Critical Perspectives: Creating Meaning
When we think about studying the media we think about images and structure to create meaning.
Ability to frame, inform and influence.
Culture, economic and ideological ideas in society.
Construct more subtle meanings.
AN INTERTEXTUAL RELATIONSHIP HAS EVOLVED
The idea f intertextuality (1996 "word, dialogue and novel and the bounded text"
Thus any work is a process of REPETITION and TRANSFORMATION
"Any texts is absorption and transformation of another"
There are traces of other words always present in any new work.
It may be that its more overt "CNN-isation"
Genre convetions eg. horror, sci-fi etc.
Certain sounds that we associate with what is about to happen -e.g. Psyco music we know something bad is about to happen.
As genres evolve abd "Hybridis"
The reader doesn't just understand the narrative, but the CONVENTIONS which it uses to tell the narrative which in themselves contain other references and meanings.
Complex relationship with audience plays into a wider understanding of what we have of the story.
Our relationship to television adaptations everything that comes after it is framed around it.
Identify story telling mechanisms by putting a bigger picture through the character.
Challenges we face:
Taking our source information and putting it on screen-
Budget, censorship, medium doesn't lend itself.
Opportunities and threat that new media has.
Fast impact, more diversity of content with more formats.
Truth and accuracy, decency, factual accuracy and realism- These things frame an idea and a story. We can obsess about this to try and make as close to that as possible. Its all storytelling so what does it matter? We are only representing truth and fact.
When you drill down to it, it's not the real world; its a series of frames and shots that are constructed to tell us a real story.
Even Shakespeare used 'artistic licence'.- Something we've done since before we were even able to talk.
Translating any material is subjective.
'GARROWS LAW' drama derived from real cases from archives about pioneering 18th Century barrister, William Garrow.
Produced by twenty-twenty who were usually know for factual documentary not drama.
Praised for their approach despite changing material to their own advantage.
True in substance but not necessarily historic detail.
Audiences are represented by this
All about re-telling existing stories
Continued appeal of classics means they are frequently part of TV schedules
Dickens has been adapted many times
BFI
Dickens has become a character himself in a drama series
In terms of the public service roles of broadcasters.
Recent TV adaptations are a combination of classic author and innovative style
Dickens was keen to access and literature; changes that go on in society in terms of class change and society.
Different to where we're at now in terms of culture, politics etc.
Reverential
Critical
Satirical
2012 adaptation of great expectations. In that particular adaptation, dickens wrote more than one ending himself.
Pride and Prejudice and Zombies
Ability to frame, inform and influence.
Culture, economic and ideological ideas in society.
Construct more subtle meanings.
AN INTERTEXTUAL RELATIONSHIP HAS EVOLVED
The idea f intertextuality (1996 "word, dialogue and novel and the bounded text"
Thus any work is a process of REPETITION and TRANSFORMATION
"Any texts is absorption and transformation of another"
There are traces of other words always present in any new work.
It may be that its more overt "CNN-isation"
Genre convetions eg. horror, sci-fi etc.
Certain sounds that we associate with what is about to happen -e.g. Psyco music we know something bad is about to happen.
As genres evolve abd "Hybridis"
The reader doesn't just understand the narrative, but the CONVENTIONS which it uses to tell the narrative which in themselves contain other references and meanings.
Complex relationship with audience plays into a wider understanding of what we have of the story.
Our relationship to television adaptations everything that comes after it is framed around it.
Identify story telling mechanisms by putting a bigger picture through the character.
Challenges we face:
Taking our source information and putting it on screen-
Budget, censorship, medium doesn't lend itself.
Opportunities and threat that new media has.
Fast impact, more diversity of content with more formats.
Truth and accuracy, decency, factual accuracy and realism- These things frame an idea and a story. We can obsess about this to try and make as close to that as possible. Its all storytelling so what does it matter? We are only representing truth and fact.
When you drill down to it, it's not the real world; its a series of frames and shots that are constructed to tell us a real story.
Even Shakespeare used 'artistic licence'.- Something we've done since before we were even able to talk.
Translating any material is subjective.
'GARROWS LAW' drama derived from real cases from archives about pioneering 18th Century barrister, William Garrow.
Produced by twenty-twenty who were usually know for factual documentary not drama.
Praised for their approach despite changing material to their own advantage.
True in substance but not necessarily historic detail.
Audiences are represented by this
All about re-telling existing stories
Continued appeal of classics means they are frequently part of TV schedules
Dickens has been adapted many times
BFI
Dickens has become a character himself in a drama series
In terms of the public service roles of broadcasters.
Recent TV adaptations are a combination of classic author and innovative style
Dickens was keen to access and literature; changes that go on in society in terms of class change and society.
Different to where we're at now in terms of culture, politics etc.
Reverential
Critical
Satirical
2012 adaptation of great expectations. In that particular adaptation, dickens wrote more than one ending himself.
Pride and Prejudice and Zombies
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