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Published in the Russian Federation
European Journal of Contemporary Education
ISSN 2219-8229
E-ISSN 2224-0136
Vol. 14, Is. 4, pp. 245-255, 2015
DOI: 10.13187/ejced.2015.14.245
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UDC 37
Ae s th e tic An a lys is o f Me d ia te x ts in th e Cla s s ro o m a t th e S tu d e n t Au d ie n ce
Alexan der Fedorov
Anton Chekhov Taganrog In stitute, Russian Federation bran ch of Rostov State University of Econom ics
Prof. Dr. (Pedagogy)
E-m ail: m ediashkola@ram bler.ru
Ab s tra ct
Aesthetic an alysis of m edia texts, ie the an alysis of art concept of the m edia texts of differen t types and genres, is closely related to the aesthetic (artistic) theory of m edia (Aesthetical Approach, Media as Popular Arts Approach, Discrim inatory Approach ). Aesthetic theory of m edia literacy education has been very popular in the 1960 s (especially am ong active supporters of film education in the era of the trium ph of "auteur"). Since the 1970 s, it becam e rapidly superseded by theories of m edia literacy education as critical thinkin g, sem iotic an d cultural theories, when the m edia educators believe that art in m edia - not the m ost im portant target. Therefore, it is n ecessary to evaluate the m edia text, not prim arily for its aesthetic qualities, but in fact the content on the ideas, the com pon ents of lan guage, sym bols and signs. H owever, m any training program s in m edia culture are now trying to find a com prom ise solution to disputes "aesthetics" an d "pragm atists", com binin g the sphere of artistic, experim ental, analytical m edia literacy education with practice and creative approaches.
Ke yw o rd s : aesthetic analysis, m edia, m edia texts, m edia education , m edia literacy, m edia com petence, studen ts.
In tro d u ctio n
Aesthetic an alysis of m edia texts, ie the an alysis of art concept of the m edia texts of differen t types and genres, is closely related to the aesthetic (artistic) theory of m edia (Aesthetical Approach, Media as Popular Arts Approach, Discrim inatory Approach ) [H alls & Whannel, 1964; Baran ov, 20 0 2; Penzin, 198 7, 20 0 1; Whiskers, 198 9, etc.]. The theoretical basis is largely coincides with the cultural theories of m edia literacy education . H owever, the m ain purpose of m edia literacy
education seem s to help the audience understand the basic laws and the language of the art spectrum of m edia texts, to develop aesthetic / artistic sensibility an d taste, the ability to qualified aesthetic an alysis. That's why the focus is on the analysis of the lan guage of m edia culture, a critical analysis of the author's conception of artistic m edia text.
Ma te ria ls a n d m e th o d s
The m ain m aterial for this article was the area of the books and articles about the aesthetic analysis of m edia texts. Aesthetic analy sis of m edia texts im plies a num ber of students of creativ e tasks (part of this work is available at: Sem ali, 20 0 0 , pp.229-231; Bazhenova, 1992; Usov, 1995; Nechay, 198 9, pp.267-268 ; Fedorov, 20 0 4, p.43 -51; Fedorov, 20 0 5, Silverblatt, 20 0 1; 20 14; Potter, 20 14, but I substantially supplem ented and revised the series of tasks): literary and an alytical, literary an d theatrical role-playin g sim ulation, visual-sim ulation. Each of these tasks include analysis of the key concepts of m edia literacy education [m edia agencies, m edia categories, m edia language, m edia techn ologies, m edia representations, m edia audiences, etc.].
D is cu s s io n
In m any countries of Eastern Europe (prim arily - in Russia) aesthetic theory of m edia literacy education for m any decades (from the 1920 s to the 198 0 s) was com bin ed with ideological. Today, this theory is largely gravitates to cultural theories of m edia literacy education , as has clear theoretical basis for m atching with respect to the problem of "m edia and the audience" and considerable sim ilarity in goals and objectives, the content and teaching strategies.
H ere is just one characteristic of the aesthetic theory of m edia opinion, shared by considerable n um ber of teachers: "The m ain objective is fam iliarizing young spectator to the art of cinem a, to recognize the value of his" [Spichkin, 1999, p.133], but here you can easily add m any quotes associated with a consisten t orientation to the study of m edia arts m asterpieces m edia [Penzin, 20 0 1, p.73].
Analyzing this kind of approach, K. Tayn er rightly notes that in aesthetic / artistic theory of m edia literacy education, cin em a is in a m ore privileged position than the press or television . In this case, som e m edia texts are usually selected teacher are considered "good ", while others, usually is a favorite of students - "bad". Valuable question s, that is "good" versus "bad" rem ain ed central [Tyn er, 1998 , p.115].
Thus, m an y researchers, for exam ple, L. Masterm an [Masterm an , 1997, p.22], believe that "aesthetic theory" of m edia education, in fact, discrim inatory (Discrim inatory Approach), proclaim s as the ultim ate goal of developm ent of the ability to qualified judgm ent only in relation to the artistic com ponent of the m edia spectrum . L. Masterm an believes that questions assessing the quality of a m edia text should be in m edia education subsidiary, rather than central. The m ain goal - to help students understand how the m edia operate, whose interests reflect what the content of m edia texts, as they reflect reality, an d how they are perceived by the audien ce [Masterm an , 1997, p.25].
Aesthetic theory of m edia literacy education has been very popular in the West in the 1960 s (especially am ong active supporters of film education in the era of the trium ph of "auteur"). Sin ce the 1970 s, it becam e rapidly superseded by theories of m edia literacy education as critical thinking, sem iotic an d cultural theories, when the m edia educators believe that art in m edia - not the m ost im portant target. Therefore, it is n ecessary to evaluate the m edia text, not prim arily for its aesthetic qualities, but in fact the content on the ideas, the com ponents of lan guage, sym bols and sign s.
H owever, m any trainin g program s in m edia culture are now tryin g to find a com prom ise solution to disputes "aesthetics" an d "pragm atists", com bin ing the sphere of artistic, experim en tal, analytical m edia literacy education with practice and creative approaches.
An indicator of the ability of the audience to the an alysis of visual, audio, spatial an d tem poral structure of m edia texts is the ability to m ulti-layer reflection shaped the world as separate com ponen ts, and work as a whole: the logic of audio-visual, plastic developm ent of the author's thoughts in an integrated, holistic unity of the diverse resources of the organization of im age an d sound.
Y.N. Usov exhaustively described the practical im plem en tation of these theoretical an d m ethodological approaches in relation to the developm ent of the audiovisual perception, nonverbal creative thinking of students. So he identified two m ain types of artistic perception of the audien ce,
noting that if the first group of viewers, based on an abstract logical m in dset rem ains at the level of em pathy to character, then the second group follows the authors understan d the logic of their thoughts in an artistic structure just because it is based on im agery an d spatial reasoning [Usov, 198 0 , p.10 ].
Analyzing the typology of the viewer's perception of students, Y.N. Usov exhibited extraordin ary gift of art criticism , very astutely observed that "in con trast to the artistic im age in painting audio-visual difficult to capture the im age for analysis, since it is in con stan t developm ent of space-tim e coordin ates. Our focus captures the state of "phases" of becom ing audio-visual im age on the screen and its fin al form in our m in ds"[Usov, 198 0 , p.16].
In another work Y.N. Usov form ulated various levels of perception of artistic m edia text in m ore detail:
I. Assim ilation environ m en t, that is the em otional developm ent of the reality presented on the screen.
II. Assim ilation with the character: 1) assessm en t of in dividual fragm entary episodes in which pronounced character actor, 2) understanding the outlin e of events, which reveals the logic of the hero's behavior, 3) understan ding the logical conn ection episodes indicate the nature of the hero.
III. Assim ilation with the author: 1) understan ding the logical conn ection episodes, which revealed the developm ent of the author's thoughts, 2) the perception of form ’ film narration based on em otion al an d sem antic correlation of significant parts, 3) understanding of artistic failure of the film , exposing the concept of a work of art screen [Usov, 1992, p.11].
As we can see, un like m any other figures of m edia education in Russia (Y.I. Bozhkov, P.D. Genkin , L.P. Pressm an et al.), who believed that the m ain focus in the classroom with the students n eed to do to work with hardware (cam era, projector, video cam era, m onitor, etc.), Y.N. Usov believed that the m ain thing - the developm ent of art perception, creative critical thinking, audiovisual m edia com petence by m eans of viewing and analyzing the works created by professionals [Usov, 198 0 , s.20 -21].
In other words, the perception of "audiovisual im age in the dynam ics of plastic form s awakens in the heart of particular em otional stress: 1) establish the association with specific viewer’s artistic and life experien ces; 2) based on their intuitive un derstanding happens developing plastic form s as a result of em pathy with the hero and author; 3) consistently occur shaped gen eralization of individual com ponen ts of the film , from the staff, their installation conn ection s episodes, scen es, and ending with the individual parts of the m ovie as a whole"[Usov, 198 0 , p.26]. H ere we can talk about the visual decision fram e of plastic, facial expressions of actors, of close-ups isolated parts, etc.
Talkin g about the features of the audiovisual im age, Y.N. Usov gives the specific exam ples em phasize its sim ilarities and differences from the im age of literary, m usical, theatrical arts, each tim e com in g back to the idea that the specificity of the on-screen text in the unity of its dynam ic audiovisual and spatial-tem poral n ature. [Usov, 198 0 , p.60 ].
The level of the audiovisual thinking turn ed out to be directly related to the depth of understanding an d interpretin g different types of narrative form s, containing the author's ideological orientation, with the ability of the student to assim ilate the m edia environ m ent, em pathy an d character to the author, and the result interpretation depended on the ability to understand the em otional reaction to evaluate the aesthetic m edia text copyright system views. Y.N. Usov rightly pointed out the flaws in the typical m ethodological approaches for the Russian m edia education when , instead of form ing a holistic perception of the audiovisual im age that is deployed in the dyn am ics of space-tim e coordin ates, studen ts are encouraged to study only som e specific features of the cinem a - installation, angle, etc.
Of course, the m ost popular am ong young people is adventure gen re - with beautiful, strong characters, entertaining intrigue an d a happy ending, un doubtedly, for entertain m en t, em otional discharge. Scientists have long shown that the phenom en on of com pensation, purifying hum an feelin gs - on e of the essential results of the contact viewer, reader with art. Use it to com pensate for the lack of psychological experiences, or, on the con trary, the viewer switches from conflict and stressful life situations towards the im plem entation of the illusion cherished desires. H ere, for exam ple, includes, short let, com pensation erotic and aggressive feelin gs.
I note also a stron g inform ational im pact of m edia texts, so to speak, and everyday utilitarian : how to succeed in love, to avoid danger, to be able to fen d for them selves in a critical situation, fashionable dress, skillfully m eet, etc. For youn g people this inform ation level of the m edia text is of particular im portance, because m edia are the chann el for visual recom m endations on the m ost pressing problem s of life.
H ow to be in this situation?
From childhood, each of us accustom ed to hear and read countless appeals to the aesthetic education of youth. Citations of the articles of prom inen t figures of pedagogy an d culture, which speaks of the im portance of art in hum an life would have been , probably, a lot of pages of fine print... Everything is so. But in m an y schools the lessons of art focuses on the m ost sim ple: draw a vase, sing the chorus... And the art is often out of the question on the lessons...
Re s u lts
These series of aesthetical analy sis’’ tasks for m edia education literacy classes for students: literary-an alytical, literary im itation , dram a, role-playin g, fin e-sim ulation.
Literary sim ulation creativ e tasks that contribute to the aesthetic analy sis skills in the student audience:
M edia agen cies:
- to m ake the them atic plan for m edia agencies, design ed to produce artistic m edia texts for children of a certain age.
M edia / m edia text categories:
- to write the synopses for scenarios of feature film s (different genres, but with the sam e characters).
M edia techn ologies:
- to write of synopses for future scenarios of artistic m edia texts based on different m edia technologies.
M edia languages:
- to write the "shooting script" for artistic m edia text (for the film , radio / television program , com puter anim ation, etc.): plans, cam era an gles, cam era m ovem ents, installation guidelin es, etc.
M edia representations:
- to write the text of the poem , a son g that reflects the story of m edia text; - to write a story for sequel of art house m edia text;
- to write the original script for artistic m edia text (for exam ple, for up to 2-3 m inutes of screen action m ovie, TV program s, realizable in practice, the training video);
M edia audiences:
- to write the letter telling a friend about your perception of any art house m edia text;
- to write the m onologues ("letters" in the editorial offices of newspapers and m agazines, on television, in the Ministry of Culture, etc.), relating to art house m edia texts), but to be in the “role” of the audience with a variety of age-related, social, professional, educational, and other data at different levels of aesthetic m edia insight ("prim ary iden tification", "secondary identification ", "com plex identification," according to the orientation on entertain m ent, recreation al, com pensatory, and other functions of m edia culture, etc.).
By perform ing these tasks, the audience in the form of a gam e is getting ready for a m ore serious problem -analysis skills. Naturally, all the above works collectively discussed are com pared.
The knowledge an d skills conn ected with these works are from the courses of literature (them e, idea, plot, etc.), world art and culture (color, light, com position , v iew , etc.), m usic (tem p,
rhy thm). The audience learn s the deeper concepts such as perception, em pathy , identification, etc.
As a result, students develop cognitive interests, fantasy, im agination , associative, creative, critical, individual thinking, m edia com petence.
Cy cle theatrical role-creativ e tasks that contribute to the aesthetic an aly sis skills in the student audience:
M edia agen cies:
- realization / shot of a scenic design artistic skills; In this case, the audience put the following specific objectives: a) film director: the choice of "actors", the definition of the m ain "actor", "operator", "decoration", "sound and m usic", "light-color" solutions, Accounting genre an d stylistic features of the product, etc.; b) director of photography: the plans, perspectives, cam era
m ovem en t, depth, fram e, etc.; c) lights an d colors for m edia text; d) sounds: use of noise an d background m usic, etc.; e) decorator: the use of natural scen ery, costum es, design In teractive sites, com puter anim ation, etc.; f) actor; g) editor.
M edia / m edia text categories:
- shooting of the fragm en ts of pre-written script synopses of art house m edia texts of different genres, but with the sam e characters.
M edia techn ologies:
- preparation and com parison of various technology options for art solutions into a video. M edia languages:
- preparation and com parison of differen t variants of art solutions in to a video (color, light, perspective, com position, editing, etc.);
- im plem en tation of different in terpretations of "dubbing" unfam iliar for audien ce art house m ovie (devoid of sound soundtrack) or episode from a foreign m ovie or TV show;
- to m ake variety of soun d, noise effects. M edia representations:
- preparation an d com parison of different options in practice video art m edia text on the sam e screen writing plan , im plem ented by different groups of students;
- role gam e sketches on "press conference with m edia text’s authors” ("writer","director","actors", “com poser ","artist", "producer","design er", etc.);
- role gam e on "intern ational m eeting of m edia critics" is that condem n various aesthetic aspects of the m edia, analyze individual artistic m edia texts, etc.
M edia audiences:
- role gam e on topics m onologues and dialogues about art m edia texts representatives audiences with different age, social, professional, education al, an d other data at different levels of aesthetic m edia insight ("prim ary identification", "secondary identification", "com plex identification," accordin g to the orientation for entertain m ent, recreational, com pensatory, an d other functions of m edia culture, etc.).
In fact, the theatrical role-creative activities com plem en t and enrich the skills acquired by the audience during the literary an d sim ulation gam ing workshops. In addition to oral skills brainstorm ing artistic features of m edia texts, they prom ote em ancipation, sociability audience, activate im provisational abilities.
Graphic-cy cle sim ulation creativ e tasks that contribute to the aesthetic analy sis skills in the student audience:
M edia agen cies:
- to create a com ic book, which reveals the stages of creatin g the agency artistic skills. M edia / m edia text categories:
- to create a series of drawings, each of which reflects a visual look at your specific genre of artistic m edia text (com edy, rom ance, detective, etc.).
M edia techn ologies:
- to create a series of drawings, each of which would reflect your visual look at certain technologies;
M edia languages:
- preparation and com parison of differen t variants of m edia art into a video fram e solution s (color, light, perspective, com position, editing, etc.).
M edia representations:
- figurative represen tation as a gen eralization of a m edia fram e, visual m etaphors, association with other arts;
- to create a collage on the them e of artistic m edia text on the basis of clippings of texts and im ages of old newspapers / m agazin es.
- to create advertising billboards, posters for own artistic m edia text (option: posters for professional m edia texts) with the help of photo collage with addition al drawings or based on their own original drawin gs;
- to create n ew m edia im ages of the characters of artistic m edia texts, their dialogues;
- m an ufacturing of finger puppets depicting certain scenes of artistic m edia text, staging puppet show in som e episodes;
- to create anim ation, com ic books, intended for adult audien ces.
M edia audiences:
- to create a series of drawings on the them es of m onologues and dialogues about art m edia texts of representatives audiences with different age, social, professional, educational, and other data at different levels of aesthetic m edia insight.
After perform ing the above tasks is a con test of creative posters, collages, drawin gs, com ics students can discuss their advantages and disadvan tages. The m ain indicator of achieving these goals, developing im agination, fan tasy, associative and critical thinkin g, non-verbal perception of the audience: the ability of the student in the form of non -verbal to convey their im pressions of artistic m edia texts.
Cy cle of literary and an aly tical creativ e tasks that contribute to the aesthetic analy sis skills in the student audience:
M edia agen cies:
- to an alyze of the influence of the m ain producer of m edia agencies / holding on the artistic features of m edia texts.
M edia / m edia text categories:
- to an alyze of the sam e genre in the works of differen t figures of m edia culture, differen t genres in the work of the sam e figure of m edia culture;
- to analyze of the sim ilarities and differences of the tragedy, dram a and m elodram a as a genre of m edia texts;
- to analyze of sim ilarities and differences between the characters of tragedy, dram a an d m elodram a.
M edia techn ologies:
- to an alyze of the n ature and extent of the im pact of m edia technologies on the artistic level of m edia texts.
M edia languages:
- to analyze of the lighting, colors and an gles used in the specific posters / photos; - to analyze how to use various form s of m edia art lan guage to convey ideas or values;
- to analyze of the concrete m anifestation of the influen ce of the great m asters of painting on a num ber of iconic m odern m edia texts.
M edia representations:
- reveal of story structure (plot, the developm ent of the action, clim ax, denouem ent) in the episode or artistic m edia text as a whole;
- reveal of artistic pattern construction of on-screen text as the m ain com positional techniques that consistently used by the author in creatin g scen es and work as a whole;
- to identify of conflict (m oral, philosophical, an d so on.;
- to write the versions of "im proving quality" of various fam ous art m edia texts: what changes can be m ade in the design and layout of the internet site, m agazine, newspaper, som e actors / facilitators would take on leading roles in a film or television show that would change in a particular plot m edia text (seizures, additions, etc.);
- to rem em ber of prose, poetry, theater, paintin gs, m usical works, associated with a particular art m edia texts, to justify this choice.
M edia audiences:
- to substan tiate their attitude towards m edia texts, to his philosophical, artistic and m oral orientation.
The cy cle of creativ e tasks to restore dy nam ics of space-tim e, audio-v isual im ages in the episodes of art house m edia texts in the process of collectiv e discussion in the studen t audience.
After the introduction of creative an d analytical part of the training should be the m ain stage of the audience's full perception of visual, aural, spatial and tem poral structure of art m edia texts.
In this case, I agree with the idea of Y.N. Usov (1936-20 0 0 ) about the perception of m edia im age (tem po, rhythm , subtext, plastic form of m edia texts) [Usov, 198 9, p. 235]. The m ost im portant indicator of full perception of m edia texts is the audience’s capability to perception of the com position fram e, its spatial, light-color, sound, field-align ed solutions. The audien ce also possessed a kind of m ounting thinking: the em otional state of the sem antic elem ents of the narrative, their rhythm ic, plastic com pound in the fram e, episode, scene, so that eventually the perception of m edia texts based on the relationship of several processes:
- perception of dynam ically developing visual im ages; stored in the m em ory of previous audio-visual, spatial and tem poral elem ents of m edia im age;
- prognosis, foreboding probability of a phenom enon in the m edia text.
To accom plish these tasks in relation to the audiovisual m edia, the audience is en couraged to try to describe the dynam ics of the m edia im age deploym ent rhythm ically organized in plastic form of narration . The basis of this process can be a discussion of the m ounting (with the rhythm , tem po, etc.) a com bin ation of fram es (taking into account their com position: the front, depth -align ed, light-color, etc.) an d episodes, as the dyn am ics of the form ation of the audiovisual im age it m anifests itself in the in teraction of training and installation.
The purpose of these studies is that the students, talkin g to the m edia, to develop their em otional, creative activity, non-verbal thinkin g, audio and visual m em ory; facilitate the analysis and synthesis audio-visual, the space-tim e im age of the m edia text.
The cy cle of creativ e activ ities designed to dev elop students' skills of aesthetic analy sis of m edia texts in the process of collectiv e discussion, debate.
The im plem en tation of these steps based on a cycle of workshops devoted to aesthetic analysis of specific m edia texts. H owever, as experien ce shows, it is necessary, first, to go from sim ple to m ore com plex: first choose to discuss, analyze clear on the plot, the author's thoughts, the style of m edia texts. And secondly – the aim , to take into account the genre, them atic preferences of the audience.
Of course, here again using creative, gam e, heuristic an d problem tasks, significantly increasing the activity and interest of the audien ce.
H euristic form of the class, in which the audience is invited to a few wrong and right judgm ent, m uch easier for the audience an alytical tasks an d serves as the first step to subsequen t gam in g and problem atic form s of artistic discussion of m edia texts.
During the im plem entation of heuristic approaches the audience offered:
- the true and in correct versions of the author's conception, reveals in a particular art m edia text.
For exam ple, for "heuristic" discussion of the popular series "The Streets of Broken Lights" ("Cops"), the students were offered the following theses:
1) This is a true, deep thoughts on the work that critically exam in es the vices of a society: crim e, corruption;
2) The film is com pletely deceitful. There is nothing from the truth: crim e in the country has been virtually elim inated, the police reject any dishonest transaction;
3) The critical aspect of the picture - only intriguing bait, which should give the appearance of truth, because, despite the cutting-them e film suffers from superficiality, an d som e episodes of frank parody;
4) The even ts of the film are logical, justified vital, the characters deeply and m asterfully played by actor;
5) The characters in the m ovie are deprived of these characters - this activity but rather prim itive psychological schem e;
6) The picture should be viewed as a fun skit m ocking stam ps dom estic and foreign police and gan gster thriller;
7) The film only in som e episodes looks parody, as a whole - is hastily rem oved detective stories with casual fin e solution;
8 ) The authors m ade a m edia text of m ass success, quite professionally by calculating the arithm etic m ean som e sim ilar "m ilitants";
9) The authors very carefully approached the com positional structure of the series, his color, light and sound decision, there is nothing superfluous, everything works perfectly to create the necessary atm osphere and m ood.
An indicator of this assignm ent was the ability to audien ce during the discussion , carefully weighing all the "pro" and "contra" to speak in support of the faithful, from their point of view, theses. In the final sessions of the heuristic cycle students have them selves could m ake a sim ilar thesis, using these or other m edia texts m assive success.
The next stage of training is problem atic group discussions and in rev iew ing the art m edia texts.
There can be used the following problem of creative tasks:
- com parison of reviews an d discussion (articles, books) of professional m edia critics an d journ alists, concerning the aesthetic aspects of m edia culture;
- preparing essays devoted to aesthetic issues of m edia culture;
- group discussions (with the help of problem questions of the teacher) about artistic com ponen t of m edia text;
- students’ reviews on specific art m edia texts of different types and genres.
The logic sequence of creative tasks com es from the fact that the critical analysis of art m edia texts begins with an introduction to the works of critics' com m un ity professionals (reviews, theoretical articles, m on ographs devoted to m edia culture and specific m edia texts), in which the audience can judge the different approaches an d form s of this type of work.
The audience is looking for answers to the following problem questions: "W hat is the author of the rev iew see the aesthetic m erits an d dem erits of the m edia text?", "H ow deep rev iew ers penetrate the artistic v ision of the author?", "Do y ou agree or n ot w ith this or that aesthetic appreciation rev iew ers? W hy ?","Do the rev iew ers ow n indiv idual artistic sty le? If y es, w hat is it m anifested?","W hat is out of date, and that - n ot in this book?","W hat kind of m edia texts them e, genre orien tation support the author, the book ? W hy ?","W hy did the author has constructed the com position of his book so and not otherw ise?", etc.
Then students work on the essay about the aesthetic aspects of m edia culture, in depen den t discussion of m edia texts.
Workshops on aesthetic analysis of m edia texts aim ed at training audio-visual m em ory, the stim ulation of creative abilities of the individual, on im provisation, independence, a culture of critical thin king, the ability to apply this knowledge in new situations, the psychological, m oral work, reflections on artistic values, etc.
The gen eral schem e of the discussion of art m edia text:
- introduction word (the goal - to give brief inform ation about the creators of m edia texts, rem ind their previous work, refer to other works of these authors, if there is a n eed to dwell on the historical an d political context of events or in any way relating to art an d other assessm ents of the author's position, an d, of course, n ot retellin g the plot of the work), that is, on the installation m edia insight;
- collective "reading" of art m edia text (com m un icative phase); - discussin g about m edia text, sum m arizing lessons.
Discussion about art m edia texts begins (as recom m ended Y.N. Usov) with steps, a relatively sim ple for m edia reception:
- to select episode, m ost clearly revealed artistic rules of constructing the en tire m edia text; - analysis of episodes (attem pt to un derstand the logic of the author thinking - in a com plex, intercon nected developm en t of the conflict, characters, ideas, audio an d visual details, etc.);
- identification of the author's concept and its evaluation audience.
Concludes with a discussion of problem -test questions, affectin g the utilization of the audience received analysis skills (for exam ple: "What are the known m edia texts you can com pare this work? Why? What do they have in com m on ?", etc.).
Questions contributing aesthetic analy sis skills in the student audience [Nechay, 198 9; Berger, 20 0 5; Fedorov, 20 0 1; Fedorov, 20 0 4, pp.43-51; Fedorov, 20 0 6, pp.175-228 ; Silverblatt, 20 0 1; 20 14; Potter, 20 14,]:
M edia agen cies:
To what extent m edia agen cies can determ in e the artistic features of m edia texts? M edia / m edia text categories:
As a genre is refracted in the works of specific figures of m edia culture (the sam e genre in the works of differen t figures of m edia culture, differen t genres in the works of the sam e figure of m edia culture)?
What are the sim ilarities an d differences of the tragedy, dram a and m elodram a as a genre of m edia texts?
What are the sim ilarities and differences of characters tragedy, dram a and m elodram a? Is there a difference in the approaches to the use of color and lightin g in art m edia texts of different types and genres?
M edia techn ologies:
Is the m edia technology has the in fluen ce on the artistic level of m edia texts? If so, how? If not, why not?
M edia languages:
What angle used in this poster / photos? What type of lightin g? H ow to use color? As m edia use different form s of artistic language to convey ideas or values? What are the effects of the choice of certain form s of artistic language m edia? M edia representations:
What are the dom inant (literary, visual, m usical, acting) in the creation of specific figures of m edia culture?
What is the difference between the types of installation (installation parallel, crossover, contrast, rhythm , in telligen t, associative, an d others.)?
What is the difference in film editing, photography, visual arts, m usic? Whose eyes see even ts in a particular episode of art m edia text?
As the authors of art m edia text can be pictorially show that their character has chan ged? M edia audiences:
What is the aesthetic taste? Can you think of his criteria in relation to m edia texts? Why did you choose these criteria?
To what extent knowledge cause an em otional reaction to a series of pictorial art m edia text? What is the difference between pictures / m ovies m ade in relation to the sam e object tourist and professional in the field of m edia culture?
As lighting, the play of light and shade effect on the perception of the audience of a m edia im age?
Co n clu s io n s
This article presented the m ain directions for Aesthetical An alysis on m edia literacy education classes for student audience, including the exam ples of creative problem s and issues associated with this type of the analysis in the con text of m edia literacy education problem s, ie based on six key con cepts of m edia literacy education: agen cy, category, lan guage, technology, audience, representation. The author supposes that the Aesthetical Analysis of m edia texts on m edia literacy education classes can significantly develop m edia com petence of students, includin g critical thinking an d aesthetical perception.
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УДК 37
Эстетический анализ медиатекстов на занятиях в студенческой аудитории
Александр Федоров
Таганрогский институт имени А.П. Чехова,
филиал Ростовского государственного университета экономики, Российская Федерация Доктор педагогических наук, профессор
E-почта: [email protected]
Аннотация. Эстетический анализ медиатекстов – анализ художественной концепции
медиатекстов различных видов и жанров, тесно связанный с эстетической (художественной) теорией медиа. Эстетическая теория медиаобразования была очень популярна в 1960-х (особенно среди активных сторонников кинообразования в эпоху торжества понятия "автор"). С 1970 -х годов эта теория стала быстро вытесняться теориями медиаобразования как развития критического мышления, семиотической и культурологической теориями, в рамках которых
медиапедагоги полагают, что искусство в медиа – не самое важное поле для обучения, так как необходимо оценить медиатекст, в первую очередь, не по его эстетическим качествам, а по содержанию идей, компонентов языка, символам и знакам. Однако многие учебные программы в области медиакультуры в настоящее время пытаются найти компромиссное решение споров "эстетиков" и "прагматиков", сочетая сферу художественного и аналитического подходов к медиобразованию с практикой и творческими заданиями.
Ключевые слова: эстетический анализ, медиа, медиатексты, медиаобразование,
медиаграмотность, медиакомпетентность, студенты.
