Monday 31 January 2011

The social construction of childhood


Childhood an  Introduction.

1. Biologically, we are all young once and, with the passage of time, we will all become old - but the simple empirical statement of these facts hides a much wider and more-complex set of ideas.


What are the categories that we construct to represent phases in life?

·      Childhood
·      Adolescence / youth
·      Adulthood
·      Old age.



What characteristics do we tend to associate with these categories?


·      For example, in our society we tend to associate childhood with such characteristics as "innocence / naiveté" and old age with increasing physical frailty, loss of mental faculties and so forth. Not all societies attribute such characteristics to these categories.


Why might different people categorise these groups differently?


5. The process of categorization is relatively arbitrary (when, for example, does childhood end? At what age does a person become old?).

6. The concept of a "biological life-cycle" (the progression from birth to death) can be empirically demonstrated. In physical terms at least, a young baby is different to a fourteen year old; in turn, a fully-grown adult is different to both and so forth.

·      However, simply because we can demonstrate something empirically, it doesn't necessarily mean that it is easy to understand either:

a. The empirical demarcation of boundaries between "stages" in the life-cycle.

b. The social significance of these "stages".

7. To understand this a bit more clearly, think about:

At what age does childhood end?

At what age does youth end?

At what age does adulthood end?




B. Changing Conceptions of Childhood.

1. In these notes we need to consider two main ideas:

a. Do people have different conceptions about what constitutes childhood?

b. Do sociologists agree / disagree about conceptions of childhood?

2. To answer these questions we need to look at whether or not major changes have taken place in relation to the way in which children have been treated in both:

a. The past (the historical dimension) and

b. Different cultures (the comparative dimension).

C. Childhood: An Historical Dimension.

1. The work of Philip Aries ("Centuries of Childhood", 1962) has, for many years, been considered to be the definitive work on the subject of changing conceptions of childhood. Martin Shipman, for example, although generally critical of Aries argument, has noted that Centuries of Childhood had the status of "holy writ" throughout the 1960's...


"In medieval society the idea of childhood did not exist".




The Socialisation of Children

Speier argues that there are five main ideological conventions which are drawn upon when discussing the socialisation of children.

1.    Children are adults in the making
2.    Children are made into adults by adults themselves.
3.    Children’s development into adulthood is progressive and is about learning how to be ‘competent’ in the world.
4.    Unsuccessful socialisation results in the child growing up to be deviant.
5.    Children are seen as defective in their social participation since they have not learnt, by virtue of there being children, how to be have in the adult world.







The rise of child-centredness

1.    How do we protect children from the nasty things in life? What sort of things are hidden from them?
2.    What kinds of experts do we consult to help us to care well (and correctly) for our children?
3.    How do we cater for children in special ways? You might consider, for example clothes, toys, food, holidays and so on.
4.    What sorts of big business are involved in catering for children?




Moral Panics

Aims
·    understand the term moral panic;
·    understand the process of deviancy amplification;
·    be able to apply examples of moral panics;
·    structure an essay on this topic.



Through prophesying trouble they create it and, additionally, amplify any deviance which may already exist

News and other factual programmes, by giving publicity to trouble spots and potential violence, actually cause that violence and trouble to occur. When this happens there has been a self-fulfilling prophecy.

The apartheid South African government argued that this was occurring in its country and as a result introduced legislation which censored domestic and foreign media coverage of popular unrest there.

It also placed restrictions on the movement of journalists around the country. The presence of the media encouraged the rioting because dissidents knew they would have an audience, the argument ran.

It was in recognition of this effect that British news editors some years ago decided to stop reporting a spate of bomb hoaxes (copycat) which were plaguing airline companies.

It was felt that the hoaxers were gaining satisfaction from the reports of their actions (planes delayed, searches of aircraft etc.). The number of hoaxes was dramatically reduced following this decision.

There are tales of camera crews, in search of good pictures, deliberately inciting violence so that they could get them, In Northern Ireland too there are said to have been occasions when foreign camera crews have encouraged young Catholic boys to throw stones at the army in front of the cameras.

The process of self fulfilling prophecy occurs like this:


A small group of people commit some act of deviance




The media’s news values pick up on an ‘interesting’ story: a problem group is identified.

The media produce headlines, stories, and photographs to interest readers and viewers

To maintain readers’ interests, original deviance is amplified through exagerated and sensationalised reporting. Causes are simplified for easy explanation.

The group is labelled as folk devils and stereotyping occurs.

More deviance occurs as people become more aware of it as a result of the media’s interest, and seek it out for excitement.

A moral panic develops. Public concern is aroused at the real or imaginery ‘threat’ to society; the media campaign for ‘action’ to be taken against this perceived threat


order is restored by police, courts and (sometimes) new legislation

Thus the mass media, almost single-handed, have created deviance out of little on nothing and, by predicting that something is going to happen, have made it happen. Consider reporters at an England football match or the Mayday protests

Academic studies of this process occurring include Stan Cohen's Folk Devils and Moral Panics and Jock Young's The Drugtakers, though these both deal with events of some years ago.

The former showed how Mods and Rockers were virtually created by the media through largely fictional accounts of violent incidents at South Coast resorts.

The latter demonstrated how Notting Hill marijuana users were criminalised and forced into greater deviance by media exaggeration of their behaviour and lifestyle and subsequent police action against them.

More recently media coverage of hippy convoys' travelling to Stonehenge to celebrate the summer solstice, travellers moving in convoys around the country and ‘raves' in countryside locations led to increased public concern and subsequently police act on.

These events had previously been peaceful, though drugs were usually involved. However the police intervention led to violent confrontation and conflict.

In effect a problem was created where there had not been one before, and of course this too was reported by the media, further fuelling public concerns.

Folk devil/moral panic

Folk devil: A group or an individual popularly represented as evil and a threat to society.
Hall et al. define a moral panic as happening when the official reaction to a person, groups of persons or series of events is out of all proportion to the actual threat offered'.
          



Deviancy amplification

The process by which the amount or seriousness of deviancy is increased through the reporting of it and the subsequent actions which are taken by the police or other agencies and response by ‘deviants'. What is amplified is the reported deviance, the social reaction and the actual deviance that results from this.

Self-fulfilling prophecy

The process by which an event is caused to occur by the fact that a predic­tion is made that it will occur.

Are there any similar examples of the self-fulfilling prophecy and deviancy amplification by the media that have occurred more recently? In thinking about this you should look for:
·        detailed descriptions in the media of some deviant person or group;
·        description of some trouble that they have caused in the past;
·        a prediction of when and where they are likely to cause trouble.



A moral panic can be recognised in the intensity of feeling expressed by a large number of people about a specific group of people who appear to threaten the social order at a given time. These people become ‘folk-devils', about whom 'something needs to be done'. This 'something' usually takes the form of increased social control, which might mean stricter laws, longer sentences, heavier fines and increased policing of specific areas. After the imposition of these new controls, the panic subsides until a new one emerges. It is interesting to analyse the contexts of moral panics because they invariably occur when powerful interests groups in society are facing troubled times (Goode and Ben-Yehuda, 1994).


Characteristics of a moral panic
Most societies at some time have been gripped by a moral panic and we need to know how to recognise one when it occurs. Sociologists are interested in the development of issues into moral panics.

It is important to consider who actually has the power, if power is the appropriate term here, to define the event as a moral panic. We also have to decide at what point concern about a specific phenomenon becomes a moral panic. What are its major characteristics? Can we know that we have experienced one only after the event?
We can at least find some common ground on what constitutes a moral panic. Goode and Ben-Yehuda (1994) outline what they see as the five main features of a moral panic: concern, hostility, consensus, disproportionality and volatility.


Concern
There must be awareness that the behaviour of a particular group or category is likely to have negative consequences for the rest of society. This gives rise to public concern, which may be shown through public opinion polls and, significantly, through media coverage.


Hostility
There must be increased hostility directed at this group, and they may be referred to as the enemy of respectable society. They become 'folk­devils' and a clear division opens between 'them', the threateners, and us', the threatened.


Consensus
There must be fairly widespread acceptance that the threat posed by this group is a very real one to the rest of society. The consensus does not necessarily have to be nationwide, but it is important that the moral entrepreneurs are vocal and that the voices of the opposition are weak and disorganised.


Disproportionality
It is implicit in the term 'disproportionality' that the societal reaction to the event is out of proportion. In a moral panic the public is given evidence in the form of statistics, which are often wildly exaggerated. Furthermore the statistics for drug addiction, attacks, victims, injuries, illnesses and so on are disproportionate to the actual threat exercised by the group or category.


Volatility
Moral panics, as the term implies, are volatile. Any moral panic has a limited 'shelf life', although it might lie dormant for a long period of time and might also reappear during different historical periods. (The panic over satanic ritual abuse in the 1980s had Medieval antecedents in witchcraft accusations and trials.) In general they erupt suddenly and just as quickly subside. However, irrespective of whether or not there is a long-term impact, the public hostility generated during a moral panic is relatively short-lived: it is difficult to sustain antagonism at fever pitch for any length of time, public interest may wane or the news agenda setters may change the focus of attention.


Questions
Examine 'volatility'. Think back to a recent moral panic:

1  Who or what was it focused on?

2.     What was the eventual outcome? (For example was there a legal change as a result of it?)


Moral panics occur most frequently in societies that are modern or undergoing modernisation; when this is the case, they may serve as a means of both strengthening and redrawing the moral boundaries in those societies. 'When a society's moral boundaries are sharp, clear and secure, and the central norms and values are strongly held by nearly everyone, moral panics rarely grip its members - nor do they need to' (Ben-Yehuda, 1985).

Thursday 27 January 2011

In what ways does your media product use, develop or challenge forms and conventions of real media products?

In what ways does your media product use, develop or challenge forms and conventions of real media products? 


Essentially this is a question about genre.

Genre
Refers to a category of media product that audiences can easily recognise because of the repetition over time of key elements, such as narrative, characters and setting.


Most Media Texts have what we call Generic Textual Features. Music Magazines are no different.

narrative - similar (sometimes formulaic) plots and structures, predictable situations, sequences, episodes, obstacles, conflicts and resolutions;

characterization - similar types of characters (sometimes stereotypes), roles, personal qualities, motivations, goals, behaviour;

basic themes, topics, subject matter

setting - geographical and historical;

iconography - a familiar stock of images or motifs, the connotations of which have become fixed; primarily but not necessarily visual, including décor, costume and objects, certain 'typecast' performers, familiar patterns of dialogue,

Plan for answering question 3
1 Introduce concept of Genre
2 Generic Textual features of Music Magazine
3 Encoder Decoder model audience expectations
4 Did you conform or push boundaries?
5 Closing Summative paragraph

How did you attract/address your audience?

Who would be the audience for your media product ?

Who would be the audience for your media product ?                                                                                                                                                              


You’ll need to construct an evaluation section on your BLOG – use labels.
In answering the questions point the examiner to relevant posts in the BLOG
In order to get a top band mark your Evaluation needs to be more than just words. Be creative in how you present your information.


Testing the imaginary entity.
The imaginary entity is a term given to the ideal reader (consumer) of the text. It is argued that text producers have in mind an ideal reader when they produce a text.
Remember the ideal reader does not exist it is an imaginary entity. Audiences are not homogeneous but are made up of individuals.
1.    Who would be the audience for your media product?

In answering question 1 you need to tell the examiner who is the target audience and why. Explain how you developed your concept of an imaginary entity via a questionnaire. The questionnaire enabled you to develop a lifestyle profile for your target audience. Then collate your research from the lesson. Tell the examiner that having tested the magazine on a focus group how your notion of the target audience has shifted (if it has).
Make reference to the encoding decoding model and discuss how your focus group read the magazine cover. The encoding decoding model needs to be referenced in your research section. (Notes available on intranet)

How does your media product represent particular social groups?

AS Media Evaluation                              Question

How does your media product represent particular social groups?


Plan


1.    Define representation

      The act of communicating by using symbols to stand for things.



2.    What Social group(s) does you magazine represent?


      You could here explain your understanding of Social Stratification


3.    How are representations constructed?
All Representations are a choice, representation is a selective process. All representations go through a process of mediation.
No representation is a complete truth.

4.    Tell the examiner what factors led to you constructing the representation as you did. These should include:
            Your own world view All encoders have their own preconceptions
            Intertextuality – how does your representation link to other representations?
            Target Audience – what are your imaginary entity’s preconceptions?
            Is your representation positive or negative?
            Is representation denotative (easily understood) or connotative (more complex)

5.    What are the impact of Representations: two models of approach
                        Hegemonic                                                     Pluralist
                        Media Centric                                                 Society Centric
       Representation affects the audience       Representation does not affect the audience

What kind of media institution might distribute your media product and why?

Evaluation
What kind of media institution might distribute your media product and why?

Examination
            Institutions and Audiences
In your examination you will have to answer an unseen question about the Magazine Industry and its audiences. Information about size of media companies and issues such as Vertical and Horizontal integration (see below) will be important.
From the board make the note of some of the products that each of the following media companies has in their catalogue.
BAUER
IPC
National Magazines 
Dennis Publishing
Conde Nast
When choosing your publisher make sure you look at their full brand catalogue – what other media and non-media interests do they have?

Vertical Integration – owning media industry in the same field. E.G. News Corp. owning Film Studios and SKY Movie channel
Horizontal Integration – owning un-related Media organisations (which can however support one another) news Corp. owns SKY TV and The Sun newspaper.
Conglomeration – Media Industries are often connected to other big business and exist as part of huge multinational organisations with a wide variety of global interests.

Plan
Introduce publisher

How does your magazine fit in with their overall brand catalogue?

How do magazines make money?

New Niche Audiences

Direct competition with other Publishing houses

Monday 24 January 2011

Trainspotting Key Scenes

Trainspotting           Key scenes


Introduction
Expository Narration
Non-Linear Narration
Captions
Non-diegetic voice over.

This scene sets up the world of habitual heroin use and the ‘normal’ world in which their sub-culture exists. They share the same space and the two cultures overlap. Renton’s voice over explains the reasons (‘there are no reasons’) as why they haven’t chosen life but chosen heroin instead.
Here then is one of the first cultural boundaries the film sets up. In the beginning Tommy is firmly if the non-heroin group (‘it’s a waste of your life, Rents, poisoning your body with that shite’) but does later in the film cross the line (‘I want to try it, Mark. You’re always going on about how it’s the ultimate hit . . . I want to find out for myself’) with tragic consequences.

London(England) Scotland
Renton: It's shite being Scottish! We're the lowest of the low! The scum of the fucking earth! The most wretched, miserable, servile, pathetic trash that was ever shat into civilization! Some people hate the English; I don't! They're just wankers! We, on the other hand, are colonized by wankers! Can't even find a decent culture to be colonized by! We're ruled by effete assholes. It's a shite state of affairs to be in, Tommy, and all the fresh air in the world won't make any fucking difference!
Renton’s speech, Costume, body language as well as cinematography highlight the separation the characters have from a stereotypical notion of Scottishness – no Robert the Bruce or Braveheart here.
Similarly the ‘first day of the Edinburgh festival’ scene demonstrates separation from Edinburgh culture the city’s positive aspects.
London
Is set up as a binary opposite to Deprived Edinburgh. The Mass unemployment and poverty is exchanged for the money making opportunity of London. The film starts the London sequence with an almost promotional video sequence of the capital city.
I quite enjoyed the sound of it all. Profit, loss, margins, takeovers, lending, letting, subletting, subdividing, cheating, scamming, fragmenting, breaking away. There was no such thing as society and even if there was, I most certainly had nothing to do with it. For the first time in my adult life I was almost content.

Renton can cross between the two cities whereas Sick Boy Renton and Begbie cannot. When they come to London they bring their chaos with them.
Consider all contrasts between London and Edinburgh and how the characters relate to both places.
Night Clubs, Music, Drugs, Employment, . . . etc
Consider this in terms of representation – how are the two capital cities represented by the Encoder?

Renton only uses Heroin in Edinburgh and not London – think about what this signifies.
Illusion/reality
8.08  toilet
How do the captions/voice over help us shift between reality and illusion. What does the illusionary world tell us about Renton’s drug habit in this scene.
43.23 overdose
Escape
Management of time perhaps signifies that the reality of life is meaningless by comparison to the illusionary world.
The harshness of the reality is juxtaposed the song ‘Perfect Day’ The mise en scene constructs a paradigm of utter despair – does this justify the use of heroin?
Resurrection in the hospital – brought back to the life – but what life?
Cold Turkey 48.47
Are illusion and reality colliding?
All of his ‘misdemeanours’  haunt his nightmares. Sex with school girls, dead babies, threat of violence, HIV, prison  etc.

Sub cultural values
Job Interview

A subculture is a group of people with a culture (whether distinct or hidden) which differentiates them from the larger culture to which they belong, for example, if a particular subculture is characterized by a systematic opposition to the dominant culture, it may be described as a counterculture.
Subcultural capital is described as the cultural knowledge and commodities acquired by members of a subculture, raising their status and helping differentiate themselves from members of other groups. In 2007, Ken Gelder proposed to distinguish subcultures from countercultures based on the level of immersion in society.[3] Gelder further proposed six key ways in which subcultures can be identified:
1.     through their often negative relations to work (as 'idle', 'parasitic', at play or at leisure, etc.);
2.     through their negative or ambivalent relation to class (since subcultures are not 'class-conscious' and don't conform to traditional class definitions);
3.     through their association with territory (the 'street', the 'hood', the club, etc.), rather than property;
4.     through their movement out of the home and into non-domestic forms of belonging (i.e. social groups other than the family);
5.     through their stylistic ties to excess and exaggeration (with some exceptions);
6.     through their refusal of the banalities of ordinary life and massification.


Try and consider what values the group share and what values they hold that are at odds with the rest of society.  In terms of our ability to answer the exam question we need to consider the different boundaries of belonging and exclusion.
Illusion                      Reality
Society                      Sub Culture
Edinburgh                London
Our protagonist, Renton, can move across the boundaries and at certain times the Director deliberately blurs those boundaries.
Contextual work
You need to read through the BFI Powerpoint .
What ‘type’ of British film is this. Also consider Andrew Higsons conceptual framework for national cinema. Economic, Audience, High Art and Content.
What do British films have in common – how does Trainspotting develop these themes?