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Directions:Read the following passage and answer the questions. Some of the social codes which constitute our reality are relatively precisely definable in terms of the medium through which they are expressed – skin colour, dress, hair, facial expression, and so on. Others such as those that make up a landscape, for example, may be less easy to specify systematically, but they are still present and working hard. Different sorts of trees have different connotative meanings encoded in them, so do rocks and birds. So a tree reflected in a lake, for example, is fully encoded even before it is photographed and turned into the setting for a romantic narrative. Similarly, the technical codes of television can be precisely identified and analysed. The choices available to the camera person, for exam ple, to giv e m eanin g to what is being photographed are limited and specifiable : they consist of framing, focus, distance, movement (of the camera or the lens), camera placing, or angle and lens choice. But the conventional and ideological codes and the relationship between them are much elusive and much harder to specify, though it is the task of criticism to do just that. For instance, the conventions that govern the representation of speech as 'realistic dialogue' result in the heroine asking questions while the hero provides the answers. The representational convention by which women are shown to lack knowledge which men possess and give to them is an example of the ideological code of patriarchy. Similarly, the convention representation of crime as theft of personal property is an encoding of the ideology of capitalism. The 'naturalness' with which the two fit tog ether is evidence of how these ideological codes work to organise the other codes into producing a congruent and coherent set of meanings that constitute the commonsense in a society. The process of making sense involves a constant movement up and down through the levels of the diagram, for sense can only be produced when 'reality' representations, and ideology merge into a coherent, seemingly natural unity. Semiotic or cultural criticism deconstructs this unity and exposes its 'naturalness' as a highly ideological construct. A semiotic analysis attempts to reveal how these layers of encoded m eanings are structured into television programmes. There are two possible sources of the conventions that govern the meanings generated by the code of camera distance. One is the social code of interpersonal distance in western cultures the space within about 24 inches (60 cm) of us is encoded as private. Anyone entering it is being either hostile, when the entry is unwelcome, or intimate, when it is invited. These are used for moments of televisual intimacy or hostility and which meanings they convey depends on the other social and technical codes by which they are contextualised, and by the ideological codes brought to bear upon them. The other sources lie in the technical codes which imply that seeing closely means seeing better- the viewer can see the power and the pleasure of 'dominant specularity'. 71. How are some social codes expressed through a medium?

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1700+ communication & journalism questions.The UGC NET Mass Communication and Journalism syllabus consists of 10 units: Communication & Journalism  Role of media in society, Demographic & sociological impact of media, effects Journalism- role & responsibilities, Indian constitution Magazines, Press Commission, Small Newspaper, Press Councils, Development of Radio after independence, Development of Television, Committees in broadcasting, Communication & theories of social change, Role of media in social change, and Cinema Dominant paradigm & alternative conception Administrative &... Show more

Directions:<em>Read the following</em> <em>passage and answer the questions.</em> Some of the social codes which constitute our reality are relatively precisely definable in terms of the medium through which they are expressed – skin colour, dress, hair, facial expression, and so on. Others such as those that make up a landscape, for example, may be less easy to specify systematically, but they are still present and working hard. Different sorts of trees have different connotative meanings encoded in them, so do rocks and birds. So a tree reflected in a lake, for example, is fully encoded even before it is photographed and turned into the setting for a romantic narrative. Similarly, the technical codes of television can be precisely identified and analysed. The choices available to the camera person, for exam ple, to giv e m eanin g to what is being photographed are limited and specifiable : they consist of framing, focus, distance, movement (of the camera or the lens), camera placing, or angle and lens choice. But the conventional and ideological codes and the relationship between them are much elusive and much harder to specify, though it is the task of criticism to do just that. For instance, the conventions that govern the representation of speech as 'realistic dialogue' result in the heroine asking questions while the hero provides the answers. The representational convention by which women are shown to lack knowledge which men possess and give to them is an example of the ideological code of patriarchy. Similarly, the convention representation of crime as theft of personal property is an encoding of the ideology of capitalism. The 'naturalness' with which the two fit tog ether is evidence of how these ideological codes work to organise the other codes into producing a congruent and coherent set of meanings that constitute the commonsense in a society. The process of making sense involves a constant movement up and down through the levels of the diagram, for sense can only be produced when 'reality' representations, and ideology merge into a coherent, seemingly natural unity. Semiotic or cultural criticism deconstructs this unity and exposes its 'naturalness' as a highly ideological construct. A semiotic analysis attempts to reveal how these layers of encoded m eanings are structured into television programmes. There are two possible sources of the conventions that govern the meanings generated by the code of camera distance. One is the social code of interpersonal distance in western cultures the space within about 24 inches (60 cm) of us is encoded as private. Anyone entering it is being either hostile, when the entry is unwelcome, or intimate, when it is invited. These are used for moments of televisual intimacy or hostility and which meanings they convey depends on the other social and technical codes by which they are contextualised, and by the ideological codes brought to bear upon them. The other sources lie in the technical codes which imply that seeing closely means seeing better- the viewer can see the power and the pleasure of 'dominant specularity'.<br /> 71. How are some social codes expressed through a medium?






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