Download How to Study Television by Ron Cowdery, Keith Selby PDF

By Ron Cowdery, Keith Selby

We will all say even if we adore this or that television programme, yet how are you going to set approximately analysing it and formulating an educated serious reaction to it? what kind of issues do you want to grasp? how will you talk about sensible subject matters like lights, digital camera paintings and modifying, with your insights into category, gender and politics? This valuable ebook will let you know how. There are chapters on all the significant different types of television output, in addition to recommendation on discovering, getting ready and proposing a venture, feedback to assist scholars extend their examining and information of the topic, a close word list of technical phrases and words and a quick, helpful index.

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By Ron Cowdery, Keith Selby

We will all say even if we adore this or that television programme, yet how are you going to set approximately analysing it and formulating an educated serious reaction to it? what kind of issues do you want to grasp? how will you talk about sensible subject matters like lights, digital camera paintings and modifying, with your insights into category, gender and politics? This valuable ebook will let you know how. There are chapters on all the significant different types of television output, in addition to recommendation on discovering, getting ready and proposing a venture, feedback to assist scholars extend their examining and information of the topic, a close word list of technical phrases and words and a quick, helpful index.

Show description

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Sample text

In semiotics the former physical ' thing' is referred to as the signifier and the latter 'concept' or meaning, the signified. Any sign whether it be putting out one's hand at a bus stop or a hairstyle - can thus be considered to be composed of these two distinct parts, one physical and one conceptual. To interpret the signs in our Royal Mail advertisement involves, therefore, isolating the signifiers that communicate the advertisement's message - gestures, facial expressions, etc. - and commenting upon what we take to be their meaning or 'signified' .

Open a ny m agazine a nd you will ce rta inly find a n 38 H O W TO ST UDY TE LEVISION ad vertiseme n t that you can talk about in terms of th e colou rs used , the ligh tin g or th e ways in whi ch th e figures a re posed ; but to track down a ll th e advertising co mp a nies involved in th e product ion of th e ad ver tiseme nts in just one mag az ine would be almost im possible. This does no t mean, however, th at it is impossibl e to con sider th e m ajo r factors involved in th e text's production.

Even if th e technical problem s of produ cin g such a n image co uld ha ve been resolved , th e advert iseme n t would not ha ve conj ured up th e im ages of orde r, sta bility and tr adition which th e R oyal M ai l, as th e advertising com pany's customer, would have wanted . But as well as this very important requirem ent - th at th e customer gets what slhe wants - th ere are a lso othe r, external, pressures on th e medi a organisa tion . Because th e broad cast medi a is such a power ful a nd in fluentia l med ium it is understandabl e tha t it sho uld be governed by va rio us rul es, law s a nd codes.

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