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Cultural code refers to several related concepts about the body of shared practices, expectations and conventions specific to a given domain of a culture. Under one interpretation, a cultural code is seen as defining a set of images that are associated with a particular group of stereotypes in our minds.
Film semiotics is the study of sign process , or any form of activity, conduct, or any process that involves signs, including the production of meaning, as these signs pertain to moving pictures. Film semiotics is used for the interpretation of many art forms, often including abstract art .
John Fiske (September 12, 1939 – July 12, 2021) [1] was a media scholar and cultural theorist who taught around the world. His primary areas of intellectual interest included cultural studies, critical analysis of popular culture, media semiotics, and television studies.
Cultural studies combines a variety of politically engaged critical approaches drawn including semiotics, Marxism, feminist theory, ethnography, post-structuralism, postcolonialism, social theory, political theory, history, philosophy, literary theory, media theory, film/video studies, communication studies, political economy, translation ...
Miller's work has been influential in a wide range of fields in literary and cultural studies, including narrative theory, the history of the novel, film studies, and gay studies. In his early work, Miller examined the cultural and ideological work of the nineteenth-century novel in English and French.
Social semiotics is the study of the social dimensions of meaning, and of the power of human processes of signification and interpretation (known as semiosis) in shaping individuals and societies. Social semiotics focuses on social meaning-making practices of all types, whether visual, verbal or aural in nature. [ 2 ]
Camera Obscura is a triannual peer-reviewed academic journal of feminism, culture, and media studies published by Duke University Press.It was established in 1976 [1] by four graduate students at the University of California, Berkeley: Janet Bergstrom, Sandy Flitterman, Elisabeth Lyon, and Constance Penley. [2]
Since the early days of cultural studies-oriented interest in processes of audience meaning-making, the scholarly discussion about "readings" has leaned on two sets of polar opposites that have been invoked to explain the differences between the meaning supposedly encoded into and now residing in the media text and the meanings actualized by audiences from that text.