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Media Texts and Genres
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MODULE GUIDE
CODE: 55-4740-00S
September 2014
Module Leader/Lectures: Christopher Hogg, C.Hogg@shu.ac.uk
Seminars: Mark Leader, M.J.Leader@shu.ac.uk

THE TIMES AND LOCATIONS
Weekly Lecture: Tuesdays, 10:00-11:00, Cantor 9130
Weekly Seminars:
Group 1 Thursdays, 14:00-16:00, Harmer 2502 (for weeks 1-4, 6-7, 9-12) and
Owen 920 (for weeks 5 and 8)
Group 2 Fridays, 09:00-11:00, Owen 1034
Group 3 Thursdays, 11:00-13:00, EMB 3204






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THE OVERVIEW
From tweets to television adverts to Hollywood films, we are surrounded by media texts on a
day-to-day basis, and they have a profound impact upon how we understand ourselves and
the world around us. Drawing on a range of examples from film, television, print media and
more, this module introduces some of the key ways in which media texts and genres are
created, used and studied.
This is a dynamic and fascinating research area and one which is ripe for interesting
investigation and discussion.
This is a one-semester module which counts for 20 credits.
By engaging successfully with this module, you should be able to:
Describe and understand the essential concepts relating to media texts
Describe and understand the central theories and debates relating to media genres
Develop skills in analysing media texts and genres

Contact time on this module consists of a lecture and a seminar each week.

THE LECTURES
The weekly lecture offers an introduction to key ideas, debates and media examples relating
to the topic of that week.
THE SEMINARS
The seminar is the place to discuss further the subject of the weekly lecture and to prepare for
your assessments.
As the lectures deliver a roadmap of key ideas, arguments and examples, the seminars are
an important place for you to develop a more detailed understanding of the weeks topic
through further discussion and debate.
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Before each weekly seminar, please read and bring along with you the accompanying
piece(s) of required reading (indicated in the weekly schedule below) so that you can
adequately partake in the seminar discussions and activities.
ALL required reading is available in PDF form in the Learning Materials section of
the modules SHUspace area.

THE ASSESSMENT (SEE PAGES 11-14 FOR FURTHER DETAILS)
The assessment for this module is in two parts:
(1) a textual analysis presentation (see pages 11-12) to be presented in Week 7 of the
module.
(2) an essay (see pages 12-14) to be submitted electronically by 4pm on 07/01/2015.

THE WEEKLY SCHEDULE

(A printable copy of the weekly schedule is available in the modules SHUspace area.)

Week 1: Introduction What is a Media Text?

This week introduces the module and begins our consideration of media texts, their
construction and their significance in our day-to-day lives and experiences.

Required Reading

Ellis, J. (2000). Witness: A New Way of Perceiving the world, Seeing Things: Television
in the Age of Uncertainty, London: I.B. Tauris, pp. 6-16.




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Suggested Reading

Gillespie, M. and Toynbee, J. (Eds.) (2006). Analysing Media Texts, Maidenhead: Open
University Press.

Matheson, D. (2005). Media Discourses: Analysing Media Texts, Maidenhead: Open
University Press.

Week 2: The Art of Rhetoric Media Meanings and Effects

Using media advertising as a central case-study, this week begins to examine the techniques
used in generating textual meanings and encouraging particular audience responses to media
texts.

Required Reading

Long, P. and Wall, T. (2009). How Do Media Make Meaning?, Media Studies Texts,
Production and Context, London: Pearson, pp. 20-50.

Suggested Reading

Bignell, J. (2002). Media Semiotics: An Introduction, Manchester: Manchester University
Press.
Branston, G. & Stafford, R. (2003). 'Meanings and Media', The Media Students Book (Third
Edition), London: Routledge, pp. 9-23.
Charteris-Black, J. (2013). Analysing Political Speeches: Rhetoric, Discourse and Metaphor,
London: Palgrave Macmillan.

Corner, J. (2002) 'Approaches: Why Study Media Form?', in Briggs, A. & Cobley, P. (Eds.)
The Media: An Introduction (Second Edition), Harlow: Pearson Education Limited, pp. 294-
304.

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Hill, C.A. and Helmers, M.H. (2003). Defining Visual Rhetorics, London: Lawrence
Erlbaum.


Week 3: Reading Film and Television Texts

Using a selection of textual examples, this week introduces the audio-visual language and
grammar of film and television, how they are used by media creators and how we read
them as audiences.

Required Reading

Bordwell, D. and Thompson, K. (2012). Film Art: An I ntroduction (Tenth Edition), New
York: McGraw-Hill, pp. 156-174; pp. 249-262.

Suggested Reading

Arijon, D. (1991). Grammar of the Film Language, CA: Silman-James Press.

Bowen, C.J. and Thompson, R. (2009). Grammar of the Shot (Second Edition), Oxon: Focal
Press.

Mackendrick, A. (2006). On Film-making, London: Faber and Faber.

Mercado, G. (2010). The Filmmakers Eye: Learning (and Breaking) the Rules of Cinematic
Composition, Oxon: Focal Press.


Week 4: Understanding Media Representations

This week uses social-media platforms such as Facebook and Twitter as a case-study to
examine the ways in which many of us engage in the construction and interpretation of media
representations on a day-to-day basis.
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Required Reading

Lacey, N. (2009). Representation, I mage and Representation Key Concepts in Media
Studies (Second Edition), London: Palgrave Macmillan, pp. 146-172.
Suggested Reading

Davies, J. (2007). `Display; Identity and the Everyday: Self-presentation through Digital
Image Sharing, Discourse, Studies in the Cultural Politics of Education, 28 (4), pp. 549-564.

Ferguson, H. (2009). Self-Identity and Everyday Life [E-Book]. London: Routledge.

Goffman, E. (1959). The Presentation of Self in Everyday Life. New York: Doubleday
Anchor.

Laughey, D. (2009). Representation, Media Studies Theories and Approaches, Herts:
Kamera, pp. 70-80.

Week 5: Representation and the Real the Reality and Lifestyle TV
Phenomenon

This week uses reality and lifestyle television as a case-study to further explore how media
representations and identities are constructed and understood, in ways which often work to
manipulate viewer emotions.

Required Reading

Dovey, J. and Hill, A. (2008). Reality TV and Studying Reality TV, in Creeber, G.
(Ed.), The Television Genre Book (Second Edition), London: BFI, pp. 134-138.

Long, P. and Wall, T. (2009). Reality Media, Media Studies Texts, Production and
Context, London: Pearson, pp. 102-124.

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Suggested Reading

Biressi, A. and Nunn, H. (2004). Reality TV: Realism and Revelation, London: Wallflower
Press.

Heller, D. (Ed.) (2007). Makeover Television: Realities Remodelled, London: I.B. Tauris.

Hill, A. (2007). Restyling Factual TV: Audiences and News, Documentary and Reality
Genres, London: Routledge.

Holmes, S. and Jermyn, D. (2003). Understanding Reality Television, London: Routledge.

Week 6: Presentation Preparation and Tutorials

Lecture and seminar time during this week is used to develop presentations in your
groups and to discuss presentations with your tutors.

Week 7: Textual Analysis Presentations

Lecture and seminar time during this week is used to deliver group presentations and to
receive initial feedback.

Week 8: Understanding Media Genres

This week examines the importance of genre in determining how media texts are constructed,
marketed and interpreted.

Required Reading

Long, P. and Wall, T. (2009). Organising Meaning in Media Texts: Genre and
Narrative, Media Studies Texts, Production and Context, London: Pearson, pp. 52-74.
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Suggested Reading

Altman, R. (1999). Film/Genre, London: BFI.

Bignell, J. (2008). Television and Genre, An Introduction to Television Studies (Second
Edition), London: Routledge, pp. 115-136.

Borthwick, S. and Moy, R. (2004). Popular Music Genres: An introduction, Edinburgh:
Edinburgh University Press.

Mittell, J. (2004). Television Genres as Cultural Categories, Genre and Television: From Cop
Shows to Cartoons in American Culture, New York and London: Routledge, pp. 1-28.

Week 9: Loving the Alien Science Fiction as Modern Mythology

Using popular science fiction as a genre case-study, this week considers how media genres
can both reflect and influence our understandings of the world around us.

Required Reading

Roberts, A. (2006). Defining Science Fiction, Science Fiction, London: Routledge, pp.
1-28.

Suggested Reading

Barthes, R. (2009). Mythologies (Vintage Classics) (Trans. Lavers, A.), London: Vintage
Classics.

Cornea, C. (2007). Science-Fiction Cinema: Between Fantasy and Reality, Edinburgh:
Edinburgh University Press.

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Landsman, G. (1972). Science Fiction: The Rebirth of Mythology, The Journal of Popular
Culture, 5 (4), pp. 989-997.

Levi-Strauss, C. (1995). Myth and Meaning: Cracking the Code of Culture, New York:
Schocken Books.

Neale, S. (1999). Genre and Hollywood, London: Routledge.

Telotte, J.P. (2014). Science Fiction TV, London: Routledge.

Week 10: Beyond the Everyday Cult Media Texts

This week examines the ways in which certain media texts gain cult status and devoted fan
followings, considering a variety of cult films and television shows as examples.
Required Reading

Hills, M. (2004). Defining Cult TV: Texts, Inter-texts and Fan Audiences, in Allen,
R.C. and Hill, A. (Eds.), The Television Studies Reader, London: Routledge, pp. 509-523.

Suggested Reading

Abbott, S. (Ed.) (2010). The Cult TV Book, London: I.B.Tauris.

Gwenllian-Jones, S. and Pearson, R.E. (2004). Cult Television, Minneapolis: University of
Minnesota Press.

Harper, G. (2000). Unruly Pleasures: The Cult Film and Its Critics, London: FAB Press.

Jancovich, M. et al (Eds.) (2003). Defining Cult Movies: The Cultural Politics of
Oppositional Taste, Manchester: Manchester University Press.

Mathijs, E. and Sexton, J (2011). Cult Cinema, London: Wiley-Blackwell.

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Telotte, J.P. (Ed.) (1991). The Cult Film Experience: Beyond All Reason, Austin: University
of Texas Press.

Week 11: Tomato/Tomahto Translating Media Texts for Different
Cultures

This week considers why and how media texts are translated to suit the needs of different
cultures and national media industries, using the example of British television dramas
adapted for the USA as a central case-study.
Required Reading

Hogg, C. (2013). Cracking the USA? Interpreting UK-to-US TV Drama Translations,
New Review of Film and Television Studies, 11 (2), pp. 111-132.

Suggested Reading

Lavigne, C. and Marcovitch, H. (Eds.) (2011). American Remakes of British Television:
Transformations and Mistranslations, New York: Lexington.

Miller, J.S. (2000). 'All in the Anglo-American Family Hollywood Reproductions of British
Originals, Something Completely Different - British Television and American Culture,
Minneapolis: University of Minnesota Press, pp. 139-168.

Moran, A. (1998). Copycat TV: Globalisation, Program Formats and Cultural Identity, Luton:
University of Luton Press.

Moran, A. (2009). New Flows in Global TV, Bristol: Intellect.

Week 12: Essay Preparation and Tutorials

The lecture for this week outlines key essay-writing skills and tips, and the seminar time
is used to discuss essay plans with your tutor.

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THE MODULES ASSESSMENT FURTHER DETAILS

(Printable copies of both assessment tasks are available in the Assessment section of
the modules SHUspace area.)
The module assessment is based on two tasks. Task 1 is a textual analysis presentation (40%).
Task 2 is an essay (60%).
The first task assesses the students ability to deconstruct and discuss a focused textual example,
applying key concepts considered in the first half of the module. The second task is an essay chosen
from a list of appropriate titles, asking students to provide a critical overview of the key concepts
and debates relating to a topic covered on the module.

To pass the module you must achieve a minimum overall mark of 40%.

ASSESSMENT 1: TEXTUAL ANALYSIS PRESENTATION (40%)
The first assessment for this module is a group textual analysis presentation, to be
presented in class during Week 7 of the module.
For the textual analysis presentation, you must apply some of the textual analysis concepts,
skills and techniques introduced in the first half of the module to consider the meanings and
effects generated by a specific textual example.
You may, for instance, take a short scene from a film and consider how it uses particular
audio-visual strategies (framing, editing, soundtrack and so on) to generate meanings and
effects.
Or, you could select a short newspaper article and consider the ways in which it uses
rhetorical techniques to encourage certain emotional and/or intellectual responses from
readers.
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Alternatively, you might take a short sequence from a television show and apply notions of
representation to examine the ways in which this sequence portrays something to its
audience.


The intention for this assignment is to:
Allow you to evidence a sound understanding of the key analytical concepts and
approaches relating to media texts, covered in the first half of the module.
Exercise your ability to use specified concepts and approaches in a research-based
project relating to textual analysis.
Allow you to practice applying concepts and approaches relating to the analysis of
specific textual examples.
Allow you to take responsibility for setting targets and implementing specified
tasks.
Allow you to demonstrate your ability to identify, explain and evaluate
bibliographic resources and draw appropriate conclusions.
Enable you to practice communicating findings in presentation form to a specified
format.

This presentation must:
Be made in groups of 3-5 students, with each student presenting for 3-4
minutes.
Reference all sources used in completing your presentation (using both bracket
references on your slides and a full bibliography at the end of your
presentation).
Demonstrate an understanding of the concepts and techniques upon which you
draw and how they relate to your specific media example.

Please see the grading grid on SHUspace for indication of what we are looking for in
your work.
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ASSESSMENT 2: ESSAY (60%)
The second assessment for this module is a 1500-word essay, responding to ONE of the
tasks/questions indicated below.
The essay deadline is January 7
th
2015 by 4pm. Late work will not be marked
PLEASE SUBMIT YOUR ESSAY ONLINE AS A WORD DOCUMENT, USING THE
ASSESSMENT TWO: ONLINE SUBMISSION LINK IN THE MODULES
ASSESSMENT AREA ON SHUSPACE.
You cannot alter your essay once it has been submitted online. Therefore, check through
your essay carefully and make sure you are happy with it before uploading and clicking
'Submit'.
DO NOT SUBMIT A PAPER COPY, UNLESS SHUSPACE IS DOWN AT THE TIME OF
THE DEADLINE.
Please choose one of the titles below and respond with a 1500-word essay (the word-count
does not include your references section at the end).
a) Critically consider the ways in which the textual construction of reality television
manipulates viewer emotions. Select a central textual example in writing your essay and refer
to existing scholarship relating to reality media and rhetorical techniques.
b) In what ways do identities and relationships constructed via social media relate to real
life? Make use of existing research relating to media representation and new media in your
answer.
c) How do media genres shape media texts? Select a central textual example and draw upon
existing research relating to media genres and myth in your answer.
d) What makes a cult media text? Select a central textual example and make use of existing
research on cult media and fandom in your answer.
e) Why are British media texts (particularly television formats) often translated for American
consumers? Select a central textual example and make use of existing research relating to
global media in your answer.
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The intention for this assessment is to:
Allow students to evidence sound knowledge of some of the key concepts and
approaches for understanding and analysing media texts covered during the
module.
Allow students to demonstrate an ability to reflect critically on concepts and
approaches for understanding and analysing media texts, evaluating their
respective strengths and weaknesses.
Allow students to practice applying concepts and approaches for understanding
and analysing media texts to the analysis of specific media examples.
Allow students to practice writing a library-based, academic research essay which
conforms to set guidelines and a timeframe for completion.

This essay must:
Be word processed and be 1500 words in length (the word-count does not include
your references section at the end).
Reference the sources of all the concepts, quotes and materials used in completing
your essay (using both in-text bracket references and a full references section at
the end).
Demonstrate an understanding of the theories and perspectives upon which you
draw and how they relate to the media examples you select.
Be critical in relation to the concepts and perspectives upon which you draw. In
other words, you should consider their validity by testing them out against chosen
examples. Do they stand-up in relation to the examples you have chosen? If so, in
what ways? If not, what are their flaws?

Please see the grading grid on SHUspace for indication of what we are looking for in
your work.

USEFUL JOURNALS
Communications
Critical Studies in Mass Communication
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Critical Studies in Television
Cultural Studies
European Journal of Cultural Studies
Information, Communication and Society
International Journal of Communication
Journal of British Cinema and Television
Journal of Broadcasting and Electronic Media
Journal of Communication
Journal of Consumer Culture
Journal of Popular Culture
Media, Culture and Society
New Media and Society
New Review of Film and Television Studies
Personal and Ubiquitous Computing
Social Semiotics
Television & New Media
The Information Society
Web Journal of Telecommunication Research

USEFUL WEB RESOURCES
BFI, Film & Media Studies resources:
http://www.bfi.org.uk/education/teaching/mediastudies.html
BUBL Catalogue of Internet Resources:
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http://bubl.ac.uk/link/m/mediastudies.htm
Media Anthropology Network Bibliographies:
http://www.media-anthropology.net/bibliographies.htm
Media & Cultural Studies Resources, North Central College:
http://stephen.macek.faculty.noctrl.edu/mediastudies.htm
Media Studies.com:
http://www.mediastudies.com/
Theory.org.uk:
http://www.theory.org.uk/
Voice of the Shuttle Media Studies:
http://vos.ucsb.edu/browse.asp?id=2720

USEFUL READING
INDICATIVE KEY TEXTS:

Altman, R. (1990) Film/Genre. London: BFI.
Barlow, D.M. & B. Mills (2009). Reading Media Theory, London: Pearson.
Bignell, J. (2002). Media Semiotics: An Introduction, Manchester: MUP.

Creeber, G. (Ed.) (2008). The Television Genre Book (Second Edition), London: BFI.

Gauntlett, D. (2008). Media, Gender and Identity: An Introduction (second edition), London:
Routledge.

Graddol, D. & Boyd-Barrett, O. (Eds.) (1994). Media Texts: Authors and Readers, Clevedon:
Open University Press.

Lacey, N. (2009). Image and Representation Key Concepts in Media Studies (Second
Edition), London: Palgrave.

Long, P. & Wall, T. (2009). Media Studies Texts, Production and Context, London:
Pearson.
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INDICATIVE FURTHER READING:

Abbott, S. (Ed.) (2010). The Cult TV Book, London: I.B.Tauris.

Allen, R.C. & Hill, A. (Eds.) (2004). The Television Studies Reader, London: Routledge.

Bennett, P. and MacDougall, J. (eds.) (2013) Barthes' "Mythologies" Today. London:
Routledge.

Boyd-Barrett, O. & Newbold, C. (1995; 2004). Approaches to Media, London: Edward
Arnold.

Branston, G. & Stafford, R. (2010). The Media Student's Book (fifth edition), London:
Routledge.

Briggs, A. & Cobley, P. (Eds.) (2002). The Media: An Introduction (second edition), Harlow:
Pearson Education Limited.

Clark, V. et al (2002). Key Concepts and Skills for Media Studies, London: Hodder Arnold.

Creeber, G. (2004). Serial Television: Big Drama on the Small Screen, London: BFI.

Ferguson, R. (2004). The Media in Question, London: Edward Arnold.

Greco, A. N. (Ed.) (2000). The Media and Entertainment Industries: Readings in Mass
Communications, London: Allyn & Bacon.

Gwenllian-Jones, S. & Pearson, R.E. (2004). Cult Television, Minneapolis: University of
Minnesota Press.

Harper, G. (2000). Unruly Pleasures: The Cult Film and Its Critics, London: FAB Press.

Hills, M. (2002). Fan Cultures, London: Routledge.

Hutcheon, L., (2006) A Theory of Adaptation. London: Routledge.
Iosifidis, P., J. Steemers & Wheeler, M. (2005). European Television Industries, London:
BFI.

Jancovich, M. et al (Eds.) (2003). Defining Cult Movies: The Cultural Politics of
Oppositional Taste, Manchester: Manchester University Press.

Laughey, D. (2007). Key Themes in Media Theory, Berkshire: OUP.

Mathijs, E. and J. Sexton (2011). Cult Cinema, London: Wiley-Blackwell.

Mittell, J. (2004). Genre and Television: From Cop Shows to Cartoons in American Culture,
New York and London: Routledge.
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Moran, A. (2009). New Flows in Global TV, Bristol: Intellect.

Rayner, P., Wall. P. & Kruger, S. (2004). Media Studies: The Essential Introduction, London:
Routledge.

Telotte, J.P. (Ed.) (1991). The Cult Film Experience: Beyond All Reason, Austin: University
of Texas Press.