Deadass I’m just straight up gonna copy and paste from the powerpoint from one of my lectuers the criticisms regarding the argument that media directly affects audiences, criticisms from a legitimate theorist (Gauntlett 2005) and criticisms that are academically held. Aka criticisms of the argument that “seeing ‘x problematic fandom thing’ makes people think ‘x problematic irl thing’ is ok and normal” that fandom antis love to throw around, which is known by its academic term; The Effects Model. (yes I deadass study this shit at uni)
It tackles social problems ‘backwards’
Treats children as inadequate: This situation is clearly exposed by research which seeks to establish what children can and do understand about and from the mass media. Such projects have shown that children can talk intelligently and indeed cynically about the mass media (Buckingham, 1993, 1996), and that children as young as seven can make thoughtful, critical conclusions. (Gauntlett, 1997).
Assumptions within the idea are characterized by barely-concealed conservative ideology: Concerned with values such as patriotism, traditionalism, respect for authority, distaste for youth/change.
Inadequately defines its own objects of study
The effects model is often based on artificial studies
Often based on studies with misapplied methodology
The effects model is selective in its criticisms of media depictions of violence.
Assumes superiority to the masses
Makes no attempt to understand meanings of the media
To celebrate the Bard’s birthday I am sharing my first Shakespeare playlist, a mix of spoken word, Elizabethan songwriting and contemporary score. The Spotify link is HERE, and here’s what you will find on it…
1. Judi Dench – ‘These Are The Forgeries…’ from A Midsummer Night’s Dream Judi brings her husky authority to Titania’s speech grieving the feud with Oberon and the disarray it leaves behind in nature.
2. Julian Bream – Queen Elizabeth’s Galliard by John Dowland 400-year-old classical guitar ode to Good Queen Bess.
3. Choeur de Chambre de Namur – Ingressus: Cantate Dominum Uplifting church horns from Rogier, under-appreciated Flemish composer and almost exact contemporary of Shakespeare.
4. Dame Janet Baker/Martin Isepp/Ambrose Gauntlett/Douglas Whittaker – ‘Where the bee sucks…’ Ariel’s poem from The Tempest set to a spritely pastoral theme with Dame Janet’s impossibly precise phrasing bouncing about like the magical bee itself.
5. Jordi Savall – Lachrimae Antiquae by John Dowland “Neither are teares shed always in sorrow but sometime in joy and gladnesse” wrote Dowland in the 1604 dedication for his lute and violin delight.
6. Benjamin Britten: A Midsummer Night’s Dream / Act 2 - “On the Ground, Sleep Sound” The dream begins in Britten’s opera, premiered in 1960 and musically looted ever since.
7. David Munrow –Madrigal (Di novo é giunto) This list would be incomplete without a madrigal, this one is a twenty-first century creation from music historian and musician David Munrow for lute.
8. I Fagiolini – Extraliturgical Motet: In ecclesiis by Giovanni Gabrieli A grand early-Baroque finale piece written for an Italian holy festival in the last years of Shakespeare’s life.
9. Carlo Gesualdo – O Vos Omnes ‘O all you who walk by on the road, pay attention and see if there be any sorrow like my sorrow…’ Beautiful five-voice responsory written the year Elizabeth died, but Catholic of course, so no more mourning for her here…
10. Hespèrion XX, Jordi Savall – Paavin Of Albarti (Alberti) A ‘consort’ or ensemble piece that may have soundtracked all manner of art and machinations from Shakespeare’s royal court…
11. Samuel Coleridge-Taylor – Othello, Op. 79: II. Children’s Intermezzo More British opera, a piece by our greatest black composer on Shakespeare’s noble Moor.
12.Provofiev/London Symphony Orchestra/André Previn – Romeo and Juliet, Op.64, Act I: Dance of the Knights Originally considered too difficult to choreograph, here is the bombastic soundtrack to the Capulet’s Ball you know and love from the great Russian ballet, a triumphant version from the LSO and André Previn.
13. Nick Ingman – The End (Instrumental) from Shakespeare In Love Sad sad closing piece from an Oscar-winning score. ‘You will never age for me, nor fade, nor die…’
14. Paul Rogers – John of Gaunt’s Death Speech from Richard II ‘This little world, this precious stone, set in a silver sea…’ John’s goodbye, and tribute to England, from a master Shakespearean, to see us out.
The tough guy that has just bought the latest angry rap CD, takes it home and plays it loud, may be thinking ‘Yeah! [Screw] you, consumer society!’, but as far as Adorno is concerned, he might as well say 'Thank you, consumer society for giving me a new product to buy. This is a good product. I would like to make further purchases of similar products in the near future.’