MIL GR12 MAD 2ND Quarter Reviewer PDF

MEDIA AND ❖ Its analogue and digital information INFORMATION can also be stored on specific mediums such as audio files, CDs, or through LITERACY...

MEDIA AND ❖ Its analogue and digital information INFORMATION can also be stored on specific mediums such as audio files, CDs, or through LITERACY cloud. SECOND QUARTER Music Explained Sophia Digna Pascual — UST SHS MADSOCIETY [https://youtu.be/Xb33zXpEgCc?feature=s hared] COVERAGE ★ Music ￫ Lesson 6: Audio Information and Media ○ Starts as sound but All about Audio something happens in the Evolution of Music brain and it transforms. Understanding Audio Information ○ Repetition is one thing that can flick the switch. ￫ Lesson 7: Audio-visual Information and ○ It has a deep connection to Media our feelings. Motion Information or Audio Visual ○ Before we hear it, music is Modes of Production just air. Conventions ★ Music HELPS! Understanding Audio-Visual Information ○ It can help people relearn ￫ Lesson 8: Opportunities, Challenges, and how to speak. Power of Media and Information ○ It can help patients with Economic, Political, and movement disorders, like Socio-Cultural Parkinson’s disease, move Types of Information Disorder more fluidly. ○ Kids who learn to make music early have LESSON 6: advantages in learning AUDIO INFORMATION AND MEDIA language. ○ Ability to remember music is ALL ABOUT AUDIO a fabulously effective SOUND teaching tool. ❖ A mechanical disturbance or vibration ○ Our love of synchronizing traveling through an ‘elastic’ medium with music and each other such as air. confers social benefits. ★ Aspects of Music ❖ In media, this includes music, dialogue, ○ A repeating sound creates sound effects, ambient noise, one of the most essential background noise, and soundtracks. aspects of music: Rhythm! AUDIO ○ Our reptilian brain, the ❖ Recording of a sound which can be brainstem, and cerebellum manipulated using electronic help us create the rhythmic patterns necessary to walk. equipment.  ○ Higher BPM songs that are ★ 40,000 years fast tend to make us move ○ The landmark is the faster. discovery of bone flutes, ○ Playing multiple pitches at made out of the bones of the same time unlocks vultures another feature of music: ○ Found in the South German Harmony! caves ○ If men and women sing in unison, what typically happens is that they sing an HUNTER-GATHERERS octave part. ○ The quality of sound that ★ Tended to be nomadic. distinguishes pitch: Timbre! ★ If you’re essentially journeying (Most people perceive timbre through as landscape, what you like they perceive color.) don’t do is carry heavy instruments. ○ Western Ear = Major chords ○ Music has to be portable (happy), while minor chords (just a voice or a very light (sad), though for Balinese flute/small percussive people, major chords might instrument) be perceived as something ★ Cameroon Pygmies sad. ○ Every time they play a piece, it sounds different. EVOLUTION OF MUSIC ○ It’s very much music of the moment. [https://youtu.be/Am18ZxKgi_g?feature=shared] “If you were born in Beethoven’s time, you’d be FARMING COMMUNITIES lucky if you heard a symphony twice in your lifetime, whereas today, it’s as accessible as ★ You settle down. running water. We’re drowning in music.” ★ Your whole mindset becomes fixed on the circle of the seasons, the 1987 circle of life. ❖ Edison invents the phonograph (prior to ○ The structure of the work this, we have no record of any sound) becomes as cyclical as life itself. ○ You invent a circle in music, PREHISTORY invent musical rituals. ★ You invent repeatable work. ★ In terms of the evolution of ★ Qoyllur Rit’i Festival instruments, the very oldest instrument we have is the human voice. ★ Lithic instruments made of rocks, such as stalactites or the famous ‘rock gongs’ in Tanzania.  ★ 1530 TOWNS AND CITIES ○ You have Aztec musicians singing Spanish polyphony in ★ Instruments can become heavy Mexico Cathedral. ○ You start to set quite ★ Music notation becomes the sharp permanent roots into the end of the stick of globalization. town ★ Music isn’t an object, it’s an activity. ○ Heavy instruments like bells and gongs. ○ Delicate instruments like THE FUTURE OF MUSIC harps and flutes. ★ Music’s function changes. ★ We’re regaining the participatory ★ Social Hierarchy – Queen Elizabeth condition of music, which was the II Coronation norm thousands of years ago. ○ The job of music is to be a ○ Creating and enjoying handmaiden to serve the music. power of the prince or the ★ Greater integration with technology church. ○ We can both create music in our homes and share it. ★ Musicians become professionalized ★ The original bone flute was a piece ○ Their job is to create music of technology. to be listened to for people with leisure. ○ This is the origin of what we ○ It serves to extend human call concerts. capacity. ★ Concerts ○ It extends the voice, which ○ Requires leisure and money. extends our imagination. ○ Oftentimes, it’s the aristocrat ★ There are a lot of possibilities in the or the upper middle class future that we can’t even begin to who had time to enjoy the imagine. music performed to them. ○ For most people over millions of years, that ELEMENTS OF MUSIC doesn’t happen. ★ Most music was performed ★ Rhythm functionally. ○ The element of time in music ★ Performed in a participatory way. in terms of duration (length ★ 1020 of sound) and tempo ○ An italian monk, Guido, (speed of beat) invented staff notation. ★ Dynamics ○ Staff notation was a tool of ○ All musical aspects relating church control. to the relative loudness or ★ 1519 quietness of music ○ Cortes invades Mexico, he ★ Melody takes notation with him. ○ Linear presentation of pitch or the highness or lowness of musical sound  ★ Harmony ATM JOURNALISM ○ Vertical presentation of pitch. ❖ Refers to a practice in which reporters ○ This is the art of combining receive discreet and regular payoffs pitches into chords. ○ Harmony can be dissonant through their ATM accounts. and consonant. ❖ News sources simply deposit cash into ★ Timbre these accounts instead of handing the ○ Also known as “tone color,” money over to journalists through this is used to evoke certain envelopes. effects on sound PERSECUTION OF RADIO JOURNALISTS ★ Mixing ○ The combination, balance, ❖ According to the National Union of and control of multiple sound Journalists of the Philippines (NUJP), elements journalism (in radio, TV, and print) ★ Pacing remains a dangerous profession in the ○ Refers to time control, editing, Philippines. According to their data, 197 and order of musical journalists have been killed in the elements. They can be linear, Philippines since democracy was non-linear, or multi- linear. ★ Transitions restored in 1986. ○ Audio effects to ensure the smooth flow of sounds. This leads the listeners from one segment to another ❖ The killing of journalists typically occurs ○ Examples: in areas far from Metro Manila, the NCR. - Segue Victims are frequently radio - Cross-Fade - V-Fade broadcasters or commentators known - Fade to Black for their critical commentary on local - Waterfall politics and corruption AUDIO SURVEILLANCE UNDERSTANDING AUDIO INFORMATION ❖ Misuse of audio surveillance, such as in eavesdropping or wiretapping, can LEGAL, ETHICAL, AND SOCIETAL ISSUES IN AUDIO lead to ethical dilemmas, particularly INFORMATION when done without appropriate legal authority and oversight AC-DC ATTACK-COLLECT/DEFEND-COLLECT AUDIO MANIPULATION ❖ On radio, this is a kind of journalism ❖ The rise of technology for audio where the reporter attacks a person in manipulation, such as deep fakes and order to collect money from that voice cloning, raises concerns about person’s rival or enemy. the authenticity of audio content and ❖ The same journalist then defends the its potential for misinformation and person originally attacked, also for a deception fee. COPYRIGHT INFRINGEMENT ★ ANIMATION ❖ Copyright infringement in music occurs ○ Encompasses the when someone uses, reproduces, frame-by-frame shooting, distributes, or performs a copyrighted projection of films (puppets, musical work without permission from clay, etc.) & CGI or the original owner. This can involve the computer-generated imagery unauthorized use of melodies, lyrics, ★ EXPERIMENTAL recordings, or any other elements that ○ Strays away from the are protected by copyright law. traditional narrative or CURRENT AND FUTURE TRENDS IN AUDIO documentary format INFORMATION AND MEDIA [https://youtu.be/S1m-KgEpoow?feature=shared] MODES OF PRODUCTION LESSON 7: AUDIO-VISUAL PRE-PRODUCTION STAGE INFORMATION AND MEDIA ❖ Planning phase, concept development, MOTION INFORMATION OR AUDIO-VISUAL visualization, script & screenplay writing, financing, casting, hiring set ❖ Media based on moving images with design, etc. audio and interaction functions (aka.: PRODUCTION STAGE motion media) ❖ Actual shooting & production of content ❖ Typically shown through electronic POST-PRODUCTION STAGE media technology ❖ Editing, laying of film score, special effects, revisions, possible re-shoots, ❖ Can also be created using manual etc. technology ❖ I.e.: LANGUAGE AND CODES film/cinema, electronic billboards, television shows, ★ LANGUAGE online videos, & phone gaming ○ Technical & symbolic ingredients that media & information professionals TYPES OF FILMS may select & use in an effort to communicate ideas, ★ NARRATIVE information, & knowledge ○ Fictional in nature ★ CODES ○ Characters & situations are ○ System of signs made up ○ Create meaning ★ DOCUMENTARY Generally have an ○ Presents non-fictional agreed meaning or characters & situations connotation to their audience  ○ Mise en scene A french term that means “Everything ★ ACTING within the frame” ○ Actors portray characters in In media, it has media products & contribute become to mean the to character development, description of all the creating tension, or objects within the advancing the narrative frame of the media ○ Characters are portrayed product & how they through: have been arranged Facial expressions An analysis of Body language mise-en-scene Vocal qualities includes set design, Movement props, costume, Body contact staging, & composition TECHNICAL CODES SYMBOLIC CODES ★ Codes that are specific to a media form & do not live outside of them ★ Show what’s beneath what we see ★ May include camera techniques, ○ Meaning of what is shown on editing, audio, & lighting screen ★ i.e.: ★ Include the language, dress, or ○ Understanding of different actions of characters, or iconic camera shots & their symbols that are easily understood connotations make sense ○ I.e.: when looking at films & A red rose - may be photographs, but mean used to symbolically nothing outside of them convey romance ★ CAMERA WORK The rock in parasite ○ Refers to how the camera is operated, positioned, & ★ SETTING moved for specific effects ○ Time & place of narrative ○ Includes positioning, ○ Can describe the setting of movement framing, the whole story or just a exposure, & lens choice specific scene ★ EDITING ○ Can be created atmosphere ○ Process of choosing, or a frame in mind manipulation, & arranging ★ COLORS images & sound in ○ Has highly cultural & strong audio-visual productions & connotations content ○ Analyze the dominant colors, ★ AUDIO the contrasting foils, & color ○ Expressive or naturalistic use symbolism of sound  ○ Diegetic Sounds expected ❖ Provide a structure for creativity from the material Conventions are a framework ○ Non-diegetic Not just limitations Sounds whose source is neither Creators may play with or visible on the screen subvert conventions to surprise nor has been implied & engage audience to be present in ❖ A shared language between media action creators & audiences ★ LIGHTING Allow audiences to connect ○ Manipulation of natural with stories & messages in a artificial light to selectively highlight special elements of way that feels familiar & the scene meaningful Provide familiarity ❖ Conventions evolve as media evolves WRITTEN CODES Opens new possibilities for creativity & innovation ★ Found in headlines, captions, speech bubbles, and language style. STORY CONVENTIONS CONVENTIONS ★ Common structures & understandings in storytelling ❖ Expected ways in which codes are used ★ I.e.: & put together in a message ○ Narrative structures ❖ Rules or generally accepted ways of ○ Point of view ○ Types of conflict constructing form & informing meaning ★ Building blocks of storytelling across in media products all types of media ❖ Help communicate meaning effectively ○ A toolkit that helps creators Using conventions can quickly construct stories in a way establish a scene’s mood, that audiences can easily genre, or message w/o follow & connect with excessive explanations emotionally ❖ Shape audience expectations I.e.: NARRATIVE STRUCTURE Viewers may expect a superhero movie to ★ Framework/sequence in which a have heroes, villains, & story is told fight scenes ★ Three-act structure ○ Most common structure ★ Restricted view ○ Act 1: Exposition ○ Keeps the audience in the Meet characters, dark understand that ○ Reveals information as the setting, introduction characters find it to the main conflict ○ Usually used in horror media ○ Act 2: Climax Story builds tension CONFLICT as challenges arise Often leads to a turning point ★ Driving force behind every story ○ Act 3: Resolution ★ Creates tensions & keeps audiences Conflict is resolved invested Story comes to a ★ Common types: close ○ Man vs Man ★ Non linear narratives ○ Man vs Machine ○ Uses flashbacks or alternate ○ Man vs Nature timelines to tell the story in a ○ Man vs Society unique way ○ Man vs Supernatural ○ Man vs Self ★ A story can have multiple conflicts POINT OF VIEW GENRE ★ Determines who is telling the story ★ Shapes how the audience ★ Helps audiences understand what to experiences the story expect & how to interpret the media ★ First person consumed ○ Perspective of the protagonist of a story ★ In media, refers to the categories or Personal, intimate classifications of media texts based ○ Information told using on shared characteristics, styles, or information from what the themes protagonist feels & sees Often through narration ★ Comes from the french word for ★ Second person “type” ○ Told by the narrator ★ Important for both consumers & ★ Third person media producers ○ Narrator is an entirely ○ Consumers can make different entity; an choices about media texts omniscient personality who they wish to consume knows everything ○ Media producers can create a media text for a specific audience  ★ ”Genres are repetitions of instances & ❖ Media Monopoly differences.” - Steve Neale Limited diversity of stories ★ Following a genre means following its Can shape consumer established conventions preferences POP CULTURE & UNPOPULAR TASTES CONFORMING VS SUBVERTING ❖ Media monopolies that shift consumer preferences to favor their media can ★ Conforming cause a lack of support towards media ○ Letting the audience recognize the content that subverts from the instilled favored ★ Subverting preferences ○ Follows a genre but break or ❖ I.e.: twists its conventions Big western companies such as ○ Important in keeping things disney, 20th century fox, etc. interesting can shift pop culture preferences to favor them, UNDERSTANDING AUDIO-VISUAL leading to the lack of support to INFORMATION indie & local or non-western studios & projects LEGAL, ETHICAL, AND SOCIETAL ISSUES IN ❖ Explore beyond media that is globally AUDIO-VISUAL INFORMATION dominant GLOBAL MEDIA DOMINANCE TECHNICAL PROWESS VS STORY CONTENT ❖ Occurs when a few major companies ❖ Hollywood standards/quality control a large share of the global Meaning a film could be seen media landscape as excellent only if it somehow Influences the content created, parallels that of a hollywood distributed, & consumed film Shapes the culture & taste of ❖ What’s the standard? vast audiences Level of artistic & technical ❖ Monopoly excellence when it comes to Exclusive control of a visual storytelling commodity or service in a particular market COOKIE CUTTER STORY TELLING Control that makes possible the ❖ Stories that follow the same formula or manipulation of prices structure ❖ Monopolistic ❖ Often reusing familiar tropes, Only a predominant media characters, & plotlines with very little outfit distributes specific types variation of content coursed through its various convergent companies  ❖ Results in a narrative that feels very predictable & generic May serve the plot, but they ❖ Efficient & consistent, but is not unique don’t feel fully fleshed out or ❖ Reasons for its presence in emotionally engaging mainstream media Often fall into easy patterns, Financial predictability making them feel like Copy formulas that are placeholders rather than real successful people Audience expectations ❖ Character Audiences often enjoy Any one of the various fictional familiar narratives; can people that appear in a film or be comforting TV show Pressure to quickly produce Includes heroes, heroines, more content for platforms villains, supporting roles, & Faster & easier to reuse minor & bit parts existing ideas ❖ Limitations of a character portrayal ❖ Drawbacks Speech Lack of innovation Dialogue conversations Can discourage What they say creativity due to Appearance hesitation about Their bodies, the way whether or not the they dress & look audience will like it Action Can reinforce stereotypes Behavior Repeating familiar What they do in result tropes can perpetuate of what or how they outdated or harmful think stereotypes Limited screen time or Cultural homogenization development Overuse of universal Characters may seem formulas can flat simply because overshadow unique they don't have enough culturally specific time in the story to stories & limit diversity show complexity Common in supporting CARDBOARD CHARACTERIZATION roles ❖ When character is reduced to a simple Supporting role or plot device stereotype or a single trait Just there to move the Making them feel predictable, story forward; no depth shallow, unrealistic, & Reliance on stereotypes one-dimensional  Writers have the tendency to lean on stereotypes because Social class & occupation they are easy to stereotypes understand & don’t Age stereotypes require much ❖ Reason for existence of stereotypes development Media creators often rely on If not properly done, stereotypes to simplify complex can lack emotional groups of people into easily depth recognizable traits, helping ❖ Drawback audiences quickly understand Audiences can struggle to form a character or situation an emotional connection with the characters Efficient way of Characters that lack depth can communicating ideas be missed opportunities for Cultural norms & prejudices exploring important themes Ingrained cultural embedded in the media norms & prejudices can I.e.: identity, growth, reflect in media conflict Racist & sexist Reusing of harmful stereotypes portrayals shown in & cliches can perpetuate media for decades can harmful or outdated lead to normalization representations Marketing Stereotyping can make THE PROBLEM OF STEREOTYPING the content more ❖ Stereotype accessible or relatable A common form or media to certain representation that uses demographics instantly recognized A character who fits a characteristics to label popular stereotype members of a social or cultural may be easier for group broad audience to ❖ Can have negative & positive identify with despite its connotations in their portrayals inaccuracies Can distort reality & perpetuate ❖ “Can stereotypes ever be good?” biased and harmful views May be beneficial for short Can oversimplify & inaccurately while, but ultimately hinders the portray groups of people ability of audiences to ❖ Many forms of stereotypes understand the history, Gender stereotypes struggles, & triumphs of the Race stereotypes individual within the group  LESSON 8: OPPORTUNITIES, CHALLENGES, AND POWER OF (Creating and targeting MEDIA AND INFORMATION specific audiences) They minimize cost by reducing risks, Due to technological innovations, the business counterbalancing large of media and information is tremendously payments for some dynamic, global in scope, and a strong force in with minimum pay for driving economic growth as well as political most, and through and socio-cultural changes. The opportunities economies of scale. that technology presents are paradoxically also ❖ To maximize revenue and minimize challenges. cost, they make sure that what they produce will surely sell. Without any doubt, communication businesses Giving what audiences want create wealth by generating employment, rather than what they need. stimulating improvements in the quality of Audiences have the power to existing goods and services and the encourage or discourage the development of new ones, and fostering production of certain types of competition. content if they know how to use ❖ Complex economic systems and two important resources, structures will collapse without the namely, time and money media and information communication vis-à-vis the benefits they get technologies. or the goals they set to realize They ought to exist not just to when they consume media serve markets, but to also help products. markets ultimately uplift ❖ Media companies seek partners individuals and societies everywhere by organizing and building ❖ Their priority is to create wealth for their networks of production and distribution stakeholders. across borders through co-productions They do so by maximizing and joint ventures, thus, increasing net revenues and minimizing costs profits by lowering production costs Media companies and increasing consumption through maximize revenues by multiple delivery systems. producing a wide variety of media products, each with its own target market, a special set of messages, and marketing strategies.  Media Ownership ★ 1915 [https://youtu.be/DvSTlxJsKzE?feature=sh ○ AT&T bought Western ared] Electric, one of the providers of their phone equipment Who runs all this stuff? Who owns the ○ Only official Western Electric media? equipment could connect to ★ The media at large, everything from the AT&T network newspapers you read to the apps on ★ 1934 your phone, are part of a big web of ○ President Franklin D. deals and partnerships and Roosevelt establishes the mergers. Federal Communications HISTORY OF AT&T Commission ★ 1877 FCC is meant to ○ Alexander Graham Bell & his implement: national father in law start The Bell radio & wire services Telephone Company in the U.S. ○ It becomes the dominant Has the authority to telephone provider examine AT&T’s ○ Renamed to: The American business Telephone and Telegraph They approved of Company AT&T’s business ○ For almost 100 years, AT&T ★ Anti-Trust Laws owns every part of the ○ Implemented because AT&T telephone system – from the became way too big wires and lines to the actual ○ Exist to try and prevent phones. monopolies (when a single company dominates an entire market or industry) ○ Preventing monopolies ○ Mid 1980’s If you had an protects consumers and AT&T phone, you had to rent encourages competition it from the company ★ Early 1900’s, ★ 1980’s ○ AT&T established ○ More than a century after the themselves as a walled founding of The Bell garden Company, those A closed system that anti-monopoly efforts start to was not make a difference interoperable with ★ 1982 other systems or ○ AT&T starts letting people companies buy their own phones, a good They refure rival first step. companies to work ★ 1984 with them – they just ○ Monopoly really breaks up, buy them the company separated into 7 smaller companies ★ After the break up we got cool inventions such as: ○ Answering machines ○ Three-way calling ○ Caller ID ★ PRESENT DAY ○ Companies try to dominate markets through new versions of vertical integration