, COM3703 Assignment 1 Semester 2 2025 - DUE August 2025; 100%
CORRECT AND TRUSTED SOLUTIONS
1. INTRODUCTION (5)
This assignment critically examines key concepts and analytical
frameworks in media studies, focusing on the interrelationship between
signs, narrative, film theory, and media audiences. The first section
engages with communication and media semiotics, defining the field
and explaining the nature and types of signs, supported by relevant
examples. The second section undertakes a narrative analysis of a
closed-ended episode from the television series Modern Family (Season
8, Episode 19, directed by McCarthy-Miller, 2017), applying Barthes’
five narrative codes, the concept of binary opposition, and the four
phases of narrative progression. The third section explores film theory
and criticism, defining the field, discussing Sergei Eisenstein’s three
types of film theories, applying De Putter’s two kinds of criticism to a
selected film, and examining auteur directors. The fourth section
discusses media audience theory, focusing on the Uses and
Gratifications Theory as a framework for understanding audience
motivations for watching telenovelas, specifically considering typologies
of needs, the distinction between gratifications sought and obtained, and
the theory’s suitability. Throughout, media texts such as Modern Family
and selected telenovelas (e.g., The Queen) are used as illustrative
examples, and academic sources (Fourie, 2017; Pitout, 2017) are cited to
ground the discussion.
CORRECT AND TRUSTED SOLUTIONS
1. INTRODUCTION (5)
This assignment critically examines key concepts and analytical
frameworks in media studies, focusing on the interrelationship between
signs, narrative, film theory, and media audiences. The first section
engages with communication and media semiotics, defining the field
and explaining the nature and types of signs, supported by relevant
examples. The second section undertakes a narrative analysis of a
closed-ended episode from the television series Modern Family (Season
8, Episode 19, directed by McCarthy-Miller, 2017), applying Barthes’
five narrative codes, the concept of binary opposition, and the four
phases of narrative progression. The third section explores film theory
and criticism, defining the field, discussing Sergei Eisenstein’s three
types of film theories, applying De Putter’s two kinds of criticism to a
selected film, and examining auteur directors. The fourth section
discusses media audience theory, focusing on the Uses and
Gratifications Theory as a framework for understanding audience
motivations for watching telenovelas, specifically considering typologies
of needs, the distinction between gratifications sought and obtained, and
the theory’s suitability. Throughout, media texts such as Modern Family
and selected telenovelas (e.g., The Queen) are used as illustrative
examples, and academic sources (Fourie, 2017; Pitout, 2017) are cited to
ground the discussion.
