MUSIC VIDEO ANALYSIS - BEYONCE WHY DON'T YOU LOVE ME

Beyonce plays the role of a traditional 1950s housewife named BB “Homemaker”. The video follows many  of the genre characteristics of 1950s homemade movie; elements such as the artificial lighting, credits on screen, colouring and costumes portray this. However, throughout the duration of the video Beyoncé acts out a number of traditional housewife “responsibilities” such as cleaning, cooking and gardening, assisting in the overall perception of the video. 

Beyonce is the only subject on screen throughout the whole video. She is dressed in tight fitting outfits and traditional 1950s underwear whilst rolling around, crouching and crawling on the floor whilst singing “Why don’t you love me”. It could be suggested through the videos portrayal of Beyonce that she is inanimate – purely an object of desire for the egotistical male that doesn’t really love her. This ideology or concept of sexual fantasy or desire is highlighted by Beyonce exaggerating or flawing her female assets such as her breasts, bottom, midriff, legs and face. The face is particularly highlighted as a main focal point through the elaborate eye make-up and bright red lipstick connoting feelings of lust and infatuation; where Beyonce bites her finger it could even allude to the idea of promiscuity when considering that during the 1950s, what is perceived to be acceptable in Beyonce’s video by today’s standards, would have been classified as a form of pornography.

Throughout the narrative there is a conscious portrayal of BB.Homemaker’s vivacity and contrastive nature to that of “traditional” or “real” 1950s housewives e.g.. Tries to carry out everyday tasks but manages to fail (sets food on fire). The ostentatious and exaggerative jewellery connotes wealth and luxury, projected stars behind BB Homemakers silhouette signify honour, glamour and her clothing conveys BB Homemaker as lascivious , unique and desirable woman. This is done primarily to juxtapose Beyonce’s aesthetic with the lyrics of the song – why wouldn’t any man want to love a woman as gratifying as this?  This is justified by the lyrics 

“Why don't you need me, tell me baby why don't you need me?

When I make me so damn easy to need.

I got beauty. I got class. I got style and I got ass.

And you don't even to care to care. Looka here

I even put money in the bank account don't have to ask no one to help me out

you don't even notice that.”

Camera movements 

The cuts and soft focus reflect genre characteristics to indicate an air of age and authenticity. 

There are various straight cuts and zooms throughout the narrative to emphasise the body of “B.B Homemaker” and also creates a sense of voyeurism which also abides by Goodwin’s theory of reference to notion of looking, and the demands of the record label being reflected through the video . 

At the beginning of the video there are mainly straight cuts in mid shots and long shots to act as a topic marker – what we see is Beyonce standing over a steaming bonnet of a car in a cropped chequered shirt, stockings and high heels. The camera then cuts to a medium shot of Beyonce rolling a tire on the floor towards the car. 

The camera then cuts to a close-up of Beyonce’s face showing her hand wiping across her forehead leaving a dark greasy stain. Here the female is juxtaposed with very traditionally male traits such as grease, cars, steam and mechanics to add to the air of mystery and ambiguity which is so keenly portrayed. This shot could suggest that Beyonce is taking on the role of a male – maybe she had had to learn to do things for herself as the male she loves so dearly is no longer in her life, hence her lyrics “Why don't you love me, tell me baby why don't you love me. 

The evident pattern of shots in the narrative is from close-up to medium or long shot; close ups to convey emotion or implied meaning through BB Homemaker’s facial expressions and long shots to purposely reinstate the theme of female gender representation as an object of sexual desire.

When BB Homemaker carries out traditional house wife responsibility there is emphasis on what task she is doing through the conscious crafting of mis-en-scene and camera work. The low angle shot shows the mop juxtaposed with her high heel shoes, followed by a mid shot showing her expression as well as the scenery (an ironing board and washing detergent is visible in the background as every object within the frame remains in soft focus)

Sound and editing

To work in conjunction with the theme of the music video, and the time period of which it is set, there is a section of the video which pauses whilst “B.B Homemaker” takes a bubble bath using cheery yet slow music resembling a theme tune as a sound bridge. The camera then cuts to “B.B Homemaker” dressed in a maids outfit dusting off her 16 Grammy awards – the sound here is parallel; just as the camera cuts back to the narrative the music does in conjunction with the action to restart the narrative and the sound resumes as contrapuntal throughout.

The dissolves or cuts into other scenes flicker and are sepia/aged in colour to create the illusion of a deteriorated 1950s home movie – the quality of the image is expected to be far less than videos that are made today.

MUSIC VIDEO ANALYSIS - RIHANNA WE FOUND LOVE

We found love is a song written by Calvin Harris but song and filmed with Rihanna. The music vide is directed by Melina Matsoukas, who describes the singers as a "drug-abusing thrill-seeker in a relationship that quickly spirals downward into addiction and violence". The music video won the Grammy Award for Best Short Form Music Video.The song reached number one in the charts for a total of three weeks.

The main character is played by Rihanna, and there was a lot of scepticism on whether the video was relating to a past relationship she had. I personally really like this music video because it is a prime example of how good narrative music videos can be when performed correctly. It provided a lot of inspiration for our video.  

The video starts off with an extremely long intro to the video, nothing to do with the song, as it is narratively commentated over by a lady. What this does it is set the scene for the video and help explain to the audience what is going on between the characters. The director uses quick cuts and fast paced editing, of the same two characters, in lots of different places to imply how quickly time has flown bye together. 

The atmosphere seems very depressing and dark with the shots showing the two characters in broken down scenes. From shots of the two of them sitting in a bathtub in a grotty smashed up apartment to a shot of them smoking curb-side to a road at night-time looking slightly under the influence of a substance. These visuals are connoting a sort of "Live Fast Die Young" attitude with the drugs and the carefree attitude. There is one particularly disturbing close up of Rihanna with her hair all wet and looking general dirty that just summarises the intro.

Then as the music kicks in the "temperature" and mood of the song changes dramatically. The overall appearance of the characters improves and they look a lot more taken care of or "refined". The facial expressions have also changed from the serious stares during the intro to fun, clearly enjoyable, happiness. A massive contrast change in atmosphere. 

In the build up to the chorus the viewers are met with a montage of drug related shots and sexual scenes, giving a real sex drugs and rock & roll theme. Creating a sort of euphoric look to drugs with the multi-coloured cigarettes and pills and relating it to sex by cutting scenes of the two characters in between. Then as the beat drops for the main riff cutting to a music gig outside. 

As the video progresses it carries on into madness. The upbeat happy atmosphere that we were seeing at the start of the video eventually breaks down into fighting, with the final scene being her leaving him passed out on the floor. The whole video represents how relationships can turn out. Although they may seem amazing at first its so easy how they things can turn around to be the complete opposite. In this case love. 

Although the video seems very simple when watching it there are many small things that i picked up on throughout that influence the mood and story to the video. Colour has been massively edited with during the video. There are several different scenes that have been colour graded to have a completely different tone to it. Looking below you can see the differences and this tone can reflect on the way the audience can perceive the shot. For example the shot far left makes her look very innocent and shy due to the calming blue tone to the shot. However if you were to replace that with red then it makes her look fierce, the complete opposite. 

Camera wise the video is shot not steady but not hand held, its sort of in between. There is movement in the shots have this is not smooth which works cleverly because it helps the audience connect with the video and fill more emerged visually. The camera angles are relatively horizontal as well with 9/10 being eye to eye contact level. There are a few high angle shots but this is during the mud gig scene where high shots help to show the amount of people involved in the gig and not connote dominance to a specific character etc. 

Overall I think the video works really well. The story is based around love and how rollercoaster the relationship can be, and I think that visually it fits perfectly. Honestly I can find almost nothing to fault or that I could improve upon. 

MUSIC VIDEO ANALYSIS - WILKINSON AFTERGLOW

The music video to Afterglow was first released onto YouTube on 10 September 2013 at 2.52 minutes long. The video is about a couple’s five years relationship and the numbers, hours, days, and statistics of what they have done together since they first met. Australian actor, Leighton Sharpe, plays the role of Paul in the video and Danish model, Ida Marie, plays the role of Dana.

The idea for the video is unique and takes some different structure to a normal dance music video, which sometimes can be risky but in this case I believe it worked. The video itself touches upon a variety of themes and has a very modern outlook on a 21 century relationship. Expanding on that, I have taken a few screenshots which I believe fit into certain categories which are some of the main theme and why they were chosen.

 The first being a modern/ theme including, video-calling when they are alone, video games, instagram, facetime, sex or similar aspects, festivals and ‘so called romantic dinners’ aka fast foods. Incorporating these in the video as what is said to be a modern relationship is a brilliant idea in my opinion as its rare to see people talk about things we can relate to, such as instagraming your food and going to festivals and loosing your tent. Sound silly but these are little things that People can relate with the actors so have self involvement.

The next theme has a similar aspect but involves teenage to early 20’s ideas of fun aka bad habits, for example drinking, smoking, drugs, texting, parties and the regular use of contraception. This idea of incorporating reality and being so open about these themes has developed over time, so for instance I am pretty certain back in the old music video days the thought of someone having sex, taking drugs, drinking etc was a very frowned upon idea. But we cant blame the producers, artists or whoever’s involved on the idea, its modern society and not incorporating new, popular themes in your videos would be naivety to the way the worlds heading and frankly business decrease because unfortunately that is what people want to see and there idea of fun.

Another theme is a more realist one, when couples do have arguments, some jobs don’t get done, you get the wrong directions, you forget things, you don’t have time for your friends. Its all part of a normal relationship for things to sometimes not work out and using this theme shows the realistic side of a relationship and its not all happy happy and people can relate to this and actual make the audience believe this relationship is just like a real one.

After the negative sides of a relationship it shows what a real relationship stands for, the memories, connections between the two people and gives the audience a warm feel, the actors present it in such a way that the audience believe there love and warm to whole idea.

And finally ending on a passionate kiss as the song fades, completes the music video story line, leaving them with a positive feeling and that all the numbers, hours, days, and statistics of what they have done together since they first met, they are happy.

Why did they choose these characters?

The actor and actress were chosen to represent an ordinary young couple, the use of two attractive people is due to societies look upon this media nowadays, it is rare to find an unattractive character who is trying to appeal to men or women. The choice of age is due to the themes throught-out the video and the idea of a modern 21st century relationship, therefore using a couple in there 80’s wouldn’t be effective. I believe The ethnicity of the couple has no particular meaning, if they were of different ethnicity the same message would be applicable.

How can the audience relate to the story?

The audience can relate to the story because although some old-fashioned people will not agree but the themes throughout are a typical young couple who are having fun and couples can relate to that, people can also aspire to have what they have, and people may just relate to small things such as instagram, call of duty etc

Does the story have any relation to the song itself?

The lyrics to afterglow have some message similar to the video itself. The lyrics convey that don’t worry when the party’s finish, the afterglow will just be as good, this could suggest that there enjoying being young and all the things that come with it, but afterwards when they grow older together it will just be as good. The whole idea is a positive attitude because its not moaning the partys finished its looking forward to the next chapter, which is similar to the layout of the video as its all in chapters of there relationship.

Whats the idea behind the multi camera shot story?

The idea behind the multi camera is that its original and as I just said, like chapters of there relationship, good and bad but they get through it. The unique idea invites audiences to watch as it doesn’t take the stereotypical dance music video of just a wild party and a dj set but embraces a new happy idea.

MUSIC VIDEO HISTORY

Definition of a Music - A short film/video produced for promotion of the artists music. This means that music video is made to compliment the music and broaden its target audience. 

Music videos have developed heavily since 1894 where they first were developed George Thomas who projected a series of images onto a screen while music was playing for the song "The little Lost Child" and invented the first 'Illustrated song'. Since then music videos have developed through a number of eras to get to where they are today. First was the Phonoscene era between 1902 - 1917 this was where a short film was filmed off the actors lip syncing to the words of their music and then the recording and of the music and the video was later syncronised by a man called Leon Gaumont. This were first shown in france. 

Next was known as the Talkies, Soundies and Shorts era between 1926 - 1959. Technology had developed ex potentially and producers such as Warner Bros were now directing music videos more like short musicals featuring dancers, bands and vocalists. Shorts were usually around 6 minutes long and was a mix of art deco animation with the film of the artist. Soundies were usually musical styled videos around 3 minutes long and alot more performance based in comparison to shorts which were classed are narratives. Soundies were most common in jazz musicians to display and show off there musical talents with the instruments. As time progessed towards the like 50's both shorts and soundies started to combine. Dancers were usually involved with the videos because recording of "miming" along with the music usually werent as high quality as wanted and the term "music video" was finally devised by a disk jockey singer called J.P Richardson.

With the arrival of the 1960's came the start of a new era known as the "Visual Innovation era". Video had improved in quality with colour being defined and sharped allow artists to now sing along in time with the music for lengthy clips without notice. Pre recording the music and then lip syncing on film became alot more possible. With the invention of scopitone, a visual jukebox, music videos were able to be watched and seen in public more commonly which kick started the "Visual innovation" in short film artists to stand out and be acknowledged in the public. This quickly spread across the world especially into Western culture producing similar products such as the "cineBox" and "Color-Sonic" (The first coloured version). One of the earliest music videos to become highly popluar and hit was Jan & Deans "surf city" which based their video is the malibu surf beach, known for capturing the vibe and atmosphere of the area. 

Finally in 1964 came the first of the Music legends with the rise of "The Beatles". These had a dramatic effect on music videos. There first album was shot in black and white, and was depicted as mock documentary against there rivals "The Monkees". However as the band grew and with the release of their new album "Help" they jumped onto colour film and produced multiple sequences all in shot in a london studio but based in serial international locations from Switzerland to the Bahamas, trying to convey the adventure they were having as a band. The band experiment with different camera techniques from cross cuts and focus pulls. They then produced a few promotional clips to help with publicity especially in America. 

The clips were especially high quality and were the first time music videos had included editing effects such slow motion and rhythmic editing (in time to the beat). 

We these new clips pushing music videos to a new levee; and strategically devised to promote the sales sparked a new style and era of videos. Music videos started to have political or social messages in them, prime example as Bob Dylans "Subterranean Homesick blues". Despite being in black and white it was still very popular because instead of the lead singer singing along with the lyrics he pulled out cards with the lyrics on each some with visual messages. This song also was the home of the very famous saying "You don't have to be a weather man to know which way the wind is blowing".

This was also the start of narrative music videos instead of the prevous performance based videos. The Who produced serial narrative and promotional clips. There song "Happy Jack" was accompanied by the bang dressing up and acting as a gang of thieves. Other bands quickly followed in The Beatles tracks from The Moody Blues , 1967, The Small Faces, 1967 and The Doors 1968. The next few years had a series of great names all producing similar work from the rolling stones in 1967 to David Bowie in 1973.

Finally in 1974 came the beginning of music television. In the UK came the birth of the very famous long running TV show call Top of the Pops (TOTP) which was presented on the BBC. Good videos dramatically increased the sales of the song over the next week which made it extremely competitive for music artists to produce the best music and then look good for the camera when filmed on the show. In 1980 David Bowie got his first number 1 hit in a decade due to a clever promo done by director David Mallet for his song "Ashes to Ashes". 

In 1981 music videos go mainstream with the starting of Music Television or MTV which provided music videos and music related programs 24 hours a day. Video recording and editing equipment had come down in price dramatically making it a viable option for most artists. In 1983 the most influential and famous music video of all time was released, Michael Jacksons 14 minute long "Thriller". The video set new standards for production and cost around $500 000. In the next few years with growing popularity of MTV after Michael Jacksons surge, several other music channels opened such as VH1 (Video Hits 1), MTV Asia, Yo! MTV Raps and Canadian MuchMusic. 

Different genres of music start to form and become more popular with the increased promotion on the channels, especially hip hop. However in 1992 music videos were viewed as a necessity for the artist and this lead to the introduction of directors. Artists started to pay for film directors with the production of the video. Each director brought a unique turn to the music video industry as the artists were fighting for the "lime light". 

Budgets got a lot higher for music videos due to the promotion and attention they were getting. For example two of the most expensive recorded were Michael & Janet Jacksons song "Scream" which cost $7 Million to produce and Madonna's "Bedtime story" which cost $5 million and were both directed by Mark Romanek. Music channels were rapidly growing with MTV bringing out even more channels depicated to specific countries and even a second "senior" channel, MTV2. 

In 2005 came the launch of Youtube and internet became the new playground for music artists to promote their music. At first Youtube was slow to get running but with the introduction of artists such as Soulja Boy and Marie Digby created quite memorable videos and posted them on the youtube the website grew in popularity immensely and became a breeding ground for new upcoming artists seeking attention. In 2009 30 Seconds to Mars' song "Kings and Queens" was one of the first ever songs to hit 100 million views andwith the bench mark being set, there was a craze to become the most viewed on youtube. In late 2009 Vevo a music video was set up with syndicated with youtube and google sharing advertising but also allowing artists to be found and discovered alot easier. 

CONVENTIONS OF MUSIC VIDEOS DEPENDENT ON GENRES

There are many different conventions for music video's depending on the genre. Through looking at music videos from different genres of music, I have developed an understanding of what genres of music expect from their music videos. I have briefly described my understanding of the codes and conventions of music videos, according to their genre:

Rock/Metal - Through looking at Rock/Metal artists music videos, I have developed an understanding of the traits that are present in most of this genres music videos. The hue of the videos are usually quite dark, but with high contrast levels, to give the video an overall dark and edgy tone. The music videos are usually incredibly performance based, shots covering the whole band playing, yet focusing mainly on the front vocalist. Narrative music videos are also used, however I would say it is very likely that a narrative video would also show many shots of the band performing. The story lines are usually dark, to match the dark sound of the music, and dark meaning of the lyrics. The performance it's self usually has a dark and 'scary' tone to it, the performers are usually dressed in completely in black, appearing as stereotypical rock/metal listeners/performers with multiple piercings, dark make-up, and a dark and edgy demeanour. The editing is usually snappy and fast paced, to match the normally fast tempo of rock/metal songs.

Pop - Music videos that belong to the genre of pop are usually extremely performance based, with the singer, or band lip syncing throughout the song, as well as performing via dancing or in a narrative story that reflects the meaning of the lyrics. The overall tone and hue of the video will be very bright, with the artist wearing bright trendy mainstream clothing. If the lyrics are or a more sad nature, the overall tone of the video may be brought down a little, but will still be quite bright. In pop music videos the main artists are almost always present in their music video in some shape of form. Pop music videos are usually fun and light hearted to appeal to a younger audience.

RnB - This genre of music video usuallyhas a light tone to it, the hue is usually bright similar to pop videos. Typically the video will involve the artist in a narrative setting or simply performing in a setting such as a nightclub, mansion, beach etc. There areusually dancers present, to reflect the sound of the music. The clothing is usually revealing on women, and show the wealth of the artist, with lavish jewelry and expensive cars. The narrative of the story usually reflects the lyrics of the song, and like pop videos usually the artist will lip sync throughout the video. Again similar to pop music videos RnB videos have a good, positive, lighthearted feeling to them.

Indie - This genre of music videos has a huge variety of conventions, the hue can be dark, bright or black and white depending on the tone of the lyrics. Indie music videos are also split generously between being solely narrative, and performance based, sometimes the artists do not even feature in the music video for their songs. However Indie music videos can be performance based either featuring the entire band, or simply featuring the main vocalist. Narrative music videos in the Indie genre are typically quite arty, and symbolic, rather than spelling out exactly what the lyrics say.

CONVENTIONS OF MUSIC VIDEOS

All music videos have to represent certain codes and conventions.
The 5 main music video codes and conventions are:

1. Lyrics - They establish a general tone to the song, and address the storyline or subject matted. Key lines sometimes play a significant part in the visuals, but rarely would there be a full interpretation, and sometimes the lyrics do not directly correlate with the music video, it may just be the tone or mood of the lyrics which is conveyed in the music video

2. Music - The tempo of the track should drive the editing of a music video, fast paced music should mirrored with fast paced editing, and slow paced music should be accompanied with slow paced editing. furthermore particular sounds in a track may be foregrounded and emphasised on screen, for example if the video was performance based there would be a close up of the guitar or drums.

3. Genre - Each genre carries its own codes and conventions, a viewer would expect to see. This would be reflected in the mise-en-scène, the camera work and editing style. I have highlighted the different codes and conventions of music dependant on genre in a separate post.

4. Camerawork - How the camera is used and how images are sequenced has a significant impact on meaning. The angle, movements and shot distance would fluctuate depending on the music. Up beat tones are likely to require more dynamic camerawork.

5. Editing - In the process of filming the director and camera worker must film to edit. Some music videos would feature fast cut montages (sometimes containing of random images). This then encourages repeated viewings in case the viewer missed anything the first time. The editing helps to establish the mood, and is sometimes is used to fragment the narrative.

Modern music videos are primarily made and used as a marketing device intended to promote the sale of music recordings. Therefore music video's will usually include the artists, to allow the viewers to identify with the artists and aspire to be like them. Therefore music videos have to be incredibly aestheticallyappealing and captivating. Once an artists is established they can then use narrative music videos rather than performance based music videos, which is virtually a short film that corresponds in some way with the music, perhaps the tone, the actual lyrics or just the sound of the music. Music videos use a wide range of styles of film making techniques, including animation , live action filming,documentaries, and non-narrative approaches such as abstract film. 

AUDIENCE THEORIES

LESSON 05: AUDIENCE THEORIES

Studying the relationship between the audience and media

MWE
02/10/13

In our lesson we looked at Philip J Hanes article "The Advantages and Limitations of a Focus on Audience in Media Studies". In this article he discuss different theories which attempts to explain the true nature between the audiences and media.

"So a text does not have a single meaning but rather a range of possibilities which are defined by both the text and by its audiences. The meaning is not in the text, but in the reading" (Hart 1991,60)

Andrew Hart was a writer, theorist and researchers who studies the relationship between the audience and media. He explains that media is solely for the audience for if it weren't for them, media would be non-existent.

Effects

"Effects" is an audience theory which claims that audiences are passive. The Frankfurt school saw media as a hypodermic syringe which injects the content of media texts into the audiences head, which they then retain without questioning. In the 1950's, researchers have raised their concerns about the media having a negative influence over the society. They worry that the increase of violent acts in the society is caused by the representation of violent behavior in media which is then absorbed by the audience. Controversy arose as tabloid papers caused a moral panic that violent films such as "Childs Play" can influence children's behavior.

However, other theorists have asserted that this theory is flawed for it assumes that media directly impacts individuals. This claim is weak for there are other influencing factors in a persons life which arguably can inflict more impact, for instance: personal beliefs, culture, religion and many more. It fails to consider peoples personal beliefs, opinions and attitudes.


Uses and Gratification

This theory focuses on how audience are using media, instead of exploring the effects media has on its audiences. This ideology sees audiences as active participants, it believes that viewers have options to use media according to their own means; to satisfy their needs.

Blumler and Katz (1974) expanded on this and suggested that there are four main needs of television audiences that is met by television:

• Diversion- an escape from day to day lives
• Personal Relationships- to gain peers whom shares the same interest perhaps in shows, characters or through conversation about other programs (fans and fandoms)
• Personal Identity- viewers are able to relate and compare themselves to characters and scenarios in shows which helps them re-evaluate themselves
• Surveillance- to gather knowledge about current affairs

Despite this theory's recognition of audiences participation, it still suggests that there are parceled information within the media text that is read identically by all audience. It doesn't explore if audiences interpret messages differently by each person, it doesn't explain how texts are received. 


Screen

During the 1970's the academic journal "Screen" introduced this idea of audience being positioned by media texts. Theorist had started considering semiotics and structuralism, how they are tools used to create meanings in texts. It is through camera shots does Hollywood films placed their audiences. Laura Mulvey argues that the point of view that is used in Hollywood film is a male gaze- masculine point of view which objectifies women.

The Screen theory expands further and asserts that all media texts have a "mode of address"- individualistic ways of communicating to their intended audience. Different audiences are better suited for different techniques and different mediums.

However, this theory oversees that point that audiences are able to choose what to internalized. Much like the Effect and Uses and Gratifications theory, Screen also sees audiences as idle beings whom just retain what is shown. When in fact, the audiences may see the producers opinion and meaning in their text but that doesn't mean they agree with it.


Decoding/Encoding

Several studies and opinions had been made regarding this ideology, it had been developed over time by other theorists.

• David Morely argued that audiences are actively decoding meanings in texts
• Stuart Hall developed Morely's theory and argued that: 
1. Preferred meaning are constructed, encoded by producers in texts
2. These ideological ideas of the producers are hidden by codes and conventions (symbolism is used to make subtle perhaps)
3. The audience then interpret the text, their reading relies on outside socio/economic factors- gender, class, culture, religious beliefs, experience etc.
• Abercrombie (1996) proceeds and introduces this idea of dominant text view and dominant audience view:
• Dominant text view: This is when the message in the text is so pronounced that it's difficult to find any other interpretations
• Dominant audience view: This is when the audiences dominates the text, they see that there is a preferred meaning. However they are free to interpret the text according to their will
• The Centre for Contemporary Cultural Studies had also made their own model which shows different ways in which audiences decode texts
• Dominant Hegenomic: Where audience recognize that there is a strong enforced meaning in the text
• Oppositional Hegenomic: There is a preferred meaning in the text bu the audience doesn't agree with it due to their own sets of beliefs
• Negotiated Hegenomic: This is a position which audiences have to adapt to the preferred meaning
• Aberrant Decoding: In which the audience reads the text in a completely unexpected way