comm video quiz help

M e

d ia

F a

n d

o m

N ov.19th

2

H a

ll/ M

o rle

y : T

h re

e H

y p

o th

e tic

a l R

e a

d in

g

P o

s itio

n s

Preferred or D om

inant Reading – closest to producers’

intentions, in line w ith dom

inant production and ideological codes

N egotiated Reading –

partly preferred but negotiates w

ith it in light of ow n experience or disconfirm

ing inform

ation

O ppositional Reading –

draw s on outside inform

ation or other codes to identify the preferred m

eaning and resist it

3

C &

H p

.2 7

3

“O ur social positions provide us w

ith differential access to an array of cultural tools, w

hich w e use to construct m

eaning in m ore or less

patterned w ays.

The result is a m odel of hum

ans as active agents constrained by specific cultural conditions.”

4

U s in

g th

e te

rm s o

f a g

e n

c y a

n d

s tru

c tu

re in

a c tiv

e a

u d

ie n

c e

re s e

a rc

h

W hat are the relevant structures

to consider in relation to audience agency?

1. H

ow m

edia texts are structured

2. H ow

peoples’ lives and experiences are structured.

5

S tru

c tu

re &

A g

e n

c y

A udience A

gency

Structure: Encoding of M

edia Text

Structure: Social position and interpretive

resources it m akes

available

M eaning, Pleasure,

Ideological Resistance, U

sing m edia to fulfill

needs or desires

6

Ja n

ic e

R a

d w

a y , Reading the Rom

ance

• (D

iscussed in C& H

, pp.283-4) •

The “Sm ithton W

om en,” connected to D

ot, a bookstore clerk and rom

ance literature fan •

A ll w

ives, at-hom e m

others, living in a m id-sized M

idw estern city

• Regular readers (even “fans”) of rom

ance novels

7

8

R a

d w

a y

’s re

s e

a rc

h q

u e

s tio

n : w

h y d

o

ro m

a n

c e

fa n

s re

a d

ro m

a n

c e

s ?

• A

challenge to a fem inist critique that sees rom

ance novels as “sexist trash”

• Radw

ay *also* a fem

inist critic, but she believes in “taking w om

en’s pleasures seriously”

9

Social U ses of M

edia •

Sm ithton w

om en’s responses: “escape”

• From

household obligations to rom

antic fantasy in both (1) the act of reading and (2) the stories

10

Interpretation •

“G ood” rom

ances provide an alternative to w hat the Sm

ithton w

om en feel is m

issing in their ow n lives: “rom

ance reading provided vicarious pleasures that helped satisfy needs not m

et by these highly circum

scribed roles [of w ife and m

other].” (C& H

, p.283) •

Sm ithton w

om en read “actively,” but w

hile their rom ance reading is a

kind of protest and resistance to their social conditions, does it produce structural change?

11

C& H

p.285

“W hen w

e think about audiences, w e need to rem

em ber that the

m eanings people m

ake of apparently om nipresent m

edia products are connected to experiences and social structures outside the w

orld of m

edia.”

12

W hat is a “fan”?

13

C a

s e

S tu

d y : Trekkies

(1 9

9 9

)

Q U

ESTIO N

S:

In w hat w

ays are Trekkies exem

plary “active” audiences?

W hat form

s does the “activeness” take?

14

“ S

h ip

p in

g ”

• M

eans “relationshipping,” or projecting or im agining a relationship

betw een tw

o m edia characters w

ho an audience m em

ber w ould like

to see together, even if they aren’t in the original text

• U

sing m ashed-up video, original art, or fan fiction to create scenes in

w hich the characters are edited together as if a couple

15

“ S

la s h

”

• Term

used historically (perhaps less now

) for a specific kind of “Shipping” -it pairs a sam

e-sex couple w ho are

portrayed in the text as heterosexual

• K/S (Kirk/Spock) or “slash” begins long before the Internet, in the m

id 1980s in fan w

riting and video

• Exam

ple of a “Resistant readings” – resisting the “preferred” m

eanings of a text for an audience m

em ber’s ow

n pleasure

16

H ave fan practices that w

ere once considered “unusual” now becom

e “m

ainstream ”?

17

F a

n d

o m

a n

d C

o n

v e

rg e

n c e

C u

ltu re

W eb 2.0: “as the internet gained a greater foothold in society in the

2000s, m ore em

phasis w as placed on how

this technology could enable users to custom

ize, create, and share content… ” (C&

H , p.57)

D igital convergence has fostered m

ore “participatory culture,” including m

edia fandom

H enry Jenkins: “W

eb 2.0 is fandom w

ithout the stigm a”

18

F ro

m “A

u d

ie n

c e

” to

“ U

s e

r ”

““U ser” im

plies active roles in both interpreting existing m edia content

and creating our ow n content.” (C&

H , p.268)

19

T h

e In

te rn

e t a

n d

P a

rtic ip

a to

ry C

u ltu

re

A m

ajor shift from the traditional m

ass m edia, broadcast m

odel

20

N e

x t T

im e

Participatory Culture C&

H pp.288-295, 296-298

21