Modes of Address:
Modes of address can be defined as the ways in which relations between addresser and addressee are constructed in a text. In order to communicate, a producer of any text must make some assumptions about an intended audience; reflections of such assumptions may be discerned in the text (advertisements offer particularly clear examples of this).
Mode of address
This looks at how the media product ‘speaks’ to the audience. This can be categorised in two ways: informal mode of address – this is when the language used is informal and chatty (for example, dialogue between characters of the same age or who are equal in status); formal mode of address – this is where the language is formal and instructional based. This is used to educate the audience. This could be used in a non-fiction based media product: for example, current affairs programmes.
•Modes of address: Point of view
•As well as formal/informal, there are some other simple categories that can be included when we think about modes of address:
•Point of view
–This is more relevant to narrative fiction, and includes such options as third person narrators (with various subtypes, e.g. omniscient or selective) and first person narrators.
–We may consider whether a script has an identifiable ‘I’ – a first-person voice that addresses us, or whether it is has a self effacing voice (i.e. there is no ‘I’ of the text, no sense of who is speaking)
•EXAMPLES:
–I think it’s important that everyone should give other people a fair hearing, not just make assumptions. – PERSONAL – an ‘I’ is speaking, presenting a PERSONAL view.
–It is important to listen to other people’s views in an open and balanced way, rather than making assumptions. – IMPERSONAL – there is no ‘I’ identified.
•Modes of address: Directness
–Is the reader of the text directly addressed
by the text, or not? For example, this
famous poster: in what ways does it
directly address the audience?
–In what ways do TV news broadcasts use
direct address whilst TV dramas usually don’t?
–In written texts like scripts, direct address usually means using ‘YOU’ to address the reader.
•Tense
–Another thing to look out for is the TENSE film scripts are written in.
–You’ll know that NOVELS and other written fiction can be written in PAST TENSE or PRESENT TENSE.
Restricted codes and elaborate codes:
•Again, your Key Terms sheets offers handy definitions:
•Elaborate code:
•This is language that includes technical terms and is formal: for example, specialist language.
•Restricted code:
•This is language that is informal and easy to understand: for example, spoken language that is used in TV drama.
•Restricted code
•Also referred to as ‘broadcast’ codes (by John Fiske), this is communication intended for a wide audience.
•Restricted codes:
–Can be learned through experience, without needing specialist learning
–Are structurally simpler
–Are more repetitive (or ‘overcoded’) – information theorists call this a high degree of redundancy (i.e. material that could be removed, but which repeats information for ease of understanding)
–Are more predictable and similar to one another in style, making them familiar, easy to anticipate and easy to understand.
–Are associated with popular culture or ‘lowbrow’ art and entertainment.
–Can limit the range of creativity and expression that are possible.
–Can tend towards cliché.
•Elaborate code
•Also referred to as ‘narrowcast’ codes (by John Fiske), this is communication intended for a more limited audience.
•Elaborate codes:
–Often require some deliberate learning to be fully understood
–Are more structurally complex
–Are less repetitive, with a minimum of redundancy.
–Are less predictable and more unique, original and individual, perhaps more experimental.
–Are associated with ‘high’, or ‘elite’, or ‘highbrow’ or avant-garde art and entertainment.
–Can potentially broaden the range of creativity and expression that are possible.
Have the potential to be more subtle.
Analysing Script Language Codes
Briefly describe the kinds of language typically used in scripts
Back to Bob and Trace. Re-write this extract in APPROPRIATE film script language
Rewritten Version
Comments
Post a Comment