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| − | '''Note from Dr. Butler: I have italicized the better answers.'''
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| − | #Ellen Seiter, in ''Channels of Discourse'', writes, "The picture [of Fangface] itself is a syntagm. ... In the paradigmatic dimension the options are a pair of categories nature/culture (or animal/human...), which is the source of the image's meaning." She continues, "...Hodge and Trip have introduced the binary opposition (nature/culture) and proceeded to organize the elements of the television image into paradigmatic sets."
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| − | #*List three or four "paradigmatic sets" in the "Prophecy Girl" episode of ''Buffy the Vampire Slayer''.
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| − | #**'''Group 1 Bryan:'''
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| − | #**#All shots of the master with a high vantage point (above the eyeline)
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| − | #**#All shots of Buffy during the scene where the guy tries to ask her to the dance from Camera position A
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| − | #**#All shots below the eyeline of Buffy
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| − | #**'''Group 2 Abigail:'''
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| − | #**#''We thought that a few examples from the episode of Buffy that we watched in class would be the character Angel, because he is both a vampire (evil), and a human (good).''
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| − | #**#''We also thought that Buffy could be a paradigmatic set because she was a 16 year old school girl and a vampire slayer.'
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| − | #**#''We also thought the backdrop of the show itself could be a paradigmatic set because it comes across as a teen romance but it also is about the apocalypse.''
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| − | #**'''Group 3 Carvel:'''
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| − | #**# ''Living/Dead''
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| − | #**# ''Toughness/beauty''
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| − | #**# ''Reality/abnormality''
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| − | #**'''Group 4 Hannah:'''
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| − | #**#Making women predators instead of prey
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| − | #**#Triumph of good over evil
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| − | #**#Vampire named Angel / A form of evil holds a name of purity and good
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| − | #**#Zander is needy/emotional vs. Buffy who is unemotional and detached
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| − | #List two strength(s) of semiotic/structuralist analysis. List two weaknesses of this approach (no, a difficult vocabulary does not count).
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| − | #**'''Group 1:'''
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| − | #***#Strengths: The semiotic approach focuses heavily on studying language. Structuralists give an accurate account of a culture because of their heavy studying of the rules and taboos.
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| − | #***#Weaknesses: Semiotics often categorize causing them to generalize something which can downplay importance or some other aspect. Structuralists "often leads to to a description of the worldview of a culture" which can have negative effects.
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| − | #**'''Group 2:'''
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| − | #***#''We thought some strengths of structuralist analysis are that it is very thorough and it sees how things fit together in the text and also reflects the world view of a culture.''
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| − | #***#''We thought some weaknesses would be that it is very complicated and can ten to overcomplicate some things and there is so much to analyze that it can become too much.''
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| − | #**'''Group 3:'''
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| − | #*** Strengths-
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| − | #***#''How the meaning is created rather then what the meaning is''
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| − | #***#''Helps understand relationships''
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| − | #***Weaknesses –
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| − | #***#There is no gray area
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| − | #***#Not structured well, can be very broad
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| − | #**'''Group 4:'''
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| − | #***#Strength: ''Raise new theoretical issues''
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| − | #***#Strength: ''Make us aware of what we take for granted that is represented in the world''
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| − | #***#Weakness: ''Not everyone will have the same interpretation of signs''
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| − | #***#Weakness: Too Broad in analysis; not concise or structured
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| | == Bibliography == | | == Bibliography == |
| − | #Butler, Jeremy G. ''Television: Critical Methods and Applications''. Mahweh, NJ: Lawrence Erlbaum Associates, 2007. | + | #Butler, Jeremy G. ''Television: Critical Methods and Applications'' (NY: Routledge, 2011). |
| − | # Robert C. Allen, ''Channels of Discourse, Reassembled'', second edition (Chapel Hill: University of North Carolina Press, 1992). | + | #Ellen Seiter, "Semiotics, Stucturalism and TV," in Robert C. Allen, ed., ''Channels of Discourse, Reassembled'', second edition (Chapel Hill: University of North Carolina Press, 1992). |
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| | ==See also== | | ==See also== |
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| | ==External links== | | ==External links== |
| | *[http://www.tcf.ua.edu/EO/DV/WonderYears.htm ''The Wonder Years'' (1991) illustrations] | | *[http://www.tcf.ua.edu/EO/DV/WonderYears.htm ''The Wonder Years'' (1991) illustrations] |
| − | *[http://www.tcf.ua.edu/Classes/Jbutler/T311/SemioticsBuffy.htm ''Buffy the Vampire Slayer'' (1997) illustrations] | + | *[http://www.tcf.ua.edu/Classes/Jbutler/T311/SemioticsBuffy.htm ''Buffy the Vampire Slayer'' (1991) illustrations] |
| | *[http://www.tcf.ua.edu/Classes/Jbutler/T311/Fangface/index.htm ''Fangface'' (1980) illustrations] | | *[http://www.tcf.ua.edu/Classes/Jbutler/T311/Fangface/index.htm ''Fangface'' (1980) illustrations] |
| | *[http://www.tcf.ua.edu/tvcritgallery/main.php/v/chapter13/ Chapter 13 illustrations] | | *[http://www.tcf.ua.edu/tvcritgallery/main.php/v/chapter13/ Chapter 13 illustrations] |
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| − | [[Category:TCF311]] | + | [[Category:JCM311]] |
| − | [[Category:TCF311 Discussion]] | + | [[Category:JCM311 Discussion]] |
