The semiotics in the news and how it applies to the Comm 360 course so far

In my previous blog post about the semiotics in the news, I talked about how the news anchors, their colleagues, and the directors/producers/cameramen, etc. all have some form of communication to make sure everything is smoothly executed and also told whenever something maybe going too far or lacking in emphasis or presentation. Well, in my experience in the Communications 360 Studio Production course, I have noticed how those communications have been applied and learned that with time and practice, as with everything in life, things will begin to mesh together and become a more well oiled machine for whenever our serious production begins.I have not been on too many floor or behind the door jobs except recording, which doesn't involve much, so I just pay attention to everyone else and make mental notes about how things are running or how there maybe a problem and how production comes to a halt while the situation is being taken care of. Recently,...
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The Semiotics of the news

  The semiotics of the news is a fascinating and obscure part of studio production that allows anchors, cameramen, directors, etc. to communicate in symbols, signs, and language that is truly unique to the studio that they are in. Some signals are synonymous and universal, like when to cut the program off, when to start, counting down for shooting/ending, etc. Others maybe made up in spur of the moment situations and just are used in studios with people that are really close knit and know each other's tendencies. However, that is rare to have.  Communications among small groups of people that work together on projects is crucial, however, the same can be said for communicating a broadcast to an audience, like with news broadcasts or the Colbert Report(C). News anchors, guests, and colleagues in the news and entertainment industry have to convey messages in ways that appeal or enthrall audiences and draw attention to them, whether for attention grabbing situations,...
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