Difference between pages "Concept of Star (Discussion)" and "Cultural Studies, Ethnography (Discussion)"

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(New page: ==All groups== #Butler and Fiske both discuss Stuart Hall's theory of media '''encoding''' and '''decoding'''. What do these terms mean? (Butler discusses it in the section of chapter 13 o...)
 
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#Star image: a "structured polysemy" (p. 63) constructed from "media texts":
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==All groups==
##Promotion
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#Butler and Fiske both discuss Stuart Hall's theory of media '''encoding''' and '''decoding'''. What do these terms mean? (Butler discusses it in the section of chapter 13 on ideology.)
##Publicity
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#*Fiske then discusses "three broad ''reading'' strategies" to account for how decoding operates.  (Butler refers to the same principle as "different ideological positions".)
##Film roles
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#*#Dominant
##Criticism/commentary on those roles
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#*#Negotiated
#'''All Groups:''' Dyer argues, "The star image is used in the construction of a character in a film in three ways" (127), which are listed below. Pick one current movie star and one film. How is his/her star image used in the construction of that character? Explain.
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#*#Oppositional
#*Selective use
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#Fiske paraphrases David Morley: "Morley defines reading a television text as that moment when the discourses of the reader meet the discourses of the text" (302).
#*Perfect fit
 
#*Problematic fit
 
#Explain what Dyer's signs of ''character'' are (106+):
 
#*'''Groups 3 and 4:'''
 
#*#Audience foreknowledge
 
#*#Name
 
#*#Appearance
 
#*'''Groups 5 and 1:'''
 
#*#Objective correlatives
 
#*#Speech of character
 
#*#Speech of others
 
#*'''Groups 2 and 6:'''
 
#*#Gesture
 
#*#Action
 
#*#Structure
 
#*#''mise-en-scene''
 
#*Apply Dyer's 10 signs of character to one of the characters from ''Petrified Forest''. That is, use ''one'' of the main characters (see below) and then discuss how the signs of character are used to build that character.
 
#**'''Groups 3 and 4:''' Duke Mantee (Humphrey Bogart)
 
#**'''Groups 5 and 1:''' Gabrielle Maple (Bette Davis)
 
#**'''Groups 2 and 6:''' Alan Squier (Leslie Howard)
 
#Dyer's signs of ''performance'' are (134):
 
##'''Group 3:''' Facial expression
 
##'''Group 4:''' Voice
 
##'''Groups 5 and 1:''' Gestures
 
##'''Groups 6 and 2:''' Body posture and movement
 
#*On pp. 145-146, Dyer discusses how John Wayne's and Henry Fonda's performances in ''Fort Apache'' use performance signs--referring specifically to a scene that is illustrated here with a frame grab and [http://tcf.ua.edu/EO/DV/Fortapache01-1.php online video]. Explain how performance signs function in this scene--with each group looking at one specific performance sign (see above). How would you analyze Bogart's performance signs in [http://www.tcf.ua.edu/EO/DV/Petrifiedforest.php this scene]? (Dyer similarly discusses Bette Davis' performance in ''Little Foxes'', frame grabs for which are [http://www.tcf.ua.edu/Classes/Jbutler/T440/VisualStyleIllustrations02.php#davis available here].)
 
<gallery mode="packed" heights=400px>
 
File:FortApache YorkAndThursdayqq00 00 40qq00003.jpg|alt=John Wayne and Henry Fonda in ''Fort Apache''|John Wayne and Henry Fonda in ''Fort Apache''.
 
</gallery>
 
  
==Recommended-reading questions==
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==Group 4 ==
#Richard Dyer defines "characters" as "constructed representations of persons" (89). And he argues that how a fictional character is defined has changed over the centuries. As the novel rose to prominence in the 19th century, so did a certain "novelistic conception of character" (93). Explain what Dyer means by each of these novelistic qualities of characters:
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#Perform a ''dominant'' reading of ''My So-Called Life''. What would be the result of your reading in terms of representations of gender and sexuality, ethnicity, and youth (vs. middle age)?
#*Autonomy
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#How could your reading be restated using Morley's notion of discourses encountering one another?
#*Roundness
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#*Development
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==Group 2==
#*Interiority (how is this different for literature and film?)
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#Perform a ''oppositional'' reading of ''My So-Called Life''. What would be the result of your reading in terms of representations of gender and sexuality, ethnicity, and youth (vs. middle age)?
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#How could your reading be restated using Morley's notion of discourses encountering one another?
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==Group 1==
 +
#Perform a ''negotiated'' reading of ''My So-Called Life''. What would be the result of your reading in terms of representations of gender and sexuality, ethnicity, and youth (vs. middle age)?
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#How could your reading be restated using Morley's notion of discourses encountering one another?
 +
 
 +
==Group 3==
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#What do you feel is the ''preferred reading'' of this episode? What is the preferred reading in terms of representations of gender and sexuality, ethnicity, and youth (vs. middle age)?
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#How could the preferred reading be restated using Morley's notion of discourses encountering one another? And how well does the preferred reading fit with your own personal reading?
  
 
== Bibliography ==
 
== Bibliography ==
#Richard Dyer, ''Stars'', Second Edition, Supplementary Chapter by Paul McDonald (London: British Film Institute, 1998).  
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#Butler, Jeremy G. ''Television: Critical Methods and Applications''. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.
 
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# Robert C. Allen, ''Channels of Discourse, Reassembled'', second edition (Chapel Hill: University of North Carolina Press, 1992).
<gallery mode="packed" heights=400px>
 
File:P3090218DyerButler.jpg|alt=Richard Dyer and Jeremy Butler, Society for Cinema and Media Studies conference, 9 March 2007|Richard Dyer and Jeremy Butler, Society for Cinema and Media Studies conference, 9 March 2007.
 
File:Jeremy Butler and Richard Dyer.jpg|alt=Jeremy Butler and Richard Dyer. London, March 2019.|Jeremy Butler and Richard Dyer. London, March 2019.
 
</gallery>
 
  
 +
==External links==
 +
*[http://www.tcf.ua.edu/tvcritgallery/main.php/v/chapter13/ Chapter 13 illustrations]
  
[[Category:JCM412/512 Discussion]]
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[[Category:TCF311]]
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[[Category:TCF311 Discussion]]

Revision as of 15:07, 18 December 2007

All groups

  1. Butler and Fiske both discuss Stuart Hall's theory of media encoding and decoding. What do these terms mean? (Butler discusses it in the section of chapter 13 on ideology.)
    • Fiske then discusses "three broad reading strategies" to account for how decoding operates. (Butler refers to the same principle as "different ideological positions".)
      1. Dominant
      2. Negotiated
      3. Oppositional
  2. Fiske paraphrases David Morley: "Morley defines reading a television text as that moment when the discourses of the reader meet the discourses of the text" (302).

Group 4

  1. Perform a dominant reading of My So-Called Life. What would be the result of your reading in terms of representations of gender and sexuality, ethnicity, and youth (vs. middle age)?
  2. How could your reading be restated using Morley's notion of discourses encountering one another?

Group 2

  1. Perform a oppositional reading of My So-Called Life. What would be the result of your reading in terms of representations of gender and sexuality, ethnicity, and youth (vs. middle age)?
  2. How could your reading be restated using Morley's notion of discourses encountering one another?

Group 1

  1. Perform a negotiated reading of My So-Called Life. What would be the result of your reading in terms of representations of gender and sexuality, ethnicity, and youth (vs. middle age)?
  2. How could your reading be restated using Morley's notion of discourses encountering one another?

Group 3

  1. What do you feel is the preferred reading of this episode? What is the preferred reading in terms of representations of gender and sexuality, ethnicity, and youth (vs. middle age)?
  2. How could the preferred reading be restated using Morley's notion of discourses encountering one another? And how well does the preferred reading fit with your own personal reading?

Bibliography

  1. Butler, Jeremy G. Television: Critical Methods and Applications. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.
  2. Robert C. Allen, Channels of Discourse, Reassembled, second edition (Chapel Hill: University of North Carolina Press, 1992).

External links