Media studies a level

Representation theory

• Stuart hall

• focused on how culture is represented and constructed by media producers

• media representations can affect how people are viewed, leading to stereotypes and narrowed mindsets

Binary Opposition theory

• suggests that meaning in language and culture is constructed through juxtaposition of contrasting pairs of concepts

binary oppositions can be used to

• structure a narrative

• convey ideological meaning

Hesmondhalgh’s cultural industries theory

• media industries seek to maximise profit and minimise risk

• done through vertical and horizontal integration

• diversifies product through variety of platforms

• focuses on popular genres/stars and make more of same product

• controlled release schedule

Curran and Seaton: Power and Media Industries Theory

• most media industries are dominated by small number of giant conglomerates, results in similar products

• not a lot of variety

• media companies are all about profit and power

Hypodermic Needle Theory

• suggest audience passively consumes media

• leads to uniform and immediate effects on thoughts and behaviors

• outdated

end of audience theory

• Clay shirky

• suggests traditional media consumers are now active

• happened due to improving technology

Fandom theory

• henry jenkins

• participatory culture, fans shaping how media is produced, shaping narratives and influencing industries

Past Lives (2023) budget

12 million USD

Past Lives world wide total

41.2 million dollars

Zeistgeist -

the defining of a mood during a particular period of history

Horizontal integration involves

a company acquiring or merging with

competitors or similar businesses at the same stage of the value chain to increase market share, eliminate competition, or expand its product offerings

Vertical integration is

a strategy where a company expands by acquiring businesses at different stages of its value chain, controlling more of the supply or production process

Semiology theory 

Roland Barthes – signifiers and signified

Objects are used as symbols, representing different meanings

Propp’s archetypes:

• Villain

• Helper - sidekick

• The donor - gives something to the hero

• Princess - damsel in distress

• Dispatcher - sends heroes off on a mission

• False hero - ends up betraying the hero

• The hero 

end of audience theory

Clay Shirky

suggests that traditional media consumers are now active participants

may have happened due to evolving/improving of technology

Challenges the notion of a passive audience.

- Fandom theory

Henry Jenkins

Theory of fandom/participatory culture, fans are shaping how media is produced.

Fans collaborate online, shaping narratives and influencing industries

Male Gaze Theory - Objectification/sexualisation

Laura Mulvey

States that gender power asymmetry is a controlling force in media

constructed for the pleasure of the male viewer

which is deeply rooted in patriarchal ideologies and discourses

Means that male viewers are the target audience

therefore their needs are met first and that this problem stems from an old fashioned, male-driven society

The Bechdel Test

Simple way to gauge the active presence of female characters in Hollywood films.

Have at least two named female characters

Who talk to eachother

About something besides a man

IF a text subverts male gaze a female may have

Agency (controlling the story)

Challenging the male perspective

May not conform to beauty standards

May pass the bechdel test

Clothing

Hair

Disability

how does laura mulvey male gaze affect male portrayal

portrayals of men as invulnerable, heroic, rational, and emotionally restrained, reinforcing traditional toxic masculinity

camera avoids lingering shots that might feminize men

female gaze

reframes male representation, showing men as emotionally complex or as objects of desire themselves

Uses and gratification theory

Why people watch media:

Escapism

Identity (tied to media consumed)

Relationships (allows people to have conversations and build relationships)

surveillance

—

contrasts with older theories that viewed audiences as passive recipients of media messages

Cruella (2021) budget

around 100 million (according to impd)

Cruella (2021) worldwide box office

Earned 234 million

Cruella (2021) marketing and merchandise

• Synergy with Disney's media ecosystem, including promotions on Disney+ and features on its official fan club site, D23.

• Merchandise and brand partnerships, like a makeup collection with MAC Cosmetics, helped extend the film's presence beyond the screen

Cruella target audeince

PG-13 rating and rebellious tone aimed to attract young adults, and nostalgic adults who grew up with the 101 Dalmatians franchise.

Cruella Hesmondhalgh's Theory of Cultural Industries:

risk minimization and profit maximization. By creating a prequel to a globally recognized piece of media, Disney minimized the risk associated with a new products

use of star actors (Emma Stone, Emma Thompson) and the hybrid release model (theatrical and streaming) further minimized risk while creating new revenue streams to maximize profit.

Cruella Curran & Seaton's Theory of Media Ownership:

demonstrates the concentration of power in the media industry because

film benefits from and reinforces Disney's dominant position as it allowed Disney to use its various platforms to promote and monetise the films.

Shows how large corporations control the production and distribution of media to maintain their power.

Moonlight A24 budget

4 million dollars (according to impd)

Moonlight A24 worldwide box office

66.8 million dollars (according to IMPD)

the little mermaid budget

355.1 million USD

the little mermaid worldwide box office total

569 million USD

what makes a box office success

makes 2.5x their budget

Parasite budget

11.4 million USD

parasite world wide box office total

262 million USD

Shangchi (2021) budget

200 million USD

Shangchi worldwide box office

432 million USD

civil war a24 budget

50 million USD

civil war gross world wide

127.3 million USD