G325 Critical Perspectives B
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- SPECIFICATION
- G325 MEDIA REGULATION
- G325 Sec A: Theoretical Evaluation of Production
- G325 Sec B: Contemporary Media Issues
- A2 EVALUATION
- Eval q.1 GENRE CONVENTIONS
- Eval q. 2 COMBO OF MAIN AND ANCILLARIES
- Eval. q.3 FEEDBACK
- Eval. q. 4 TECHNOLOGY
- FILM POSTERS
- FILM MAGAZINE COVERS
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- FILM TRAILERS
- THEORETICAL APPROACHES
- EXAMINER'S REPORTS
- EXAMPLES OF SECTION A EXAM HELP HERE
- REVISION SESSIONS
- ADOBE INDESIGN
Tuesday, 9 May 2017
G325 Sec A q.(b) AUDIENCE
Examiner's Report 2015:
"To restate, 1(a) is about the candidates’ decision making and progress, 1(b) is about the finished work, to be analysed in the same way candidates would deconstruct other media texts during their studies."
AUDIENCE, when related to your trailer, is about identifying how your trailer attracts and addresses your audience and how meaning is communicated to your audience. The nature of the question allows for a broad range of different theorists to be cited.
Film makers and distributors aim to identify their target audience in order to attract and address them, using a variety of audience research methods to define audiences (audience profiling such as socioeconomics,demographics, psychographics).
Are audiences ACTIVE or PASSIVE? For Blumler and Katz, audiences use media to gratify needs. This model of audience behaviour follows after Maslow identified those human needs relating to self-actualization as 'higher order needs'.
RECEPTION THEORY: do all audiences understand the meaning of texts in the same way? Stuart Hall on preferred, negotiated and oppositional readings. He refers to decoding and encoding as being different.
Evaluate your production in relation to AUDIENCE
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