INTRODUCTION

• What do we mean by media and information?

• Media: Channels of communication (TV,
radio, internet).
• Information: Data or knowledge shared
through these media.
Example: News on TV, a blog post, or a
government website.
Where information
comes from?
Traditional vs. Digital / Personal vs. Institutional

• Traditional Media: Print, broadcast (TV, radio)

• Digital Media: Internet-based

• Personal Sources: Individual opinions or

experiences
• Institutional Sources: Official, organized entities
Examples of Information Sources

• Traditional: Books, newspapers, radio

• Digital: Social media, websites, online news
• Personal: Family, friends, community
• Institutional: Government agencies,
schools, NGOs
Collaborative Discussion

Compare different sources:

• Reliability
• Accuracy
• Bias
Example:
• Newspaper article vs. blog post on the same
topic.
Criteria for Evaluating Sources

Use these criteria:

• Author: Who wrote it?
• Purpose: Why was it made?
• Date: Is it current?
• Evidence: Is it supported by facts?
Reflection
Think about this:
• "Not all sources are equally reliable; we
must assess them."

• Which criteria do you think is most

important when judging a source and why?
Understanding Indigenous
Sources of Information
Lesson Objectives

• Understand the value of indigenous

sources of information.
• Learn how to gather indigenous
knowledge through direct interviews.
• Recognize the cultural significance of
oral traditions and practices.
What is Indigenous Media?
• Media created by and for indigenous
communities.
• Can include music, dance, crafts,
storytelling, and rituals.
• Shared through generations; often oral
and experiential.

Example: The Hudhud chants of the Ifugao

people.
What are Indigenous Sources?

• Information passed through

generations, especially orally.
• Based on lived experience and local
knowledge.
• Often undocumented and deeply
cultural.
Examples of Indigenous Sources

• Oral traditions and storytelling

• Local healers and herbal medicine
• Tribal councils and elders’ wisdom
• Folk tales and songs
• Rituals and ceremonies
Application of Indigenous Knowledge

• How do we use indigenous knowledge

today?

Examples:
• Herbal medicine (lagundi, sambong)
• Farming techniques (rice terraces)
• Environmental practices (seasonal fishing
rules)
Key Insight

• “We learn a lot by listening to community

elders.”
• They are the keepers of history, values,
and practices.
• Respect and dialogue are essential to
preserve indigenous knowledge.
THANK YOU!
 CODES &
CONVENTIONS
CODES AND
CONVENTIONS
■ Media Codes
Technical, written and symbolic tools used to
construct or suggest meaning in media forms and
products. Media codes include the use of camera, acting,
setting, mise en scene, editing, lighting, sound, special
effects, typography, color, visual composition, text and
graphics.
■ Media Conventions
Rules or generally accepted ways of constructing form
and informing meaning in media products including story
principles, form and structure, generic structures, character
and story arcs, cause and effect, point of view, the
structuring of time, elements of page layout, paper stock for
print, titles and credits sequences, hyperlinking and
Technical Codes
■ Camera techniques, framing, depth of field,
lighting, exposure, sound and editing.
These codes include camera angles, shots,
lighting, editing and sound. Camera,
position, angles and shots can be used to
show different perspectives. The lighting
can be used to create an atmosphere
and/or mood. Sound can be used for
dialogue, as a voice over to speak about
the product is or music also to create mood
Symbolic Codes

■ Mise En Scene, props, settings, costumes

and colors. These codes help symbolize
the meaning of something.

■ For example if you see a very well-

dressed man in an elite sports car in an
exotic location the audience would
automatically think that he is successful
and link the product with success.
Written Codes

■ Use of language (headlines, captions,

speech bubbles, language style)
Types of Media
Conventions
■ Form Conventions: Common features
of a media

■ Story Conventions: Narrative

structures and character roles

■ Genre Conventions: Elements typical

of a genre.
Camera Techniques

The way the camera moves, pans, the angle

and the framing helps tell the story.

ANGLE : The angle of the camera is the

angle from which the image is viewed. The
straight on angle is the most common. The
camera angle can have a major impact of
how the audience will perceive a character,
object or place.
Camera Techniques
Camera Techniques

■ MOVEMENT : Refers to any shift in the

camera's position or angle, altering the frame
or perspective. It plays a crucial role in
directing the audience's attention, creating
mood, and adding dynamism to a scene.
Camera Techniques
■ DISTANCE/PLACEMENT : The distance of
the camera in the scene will dictate to the
audience how involved they will become with
the characters or settings. In general the
closer the camera is to the subject the more
importance and attention that the subject is
given. For example in a romantic scene the
most logical place for the camera is close to
the lovers so that the audience can
experience the intimacy of the moment. If it
was presented only in a long shot the
audience would be distanced and wonder
why it was shot in this manner.
Camera Techniques
■ SHOT SELECTION
– Extreme close-up – can be described as a very tight
shot. It is a very dramatic shot that can be used to draw
attention to fine detail or places importance to the detail
it captures.
– Close-up – a close-up is not as tight as an extreme
close-up but there is still very little background shown in
the shot.
– Medium shot – more than one object or subject can be
show in a medium shot. Actors are captured from the
waist up and this shot is commonly used when there
are two actors in the shot.
– Medium long shot – in this shot the subject in the
foreground is equally balanced with the background.
Long shot – this allows the subject to still be prominent
although the background dominates the scene.
Camera Techniques
Camera Techniques
■ HEIGHT : The height of the camera can give the
audience a varied perspective. This is not referring
to angle, for the angle in this type of shot is usually
straight on.

■ LENS/FOCUS : Alterations in focus can have a

signifying effect. Most films use a deep depth of
field in which both the foreground and
backgrounds are in sharp focus. Hard focus
invokes a very real and sharp image while soft
focus provides a dreamlike or romantic effect. This
could be used for close ups or big close ups to
provide a more flattering image of the actor. It will
also suggest romance and mystery to the
ACTING
■ Acting is the most obvious production element to
observe and analyze when watching a moving
image. An actor’s performance in a film consists of
visual elements (appearance, gestures, facial
expression) and sound (voice and effects). The
character the actor creates is essential to the
narrative of the film.
■ Acting can be broken up into the following
discussion points:
– Body language
– Tone of voice / Accent / Pace of speech
– Facial expression
Performance - Use of
Voice
■ Volume – loud/soft
– Loud – Forceful, overbearing, shrill
– Soft - gentle, quiet, faint, muted, low, hushed
■ Speed fast/slow
– Slow - lingers on certain words, spoke in a
careful/deliberate manner
– Fast - spoke in a rushed/manic manner
■ Tone of voice
– Disturbing, chilling, intimidating, shaky, agitated,
shrill, condescending, Calm, unruffled, serene,
composed, self-assured, relaxed, refined
– Meek, childish, shy, whiny, emotional
– Collected, self-possessed, cool, calm and collected,
self-possessed, relaxed, sympathetic
■ Use of Facial expressions
SETTING
■ The time (time period) and place in which the
film's story occurs, including all of the other
additional factors, including climate (season),
landscape, social structures and economic
factors, customs, moral attitudes, and codes
of behavior.
■ Setting is a vital part of the story telling within the
narrative. It provides answers and understanding
to the audience. For example: Is there a train
station on screen revealing the name of the city?
Or does the Director choose to shoot the opening
scene in a bustling, cold, windy, Manhattan city
street in peak hour? Providing evidence to the
audience that this film text will be set in New York
MISE-EN-SCENE
■ Mise En Scene refers to the composition of
everything visually within the physical boundaries of
the shot / frame. The way in which figures and
elements are moved around within a frame can
provide many effects.

■ This also includes the positioning and movement of

actors on the set, which is called blocking. Mise En
scene can also be described as a look or style of a
film (for example gothic), a mood or atmosphere in
a whole film or an individual scene (for example a
threatening feeling).
Mise en scene (visual
elements)

■ Set design
■ Lighting
■ Space & Shot Selection
■ Costume & Make-Up
EDITING
■ Editing creates the illusion that a film is unfolding
naturally, without the intervention of the film-maker.
Good editing is invisible with seamless connecting
shots that create the illusion of continuity of time
and space. There are numerous editing
techniques:
– Cut – where one shot is cut to the next.
Sudden cuts can produce surprise, horror, and
disruption.
– Fade - where the image disappears into black
and generally represents a brief lapse of time
– Wipe - where one image replaces another
proceeded by a divisional line moving across
EDITING
■ Shot-reverse shot – is used to represent a
conversation. The characters speak to each other
appearing on opposite sides of successive frames,
each looking in the direction of the other. This is
shot over a continuous sound track and edited
together.
EDITING
■ Graphic match – shots are edited together in
relation to how they visually correspond with each
other. Visual relationships are significant but
visual/aural relationships in editing are also very
important this includes the overlapping sound from
one shot to the next with an image depicting the
dialogue spoken.
EDITING

■ Timing - can be used to enhance the energy of the

action, or to slow it down. Action sequences can
take on greater drama if cuts occur within moments
of high action. For example if a car is about to
crash, the viewer may see several successive and
separate views of the same moment. A cut in a
moment of relative steadiness can slow down
action. A character deep in thought may be shot
from several positions in order to expand the
moment and instill significance into it.
THANK YOU!