16 Textual Investigation 2 - Sound analysis

Learning objective: 
To identify the technical codes of sound within moving image texts
To develop analytical skills in examining audio in a media text

Key words: 
Diegetic, non-diegetic, voice over, sound bridge, synchronous, asynchronous, contrapuntal.

It is important that you can identify the different sounds within the text you are investigating using media terminology.

Task 1: 

Orange books, note down  Sound Terminology and meaning as discussed in class.

DIEGETIC

A sound that is part of the film world and usually heard by those in it. Music on a jukebox in a cafe or doors opening for example.

NON-DIEGETIC

A sound which is added later during editing for effect and therefore cannot be heard by those in the film world. Voice over narration, soundtrack or theme tunes for example.

MUSIC

A soundtrack added during editing and the sound and tone can affect the meaning of the scene and appeal to audiences of that genre.

ASYNCHRONOUS SOUND

Sound which is in the world of the text but the audience cannot see it being produced therefore it has greater significance. The sound of footsteps but we are not shown the feet walking.

SYNCHRONOUS SOUND

Sound which is directly matched to a moving image. The term is used in two ways in different sources:

-    Sound recorded at the same time as the images – for example, dialogue spoken by the actors on set. This does not include any sound added in post production.

-    Sound which appears to the audience to come from the scene, whether or not it was actually recorded with the images. Thus includes post-synched dialogue, sound effects and Foley. Also known as parallel sound. Footsteps for example.

SOUND EFFECTS

Usually added to film in post-production, they may be used to build up ambience or reinforce action.

SOUND BRIDGE

Film and TV editing technique in which visual cuts are deliberately not matched with audio cuts. For example, the editor may cut to a completely new scene, but allow sound from the preceding scene to run on for a short time. Alternatively, we may hear the sound of the next scene before we see it.

VOICE OVER

A type of non-diegetic, asynchronous sound in which the audience hear a voice that does not have a source either within the frame or within hearing distance, and which is not heard by the people on screen. Voice overs allow us to see things from a particular character’s point of view

CONTRAPUNTAL SOUND

Sounds that do not easily match the images they are accompanying, or even go against them. This can have a disorientating effect upon the audience and make them question what they are seeing.

Task 2:
Using the handouts provided, identify and analyse the sound types within the text you are investigating for your essay. 

Task 3:
Complete the Audio Technical Codes Test. (homework to be submitted on Thursday)

Year 11 Written task success criteria
Knowledge of the concept of genre/narrative/representation
Awareness of relevant theories
Demonstrates knowledge of the convergent nature of contemporary media
Use of media terminology/key words
Quality of written communication

16 Textual Investigation - Key terms

Learning objective:
To apply key terminology and words to a written investigation based on Narrative or Representation.

Key words:   linear narrative, Split-screen narratives: Three-strand narratives: 
Flexi-narrative: Flashbacks, Point-of-view shots,  Apparently impossible positions,  Privileged spectator position, Enigma codes,  Action codes

With linear narrative, the audience is introduced to the hero/heroine and the world in which he/she lives. Then that world is disrupted. Linear narrative was an idea considered by the theorist Todorov; he decided that the narrative progressed through certain chronological stages:

Split-screen narratives: this technique often occurs in television drama whereby the screen is split into three or four sections with different narratives going on in each small screen

Three-strand narratives: this is a common narrative technique of regular television crime dramas.
At the beginning of the programme three narratives will be introduced, e.g. continuing tensions between colleagues, the investigation of a case that started in a previous episode and a case that is new for
that particular episode. As the programme develops the narrative strands interweave until the final conclusion. One of the strands may continue into the next episode and the others may finish in this episode. This will attract both loyal and ‘one off’ viewers.

Flexi-narrative: this is a more complex narrative structure with layers ofinterweaving narratives. This technique challenges the audience and keeps them watching. There will be twists and turns andsurprises, and characters will become more complex. A good example is The Killing where the audience is led along various narrative lines. At the end of each episode, there is always a surprise or a narrative twist which challenges what the audience assumed. This use of a cliffhanger encourages them to watch the next episode

Flashbacks are used to give the audience additional information. They may also involve viewers with a
character by showing them aspects of the character’s past which contribute to their understanding of the narrative. They are also a means of manipulating time and space within the narrative, for example, Life on Mars.

Point-of-view shots allow the audience to see the action from different perspectives. The camera may position the audience as the eyes of the murderer or the victim or may move between the two in order to
build tension.

Apparently impossible positions give the audience a view of the action from an unusual position, for example, in the air or from behind a wall. Audiences tend to accept this view if the narrative itself is believable, as this enhances their involvement. In crime dramas you may be watching the crime from above.
This clearly increases the tension of the scene.

Privileged spectator position places viewers in a superior position within the narrative. The audience is shown aspects of the narrative that other characters cannot see. For example, a close-up showing a character taking a knife out of her pocket. The audience can then anticipate the action that follows later in
the narrative.


Enigma codes are used in both moving image and print texts. In television crime dramas the camera may only show some of the narrative, leaving the audience with unanswered questions. This is part of the
appeal of a crime drama, as the audience will enjoy solving the crime.

Action codes are shorthand for advancing the narrative quickly. The packing of a suitcase signifies a journey; the placing of a gun in its holster suggests action.

Voice-over is used to move the action on or to fill in missing information. 

15 Textual Investigation 2 planning Spidergram

Learning objectives:
To plan successfully for the second textual investigation by creating a spider diagram.

Key words:

The exemplar work that we assessed should be your yardstick for this aspect of your coursework.
Consider the structure and content of the successful work and create a spider diagram which incorporates your ideas.

For example, the piece on Katy Perry's website concluded that it conformed to conventions as the mainstream target audience was young women who would aspire to be like to image portrayed of Katy on the site. The concept for this piece is Representation.

The structure of the piece (400 - 850 words):

Intro to KP's work
Description of her personality/behaviour (mischievous)
Description of her appearance

A quote from a theorist was used to clarify a point.

Codes and conventions of websites described using media terms; masthead, font, connotations of colour.

A description of the visuals indicated how the text tries to attract the target audience.

Mise en scene, iconography included.

Organisational issues discussed. Advertising on the site.

Comaprison with eminem's website

eminem's target audience discussed with the work of eminem.

Contrast of the two sites KP and eminem

Conclusion that KP's target audience is women so women are represented positively through conforming to genre conventions.

Narrative concept applied to CSI New York

The textual investigation based on narrative is equally successful with a relevant comparison and good use of media terminology.

The structure of the piece (400 - 850 words):

Media terms are used to describe the opening of the show which includes a wedding.
Equilibrium - Todorov's theory
Camera shot types for audience positioning

The disruption of the wedding provides an enigma which will hook the audience
Audience appeal is defined with how this can lead to revenue through advertising.
(organisations).

CSI New York is compared to Hustle and another description of how the show will bring in revenue.

Audience theory is used (Uses and Gratification theory)

The type of narrative used for Hustle is explained. Multi.

A description of the camera work is followed by a suggestion that it is conventional for the genre.

Crime drama conventions in general are described.

Iconography within the genre is explained.

The conclusion discusses how conforming and challenging the conventions of the narrative structure for the genre can be equally successful.

Task 1:
Create a spider gram which explains your ideas for the textual investigation.

Consider the points raised in the above investigations and show what texts you will analyse and compare with.

Here is a spider diagram. Yours should look like this.

15 Textual Investigation 2 exemplar

Textual Investigation 2

Learning objectives:

• To grade examples of textual investigations using mark schemes.
• To agree on a concept, narrative or representation, and a title for Textual Investigation 2.
• Key words: 

• Analysis of narrative or representation within a TV advert will be good practice for the exam.
• You could also choose to investigate a film trailer or an opening sequence from a TV drama.
• If websites interest you then you could investigate representation within a site of your choice.

Task 1: Copy the following neatly into your orange books:

Textual Investigation 2 must involve a text that is audio visual or interactive.

For narrative, you need to consider:

 narrative construction and the role of editing in creating narratives (to include different types of montage)
 implied narratives – visual organisation, hierarchies and compositional codes
 narrative structures (based for example on equilibrium, disequilibrium and restoration of equilibrium; binary oppositions and their resolution; open & closed narratives; interactive narratives; linear and non-linear narratives; multi-stranded or flexi-narratives)
 character functions within narratives
 settings and locations in which narratives take place.

For representation, you need to consider:
 what makes representations - images plus points of view about them
 the processes of 're-presenting' mediated versions of the 'real' world. Anchorage and omission.
 stereotypes and representations - processes of categorisation, identification and recognition
 the way people and groups of people are represented in the media - in terms of gender, ethnicity, cultural diversity, age and nation
 the way events and issues are represented in the media.

You should also write about organisations within this textual investigation.
We will go over this next week when you have submitted your proposal forms.

Media Organisations: Marketing and Promotion, Regulation and Control issues, Intrusion and Privacy issues

For media organisations, candidates study the ways in which media organisations create, sustain and expand their markets and the way they are regulated and controlled. 

They will also ask questions about issues of intrusion and privacy in an increasingly convergent media world.

(a) Marketing and Promotion

 For marketing and promotion, candidates study through their investigation and production work:

• the ways in which media organisations (such as film organisations, television channels, radio stations, newspapers, magazines, websites, social networks and individuals self promoting) market, promote and

brand themselves in a commercially competitive environment.

Consideration can be given to such issues as:

• competition

• use of stars/celebrities in marketing

• cross-media campaigns

• schedules and ratings

• audience/user research and targeting

• distribution strategies.

(b) Regulation and Control

 For regulation and control, candidates study through their investigation and production work:

• how different types of media are regulated and controlled

• the reasons for media regulation and control and the problems of

regulating within an increasingly global media environment

• the way individuals can manage their own media.

Consideration can be given to copyright and fair use, initiatives such as the

'creative commons' and taste and decency.

(c) Personal, Social and Ethical Dimensions

For Personal, Social and Ethical Dimensions, candidates study through their investigation and production work:

• conflicts between individual freedoms and media organisations

• the personal, social and ethical dimensions of online environments. 

Below are some examples of Textual Investigations based on these concepts:

Representation: Katy Perry.

Task 1: 

Using the WJEC mark scheme provided, assess the following submission which is based on the concept of representation. (11 Unit 2 - Candidate 4)

Write a paragraph in your Orange books:

Unit 2
Representation exemplar work -
Level Awarded -
Comment -

Task 2:

Using the WJEC mark scheme provided, assess the following submission which is based on the concept of narrative. Write paragraph in your Orange books.
Unit 2
Narrative exemplar work -
Level Awarded -
Comment -

Task 3:

You are required to complete the Textual Investigation proposal form provided which requires you to choose a concept; narrative or representation and a text to investigate. Also consider choosing other texts to research and compare with, think about conforming or challenging the conventions you have learned.

Your proposal must be discussed with your teacher prior to starting work.

Deadline for Textual Investigation 2 is Friday 30th January.

15 Approach to Textual Investigation 2

Approach to Textual Investigation 2

·         You will work on choosing a title and a format for your Textual Investigation.

Key Terms: 
Controlled Assessment
This is the work you do in class that counts towards your final GCSE grade. The assessments are controlled in that you must complete them in class under your teacher's supervision.
They are also controlled by the WJEC, the awarding body, as they set the titles from which you must choose.

Illustrated Essay
This is a written piece of work that includes images. For example, if the topic of your investigation is to do with narrative  conventions in film trailers, you may include screenshots to make your point clearer.

Conventional points of view
This means that the representation in the text is what is expected by an audience. For example the representation of the woman in horror genre films is as a victim.

Challenged
If you choose a title which asks how conventions are challenged, the expectation is that you will be investigating a media text that shows a different representation from the usual ones.
For example, a music video that shows a more realistic example of a young woman or an example of a narrative that is not a simple linear structure.

At this stage of the course you should be ready to complete your second and final textual investigation.
Your first investigation was based on genre.
Your second investigation must be based on narrative or representation.

There are rules you must follow in completing your textual investigations:

• One must be print based.
• Neither textual investigation can be based on the topic you have chosen for production.
• Only one  textual investigation can be based on the exam topic (in your case advertising, print based or TV).
• The two investigations must be on different topics and media forms.
• One  textual investigation must be based on genre.
• One  textual investigation must be based on narrative or representation.
• Your investigation must refer to one main text but refer to examples of other texts to clarify your points.
• Your investigations must be between 400 and 850 words.
• You can present your textual investigation as an essay, an illustrated essay or a Power Point presentation.

You MUST choose from one of the following titles:

Narrative

• Explore how narrative is constructed in (your chosen text)
• Explore the structure of narrative in (your chosen text)
• Explore how conventional the narrative structure is in (your chosen text)
• Explore how far the narrative structure in (your chosen text) challenges conventional narratives.

Representation

• Explore how gender, ethnicity, age, nationality, place, events or issues are represented in (your chosen text).
• Explore how far the representation of one of the following is challenged in (your chosen text): gender, ethnicity, age, nationality, place, events or issues.
• Explore how far the representation of one of the following reinforces conventional points of view in (your chosen text): gender, ethnicity, age, nationality, place, events or issues.

Below are 4 different responses to the textual investigation:
Explore how narrative is constructed in Vera and CSI Miami.

Underneath the responses are clips from the two texts being investigated, it is not important that you are familiar with these texts but you can take a quick look.

Task 1: 
Using the given handouts, you should indicate the media terminology that has been used. 
Even if you aren't sure about some of the terms, put them down anyway. We will recap on narrative over the next week or two.

Response 1

Response 2

Response 3

Response 4

Vera

CSI Miami

Year 11 GCSE Media Studies 2015

Terms for Textual Investigation

Name___________________________________________

Response number	Media term	Meaning
1	Linear Narrative	Follows a straight line — starting at the beginning, moving to the middle and proceeding to the end of the story.

December 8th Task - TV ad, Irn Bru

Learning Objective:
To analyse an audio visual ad, identifying codes and conventions and target audiences'

Key words: Technical codes, Audio codes, Representation, Target Audience.

Task 1: Watch the TV ad for Irn Bru shown below.

ON A WORD DOCUMENT SAVED TO YOUR HOME AREA AND NAMED IRN_BRU

List: 
What is being advertised?
-Product
How are technical and audio codes being used?
Sound; diegetic/non diegetic. Editing style. Framing. Lighting.
What areas of representation are shown and how? 
Think stereotypes, age, gender, nationality.
Who is the target audience for the ad?
Uses and Gratification theory.
How are they being attracted?
Slogan, logo, mode of address, narrative, codes and conventions.

GHD Assessment Task

• You will apply narrative theory to relevant texts with consideration given to codes and conventions of print based ads: 

Key words: Logo, Slogan, Representation, Target audience.

Red Riding Hood. GHD. Analysis:

GHD are a brand of hair and beauty tools. The ad agency RKDR produced a cross platform ad campaign called Twisted Fairy Tales. The campaign consisted of print based ads and an audio visual ad which was broadcast during the final of X-Factor 2010.

the ads depict traditional, Brothers Grimm, fairy tales subverted to create ideologies of female strength, independence and power.

Representation: 
Red Riding Hood is not a passive victim but is in control of her life.
She is a strong, tough, independent role model. 
This is shown through; 
Costume. Black leather boots and gloves. Could be considered sexualised but we see that the girl is in control. 
Direct mode of address and body language implies confidence. A key value to attract the young, aspirational, female target audience.
Colour; bright red is an intertextual reference and implies the importance of the female.

Narrative:
Use of Intertextuality draws upon familiar fairy tale requiring foreknowledge of the Little Red Riding Hood narrative. However, the ending has been rewritten to show an empowered hero rather than a passive victim.
Composition and lighting means the female is defined as heroic antagonist rather than the victim.
The girl is holding an axe and we can see a dead wolf in the shot. There has been a reinstatement of equilibrium and the hero has fought off an outside challenge from the antagonist.
Setting is an intertextual reference to the isolated woods, however it is no longer a threatening environment due to the use of GHD products.
Binary opposition can be seen; the woods with/without GHD.

Task 1:

Analyse and annotate the texts shown below.

Focus specifically on the key concepts of representation and narrative.

You need to link to visual and technical codes.

Consider the key values that are promoted by the GHD brand. 

For example; rebellion.