brothers are referred to as auteurs. Avant-­‐garde ... a term used to describe artists in any form who are at the cutting edge of experimentation and innovation; they challenge traditional ideas and methods and often push the boundaries of what is acceptable. Andy Warhol was regarded as an avant-­‐garde filmmaker in the 1960s because his film narratives broke away from conventional structures, themes and styles. © Julie Keane and Jan McMahon 2013 Avatar GLOSSARY OF TERMS Media Production and Analysis … a computerised character in the virtual world. Back story … a secondary or background story which adds another layer of complexity to the narrative and its characters. Binary oppositions … two opposing concepts that provide the basis for conflicts around which narratives are developed. Opposing concepts such as good/evil, urban/rural and peace/violence are examples of binary oppositions. Biopic …a filmed biography; a dramatised film based on the life of a real person. Recent biopics include Walk the Line (Johnny Cash), Capote (Truman Capote), The Motorcycle Diaries (Che Guevara) and Ali (Mohammed Ali). Blockbuster …a term used to describe a high budget commercial film that must attract a huge audience in order to return a profit th
to its investors. For example, Titanic was the most expensive film made in the 20 century; it cost over $US200 million to make, it took $US600.788million at the box office and was ranked as #1 blockbuster for all time until Avatar overtook it in 2009. Blog …a term used to refer to a website or to the uploading of information or opinions on the internet; a person who maintains a weblog is called a blogger. Box office …the sale of tickets to a film at the cinema; producers measure the success of a film by the number of tickets sold at the box office. Broadcast … the transmission of information over a wide area. In Australia ‘broadcast’ has traditionally been associated with radio and free-­‐to-­‐air television which broadcast programs via the airwaves as opposed to cable television (which transmits via a wire or cable) and narrowcast (which transmits over a limited area to a select audience). Satellites have extended the potential for radio and TV networks to broadcast their programs across the country and to other parts of the world. Budget …a projection of the costs and revenue expected to be involved in running a media organisation or producing particular media works. Censorship …the practice of examining the content of different media forms to ensure that it meets set moral guidelines. Different government bodies are responsible for checking different media forms. For example, the Classification Board is responsible for checking films, DVDs, publications and computer games, using guidelines approved by Federal and State Government ministers. Cinéma Vérité …a French term meaning ‘film truth’, translated from the term kino pravda used by the Russian filmmaker Dziga Vertov in the 1920s. Cinéma vérité is closely related to actuality in that it involves filming non-­‐actors in real situations. In the 1960s film directors of the Cinéma Vérité movement wanted their films to appear more spontaneous and authentic. They used lightweight, hand-­‐held cameras and portable sound equipment that were unobtrusive and did not over-­‐awe the subjects. They shot everything on location and did not follow a script. Today cinéma vérité is used as a technique in news stories and documentaries, adding a sense of immediacy when something unexpected is captured on camera. © Julie Keane and Jan McMahon 2013 Citizen journalist GLOSSARY OF TERMS Media Production and Analysis …a person who is not employed as a journalist but who posts news and opinions on-­‐line. Classification …a system of determining the suitability of films, DVDs, publications and computer games for different age groups. Codes … signs used to construct meaning in media texts. Codes can be decoded but may have different meanings for different people. Codes can be technical, symbolic, written or audio. Commercial media … business organisations that are expected to run at a profit, such as West Australian Newspapers, Channels 7, 9 and 10; paid advertising covers most of the production costs incurred in commercial media. Conflicts …involve the characters in a narrative being placed in situations that cause them tension; situations might involve inner conflict, conflict with nature or conflict with other characters. Connotation …refers to the deeper or symbolic meanings associated with an image. A single image may have different connotative meanings because of the knowledge and cultural experiences that different readers bring to their interpretation. Constraints …factors that limit what can be done in particular situations; time, budget, ethics and employer expectations are just some of the constraints that influence decisions made during media production. Content …the stories or messages produced and distributed by different media forms. Context …refers to the time, place and circumstances in which media messages are produced and consumed. The context may include historical events, cultural, social and technological trends, and economic or political factors. Continuity …a continuous or clear sequence of images or movement in a film or television sequence. Continuity editing involves placing shots in a logical and coherent order to create a seamless narrative. Controls …laws or rules that are imposed by an authority and have an impact on the media industry and those who work in it; regulation and self-­‐censorship are the two main types of media controls. Conventions …accepted ways of doing something; for example, ways in which codes are used to construct meaning. Convergence … the interrelationship and interaction between traditional and digital media. Copyright …laws that protect the creators of original works, by restricting others from using any part of those works. Culture … traditions, beliefs and values that make a society distinctive. © Julie Keane and Jan McMahon 2013 Culture jamming GLOSSARY OF TERMS Media Production and Analysis … the act of constructing an alternative meaning for an existing message, logo, billboard or brand name; culture jamming is often a form of protest or political action. Cultural imperialism …a term used to describe the dominance of one culture over another. Through cultural products such as film and television programs a predominant value system is spread around the globe. Cultural imperialism is often associated with the United States because of its dominance as a world power and because its culture has spread to other countries through the media it produces. Deconstruction …breaking down a media text into smaller parts or elements; for example, identifying and interpreting how codes are used to construct meaning. Demographics …a term used to describe the study of populations. It involves finding out such things as where people live, their age, general income bracket. Advertisers use demographics to find out details of audiences so that they can target them more accurately. Depth of field …refers to the depth of focus in an image. The amount of information in focus will vary according to the type of lens that is used, the distance the subject is from the camera and the amount of light. For example, a long shot using a wide angle lens in full sunlight will have the deepest depth of field (everything in focus) while a close up taken with a telephoto lens will have shallow depth of field (only a small amount in focus). Denotation …the surface or literal meaning of an image; what is actually seen. Digital story …a narrative sequence that uses digital images, graphics, music and/or narration. Discourse …refers to a set of assumptions made about a subject or topic. These assumptions provide a framework for a way of looking at and talking about that subject. Discourse is therefore an interactive process that allows people to communicate about a particular subject. It both defines and limits what is said about that subject. Discourses are specific to particular social and historical contexts and they change over time. For example, discourses about men and women have changed as social changes have brought about a shift in gender roles. There will be multiple discourses circulating about any one topic, reflecting the multiple ways that people think about social or cultural issues. We all have a range of discourses that we use in different situations. The strongest discourses in a society revolve around power as they represent the views of those strong enough to have a voice. Diversity …refers to ‘difference’ – diverse audiences and diversity in the media: audiences are made up of many different subcultural groups who may have different cultural backgrounds, interests and beliefs; diversity in the media means the provision of different platforms, different channels of information, different programs and products – thereby catering to the diverse interests of audiences. Documentary …based on the word ‘document’; something that is associated with fact, reality and authenticity – non-­‐fiction rather than fiction. Documentaries are a genre of photography, film, television, radio, print and on-­‐line media. © Julie Keane and Jan McMahon 2013 Editing GLOSSARY OF TERMS Media Production and Analysis …the process of sequencing or assembling images and/or sounds to convey meaning. Ethics … a set of moral principles that guides the actions and decisions of individuals and groups of people. Expressionism th
… a popular movement that influenced all of the arts in Europe in the early 20 century. Early expressionists chose to abandon realism in their work and instead sought to express themselves and their view of the world through their art. Expressionism in film is a style more concerned with expressing abstract feelings, moods and emotions than using the codes of realism. Stories involve damaged people caught up in unfriendly environments, and they seldom have happy endings. Alienation and fear are expressed through the distortion of codes such as exaggerated camera angles, deep depth of field, low-­‐key lighting and deep shadows. Film noir … a French term meaning dark or black film. It is used to describe a particular style of downbeat suspense film that grew out of the expressionist movement that emerged in Germany after World War I. The noir style became popular in the US in the 1940s and 50s, perhaps reflecting the uncertainty caused by World War II, the Cold War and the McCarthy attacks on Communism that resulted in the suppression of civil liberties. Film noir is characterised by flawed characters, crime and pessimistic themes; happy endings are not the norm. Form …another word for medium or platform; form refers to the total system of communication in specific media: the technologies, production practices, audience and the context in which the form is used. Framing …media producers position viewers to see information in a still or moving image in a preferred way. What the viewer sees is determined by what is seen through the camera: shot distance, camera angle, rule of thirds, leading lines, foreground ‘frames’ and the choice of lens can all be used to include or exclude information, or direct the viewer how to look at the subject. French New Wave … an avant-­‐garde group of French filmmakers in the 1950s and early ‘60s who developed the idea of the Director as the key element or auteur in film production. Genre … a way of classifying or categorising media works based on similar patterns. Narratives within a genre have similar characteristics and elements – similar types of stories, structures, themes or conventions. Global village … a term coined by Marshall McLuhan in the 1960s. McLuhan wrote about the spread of new communications technologies that were bombarding people throughout the world with information. Electric circuitry profoundly involves men with one another. Information pours upon us, instantaneously and continuously. As soon as information is acquired, it is very rapidly replaced by still newer information… The new electronic interdependence recreates the world in the image of a global village. McLuhan (1967 pages. 63, 67) The term ‘village’ has positive connotations in our technological world. McLuhan was suggesting that the global village represents a close and harmonious community that has the potential to break down national barriers and create a better world. Globalisation …the term used to describe changes that have taken place in societies and the world economy because of dramatically increased international trade and cultural exchange. Barriers between countries have been broken down and what happens in one country has an effect on other countries. © Julie Keane and Jan McMahon 2013 GLOSSARY OF TERMS Media Production and Analysis Globalisation has an economic, political, and cultural impact on all societies. A key aspect of globalisation is the rapid advance of technologies, particularly in the area of communications. For example, satellite transmission and computer technologies have allowed instant communication and reporting of world events on a global scale. Hegemony …a concept used to describe how people accept the dominance of powerful groups whose view of the world is imposed on the rest of the population. Hegemony comes into being through institutions that carry authority – the government, the law, the education system, the media. The interests and values of people within these institutions are represented in such a way that they appear to be sensible and for the good of everyone. High culture ...refers to traditional ‘elite’ ways of thinking and talking about artworks; artworks have traditionally been judged in terms of ‘value’ or ‘worth’. Icon/iconic …a word used to describe anybody or anything that is admired or held in high regard by most people in a society. Ideology … a set of ideas, beliefs, values and practices that allow a society to function in an organised way. Individuals grow up within an ideology that is shared by many people in the same culture and this ideology shapes many of their beliefs and values. A shared ideology makes their way of life appear to be right and natural and is seldom questioned. It enables people to make important decisions about how they will conduct their lives, how they respond to things that are happening in the world, what they value and what they strive for. Values depicted in the media stem from ideologies. Representations of race, class and gender incorporate the views and values of dominant groups in society. For example, the values of white, wealthy, educated males are reinforced in Australian mainstream media while the values of marginalised groups are given little attention. Independents …smaller producers of media who are not aligned with any of the large media institutions; for example, some radio stations, independent filmmakers, citizen journalists and bloggers. Intellectual property …somebody’s original work or creation that cannot be claimed by others. Intertextuality …refers to the inter-­‐relatedness of media works. No media text is unique. Media producers draw their ideas from other texts produced over time in a range of different media forms. Similarly, audiences or readers draw on their knowledge of media works to make sense of any new media text they experience. Sometimes the elements that make up a media text are deliberately chosen to comply with a particular style or the patterns of a known genre. Other texts are adaptations of works that have already been produced; the narrative is similar but changes are made to suit a new media form or to adapt to the changing values of audiences. For example, the various film re-­‐makes of the Pygmalion story (My Fair Lady, Educating Rita, Pretty Woman) have the same theme (a young woman is taught how to hold her head high in society) but their situations are different (a flower-­‐seller, a working class woman with a hunger for learning, a prostitute) to reflect the different cultural contexts in which they were produced. Juxtaposition …contrasting images, sounds or ideas that are placed together to create new meanings: for example, a caged animal might be juxtaposed with a shot of the jungle to suggest the plight of the animal. Linear time/narratives … the chronological sequencing of events in a media narrative. © Julie Keane and Jan McMahon 2013 Mainstream GLOSSARY OF TERMS Media Production and Analysis …refers to audiences, culture, media and values: mainstream audiences are mass audiences; mainstream culture is embraced by most people in society; mainstream media are the forms, programs and media products that most people use and enjoy; mainstream values are things that most people believe to be important. Making meaning …how the reader makes sense of a media text; readers draw on their cultural background, previous experiences, beliefs and values when making meaning. Marketing … the promotion of media products through different media platforms. Master shot …a long take in which a single scene is filmed to cover all of the action. The scene is then re-­‐shot using a variety of close-­‐ups and different camera angles. This enables the editor to insert shorter shots into the master shot without any break in continuity. For example, in a fight scene the master shot will cover a whole scene but the final sequence will include close-­‐ups, cutaways and different camera angles. This will involve the audience in the action and also reduce the length of the sequence. Mediation … the processes whereby information is selected and reconstructed before being transmitted to audiences. Everyone who works on a media production helps to construct or mediate the story, and as a result audiences receive a mediated version of what actually happened. Meme … a unit or condensed image that spreads an idea or cultural message via the internet. Metaphor … a figure of speech whereby something familiar is used to explain an unknown concept. The metaphor might be a word that is familiar to most audiences; for example, to describe someone as ‘pig-­‐headed’ immediately conjures up an image of a creature that cannot be moved. Alternatively, the metaphor might be a visual image or a sound; for example, thunder and lightning might be a metaphor for a stormy relationship. Metaphors are therefore a very powerful way of communicating something abstract in a vivid way, and they are part of the language of the media, particularly in television and advertising. For example, motor vehicle commercials often use images of animals such as cheetahs or buffalo to suggest that their vehicles are fast or powerful. Mise en scene …refers to what is ‘put in the scene’ (pronounced meez on sain). It was first used in the theatre to describe how the props and actors were arranged on stage. In film, mise en scene refers to all of the elements that are used to construct a scene. For each shot within the scene, the elements include technical codes, set design and props, the position and movement of characters, costumes, lighting and audio codes. Mise en scene is used to great effect to give the audience information, to evoke a particular response from them, or to invite them to participate in the film. Misrepresentation …the deliberate misuse of information by journalists. © Julie Keane and Jan McMahon 2013 GLOSSARY OF TERMS Media Production and Analysis Mode of address …refers to the way that a media text is constructed to address or speak to an ideal viewer or target audience. The mode of address is used to connect with the shared experiences, values and attitudes of the target audience. Codes and conventions are selected to engage the audience and reinforce the preferred meaning. For example, the cover of a women’s magazine will address its female target audience through the use of well-­‐known stars or models who look directly at the camera as if to share their secrets with the reader. The written text further enhances the personal nature of the stories in the magazine, and is written in a style that the reader will find intriguing. Monopoly …refers to complete or exclusive ownership by one person, family or company. Montage …is the cutting and sequencing of shots in a film or TV sequence to manipulate time, space, pace and mood. Two pioneers in the development of montage were DW Griffith and Sergei Eisenstein. Griffith developed montage as a narrative device – a way of cutting shots so that the story appeared to be ‘seamless’; that is, separate shots flowed together and appeared to be natural. Only relevant shots necessary to the story were selected and they were sequenced in such a way that time could be condensed, it could be drawn out to build suspense, or parallel time and actions could be shown. Montage also had the effect of increasing screen ‘space’ by showing different perspectives of the action. Eisenstein experimented with montage using it as an expressive device. In his ‘montage of attractions’, Eisenstein sequenced contrasting shots in such a way that their juxtaposition expressed new symbolic or metaphorical meanings. Morphing … the process of transforming one image into another. It is a special effect used in movies and animation to change (or morph) one image into another through a seamless transition. Multiculturalism … a society that is made up of many different ethnic or subcultural groups. Mythology …refers to the stories and concepts through which a culture expresses its identity. Myths are based in tradition and are seen as a natural expression of ‘the way we are’. Ideology has been described as a collective myth (Moon 2004 p 93). In other words, a collective myth is a traditional set of ideas that we draw from when thinking about groups of people or particular subjects. Even when that set of ideas is no longer valid, we still tend to draw on the mythology rather than our knowledge of the way things really are. For example, popular Australian myths revolve around the bush – yet most Australians live in cities and suburbs. Narrative …a story or sequence of events involving settings, characters, conflicts and resolutions. Narrowcasting … opposite in meaning to broadcasting. While broadcasting involves the transmission of radio and television over a vast distance to a very wide audience, narrowcasting transmits programs to a smaller local audience. Naturalisation …a process whereby a repeated representation becomes accepted as natural – ‘the way things are’. © Julie Keane and Jan McMahon 2013 GLOSSARY OF TERMS Media Production and Analysis Neorealism … a style of realist filmmaking that emerged in Italy at the end of World War II, in large part due to the destruction of Italian film studios during the war but also fired by the anti-­‐fascist movement. Italian neorealist films featured political themes such as freedom, liberation, class and racism and they focused on the plight of ordinary people. The black and white films were characterised by non-­‐professional actors, location shooting and hand-­‐held cameras. Network ...an infrastructure that allows media to be transmitted from a central location to many different parts of the country. Commercial television, the ABC and SBS have their own networks and transmit their programs throughout Australia. Niche …refers to a small group of people, an audience who shares special interests. Non-­‐linear time/narratives …the events in a narrative are not sequenced in chronological order; for example: a film might begin with a dramatic confrontation, then flash back in time to gradually reveal what might have caused this dramatic situation to happen. Oligopoly …refers to ownership and control of the media by very few people or companies. Oppositional reading …refers to a reading of a media text that is in direct opposition to the preferred meaning constructed by the producer of the text. For example, although most audiences at the time loved the Cinderella ending of Pretty Woman (Vivian is rescued from her life of prostitution by suave businessman Edward), feminists were appalled. Kathi Maoi wrote: …if Vivian is swept away in a romantic solution controlled by Edward, then even the power to control her own sex work could be lost to her. She will be the exclusive property of a man who no longer needs to pay her anything. (Maoi, p.14) Pop art …a term first used in the 1950s to describe a new trend whereby artists used everyday objects and images in their work to reflect what they saw as the clutter of consumerist society. For example, Andy Warhol created paintings using images of soup cans, Marilyn Monroe and Mickey Mouse. Other artists used a range of tools, comic book images, labels and machinery. Popular Culture …the culture of the people: the shared stories, activities, pastimes, lifestyle trends, media and artefacts that give people pleasure. Post-­‐production … the final stage of a media production, which may involve editing, sound dubbing, titles and special effects, layout and presentation. Preferred meaning …is the meaning constructed by media producers. Whether producers set out to inform, persuade or entertain, the intention is to convey a clear message. They select codes and use them in conventional ways to construct a preferred meaning and they expect audiences to recognise those meanings and respond in a predictable way. For example, an advertisement for a beach holiday resort might use images of blue water and white sands, fun activities, comfortable accommodation and perhaps a candlelit restaurant. Headlines, slogans and other written text proclaim the wonderful features of the resort. Most readers will recognise the ‘preferred meaning’ and some will consider making a holiday booking. © Julie Keane and Jan McMahon 2013 Pre-­‐production GLOSSARY OF TERMS Media Production and Analysis … the first stage of a media production, involving all of the planning and documentation that takes place before production gets under way. Production …the second stage of a media production, involving such processes as the recording of images and sounds, the production of printed material or the creation of websites or advertisements. Propaganda … the organised production and spreading of information and opinions in order to indoctrinate people or make them accept a particular point of view. The accuracy of the information is often questionable. Instead of presenting a balanced view, persuasive techniques are used to represent a one-­‐sided view of issues, policies or institutions such as political or religious groups. For example, propaganda is a strong weapon used during war-­‐time; countries paint a grim picture of the other side in order to rally support for their own cause. Ratings … a system of measuring how popular radio and television programs are with audiences. The figures of high-­‐rating programs can be shown to potential advertisers to persuade them that their products will be seen by large audiences if they pay to advertise at that time. Reader … the person or audience who receives and makes sense of media messages or media texts. Realism … a style used when constructing narratives to make the story appear real and believable. Realism must not be confused with reality. Nothing in the media is real – everything produced in the media is a representation of reality. Codes of realism are codes used in conventional ways that audiences have come to accept as realistic. For example, the movement of a camera through a scene takes the viewer into that scene; montage involves the viewer in action on screen by cutting together multiple perspectives of that action; audio comes from different sources both on and off screen. Re-­‐enactment …setting up a shot to repeat an action or recreate a historic event. Police often set up re-­‐enactments of a situation to jog people’s memories and help them to solve a crime. Re-­‐enactments often appear in news and documentary programs. Representation … the construction or re-­‐presentation of a person, place or event from the viewpoint of the media producer.
Resistant reading … a reading that is in direct opposition to the preferred meaning constructed by the producer. Resolutions … conflicts in narratives need to be resolved in a way that is satisfying to audiences; it is conventional in fictional narratives for good deeds to be rewarded and for unacceptable behaviour to be punished. Revenue … the amount of money received by media companies from investors, advertising, grants or the sale of media products. Revenue (or income) is needed to pay the costs of setting up production facilities and the day-­‐to-­‐day running of the media organisation. Revenue must be greater than expenditure if a profit is to be made. Rhetoric … the practice of using language to persuade or influence others. The media are highly rhetorical: they use influential people and a range of visual and audio codes to create a persuasive message with a preferred meaning. © Julie Keane and Jan McMahon 2013 Selection process GLOSSARY OF TERMS Media Production and Analysis …refers to the choices and decisions made by the creators of media works to shape a story. The process involves the selection of such things as theme, style or genre, narrative structure, narrative elements, and a range of codes and conventions. Self-­‐censorship …rules put in place by professional media bodies to guide employees as to how they should act ethically in the course of their work. Semiotics … the study of signs, involving the analysis of how meaning is produced by the various sign systems that make up the language of the culture. It is assumed that people within the same culture share an understanding of the signs and codes that allow communication to take place.
Settings …establish the time and place in which media narratives take place; the setting gives clues to the audience about what they might expect of the story. Stereotype … an over-­‐simplified representation of a group of people. The group is endowed with a set of characteristics that, through repetition in the media, come to be seen as representative of all people in the group. Once established, stereotypes are easily recognised by audiences so producers use them as ‘short cuts’ when constructing media narratives. Storyboard … a visual script which outlines the sequence and type of shots to be used in filming a narrative. A series of frames or panels is used to illustrate and describe each shot. Studio system …a system whereby Hollywood film studios from the 1920s to the late ‘40s controlled all aspects of film production: production, distribution and exhibition. The studios expanded the distribution and exhibition of their films to other countries like Australia; their takeover of Australian cinemas caused local film producers to founder as they had nowhere for their films to be screened. Sub-­‐cultures … groups within the main culture who share the same interests, beliefs or values. Surrealism … the expression of thought processes and the random associations that are made in dreams. Surrealism is not guided by reason, logic or morality. Surrealist films deliberately break the codes of realism. As in a dream, there is no logic in the structure of the narratives and the viewer is often disoriented, not knowing what actually happened in the film and what took place in the imagination of the characters. Symbolic codes …elements within the film or photographic image that signify deeper meanings, such as settings, objects, body language, clothing, colour or lighting. Synopsis …a brief outline for a film or television series, describing the plot, characters and setting. © Julie Keane and Jan McMahon 2013 Technical codes GLOSSARY OF TERMS Media Production and Analysis …techniques used by the photographer or filmmaker to position the viewer to see the subject in a particular way; for example, framing techniques, lighting, shutter speed, juxtaposition, camera movement or montage. Some technical codes can also be used to carry strong symbolic meanings. Technologies …before the invention of media technologies, communication was for the most part limited to face-­‐to-­‐face contact; continued developments in new technologies have led to new media forms and the instantaneous transmission of communication to all parts of the globe, both at the professional and personal level. Telephoto lens …is a lens with a long focal length that acts like a telescope to magnify distant objects or make them appear closer to the viewer. It creates a narrow view of the subject and reduces the depth of field in an image.
10BA … a tax incentive scheme implemented by the Australian Government in 1981 to encourage investment in Australian film and television production. Text … another word for a media product or body of work. Media texts are constructed using a system of signs (words, images and sounds) that are recognised by people within a culture. Traffic … the number of people who visit or use a website. Trends … new directions or things that become popular or fashionable, embracing new ideas, products or pursuits. A trend begins as a novelty which catches attention because it is different; some trends are short-­‐lived while others survive and enrich our popular culture. Values …what people believe to be important or to which they give priority. Values might refer to attitudes and beliefs, ways of behaving or to material possessions.
Verisimilitude … the appearance of ‘truth’ in a media narrative; for example, characters, performances, settings and situations will carry a high degree of verisimilitude when they comply with what audiences expect. Voyeurism … a term used to describe the pleasure gained from looking at someone or something from a hidden position. As unseen viewers who gain pleasure from watching the actions of characters on screen, media audiences are positioned to be voyeurs. This is particularly true of film. Whereas television characters often speak directly to the viewer, film actors seldom acknowledge the audience. When this does happen the voyeuristic relationship is broken. In most films, the audience sits in the dark as if looking through a lit window at characters sharing personal relationships and apparently private experiences. Wide angle lens A wide angle lens is a lens with a short focal length that gives a very wide view and increases the depth of focus in an image. It distorts perspective by making objects seem further away from the viewer, thus exaggerating the comparative size of close objects and the strong angles formed by perspective lines. Written codes …the choice of words, how they are arranged, font style and size all add meaning to a film or photographic image. © Julie Keane and Jan McMahon 2013