Note: while we are going to by applying this theory to Humans, we can apply this theory to almost any media product we have studied and will study in the future!
7 - Theories of identity - David Gauntlett (this one also fits under representation)
"Media audiences can pick and mix which ideologies suit them"
16 - Cultivation theory - George Gerbner
"Media can shape and influence the way in which people perceive the world around them"
17 - Reception theory - Stuart Hall
"Media is a process involving encoding by producers and decoding by audiences"
18 - Fandom - Henry Jenkins
"Media fans appropriate texts and read them in ways that are not fully intended by the media producers (‘textual poaching’)"
19 - ‘End of audience’ theories - Clay Shirky
"Media consumers have become producers who ‘speak back to’ the media in various ways, creating and sharing content with one another"
Using reception theory and 'pick and mix theory' effectively
These two theories are both based around mediation or negotiation by the audience. It is based around the assumption that audiences can negotiate or simply ignore outright the ideological perspectives encoded by the producer
1 - What ideological perspective is encoded by the producer? Is it simple, straightforward and agrees with dominant hegemonic perspectives? Is it subversive and challenging? Or does it present polysemic interpretations?
2 - How could the audience negotiate the ideological perspective?
KEY SCENE - Anita gets kidnapped
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| The high angled close up of Nishka being dragged through the woods is a clear intertextual reference to the horror genre, and can please audiences through the intense generic hybridity |
Dominant ideology, preferred reading: intense sympathy for the synths
Oppositional reading - Who cares? They're only robots! Deeply polysemic media product!
- Provides audiences with a range of topics to discuss and potentially disagree on
- Audiences can take pleasure though the use of hermeneutic codes, pondering the mystery of the TV show
- Sudden realisation that Anita is there, apparently now a completely different character. She acts differently, she talks differently. This is a typical convention of the sci-fi-genre
- Emotionally manipulative scene. Audiences can take pleasure at the use of extreme
- Displays conventions of the horror genre, in particular the sound of the breaking twig, which turns out to be a fox. Tension is built up, and then built down. Also, CU shot of hand dragging body through the undergrowth.
- Frustration at the stupidity of the gang of synths and Leo. Audiences may question his intelligence, and dislike him as a result.
- Foreshadowing of Leos status as human: a proairetic code
- Frequent encoding of hermeneutic codes. Who are they? What are they doing? What is a battery?
- Confusing establishing shot of tents, POV shot, cutting to Leo in the woods. Audiences may feel frustrated and turn off at this early point.
- Use of sound. Dramatic, synthesised non-diegetic sci-fi music, appealing to fans of sci-fi.
- Setting: stereotypically British forest, allowing audiences to take pleasure at a familiar setting
- Sexual gratification - audiences can take pleasure at seeing attractive characters
- Ethnically diverse group of characters. East Asian audiences may be able to identify and to take pleasure at the representation of an east asian actor.
- Potential comment on racism: intertextual reference to Calais migrant camp?
KEY SCENE - Odi in the supermarket and Odi at home
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| The scene where George essentially chooses whether or not to euthanize Odi may be distasteful or simply too emotional for many audiences, especially those with experience of mental health issues |
Ideological perspective: Odi is allegorical of somewhen with mental health issues. Preferred reading: intense sympathy for Odi.
Oppositional reading: Odi is awful and annoying and should die. Harsh, but all audiences have potential different responses!
- Use of supermarket setting: Mise en scene of Coco Pops and Alpen reinforce the notion that the series is set here and now, allowing the British target audience to take pleasure in seeing a familiar setting
- Anchored to feel sympathy for Odi through his glitches and stutters. George's upset face and MES of Odi's half popped scruffy collar elicits sympathy.
- Odi collapsed in jam in the cereal aisle is a ridiculous and childish situation. Potentially funny!
- Frustration with George at not scrapping Odi! Some audiences will see Odi as a menace to society that should be taken out.
- Frustration at seeing jam and produce spread over the floor!
- Upset and creeped out by the quasi-sexual relationship between Odi? Potential homophobic audience may take offence at the subversive representation of masculinity
- Audiences may take pleasure at seeing the nurturing representation of an older man looking after a disabled young man!
- People with phobia of the dentist may find the use of a dental probe extremely upsetting
- Transgressive and hyperreal representation of people with mental health issues. Audiences who care for those with dementia may find this particularly distressing OR perhaps take enjoyment at the representation and visibility of someone with mental health issues
- Odi's use of error messages may be pleasurable to audiences who are acquainted with computers
- Middle class audiences will appreciate George and his middle class attire, and his American accent will allow American audiences to identify with him