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By James Barter

A Medieval Knight.

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2: 291–314. Steen, Gerard. 2008. “The paradox of metaphor: Why we need a three-dimensional model of metaphor, metaphor and symbol”. Metaphor and Symbol 23, no. 4: 213–241. 2 Me and You and Everyone We Know: The Centrality of Character in Understanding Media Texts Craig Batty RMIT University, Australia Introduction Excitement grows in the children as their mother returns home. They squeal with excitement as they see her walking up the garden path toward the house. They push open the fly screen and run to her with hugs and kisses.

Steen, Gerard. 2008. “The paradox of metaphor: Why we need a three-dimensional model of metaphor, metaphor and symbol”. Metaphor and Symbol 23, no. 4: 213–241. 2 Me and You and Everyone We Know: The Centrality of Character in Understanding Media Texts Craig Batty RMIT University, Australia Introduction Excitement grows in the children as their mother returns home. They squeal with excitement as they see her walking up the garden path toward the house. They push open the fly screen and run to her with hugs and kisses.

Cited by De Jong 2008: 170 To reinforce this sense of character transformation, and to go back to an earlier point, casting is clearly important. Characters are not only apparent as themselves, but against others, through contrast and context. As Holmes and Jermyn argue in yet another discussion of Wife Swap—a discussion that could just as easily be applied to Come Dine With Me, Trading Spaces, and Holiday Showdown—program makers clearly draw together juxtaposing couples or families in order to heighten the dramatic tension of the swap, and with “class frequently the crux of the contrast” (2008: 237).

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A Medieval Knight by James Barter


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