Critical Reading in Anglophone Media: Presented by
Critical Reading in Anglophone Media: Presented by
Anglophone Media
Presented by
Miss Mekhaznia Wafa
2020-2021
CHAPTER ONE:
THEORETICAL FOUNDATIONS
*Conclusion
Introduction
Agenda Setting Theory: The term was coined by Maxwell McCombs and
Donald L Shaw in 1972 in the context of election campaign where the
politicians seek to convince the voters about the party's most important
issues. This theory tries to describe and explain as how stories are
selected. (a)Packaged and presented- a process known as Gate keeping,
(b)by resulting agenda (c) how this agenda affects what people think about
the relative importance of the issues presented. This theory also “predicts”
that of particular news item is presented prominently and frequently by the
press, the public will come to believe that it is important.
Therefore Agenda setting is:
◦ The decision to cover any event or issue necessarily means that other
issues are more unlikely to be covered, even if those issues are arguably
more important
“Newshole” is limited by various constraints
◦ Time
◦ Space
Pressure to cover the sensational…
Examples of Agenda setting
Experiment 1 – News stories about defense
◦ Group A: Stories about weakness in defense
◦ Group B: No stories about defense
◦ *** participants much more likely to cite defense as a
major problem facing nation
«What matters here, rather than teach things and transmit content, is
that the individual learns to learn; to be capable of thinking for
himself, to overcome verifications merely empirical and immediate
findings of facts that surround it (naive consciousness) and develop
its own capacity to reduce, to relate, elaborate synthesis (critical
consciousness)» (Kaplún, 1998: 51).
The media programs mislead the critical
spirit and the acquisition of knowledge. They
propose that the student becomes implicitly
more critical whenever he acquires the
knowledge proposed by the program. But a
fundamental question remains unanswered:
what do we understand by critical thinking?
Generalities on Media Analysis:
Things you should know before starting:
1) Being objective, avoiding ideological proposals
2)Taking into account the social, political and cultural
influence that unnecessarily embraces the media
3)The media must be settled in their context, environment,
with values, demands and aspirations
Therefore, Critical Reading require that the reader
possesses a series of intellectual skills that involve
reading, decoding, analysis, perspective, expression and
communication.
1) Select the media text or texts; visualize it (reading or listening to it,
according to the case) as a starting point.
2) Identify values and views that the group possesses in terms of the media
text. Consider emotional affinities: did you like it? What did you dislike?
What aroused your curiosity? What were you indifferent to? Include: usage,
habits and tastes regarding the media text. This step is the recognition of the
characteristics you have as a consumer of media, with habits, tastes and
preferences.
3) Study the formal elements of the text: the deconstruction of the aspects
that shape and link with the language and grammar in each media
“Analyzing texts is based on the ideas that language is inherently unstable
and shifting and that the reader rather than the author is central in
determining meaning” “Derrida, 1960” . In the case of television, for
example, use of shots and angles, camera movements or composition.
Include: description of a television genre, the structure of a magazine or a
newscast.
4) Interpret the relationships that the issuer suggests by the deliberate
construction of the message, taking into consideration formal aspects
identified in the previous section; these are evidence of analysis. Specify the
denotative, primary meaning (Saussure, 2005), according to related culture.
In the case of audiovisual language, for example, it is easy to interpret a shot
such as a «low shot» angle that demonstrates the superiority of the object
represented.
5) Select a specific theme for discussion, as a motivational strategy.
This leads to work with specific general problems and not certain
individual viewpoints.
6) Contextualize the message or analyzed text, considering that it may
occur in various formats. Nowadays, this involves technological
intervention, conditioned interpretations and relationships established
with audiovisual speech. Contextualize is to locate the texts in their
socio-cultural context, i.e. it implies reflection on the references that
help us to interpret /understand the issuer/author of the message, as
well as the diegetic “narrative” location (spatial and temporal) of the
media text (when did it happen? where was it drawn up?).
7) Evaluate the text from the identification of the source: who is the
issuer? (origin of the text). This allows us to evaluate the degree of
confidence it has with respect to institutional mediation to infer the
possible interests of the issuer. The issuer can be an artist, as in the case
of a short film, a company that responds to the logic of the
entertainment industry, as with soap operas, a public institution or
health prevention campaign.
8) Identify the characteristics of the content from the genre, format and
media from which it arises; discriminate between facts, inferences and
opinions, for example, in news programs or in the print media. This
will allow us to understand the use of the language and grammar of
media, its linkage with the theme and developed gender. If we look at a
magazine we are unlikely to see sequencing with a descriptive intent or
details of a level of usage that emphasize specific aspects of what is
represented, because the logic of the discourse points to another type of
plan, showing the scene of representation and dynamism, among other
technical and semiotic aspects.
9) Inventory concepts and definitions that serve to establish
relationships between them; from experiences and prior knowledge,
depending on the review of its influence from the context in which it is
immersed. It basically works from dialogue, discussion and joint
account agreements. Here different social mediation and knowledge in
reflective action are at play, from the constructivist perspective.
10) Discover the present in the text (Saussure, n2005), connotations,
i.e. identify the subjective meanings, ambiguities and multiplicity of
interpretations it offers. It is essential to assess the points of view of
each reader/interpreter and above all, constructions from their
references. This step can include the investigative or intentional
analysis of the author/sender of the message; recognize the means and
ends used to build the message; make assumptions and conjectures
that allow the reader to anticipate consequences. This procedure
relates to the process of questioning.
Systematic random (selecting every nth unit from the total population
of articles or advertisements/commercials for study);
Purposive such as selecting all articles from key media (and not from
less important media.
Quota such as selecting a proportion of articles from each of several
regions or areas (either geographic, demographic, psychographic, or
subject category);
Stratified composite samples “representative ones” constructed by
randomly selecting units for analysis (articles or ads) from certain days
or weeks over a period.
2- Qualitative Analysis:
qualitative content analysis relies heavily on researcher ‘readings’ and
interpretation of media texts. This intensive and time-consuming focus
is one of the reasons that much qualitative content analysis has involved
small samples of media content and has been criticized by some
researchers as unscientific and unreliable.
qualitative analysis of texts is necessary to understand their deeper
meanings and likely interpretations by audiences – surely the ultimate
goal of analyzing media content.
Qualitative content analysis can, to some extent, be incorporated within
or conducted simultaneously with quantitative content analysis. For
instance, positive and negative words and phrases can be analysed to
identify the tone of text. Also, analysts can record notations during
coding in relation to contextual factors. However, in many cases, in-
depth analysis of selected content using qualitative research methods is
required to fully understand the potential meanings (manifest and latent)
for audiences and likely effects of texts.
Qualitative message analysis methods applicable to analysis of media
content include text analysis, narrative analysis, rhetorical analysis,
discourse analysis, interpretative analysis and semiotic analysis, as well
as some of the techniques used in literary studies such as critical
analysis.
Within the broad hermeneutic “interpretative” tradition concerned with
text analysis, there are two main strands particularly relevant to
qualitative content analysis. The first, narratology, focuses on the
narrative or story-telling within a text with emphasis on meaning that
may be produced by its structure and choice of words. The second
draws on semiotics and focuses attention on signs and sign systems in
texts and how readers might interpret (decode) those signs.
the key text elements commonly studied in qualitative content analysis
are:
Adjectives used in descriptions (positive and negative) which give
strong indications of a speaker’s and writer’s attitude (e.g. it was
‘disgusting’);
Metaphors and similes used (e.g. labeling a car a ‘lemon’ or a person a
‘rat’); Whether verbs are active or passive voice;
Viewpoint of the narrator (i.e. first person, second person, third person);
Tonal qualities such as aggressiveness, sarcasm, flippancy, emotional
language;
Binaries established in texts and how these are positioned and used;
Visual imagery in text
Context factors such as the position and credibility of spokespersons or
sources quoted which affects meaning taken from the text (e.g. if one
message is presented by a high profile expert it will generally outweigh
a non-expert opinion).
Audience Analysis
Media would not exist without audiences. Yet the media have to
compete for people’s attention and interest; and finding and keeping an
audience is not easy. Producers might imagine they know what
different groups of people will want, but it is often hard to explain why
some things become popular and others do not. People also use,
interpret and respond to media in very different ways. A given media
text will not mean the same thing to everybody. Understanding and
reflecting on our own and others’ uses of media is therefore an
important part of media education.
KEY QUESTIONS
Looking at media audiences means looking at:
Targeting: How are media aimed at particular audiences? How do they
try to appeal to them?
Address: How do the media speak to audiences? What assumptions do
media producers make about audiences?
Circulation: How do media reach audiences? How do audiences
know what is available?
Uses: How do audiences use media in their daily lives? What are their
habits and patterns of use?
Making sense: How do audiences interpret media? What meanings do
they make?
Pleasures: What pleasures do audiences gain from the media? What
do they like or dislike?
Social differences: What is the role of gender, social class, age and
ethnic background in audience behaviour?