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93 Cards in this Set
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idealogy
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sets of social values, ideas, beliefs, feelings, and representation by which people collectively make sense of the world they live in. Emphasizes individualism.
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principles for media literacy
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all media are texts that can be read. Any text, i.e. songs, TV, etc, can be read in terms of how it was constructed, its effects, its production. One must be wary of how media alters our reality.
1) media help construct our individual realities: all media depictions are consciously constructed for our attention .i.e. scripted TV 2)media are influenced by industrial pressures: must generate revenue, attract advertisers. Media is made for economic purposes. 3)media are influenced by political powers. Government can restrict or regulate content/ownership. I.e. NBC can’t be obscene or indecent. 4)Media are constrained by format. All media have their own characteristics and conventions (language they use). I.e. montage is a passage of time. 5)audiences are active participants: we filter meaning through our unique experiences. I.e. teen mom: some people may see it as a joke, whereas others believe it is real... depends on where we stand on the issue (based on socio- economic, cultural, etc.) |
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media-as-skyscraper
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where media goes from low culture (what masses consume; found in magazines, mass-market paperbacks, pop cinema) to high culture (great art produced by society/act that is morally uplifting, complex, and serious).
i.e. Jersey shore... Hamlet. fosters inability to appreciate “fine art” -> “Big Mac Theory” - people cram Big Macs, no fine foods Exploits and degrades classics (i.e. Frankenstein -> FrankenBerry Cereal) Produces “throwaway media” (i.e. constant flow of media) Media keeps us distracted (i.e. better consumers in the fake lives of botox, etc.) |
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media-as-map
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media viewed as having multidirectional paths; changing, fluid routes; individual preferences; media consumption as flexible
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dystopian view
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medium is bad; or it was good but it’s getting worse
time limits on media consumption sex, violence on TV is going to corrupt you Argues that media is a propaganda tool; passive; addictive drugs; exploitative and formulaic; consumerist; directly harmful to society. critique: is all media bad? perhaps the argument is elitist and critical of viewers tastes? dismissive of how consumption can be active? |
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utopian view
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medium is good; or it was bad but it’s getting better
there is something for everyone you can choose to turn it off publicizes corruption/injustice (news) effects positive changes in society (i.e. public service announcements) critics say: media is totalizing and is hard to support media employs the myth of progress ignores commercial interests ignores production hierarchies is there really something for everyone? |
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mirror view
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medium reflects reality or reflects the interests of the audience.
Since 1960s until now, media has reflected society and our interests. Media mirrors major social changes. Critics say: this view ignores selective process of production agenda-setting functions of the media persuasive function of media possibility that audiences might disagree or interpret it differently |
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Benjamin: aura
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An object’s significance is determined by the process of consumption (doesn’t matter how the author produced it or the author’s intent; only matters how we use it)
All objects have an aura, which changes with reproduction. i.e. Mona Lisa, people value it because people say it’s good (impacted by ownership, restricted access, and cultural/economic values) |
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Technological determinism
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belief that technology is the principal, if not only, cause of historical change. Assumes that history is the inevitable unfolding of the consequences of the past and present. McLuhan’s “medium is the message”: belief that people’s normal use of technology necessarily modifies their consciousness and that the forms of communication (oral, print, electronic) available to people at a particular historical moment determines the way they perceive reality and logic. Technology determines everything else in history; communication technology crucial.
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Social determinism
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technologies are a consequence of social factors. Human beings, not machines, are the proponent of social change. i.e. sex sells, leads to female avatars in games (guided by investors, government regulations, media users). Along with access, price, marketing, influence of peers. Technology is adopted, adapted, modified, or subverted (i.e. internet used to be for military usage).
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Social determinism
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technologies are a consequence of social factors. Human beings, not machines, are the proponent of social change. i.e. sex sells, leads to female avatars in games (guided by investors, government regulations, media users). Along with access, price, marketing, influence of peers. Technology is adopted, adapted, modified, or subverted (i.e. internet used to be for military usage).
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McLuhan: “The Medium is the Message”
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Belief that people’s normal use of technology necessarily modifies their consciousness and that the forms of communication (oral, print, electronic) available to people at a particular historical moment determines the way they perceive reality and logic. “medium is the message” Technology determines everything else in history, communication technology crucial.
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domestication of technology
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technology becomes invisible as they become part of our daily lives; fear and moral panics then diminish.
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media production logics
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commodities (paid in full by consumers); turnstile media (sell access to content); ad-supported media ("free" to consumer); hybrid logics.
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commodities
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1)commodities (paid in full by consumers)
one time scale (consumers keep product) price covers all costs (including profit) ex: DVDs, books, albums |
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turnstile media
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turnstile media (sell access to content)
consumer “pay admission to the gate” ex: movie theaters, concerts, premium cable may/may not cover cost and profit constant renewal necessary |
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ad-supported media
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(“free” to consumer)
ex: broadcast TV, radio, free newspapers advertisers pay cost of media in exchange for access to consumers consumers pay in attention and increased product costs advertisers buy “impressions” advertisers pay for the quantity or quality of audience can target large groups or smaller, demographically desirable ones (called narrowcasting or niche marketing) |
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competition (two metrics for measuring success)
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1) sales growth — increased sales through economies of scope, secondary markets, vertical integration and overproduction (successes offset failures); maximize expenses through economics of scale (the cost of making a product decrease with the number of units produced)
2) market share — the percent of a market accounted by a specific company (compared in dollars and units); tracks how well a company does compared to its competitors. i.e. people only have so much money, so how much of it is spent on items. i.e. see Harry Potter or Transformers? |
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convergence
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he blurring of boundaries between distinct forms of media into new types of media networks and delivery systems. The rise of convergence came from: concentration of media ownership, interactivity (ability for users to “talk back”) in terms of technical, social, and textual changes.
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technological convergence
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personalized content through a single machine; hardware converges, software diverges (iPhone). Combines a variety of technologies in a “black box.”
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content convergence
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similar content available through a variety of devices. Content shared across diff. media; hardware diverges, software converges (i.e. Netflix on variety of devices).
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transmedia entertainment & storytelling
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goal is to draw viewers from TV to other content platforms (i.e. contestants on American Idol, go online to read more)
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affective economics
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how emotion drives viewing and purchasing decisions. To get viewers more emotionally involved. Goal is to create “loyal”/faithful/predictable/regular fans. Foster appointment TV for advertisers. “brand advocates” who generate buzz/awareness (celebrities). More likely to pay attention to/recall ad content.
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advantages of content convergence
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1) keep audiences engaged between airings and maintain their attention across media
2) collects two kinds of viewers: demographically wide (TV) and desirable (loyals) 3) by requiring viewers to use multiple media, they are exposed to even more forms of advertising. |
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Convenience technologies & their impact
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Digital distribution — DVD, DVR, VoD, web, etc.
Part of a move away from simultaneity and liveness. Individualized viewing/ fragmented audience. mobile viewing: provides live, streaming content away from the home. Still developing with lots of interested industries. More formats, utilize the same content for diff. screens/revenue streams. More contents, can support greater variety of material; “long-tail” library. More viewing flexibility: active selection rather than linear flow. |
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the digital divide & the participation gap
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gap between those who have access to digital techs and those who don’t. Creates a divide between quality of access; familiarity with technology and social interactions; creates participation gap.
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genre conventions
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specific narrative elements.
1) setting 2) character type 3) plot/narrative structure 4) iconography 5) emotional affect 6) melodrama 7) ideology/social values |
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genre codes
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modes of production external to the narrative.
1) length 2) visual aesthetic 3) daypart 4) sets 5) 1vs. 3 camera set up |
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industrial utility of genre
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management of consumer interest/expectation managed through promotion. Attempt to make success predictable: production trend: if people like the genre, make more; reduces risks; organizes production; “contract” between procedures and audience; consumers know what to expect.
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genre innovation
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problem of generic repetition = risk of bored audience. Genres have to add differences, resulting in interplay between imitation and innovation. Innovation = deviate from generic codes and conventions.
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genre imitation
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genre follows established codes and conventions; whereas innovation is used to prevent bored audiences, but imitation allows viewers to recognize genre.
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Mittell: genre as cultural category
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genre is a cultural category. Genre is an interrelations between techs, industries, audiences, historical contexts (ex: genres based on who receives address.) Our understanding of genres change with how they’re defined, interpreted, and evaluated. Because discourses change, genre categorizations change.
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narratives
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stories structured into narratives to keep audiences engaged. Status quo disrupted, obstacles are resolved, new status quo results. Crafted to add suspense with obstacles and complications. Narrators can be specific individuals inside the story or anonymous voice outside the story. The camera is a narrative visual media.
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characters
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characters assigned traits; producers anchor story with reaction shots. Protagonists drive the story (audiences are encouraged to identify with the protagonists). Externally: spatial attachment and achievement. Internally: voiceover, POV, subjective access.
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audiences
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audiences can be inside the story and/or real individuals. Spectator = perceived audiences of consumers.
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Mulvey: "The Gaze"
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the “gaze” of the camera isn’t neutral (who is the camera for?) We are meant to identify with “the looker.” POV, camera, editing, narratives ask us to identify with men and objectify women.
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economics of TV narratives
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networks and ads want predictable viewing
want a long-term commitment from viewers goal is to hook viewers and get them to return weekly reruns necessary to make up costs |
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episodic TV
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circular closure: return to original status quo.
Economic disadvantages: same characters, similar situations; audience become loyal, but ok to miss/mix up episodes (i.e. The Simpsons) |
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serial TV
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continual change of status quo; accumulation of detail, history; organic story development, potential for revision (i.e. Glee)
economic disadvantages: alienate viewers |
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beat
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smallest mode of narrative (1-2 minute); builds to plots, but also contain drama and purpose
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episode
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structured by culmination or theme; 3 or 4 acts (curtains before commercials)
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arc
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storyline crosses several episodes or seasons; builds towards sweeps; storyline/character arcs; goal is to continue audience engagement.
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TV experimentation w/ contemporary narratives
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contemporary narratives: context for experimentation since 1980s. Improved cultural clout, viability of smaller audience, new technology enables “re-watchability”, growth of online engagement with TV. HULU.
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realism
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measured in self-determined plausibility (no unbiased, objective representations of reality). Collection of material facts that we know and then filter through our vision; through media text (news articles, etc.) that is harmed by advertisement., leads to reception narrated through omission, condensing, editing, filtering (therefore, no unbiased text). Though some may be more objective or feel more real.
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mediation
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The act of constructing the real. The practice of selecting and ordering images/events. We interpret news conventions as objective but they too are constructed. Realism is produced by codes and conventions: apparent spontaneity, handheld camera and loose competition, available lighting, verbal spontaneity, narrative spontaneity. Audiences expect realism because of codes and conventions. But characters know that they are being recorded (affects realism).
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reality TV (economics of)
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separate reality producing genre. Like news, it captures/edits images of reality, but like scripted shows, it selects for cause and effect drama between individuals. Desire to replace expensive stars with non-pros cheaper freelance/non-union crews. necessitated by strikes/potential strikes in ’89, ’01, ’07/’08. role of increased global distribution (licensable international formats). reality TV is easier to produce than scripted TV. Increased global TV: reality TV sells well abroad (sold and remade in other countries). i.e. American Idol.
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hyperreality
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Reality seems “more real than real.” Constructed to suit audience expectations.Shaped through codes and conventions.
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construction of reality TV
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reality TV is constructed through: selecting participants (potential conflicts); overarching and mini narrative structures; location; editing.
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defining celebrity
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a person who attracts public and media attention (vs. stars, who are known for talent).
Three narratives: “magic and talent” (idea that the celebrity has talent); industry manipulation (that the celebrity is someone the industry fabricates to be a star); audience fascination, (where celebrities are manifestation of audience’s concerns; collective unconscious. Personifies what people want). |
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star texts
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sum of everything we affiliate with them. Ex: media texts, videos, interviews, review, etc. Is both intertextual and extratextual.
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intertextual knowledge
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intertextual: the process of knowingly borrowing and referring to other texts, or interpreting one text in the light of other related texts. Some signs extend beyond themselves.
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extratextual knowledge
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knowledge and information taken from sources external to the text. i.e. knowledge from magazines on the internet suggest that she is a difficult actor, etc.
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economics of celebrity
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the goal of celebrity is to convert star image into capital and add value to a product. Celebrity circulated the mass media.
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promotion
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calculated image construction by image creators: generated to sell product.
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publicity
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generated by the press etc. outside of direct control (i.e. talk shows).
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TV & celebrity
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TV “downsized” our conception of celebrity; tied it to advertising images; TV celebrity promotes familiarity through repetition; ex: talk shows, soaps, sitcoms
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reality TV & celebrity
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reality TV can rejuvenate celebrity careers; reality TV can manufacture new celebrities.
critics are divided on the issue of reality TV: pro: normalizes celebrity, fans become active and invested con: celeb no longer based on talent, culture of humiliation |
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identification fantasies
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a feeling of connectedness to another person; audience desire star’s/character’s life. identify with the star.
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Identifactory practices
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a feeling of connectedness to another person; consume star’s/character’s products. desire and identification drive consumption.
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YouTube Stars
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youtube wants consistent, high-quality videos; one approach = train and equip “youtube stars” ; “influencers” with a highly-engaged followers (youtube stars are the most subscribed, most-commented
foster community — to increase subscribers) drive users to library of videos (to increase total views) |
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semiotics
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the study of codes and signs
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codes
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system of meaning (language, alphabet)
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conventions
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ways of organizing signs that become widely shared over time
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signifier
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the material form (the letters, sounds, symbols)
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signified
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the thing/concept the signifier is supposed to mean.
meaning is built by linking chains of signs together. denotation = purely descriptive, value- free (verb = denote) connotation = suggests specific values or associations (verb = connote) can be individual or cultural |
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(7 ways of) semiotic analysis of media texts
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1)oppositions in themes and symbols
2)structure and composition (black vs white color clothing) 3)lighting and setting (film noir) 4)camera position (high = menacing angle) 5)shot scale (close up = close to actors; long shot = vastness of world) 6)music (jaws music) 7)editing (length and temp. of a shot) |
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anchoring
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texts open to multiple interpretation (polysemy); therefore, anchoring can use captions to fix our interpretation for one meaning.
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consumer culture
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focus on accumulating consumer goods. Tied to free choice and identity. Tradition becomes lifestyle (an elective community). results in: isolated from tradition and community, we become open to manipulation & creates inexhaustible dissatisfaction
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5 characteristics of consumer culture
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1) consumption beyond all other social dimensions (rank consumption over religion, etc.)
2) produces products for an undifferentiated audience (i.e. Harry Potter) 3) encourages insatiable consumer desire (just to buy things) 4) allows experimentation with identity and “the latest thing” 5) represents status over function (i.e. apple and Nike over other generics) |
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mass culture & what it provides
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mass culture: commodities produced for mass money (not from the masses, for the masses). The goal is to promote an economy of consumerism. From culture-debating to culture-consuming
mass culture provides: artificial concerns (tabloid magazine, lives of magazines, royal wedding); absorb leisure time; false promise of fulfillment through commodities; no sense of collectivity (turning us into the masses) |
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standardization
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assembly-line production
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pseudo-individuality
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same product hidden by a veneer of difference
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social cement
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psychic adjustment to the needs of capitalism (makes us “emotionally obedient”)
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criticisms of The Frankfurt School
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The Frankfurt School: name given to a group of Marxist scholars who first analyzed the role of the media. Defined popular media as a consciousness industry that helped to control the masses. the culture industry = commercial producer of mass culture. Their concern was that mass-produced entertainment has stunted, depoliticized the working class. Whereas once, capitalism had a democratizing influence by providing government-free media and places to socialize; used to supply culture, debate, and news; now, mass media supplies spectacle, diversion, advertising.
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idealogy
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ideologies are sets of social values, ideas, beliefs, feelings, and representations, by which people collectively make sense of the world they live in, thus constituting a world view.
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dominant ideology
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a world view that supports the ruling class as dominant, the status quo, yet is shared by the majority of people.
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ideological work
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how texts attempt to adopt the values of the dominant ideology.
1) masking and displacing social issues and problems. Some issues do not get media coverage at all. People are addressed under only unifying label, thus ignoring the differences among the people. Some social issues are masked under personal/ psychological terms rather than in social 2) by incorporating or containing other ideological positions: the process by which dangerous radical ideas and movements are made acceptable, not by banning or criminalising them but partially accepting them. 3) by giving audiences texts that are pleasurable: people use the media for pleasure and relaxation, so the media work hard to give us pleasure. |
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idealogical analysis
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examine slant that supports certain views about reality, groups, world, etc.
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RSA
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repressive state apparatus. The institutions of force that societies use to control people, i.e. army, police, law courts, and prisons. Mechanisms that are called into play to force people to conform to the dominant ideology (through punishments usually)
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ISA
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ideological state apparatuses. The institutions of socialization and persuasion that societies use to control people, for example, religion, family, education, and media. “hypnosis” to convince people to the dominant ideology.
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culture jamming
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all texts are idealogical even if they don’t support the mainstream
cultural jamming = reworking the intended meaning of existing media producers and texts goal = denaturize media media images and criticize dominant idealogy i.e. switching barbie voices with GI Joes voices |
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hegemony
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hegemony: power and leadership maintained through processes of struggle and negotiation, especially through winning the consent of the majority of people to accept the ideas or ideologies of the dominant group as “common sense.”
an on-going process that must continuously be maintained always conflict, negotiation hegemony is a way of understanding how one social group maintains its ultimate power over subordinate groups. when ISA falters, dominant powers use RSA (repressive state apparatus, i.e. violence) |
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Hall: the circuit model of communication
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meaning is shaped in multiple stages, and each stage generates meaning and impacts the other.
audience = participant in meaning making producers can’t fully control meaning production = message is produced circulation = message is transmitted consumption = audience receives the message reproduction/feedback = message is accepted and reproduced texts are polysemic not fixed in meaning hegemony legitimates some meaning over others |
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Hall: encoding/decoding, its value, & its critiques
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texts are “encoded” at the level of production
producers encode programs with preferred meanings codes shape these meanings through: 1)frameworks of knowledge (world views, ideas about audience) 2) relation to production (industry economics) 3) access to technological infrastructure (tech, skills, style) producers usually idealogically/economically linked to hegemonic elite texts are “decoded” at the level of consumption three decoding positions based on the difference frames of references viewers bring: 1)dominant/hegemonic = accepts preferred/accepted meaning 2)negotiated = partially accepts/understands preferred meaning 3)oppositional/counter-hegemonic: rejects preferred meaning in favor of alternative ones |
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Fiske: material function vs. cultural function
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material function: actual use itself/role in the circulation of wealth
cultural function: role in the circulation of meaning But there is a difference between the power of the cult industry and the power of its impact pop culture: a site for contestation and discussion |
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popular culture as process
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quantitatively as the most popular; aesthetically as the opposite of high art.
formally as formulaic mass culture (assume a passive audience); socially as folk culture. pop culture = a process, not a thing or category. assembled from mass cultural resources (always the view of majority, but also has subversion) but creates new understandings, identities, experiences, pleasures. |
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mass culture incorporation vs. pop culture
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pop culture = how people use and interpret media (polysemic)
mass culture = what is fed to the masses by the producers concerned with meaning at consumption not producer intentions meaning-making processes turns mass culture into pop culture mass culture and pop culture both inside and outside the dominant culture |
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excorporation
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popular culture scans mass culture for resources it can appropriate
popular culture is the link between encoding and decoding |
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incorporation
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mass culture scans popular culture for tastes/interests it can commodify
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media citizenship & subcultures
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media provides different viewpoints and experiences
do it yourself citizenship: people use media to help construct their identities, beliefs, roles subcultures: people use media to adopt counter-hegemonic identities results in: 1) moral panics - presenting these as a critical failure 2) incorporation - became commoditized, stuff you buy subcultures go against dominant ideology. |
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criticisms of popular culture
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populist celebration
spreads repressive representations too validates dominant/commercial interests audiences can be active, but that doesn’t mean they’re powerful |
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criticisms of popular culture
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populist celebration
spreads repressive representations too validates dominant/commercial interests audiences can be active, but that doesn’t mean they’re powerful |
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forms of interactivity (Baym)
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Baym: said that the many modes of communication on the internet and mobile phone vary in the degrees/kind of interactivity they offer.
temporal structure of a communication medium - synchronous communication: face-to-face conversation vs asynchronous: delays between messages varies in media mobility, extent in which they are portable social cues lessened in digital media |
