Introduction to Media Language

• Media language is the system of signs, codes, and conventions through which meaning is created and communicated within media texts.

• It encompasses a wide range of elements, including visual, auditory, written, and verbal components.

• By understanding media language, we can deconstruct how media messages are constructed and interpreted by audiences.

• Media language is essential for analyzing the underlying techniques and strategies used to shape perceptions and influence opinions.

• It involves exploring how different codes and conventions interact to create meaning, such as the relationship between images, sound, and text.

• Through the study of media language, we can develop critical media literacy skills to evaluate the effectiveness and impact of media messages.

• Ultimately, media language empowers us to become informed and discerning consumers of media content.

Narrative in Media Studies

• Narrative is how a media text tells its story to the audience.

• To analyze a narrative, examine its audio codes, visual codes, structure, and characters.

• Example: A television news program like BBC News at Ten has a consistent narrative structure.

  • Top stories and breaking news are presented first.

  • Followed by other news, sports, and weather.

• Technical codes like editing, graphics, and camera angles contribute to the narrative.

• Audio codes include all spoken content, such as news presenter and correspondent dialogue.

• Visual codes encompass set design and the formal attire of news presenters and journalists.

Technological Innovation

• Audience Interaction: Advances in technology and social media have transformed how narratives are constructed, allowing for increased audience involvement.

• Interactive Narratives: Video games exemplify this by granting players the power to influence the storyline through their decisions.

• Personalized Viewing: Interactive television features, like the Red Button or online platforms, enable viewers to customize their viewing experience by selecting specific events, camera angles, and shots.

• Individual Narratives: This level of audience control means each viewer can create a unique interpretation or narrative of a media event.

Traditional Narrative Theory

• Formulaic Structure: Traditional narratives often follow a predictable pattern identified by theorist Tzvetan Todorov.

• Chronological Progression: Stories typically unfold in a linear order with a clear beginning, middle, and end.

• Character Development: Characters undergo transformation throughout the narrative, culminating in a resolution.

• Todorov's Narrative Stages:

  • Equilibrium: Initial state of normalcy.

  • Disruption: An event upsets the balance.

  • Recognition: Characters acknowledge the disruption.

  • Repair: Attempts to restore order.

  • New Equilibrium: A new sense of balance is established.

• Example: Sherlock: Many episodes of Sherlock adhere to this structure, with a case disrupting the characters' routine and leading to a climactic resolution.

Unconventional Narratives

• Non-linear narratives deviate from a chronological structure.

  • Often employ flashbacks and flashforwards to present events out of order.

  • Example: 500 Days of Summer explores a relationship through a non-linear timeline.

• Circular narratives begin at the story's end and gradually reveal its origins.

  • Audience comprehension often occurs at the narrative's conclusion.

  • Example: Slumdog Millionaire starts with the protagonist on a game show and then retraces his life to explain his success.

Narrative Codes and Conventions

Techniques for Manipulating Narrative

• Flashback: Provides additional character information to advance the story. Manipulates time and space by revisiting events from different perspectives.

• Point of View Shot: Offers the audience a character's perspective. Effective in creating tension and suspense, especially in horror and thriller genres.

• Apparently Impossible Positions: Uses unusual camera angles for dramatic effect. Examples include aerial shots captured by drones.

• Privileged Spectator Positions: Gives the audience information withheld from characters, creating a sense of superiority and anticipation. Common in mysteries and detective dramas.

• Voiceover: Narrates the story, provides context, and builds anticipation. Used in various formats, including reality TV, documentaries, and film trailers.

• Enigma Codes: Creates suspense by withholding information, encouraging audience engagement and speculation. Often employed in mysteries and thrillers.

• Action Codes: Hints at future events through character actions, establishing cause-and-effect relationships. Common in dramas and soap operas.

Character Roles

• Character-Driven Narratives: Vladimir Propp believed that stories are primarily driven by the actions and decisions of characters.

• Character Roles: He identified specific character roles that commonly appear in narratives:

  • The Villain: Obstructs the hero's quest.

  • The Donor: Prepares the hero for their journey by providing essential items or knowledge.

  • The Helper: Assists the hero in their endeavors, often acting as a sidekick.

  • The Princess: The desired object of the hero's quest, often requiring rescue.

  • The False Hero: Initially appears heroic but ultimately reveals a villainous nature.

  • The Dispatcher: Sends the hero on their quest.

  • The Hero: The central character whose journey is followed by the audience.

Propp's Theory in Non-Fiction

• Propp's Character Roles in Non-Fiction: The character archetypes identified by Propp can also be applied to non-fiction, particularly in news media.

• Newspapers as Narrative: Newspapers often construct narratives around real-life events and individuals, fitting them into Proppian roles.

• Politicians as Villains: Politicians facing public criticism or unpopular decisions are frequently portrayed as villains, aligning with Propp's villain archetype.

• Heroes in the News: Individuals performing heroic acts, such as rescues or charitable deeds, are often cast in the role of the hero.

Time and Space

• Manipulation of Time and Space: Media often plays with time and space to enhance storytelling.

  • Sports Broadcasting: Live broadcasts across time zones and use of replays/slow-motion offer multiple perspectives.

  • Drama and Film: Techniques like flashbacks, time travel, and different camera angles create depth and intrigue.

• Multi-Stranded Narratives: Many shows feature multiple storylines interweaving.

  • Soap Operas and Dramas: Character histories and ongoing plots create audience engagement.

  • Cliffhangers: Maintain audience interest by leaving storylines unresolved.

• Three-Strand Narrative: Common in episodic dramas, like Casualty.

  • Combining Storylines: Balances ongoing character development, episodic plots, and character subplots.

  • Audience Engagement: Maintains interest through varied content and character focus.

Split-Screen and Flexi-Narratives

Split-Screen Narratives

• Multiple Simultaneous Stories: The screen is divided into sections, each showing a different narrative.

• Example: (500) Days of Summer uses split-screen to contrast reality with the protagonist's fantasy.

Flexi-Narratives

• Complex Interwoven Stories: Multiple storylines are intricately connected, challenging audience understanding.

• Character Ambiguity: Complex characters contribute to the story's mystery and tension.

• Example: River combines the main murder investigation with subplots and character hallucinations for a complex narrative.