Week Four: Critical Approaches to Media Texts

Semiotics

http://www.youtube.com/watch?v=rEgxTKUP_WI This is a nifty little video (3:25) that does a concise job of clearly defining semiotic, and related terms such as referent, icon, and index.

“Semiotics is not widely institutionalized as an academic discipline. It is a field of study involving many different theoretical stances and methodological tools. One of the broadest definitions is that of Umberto Eco, who states that 'semiotics is concerned with everything that can be taken as a sign' (Eco 1976, 7). Semiotics involves the study not only of what we refer to as 'signs' in everyday speech, but of anything which 'stands for' something else. In a semiotic sense, signs take the form of words, images, sounds, gestures and objects” (Chandler, Semiotics For Beginners, 2005).

I had not previously heard of this term—am I out of “the loop” or what? I think that this approach to media studies (and life in general) is one that I would like to incorporate into my classes. It would encourage interesting discussion based on people’s interpretations of what they observe. It brings a person’s cultural background (including factors such as age, ethnicity, sexual orientation, language, ability, etc.) into the forefront of discussion, when reflecting on the meanings of film, video, or newscasts, etc. This is particularly relevant for me, as I incorporate culturally relevant pedagogy into my practice. There are great opportunities to discover new perspectives on any number of issues/subjects.

For example, while watching a movie where the parents come home and the father of the kids gives a female babysitter a $20 bill, I assume he’s paying her for watching the kids. However, a colleague of mine from Korea informed me that he would assume something very different. According to what he told me, it is inappropriate for a man in his culture to directly hand money to a woman (He had inquired as to what the protocol is for paying babysitters.). The signs connote very different understandings.

Critical Discourse Analysis

There are three central tenets of CDA (Fairclough in McGregor, 2000). Discourse is shaped and constrained by (a) social structure (class, status, age, ethnic identity, and gender) and by (b) culture (McGregor, 2004). The approach of analysis seems very similar to semiotics, with respect to the opportunity for different perspectives to be presented.

I had been planning to take a course entitled “Critical Discourse Analysis” this summer. Now I’m even more eager to enrol in it. The idea that we need to question things that happen in society, rather than simply accept them as the norm, is something important for everyone to be aware of and to do. The most exciting part of this analysis technique is that our questions/comments/ perceptions will differ, depending on the histories and experiences we bring to the table.

According to McGreogor (2004), discursive practice refers to rules, norms, and mental models of socially acceptable behaviour in specific roles or relationships used to produce, receive, and interpret the message. They are the spoken and unspoken rules and conventions that govern how individuals learn to think, act, and speak in all the social positions they occupy in life (Alvermann, Commeyras, Young, Randall, & Hinson, 1977, in McGregor).

In essence, CDA focuses on how social relations, identity, knowledge, and power are constructed through written and spoken texts in communities, schools, the media, and the political arena (Luke, 1997, in McGregor). In terms of teaching media studies, this approach would be a great way for students to identify what they are observing, what they believe the creators (of the ads, films, newscasts, etc.) want them to gain from their viewing, and questions about the power relations, knowledge, oppression, and marginalization conveyed by the piece viewed.

Feminist

http://www.mediaed.org/cgi-bin/commerce.cgi?preadd=action&key=206 This is a great clip of Jean Kilbourne analyzing advertising’s portrayal of women, in her documentary film, “Killing Us Softly 3.”

http://www.mediaed.org/cgi-bin/commerce.cgi?preadd=action&key=226 Another powerful clip called Hip-Hop (Unabridged), Beyond Beats & Rhymes, by Byron Hurt. It touches the tip of the iceberg on hip-hop’s portrayals of women, homophobia, and hypermasculinity.

(both are from the Media Education website)

This approach to media analysis would be “a must” on my syllabus in a media studies course. It provides us with a framework for debunking the myths of traditional male vs. female roles, and images of males and females in our culture. Not only does it provide for this, but it provokes us to question the role that the media has in producing and/or maintaining gender-related stereotypes. Through analyzing sit-coms, ads, movies, magazines, videos, and video games we are able to identify how stereotypes are perpetuated, and the degree to which they permeate every corner of our society. Not stopping there, of course, we can be moved to activism. What is our role in eliminating the harmful portrayals?

The idea of having students create their own versions of media directed at females (Culver and Hobbs, 41) is great. Is there a difference from what we view today’s media? Check it out! Their website, “My Pop Studio” (www.mypopstudio.com/ ) provides a venue in which girls can learn how to become critical analysts of media directed at them, and produce their own versions of magazines, t.v. shows, etc .

Postcolonialism

These clips may be of interest:

http://www.cracked.com/article_15677_9-most-racist-disney-characters.html

http://www.hulu.com/watch/32063/the-white-shadow

"Postcolonial critique allows for inquiries into power relations in various contexts. The formation of empire, the impact of colonization on postcolonial history, economy, science, and culture, the cultural productions of colonized societies, agency for marginalized people, and the state of the postcolony in contemporary economic and cultural contexts are some broad topics in the field. Western ways of knowledge production and dissemination in the past and present become objects of study for those seeking alternative means of expression." (Postcolonial Studies, Emory University)

In terms of media studies, post-colonialism analysis is a great approach to doing for traditionally oppressed groups/people of color what the feminist lens does for studies of males and female (regarding roles in society). I can remember seeing images of people of color being saved by whites (I have rarely seen the reverse) as far back as the show, "The White Shadow." It is an image that continues to be played out in the media today. I remember enjoying the “White Shadow,” as a kid. Looking back though, it seems as though Coach Reeves was the team’s/individual team member’s (majority black and Hispanic) major hope—always the savior for whatever bind someone might find themselves in…Similarly "Dangerous Minds" portrays Michelle Pfeiffer--the great white hope here--as a teacher (former Marine) who is able to turn around the lives of students in a class of predominantly blacks and hispanics, in an otherwise failing system.

Postcolonial analysis can present students with opportunities to examine the ways in which representatives of the "Third World" (and their descendants) are portrayed in the media, be it from a sexist, racist, patriarchal, or other point of view. In identifying these portrayals, students can discuss the impact on society's views. What ideas are perpetuated/reinforced? What are the implications for "race relations?" How can we work toward eliminating "colonial or imperialist conceptions of the world?" (Beach, 42)

Folgers and the Car Jacking

Week 3: Teaching Film

1. Shot-by-shot analysis of a vintage Folgers commercial

(http://www.youtube.com/watch?v=HJEqdZm-q3A)

The commercial begins with a wide, or establishing shot, of a couple in a bright kitchen. We can imagine that this is the comfortable kitchen where the couple shares meals. The camera zooms in to a two-shot medium shot and we see the man’s full face and the woman’s profile. The next view is an over-the-shoulder, focusing on the man’s face over the woman’s shoulder. The viewer focuses on what the man has to say (which is that the coffee tastes bad). We feel for the woman and the urgency with which she must act based on her husband’s comments. The next frame is a close-up of the woman’s face. The viewer is supposed to see and feel the emotions of the woman-- how distraught she is because her husband dislikes her coffee...and on their anniversary! The scene fades quickly out and then in to a long shot in a grocery store. The fading suggests a change in time. The long shot lets the viewer know where the woman has gone. In the store, there is high-key lighting—probably more an indication of the time period of this commercial, than an attempt at creating a more jovial/upbeat atmosphere, although this is accomplished, as well. The next frame is a medium two shot of the woman and the grocer. We sense that there is an element of emotion expressed. That sentiment is further depicted when there is a one shot close-up on the woman’s face. She is the focal point, and her up-close emotional state is not lost on the viewer. There is a pan out, to a two shot of the woman and the grocer. In this scene, an end cap of Folgers shown. There is a zoom in to a point-of-view shot on the stack of Folgers, letting the viewer know that this is what is important. The camera then closes in on the much happier countenance of the woman, as she agrees to try it. Another quick fade in and out, and the woman is back home. Once again, the passage of time is conveyed through this technique. The shot is now a one shot close up on the husband. The lighting is low-key, but there is back-lighting which illuminates his face—finally happy. The camera then pans around to a medium two shot of the couple in a happy moment, discussing the improved coffee. The next shot is a close-up one shot of the woman, glowing, with back-lighting that suggests she is indeed a saint. Thanks Folgers!

2. Teaching film studies

I think the most important thing is to make sure that students are engaged in DOING. As Beach states, they are more likely to learn to understand and critique use of film techniques through engaging in their own digital video production (21).

First, students would have the opportunity to watch and critique scenes of various films and animated pieces. They would analyze filmmakers’ techniques, and incorporate their analysis into the decision-making for their own works. Elements which they consider would include positioning, lighting, shot sequencing, timing, and sound.

As far as these technical aspects of filmmaking, students will have the opportunity to explore the very features that they may take for granted as viewer/audience members. Detail will be given to examining lighting techniques and determining which types of lighting best suit particular situations. Students will be required to review films with close attention paid to meaning of shot sequences. Questions will include how particular series of shots convey their intended message, if at all. The application of sound will also be a focus, as students decide how it may enhance (or detract) from their films. Finally, students would be trained in the art of editing. It would take place after students download their projects to any variety of software programs. Peers would be able to view and provide feedback to each other before completing their projects.

Important components in the video production process would be having a narrow focus and devoting a significant amount of time to planning of the production. Part of the planning would include story-boarding, so that students can put their ideas onto paper.

I would like to have students choose their own topics for videos; HOWEVER, I would encourage them to include a gender, class, and/or race/ethnicity component. In an effort to make the learning that takes place in school more relevant to the students’ lives outside of school, I would also ask that students focus their productions on issues that are important to them and/or the community. Perhaps these projects could be part of an even bigger agenda (efforts to promote positive change for the community, identifying areas for improvement, for example).

3. Film Selection

I watched the “Blind Fear” scene of Crash, a film by Paul Haggis. The scene opens with an establishing shot of Los Angeles. This helps the viewer to understand where the action will take place. In some cases, I would assume that it could also communicate or evoke certain feelings among viewers, based on whether the location is known for/associated with something in particular. Later in the scene, there is a medium shot, where Ludacris and Larenze Tate are in a discussion/argument over less than adequate server in what appears to be a chic L.A. establishment. The two are moving and speaking quickly. The low-key lighting emphasizes the contrast between the darker images of the two men, as they leave the restaurant and the glow of the lights (which may represent the good life) in the restaurant behind them. The next medium shot shows the same characters at a closer distance, and from behind. It is as if the viewer is walking with the two individuals, creating an initial sense of identifying with the characters.

The next shot is a close up, frontal shot of the two characters. While medium lighting is employed in a general respect, backlighting is used behind one of the two men. As Beach states, backlighting is often used to create a halo effect behind a person or object. This seems to be indicative of what will take place later in the movie, when Tate’s character seems to turn his life around for the better; he ends up losing his life.

The next shot is a long shot, showing two other characters (Bullock & Fraser) walking down a street. This shot depicts the environment in which the scene takes place— a posh L.A. neighborhood. The two are walking toward the first two characters. The ensuing shot includes both an over-the-shoulder shot and a low angle shot. In this scene of confrontation the low angle is used to illustrate that one of the characters holds a higher position of power, while the over-the-shoulder allows the viewer to see the perspective of Tate’s character. The viewer sees Tate’s character approach the vehicle in which Bullock sits. The camera angles allow the viewer to be introduced to a moment of suspense, as they wonder what will happen in the upcoming confrontation. The following frames are characterized by quick action through a series of cut away shots. In the next frame is a medium shot reminds the viewer of the posh neighborhood while showing a gunman from the waist on up. The camera next goes from an over-the-shoulder shot of the other gunman pointing a gun at Fraser. A quick rotation of the camera, and we see a frontal close-up of Fraser (victim of gunman #2). This sequence of shots allows the audience to experience the situation from perspectives of each pair. Here, we are positioned, as Beach would say (24), to identify with the “victim’s” sense of fear in the situation.