A term describing a media text or sign that has multiple possible meanings or interpretations.

(a)  

A form of mass communication created for the consumption by a large audience. Consumption is the means by which an audience take in a media's message.

(a)  

The process of taking in media. This will differ based on the type of media.

(a)  

The critical analysis of media products.

(a)  

A term describing a media text or sign that has multiple possible meanings or interpretations.

(a)  

Refers to the literal, surface-level meaning of a media text, image, or word—what is explicitly shown or said, without any hidden meaning or interpretation.

(a)  

Refers to the deeper, implied or symbolic meaning behind what is shown or said in a media text—how audiences interpret the media based on cultural, emotional, or social context.

(a)  

Key Term: Refers to the literal, surface-level meaning of a media text, image, or word—what is explicitly shown or said, without any hidden meaning or interpretation.

(a)  

Key Term: Refers to the deeper, implied or symbolic meaning behind what is shown or said in a media text—how audiences interpret the media based on cultural, emotional, or social context.

(a)  

A term describing a media text or sign that has multiple possible meanings or interpretations.

(a)  

In Media Studies, ​ (a)   refers to the literal meaning of a sign — what we can ​ (b)   , such as the colour red on a poster. ​ (c)   , however, is the deeper or associated meaning that audiences might interpret, such as red connoting danger, love, or passion. Media texts are often ​ (d)   , which means they can be interpreted in multiple ways depending on the audience’s ​ (e)   . For example, a luxury car advert may denote an expensive vehicle, but it may connote wealth, success, or even arrogance, depending on who is viewing it.

A typical character, symbol, or storyline that is universally recognised and repeated across different media and cultures.

(a)  

Vladimir ​ (a)   argued that most ​ (b)   follow a structure of ​ (c)   , each playing a role in ​ (d)   . This theory helps us understand how a ​character's narrative function shape the plot, rather than just focusing on ​ (e)   .

Propp Character Archetype: The character who actively tries to prevent the hero from completing their quest or journey​

(a)  

Propp Character Archetype: The character who gives the hero items to help on the quest​​

(a)  

Propp Character Archetype: The character who wants to steal the prize from the hero

(a)  

Propp Character Archetype: The character who sends a hero on their quest​

(a)  

Propp Character Archetype: The character who supports the hero on their quest​

(a)  

Propp Character Archetype: The main character who is on a quest or journey

(a)  

A typical character, symbol, or storyline that is universally recognised and repeated across different media and cultures.

(a)  

Vladimir ​ (a)   argued that most ​ (b)   follow a structure of ​ (c)   , each playing a role in ​ (d)   . This theory helps us understand how ​character function shape the plot, rather than just focusing on ​ (e)   .

the pairing of two contrasting ideas—like good versus evil or rich versus poor—whose tension helps structure meaning in a media text.

(a)  

Media often use clear ​ (a)   —like life vs death or good vs evil—to help us understand ​ (b)   . Spotting these opposites shows us the ​ (c)   of the media and helps us see the ​ (d)   the product wants us to ​ (e)   .

the pairing of two contrasting ideas—like good versus evil or rich versus poor—whose tension helps structure meaning in a media text.

(a)  

Media often use clear ​ (a)   —like life vs death or good vs evil—to help us understand ​ (b)   . Spotting these opposites shows us the ​ (c)   of the media and helps us see the ​ (d)   the product wants us to ​ (e)   .

A deliberate mystery or unanswered question within a media text that keeps the audience guessing and encourages them to continue watching or reading.


(a)  

Roland Barthes said that many texts use ​ (a)   to ​ (b)   the audience and ​ (c)   .

Media analysts look for these questions because they reveal how a product ​ (d)   and guides ​ (e)   .

Enigma codes are used to create ​ (a)   and keep the audience ​ (b)   . For example, a poster might show a character holding a secret object or looking into the distance without explanation. This makes the audience ask questions like “​ (c)   ” or “Why is that important?” These unanswered questions encourage them to ​ (d)   further with the product to ​ (e)   .

A deliberate mystery or unanswered question within a media text that keeps the audience guessing and encourages them to continue watching or reading.


(a)  

Roland ​ (a)   said that many texts plant ​ (b)   — unanswered questions called ​ (c)   —to hook the audience and keep them ​ (d)   . Media analysts look for these questions because they ​ (e)   and guides viewers towards later revelations.

The Guardians of the Galaxy poster reflects Propp’s character archetypes through its use of visual codes. Star-Lord (Chris Pratt) is positioned at the centre, holding his weapon forward, clearly constructed as the ​ (a)   who will lead the narrative. Surrounding him are Rocket and Groot, whose proximity and action-ready poses mark them as helpers, supporting the hero on his journey. Gamora (Zoe Saldana) stands in the foreground with weapons drawn, suggesting she is both an active fighter and potentially framed within Propp’s ​ (b)   role, although updated for a modern audience to show independence and strength. Drax (Dave Bautista) is shown aggressively holding blades, which could be read as a ​ (c)   figure if judged solely on visual codes, though the ensemble format makes roles less rigid. The tagline “All heroes start somewhere” functions as a ​ (d)   , suggesting a mission or journey that propels the characters into action. Overall, the poster uses Propp’s framework but adapts it for a modern superhero team narrative, where multiple characters share heroic and helper roles rather than a ​ (e)   .

The Diet Coke advertisement constructs meaning through several binary oppositions. Firstly, there is a clear opposition between ​ (a)   : the tagline “Stay Extraordinary” suggests that drinking Diet Coke can elevate an everyday act into something glamorous and aspirational, with Taylor Swift embodying the extraordinary lifestyle. There is also an opposition between ​ (b)   , where Swift represents an idealised celebrity figure while the competition (“win a $2,500 gift card and prizes”) offers the consumer a way to bridge the gap and step into her glamorous world. Additionally, the visual codes emphasise ​ (c)   product: although Diet Coke is a mass-market drink, the use of champagne flutes, a stylish red dress, and a sophisticated mise-en-scène presents it as luxurious and fashionable. Finally, the colour scheme reinforces ​ (d)   , symbolising passion, glamour, and celebration contrasted with purity, simplicity, and style. These oppositions work together to position Diet Coke as not just a soft drink but a lifestyle choice linked to success, elegance, and​ (e)   .

The Nike poster uses Barthes’ Enigma Codes to create​ (a)   audience engagement. The bold slogan “Born an Athlete” immediately raises ​ (b)   : what does it mean to be “born” an athlete, and how does Nike help to unlock that natural potential? The runner is shown mid-jump, his body energised and glowing with dynamic yellow light trails, which creates further enigma — how has Nike’s product given him this power, speed, or energy? The placement of the shoe at the bottom of the poster acts as another enigma: the audience is ​ (c)   how this specific trainer connects to the athlete’s extraordinary performance. Even the background, stripped of detail, emphasises ​ (d)   , pushing the focus onto the action and slogan. These unanswered questions encourage the viewer to seek resolution by associating Nike with athletic identity, ​ (e)   .