![]() This model is then applied to a media product transcending the traditional boundaries between“fact” and “fiction,” the pseudodocumentary horror film The Blair Witch Project and its reception. Under all three perspectives, a media product will usually contain cues that orient the recipient toward ontic status, plausibility of content, and so forth. This article is concerned with how recipients evaluate the reality status of media products, how they distinguish and how they interrelate elements of“fact” and “fiction.” On the basis of an overview of recent theories of fictionality, an approach comprising three independent perspectives for evaluating the reality status of media products is proposed:a pragmatic perspective concerning the product type (“fact,”“fiction,” and “hybrids”), a semantic perspective concerning product content (degrees of plausibility), and a perspective of mode referring to the (perceived) realism of the product (formal features and their effects on degree of involvement).
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