AS/A2 quiz on Critical Perspectives

Who claims that representation is the production of meaning through signs / codes?

• Gerbner

• Neale

• Hall

• Gauntlett

Todorov claims that narratives move from one state of (a)   to another.

Match the following

• audiences speak back

• Neale

• repetition and variation

• Gerbner

• cultivation

• Barthes

• connotations

• Shirky

Hall argues that the audience can read media in ​ (a)   different ways. They can have a ​ (b)   reading where they accept the narrative, an oppositional ​ (c)   where they do not agree with what is offered and a ​ (d)   reading where they accept the narrative on the most part, but not all.

• three
• shared
• reading
• negotiated
• five
• dominant
• tools
• encoded

Organize these options into the right categories

Groups:

(a) Neale

,

(b) Bandura

,

(c) Todorov

,

(d) Gauntlett

• genres are shaped by how much funding is available

• start and end of narratives offer messages

• we use texts to construct identities

• we model our behaviour from media

Type in a new term you can explain and be able to reference the theorist.

Whose theory is this?

• the idea that representation is the production of meaning through language, with language defined in its broadest sense as a system of signs • the idea that the relationship between concepts and signs is governed by codes • the idea that stereotyping, as a form of representation, reduces people to a few simple characteristics or traits • the idea that stereotyping tends to occur where there are inequalities of power, as subordinate or excluded groups are constructed as different or ‘other’ (e.g. through ethnocentrism).

• Barthes

• Todorov

• Gauntlett

• Hall

Which is the correct version for Jenkin's theory

• • The idea that all audiences are passive participants in the construction and circulation of textual meanings ​

  • The idea that fans appropriate texts and read them in ways that are not fully authorised by the media producers (‘textual poaching’) ​

  • The idea that fans construct their social and cultural identities through borrowing and inflecting mass culture images, and are part of a participatory culture that has a vital social dimension.

• • The idea that fans are active participants in the construction and circulation of textual meanings ​

  • The idea that fans appropriate texts and read them in ways that are not fully authorised by the media producers (‘textual poaching’) ​

  • The idea that fans construct their social and cultural identities through borrowing and inflecting mass culture images, and are part of a participatory culture that has a vital social dimension.

• • The idea that fans are active participants in the construction and circulation of textual meanings ​

  • The idea that fans appropriate texts and read them in ways that are not fully authorised by the media producers (‘textual poaching’) ​

  • The idea that fans construct their political identities through borrowing and inflecting mass culture images, and are part of a passive culture that has a vital social dimension.

• • The idea that fans are active participants in the construction and circulation of textual meanings ​

  • The idea that fans discard texts and share them in ways that are not fully authorised by the media producers (‘textual poaching’) ​

  • The idea that fans construct their social and cultural identities through borrowing and inflecting mass culture images, and are part of a participatory culture that has a vital social dimension.

(a)   argues that it is no longer possible to distinguish between what is real and what is not in media

bell hooks

• a political commitment

• bell hooks believes that it is a struggle

• to end patriarchy

• bell hooks believes women are

• a lifestyle choice

• bell hooks believes men are

• stereotypically constructed as spectacle

• bell hooks believes feminism is

• stereotypically constructed as objects

• bell hooks believes feminism is not