MS 10 Midterm

Define and explain, discuss the significance, compare, and provide an example of values of encoding/decoding

-Decoding: describes the audience's side of Hall's model, describes level of consumption. Allows for the audience to gain control over their own interpretation of a media text, potentially separate from the producer's preferred meaning. 3 positions of decoding: dominant-hegemonic, oppositional, negotiated. Everyone has different decodings and producers can't close them all off. Our own experiences and beliefs color our decodings. Because we bring to bear our own interpretations, based on our own understandings, there's a struggle with getting people's ideological agreement -Encoding: describes the media maker's side of Hall's model, describes level of production. Media makers tend to encode meanings that fits with a culture's accepted worldview to draw in audiences. Helps us recognize that all messages contain more than one potential interpretation

four media sales logics

-Different ways mediamakers turn consumption → profit, since their goal is to make ROI on their media products. These different sales logics (media sales and hybrid sales) punctuate how we navigate our consumption practices 1) First form = commodity -Commodities = paid in full by consumers -Ex: physical blu ray, album, book ,etc (One time purchase. You do whatever u want with it after you're done consuming_ -Priced in a way where price covers all costs (including profit) - ex: manufacturing, distribution, etc. 2) Second form = turnstile -Turnstile = sell access to content -Not the physical form, but rather the access to it -Producers are selling "admissions" to a single performance at a single, specific time in single, specific place - when its over its done - no further opportunities for consumption -Ex: movie theaters, concerts, streaming TV (renewing, monthly fees) -You don't get to keep anything. When you stop paying for access you're shut out 3) Third form = ad supported -"Free to consumer" -But not really free because audiences aren't actually the consumers. They're the products being sold to the REAL consumers (advertisers) -Advertisers pay cost of media in exchange for access to consumers ("impressions"), to ultimately make an "impression" on you -Ex: ad supported broadcast TV (ABC, NBC), and ad-support social media platforms (FB, Twitter) -Consumers PAY in time (ex. from ads inserted in program) and attention + increased product costs (that help make up for price of advertising) + data (interests, habits, etc) 4) Fourth form = Microtransactions -Lots of little payments -Small payments add up -Most visible media source for microtransactions = "freemium" app-based mobile games -"Freemium" (free to use + "premium") options. Initially free, but you're encouraged to buy extra perks (ex: Clash of Cans) -Producers don't set established price. Individual users determine how much they pay. Users who do end up paying often need to do so to such a degree that they subsidize those who don't or underpay

Define and explain, discuss significance, compare, and provide an example of (good) implications of content convergence

1) -time shifting (--> binge watch) -place shifting (watch anywhere) -greater content variety (including older, hard to find content) 2 and 3) -for the industry: goal is now to collect fragment audiences through many outlets -for mediamakers: more outlets for material = opportunities for $ -for audiences: individualized consumption of experience -HOWEVER...content convergence --> tradeoff where consumers need to navigate options/choice 4) Disneyplus allows you to watch whenever, wherever, and includes shows that would otherwise be hard to find

Define and explain, discuss the significance, compare, and provide an example of news & how it's shaped (a particular genre of nonfiction)

1) The result of routines that become formalized into professional norms with the goal being newsworthiness + objective reality. Shaped by 1) social process and 2) codes and conventions 2) Professional norms in news are broadly institutionalized, BUT not all news sources understand objectivity and newsworthiness in the same way. Because news is shaped by "social process" ($$$ (for profit), deadlines, experts used/interviewed, creator bias, recording, relationships with other institutions, editing, etc), we understand that there are NO truly objective representations of reality. Because news is shaped through "codes and conventions" (Visual style, music, character, types, setting, etc), we understand that news is constructed to "feel" objective + newsworthy 3) News rooms are NOT truly objective (and never can be); often only reflect views of those in power and focus on "big fish". To Croteau and Hoynes, objectivity is "impartial, balanced, and fair reporting" → standards of objectivity. (Croteau and Hoynes reading "Media Organizations and Professionals) 4) news "authority"/credibility comes from its triumphant music, setting in a studio with a giant desk (this is an example of news being shaped by "codes and conventions")

Define and explain, discuss the significance, compare, and provide an example of excorporation vs. incorporation (Fiske)

1) Excorporation = PC scans MC for resources it can appropriate Incorporation = MC scans PC for tastes/interests it can commodity (how do audiences respond? integration back into cultural production) 2) MC and PC feed off each other. They use one another as resources to build from. Fiske helps connect Hall's model into a cycle 3) Its not JUST a one way flow from mass culture to pop culture. The cultural flow goes both ways. Its a fluid and unstable relationship 4) excorporation: Fanfic, memes, tweets incorporation: companies start selling ripped jeans because they're in fashion

Define and explain, discuss the significance, compare, and provide an example of character types vs. stereotypes

1) -Character types: "stock characters", a "shorthand" to help mediamakers communicate quickly meaning. An example of a genre convention that's spread through intertextual constructions with commonly understood traits and behaviors -Stereotypes: Reduces an entire group into a few simple characteristics and spread intertextually through repeated media representations (stereotypes operate through repetition in media) 2) -Character types: Useful for delivering lots of information about the text to the audience quickly. -Stereotypes: Emerge from inequalities of representational power (the stereotype groups lack the power to present their own representations, to reach an audience and develop an alternative) 3) -Character types: NOT inherently problematic; they persist because of their utility and familiarity (they only become a problem when they RELY on stereotypes) -Stereotypes: Character types → stereotypes when mediamakers assume traits for a particular demographic 4) -Character Types Ex: reality tv. Producers look for particular character types when casting -Stereotypes ex: Any asian stereotype you can think of in mainstream Hollywood

Define and explain, discuss the significance, compare, and provide an example of false consciousness

1) = Mislead ppl into thinking that the route to contentment comes from consumption rather than upward mobility. Happiness is "one purchase away", according to frankfurt school. Through this, those in power labor to mislead the public. We try to avoids ads but we can't b/c they're part of the content itself 2) Two results... -Result 1: fantasy of control really creating inexhaustible dissatisfaction ("buying" happiness is just an illusion...and the media knows this) -Result 2: de-skills, de-politicizes, desensitizes, isolates overworked masses 3) Presents accumulating consumer goods as an expression of identity and "free choice". Consumer culture, according to Frankfurt, is about continuous self-creation through the "latest thing". Appearance and taste becomes important in identifying yourself 4) Jeans. a commodity is just "ideology" made material. (Fiske reading)

Define and explain, discuss the significance, compare, and provide an example of popular culture (fiske pop culture reading)

1) = the USE of media. How it's understood, enjoyed, hated, consumed, made part of the life of an individual or larger group. What you make of it. It's interpretation, gossip, parodies, etc. -verb > noun. Its a process! 2) we take "for profit" MASS culture made for us by the culture industry and convert it into POP culture made by us 3) -Assembled from mass culture resources: talking back and making new meaning from commercial media -concerned with meaning at CONSUMPTION, not producer intentions. The study of pop culture explores how ppl engage with mass culture in a variety of ways 4) How ppl tweet their decodings and evaluations of a movie (interpretation pop culture analysis), how pop culture brings ppl enjoyment (pleasure pop culture analysis), how we share our pop culture interests with one another (sociality pop culture analysis), etc.

Define and explain, discuss the significance, compare, and provide an example of industrial utility of genre

1) A label to manage consumer interest and organize production at a structural level. Must be communicated through promotion 2) Through promotion, genre is thus extratextual and operates beyond the text. genre is also a "contract" between producers and audiences -Particular audiences like particular genres -Genre may suit the mood at the moment. Audiences may feel disappointed if their interpretation of a media text doesn't match what they saw advertised while watching/listening/etc 3) An attempt to manufacture success by offering the familiar. "Same genre, same mix of codes and conventions" 4) ABC organizes itself into divisions of news, sports, etc.....Sony Music gives itself labels... country, classical, etc.

Define and explain, discuss the significance, compare, and provide an example of economics (product) of celebrity

1) offering something familiar and appealing (the product - celebrity) with the goal of encouraging consumers to buy a new product -Celebrities function to promote familiarity and lure in core fanbase → profit - → media environment saturated with celebrities 2) Proliferation of celebrities → huge celebrity-promoting apparatus using a vast amount of material by and about stars 3) Helps explain how celebrities are as much products as they are workers. Proliferation of celebrity is explained because of: - Increasing their visibility (In the celebrity's financial interest to increase visibility - can demand higher salaries) -Media companies want to promote their products using celebrities marketability (In financial interest to ensure celebrities remain in public eye to attract attention to product; companies will require celebrities to do interviews (PR)) -Other media also rely on celebrity to generate money (Magazines, social media, etc.) 4) Example: literally any celebrity in a commercial

Define and explain, discuss the significance, compare, and provide an example of the culture industry

1) term by Frankfurt school that said culture industry = The "commercial producers" of mass culture that industrialized labor and routinized consumption. -goal 1: maximize return on investment (incr. rev, dominate market share, ads/promotion) -goal 2: hegemonically reinforce dominant ideology through media (legitimize and perpetuate power) 2) product created: spectacle, diversion, consumerism (instead of communication and enlightenment) -resources not being used for consumer goood -keeps public in mindless spectacle and formulaic storytelling -immediate gratification > intellectually stimulating diet 3) Result of product: mass produced entertainment alienates and stunts the working class -depoliticizes the working class by discouraging them from thinking about the present -therefore, media doesn't educate and uplift. They dull our senses take away quality of life ( " mass culture") 4) pop music. all hits are "standardized". We use the songs lyrics, rhythm, etc as the soundtrack to our labors → dull and highly routinized labors under capitalism - (Adorno reading)

Define and explain, discuss significance, compare, and provide an example of transmedia extensions & goals (form of content convergence)

1) when content on another platform isn't JUST a version of the same text, but something additional to it. Supplemental content related to one media that can be found on other platforms (multimedia experience) 2) provides additional content to allow for more engaging experience → immersion (Appeals to LOYAL audiences). Although, original text dominates and most ppl will just interact with the o.g text 3) goals include... -keep audiences engaged b/w installments -create "brand advocates" who generate buzz/awareness through tweets, social media posts -expose viewers to ads and promotions -collect (and sell) user data 4) HBO has other content related to TV program (info on cast and crew, behind-the-scenes, links to social media, etc.)

Define and explain, discuss the significance, compare, and provide an example of discursive approach to genre (Mittell)

1) Approach of studying genre where genre is not determined by conventions and codes but how rather how it is understood through discourse, through culture... -Discourse shaped through how a genre is defined (Ex: as sitcom, as horror, etc) -Discourse shaped through how a genre is interpreted (Ex: what does the genre have to say? Who is it for?) -Discourse shaped through how a genre is evaluated (Ex: as classy or trashy?) 2) Recognizes that genres are determined by cultural discourse (common, shared understanding of a concept or thing). Genre = a category "agreed upon" by industry + critics + audiences (Not from fixed conventions and codes). 3) Goal: not only show how genres evolve but WHY...It places genre in the context of culture, industry, criticism and audience practice. Instead of textual analysis, this approach says that genre is just one part of a larger text. 4) Ex: genres based on address (kids movies are not based on shared codes, but rather the audience - who the movies are for) -We cannot specifically pinpoint WHAT constitutes a kids movie through text but rather how it's understood by audiences, producers, etc. -Kids movies can be incredibly textually different from one another with the only unifying thing being the audience type

Define and explain, discuss the significance, compare, and provide an example of embarrassment & quality (Fiske)

1) Embarrassment occurs when social norms/SSRs are disrupted (when someone's "too real") 2) overcoming this embarrassment can challenge and change culture (when we confront > conform). 3) embarrassment results from taste hierarchies as "legitimate" and "illegitimate" pleasures. These hierarchies, as Fiske says, are often founded on power relations that celebrate media forms favored by elite and belittle forms enjoyed by less powerful groups -ON QUALITY: who has the power to decide? What ppl get to make the claim? We should be critical of who gets to claim what media's good or bad and we should rethink hierarchies 4) -embarrassment: The non compliant wives felt embarrassed when telling the truth about their husbands - the SSR here is that husbands should be dominant in a relationship (fiske reading) -quality: Taste hierarchies are gendered (Tv shows for and about men are usually "highly rated" whereas those for and about women are generally frowned upon as "trash")

Define and explain, discuss the significance, compare, and provide an example of relevant fantasy (Fiske reading)

1) Empowering fantasy celebs can provide, capable of modeling alternative identities (challenging repressive norms). 2) Celebs are polysemic in meaning in that they are capable of multiple decodings (A star one person celebrates as representing ___ could be understood by another as just a generic face) 3) Correlated with "authenticity". But, important to note that Fiske's findings were outdated (30 years old) 4) Ex: Is Madonna a role model? Depends on the person (She is a role model for those who interpret her star text as providing a model of confidence, self love, and sexual empowerment)

criticisms of pop culture analysis (not necessarily specific to Fiske)

1) It's a "populist celebration" -Romanticizes audience resistance) -Seem to paint a rosy picture of audiences ability to use mass culture to contest the restricting dominant ideology. 2) Doesn't account that PC spreads harmful ideas too -Aren't just speaking truths to power -Ex: gossip, memes, hashtags, parodies, etc can also spread stereotypes, fake news, etc 3) Validates dominant/commercial interests of culture industry - Overemphasizes audiences power to resist culture industry Therefore, it lets producers off the hook for its hegemonic and consumerist efforts (that, at best, MC provides resources for PC, and at worst, provides material to be critiqued by PC). Claims like these dull the harms of industry at both individual and societal levels 4) Audiences can be active but that doesn't mean they're powerful. -Ppl outside the mainstream media have far less power to reach audiences held by culture industry; they can only respond

Define and explain, discuss the significance, compare, and provide an example of textual (traditional) approach to genre

1) The traditional way of analyzing genre that involves textual analysis (Close reading and analysis of a text looking for themes, meaning, etc.). Looking for codes (modes of production external to the narrative (style)) and conventions (specific narrative elements (inside the story)) that make up the given genre that's being analyzed/studied. Usually poses question of definition, questions of interpretation, and questions of history 2) Using this approach, determining genre is based on a mix of codes and conventions. This is helpful in comparing the genre being studied to other similar, familiar genres. Conventions include settings, characters, plot, and ideology. Codes include length, visual style, audio style) 3) However, the traditional, textual approach is not comprehensive enough. It's problematic to treat media and genre as operating independently of industry and culture. That's why we should consider other approaches like the "discursive approach" 4) Michael Jackson music videos. Traditional methods of genre analysis may include hypothetical definitional approach, interpretive approach, typical historical approach, etc. (Mittel reading)

criticisms of encoding/decoding

1) There's few perfectly dominant or oppositional readings -It's better to think about encoding/decoding as a spectrum (most viewpoints either lean towards dominant-hegemonic or oppositional. Not all the way) 2) Hall's model works better for overtly ideological texts over ambivalent/ambiguous ones -Ex: politics -Fiction that is ambiguous and plays with irony is not a good text to use the encoding/decoding model 3) Doesn't recognize multiple motivations behind production/encoding -Hall treats media maker as single entity (even though it is a result of dozens/hundreds of ppl...each contributor brings their own meanings/preferences) 4) Needs to link decoding BACK to encoding -We need to make the arch a circuit...to show how ppl's decoding impact and shape the encoding process..this can be achieved through Fiske's excorporation/incorporation model

Define and explain, discuss the significance, compare, and provide an example of genre innovation

1) When genres are mutated to add differences through imitation (follow established genre codes and conventions) and innovation (something new and unexpected) → predictability + surprise. 2) Genre innovation → becomes established codes and conventions if widely accepted (ex: The family vs workplace sitcom didn't replace each other, instead they coexist) 3) A direct result of the potential problem of generic repetition (risk of bored audiences). Media producers don't want to risk losing their most popular genres so they genre innovate instead. 4) Ex: the sitcom codes and conventions -Before the 1970s, all sitcoms were pretty much the same (just about family) -After the 1970s, producers innovated the sitcom by applying the sitcom formula to the workplace (co-workers = family) -In the 70s-90s, producers experimented by innovating sitcom to friends (friends = family) -So...genre of TV sitcom has mutated over time to include more settings and characters

Define and explain, discuss significance, compare, and provide an example of media + literacy

1) all media are texts that can be read for meaning. Literacy = honing down skills of interpretation 2) reading requires an active process of interpretation - active consumption 3) reading skills to interpret media is learned through media literacy - so understanding media is a learning process. 4) A films story is stitched from thousands of shots, angles, etc. We understand intuitively (from years of learning) that a film is edited down and cuts certain boring stuff

anthology, episodic, serial

1) anthology: -ongoing series in which each episode features diff. characters/setting -each ep. self-contained, brings new/final status quo -combined with seriality, anthology --> limited series/season-long anthology (like Chernobyl) -ex: Twilight zone, Black mirror 2) Episodic: -TV's most common narrative form that uses same characters/situations -circular closure: return to original status quo at the end of episode -don't use "previously on..." -status quo doesn't change, so it's okay to miss/mix episodes -combines with seriality --> "arcs" over episodes or seasons -ex: Friends. Seinfeld 3) Serial: -storytelling with same characters but different situation -status quo CHANGES every episode (ep.1 ends on cliffhanger for ep.2 to resolve) -accumulation of detail and history (narratives expand, grow more complex over time) -open to revision (like characters growing) -Ex: good place

Define and explain, discuss significance, compare, and provide an example of Unauthorized Content Convergence (form of transmedia extension and transmedia storytelling)

1) content convergence "piracy" in which additional content is produced outside of the corporation that controls the copyright/intellectual property 2) allows for fans to get more involved and become more loyal 3) two ways... -transmedia extensions as fan practice -transmedia storytelling as fan fiction 4) artwork, memes, montages, fanfic stories, etc

Define and explain, discuss the significance, compare, and provide an example of maximizing investment capital (one way of managing risk) vs. sunk cost (fallacy)

-Most media products and services don't generate profit - audience consumption is unpredictable and hard to manage...so what do you do? Maximize investment capital (which can lead to sunk cost) and/or rationalize the consumption process (in which you hedge the likelihood of success by using proven tactics like celebrities, genres, sequels, etc) 1) Maximizing investment capital: The more money it invests in/promotes the project, the greater likelihood of success Sunk Cost: The more money you spend on a project, the more time and effort you put into it, the less likely you are to walk away from it. 2) Maximizing investment capital: Favors large, monopolistic companies that have a large amount of capital to spend - smaller companies don't have the resources Sunk Cost: Can work to blind you from reality. Sometimes it's just better to walk away from a project 3) Maximizing Investment capital: You "throw money at the problem". Hire top ppl for a movie, spend a ton of money on promotion, market the heck out of it. Sunk Cost: when throwing all this money goes wrong. Because it's such a big investment, you continue to dump resources into it (even though it may be counterintuitive) 4) Maximizing Investment capital: Avengers Endgame. Disney spent $200 million promoting it (over half the production budget) Sunk Cost: an essay prompt you chose and are in the middle of writing but realize does not have enough evidence but you continue writing anyways

four ways of constructing reality TV (Kraszewski reading)

-Reality TV = combination of scripted + unscripted. Like unscripted TV, its purpose is to represent reality by mediating images of reality in documentary style. Like scripted TV, its purpose is to entertain (through plots, subplots, etc) by using traditional media storytelling (heroes and villains, drama, etc) Reality TV is constructed through... 1) Selecting participants -Casting, certain ppl are chosen oftentimes to represent certain character types. Selected on basis of self-presentation and diversity. Characters that will potential come in conflict with another -Ex: TRW - contrasted southern girl with other castmates 2) Overarching and mini narrative structures -Recognizable resolutions showing cause and effect -Ex: TRW - paid close attention to urban, black, rural, white dynamics and relationships 3) Locations - Another means to form the story and create conflict -Ex: TRW - rural character was put together with metropolitan characters in a metropolitan area 4) Editing -Hundreds and thousands of hours of footage → 13ish episodes -Stitch together narrative, choosing which footage to show, what details to depict, which emotion from what character to show...to underscore plot and drama -Ex: TRW - confessional anchored meaning of an action recorded while observing the cast

power & representation (Croteau & Hoynes reading) - social inequality and media representation

-Representation = to stand in for and practice of image creation (and exclusion of others). Representations affect change and perception (positive or negative) → media impacting/shaping cultural beliefs How we see power and representation in the media: -Portrayal of Difference ( categories)... 1) inclusion : "who is represented, and who is absent" 2) Roles : "what are the quality of roles available?" (Are they good or bad? Are they deep or superficial?) 3) Control: "who has the power to construct media and who is representing whom?" (Who doesn't?) 4) "Us" vs "them"...inclusion/exclusion slide -Issue of colorblind casting. This opens up opportunity for greater inclusion BUT ignores cultural specificities Solutions to unequal power and representation. how to effect change (two ways): 1) Inside by changing the traditional media system (increased with outlets + niches) -Financial support and wider access to larger audiences -BUT rise of increase media outlets have increased content demand and economic models that make smaller demographically targeted audiences feasible (ex: niche streaming services) 2) Outside by creating alternative media (increased with web distribution) -Much more limited (funding, audience reach) -BUT, mediamakers can use relatively cheap production tools, easy to use editing software, alternative funding models and especially a much larger potential audience through internet distribution → create content outside of traditional media Ex: youtube and instagram

Define and explain, discuss significance, compare, and provide an example of ideology & dominant ideology

1) -Ideology : Values and beliefs that people use to make sense of the world. Guide what we think about how we live and how to behave, social rules, good vs bad, just vs unjust, etc -dominant ideology: ideology that reinforces the power of the few through institutional control ...yet is shared by the majority (most ppl hold these ideological beliefs) --> can be contentious! 2) -ideology: Can be widely shared, but never universally held by a specific culture; there are are many ideologies that all compete. Hall argues against this! -dominant ideology: It's often difficult to see that media is ideological because we share the same values with most of the texts we choose to consume. Can evolve over time. Held by a majority of culture 3) -ideology: Spread through powerful institutions (family, gov't, education) and embedded in nonfiction, fiction, music, etc -dominant ideology: shaped by those in power through institutional control in education, religion, law etc. b/c it serves their interest to do so. Denies idea that structural obstacles make it harder for others to achieve success 4) dom ideology ex: democracy

Define and explain, discuss significance, compare, and provide an example of media + everyday life

1 and 2) -media's a source of pleasure and routine -a tool for learning and interpretation -a form of connection and social currency (can work to be part of cultural conversation) - expense paid for money/time/info (to consume, we need to buy the commodity) 3) this term explains how media is intertwined with our everyday lives 4) emails, social media (with ads), news, podcast

Define and explain, discuss significance, compare, and provide an example of utopian, dystopian, & mirror views + critiques

1 and 3) -utopian: Medium/genre/practice is good or was bad but getting better (informational, variety of options/viewpoints, windows to new experiences). But doesn't deny that medium/genre has harmful stuff out there. Critics say this view dismisses social harm and ignores commercial interests. -dystopian: Medium/genre/practice is bad or was good but it's getting worse (its passive, addictive, consumerist). Critics say this view totalizes too much, assumed consumption is passive, and is elitist. -mirror: Medium/genre/practice reflect reality or reflects audience interests (and mirrors major social changes). Critics say this view ignores the "selective" process of production, and mediamaker agency (agenda) 2) all three of these views are common ways of evaluating media. No single view is right...which is why we call for a cultural studies approach to media 3) Utopia: you can learn about news through TV. Dystopia: same fans (fandom) take things too far and waste time (Frankfurt) Mirror: COD represents society's fascination with war and violence (Fiske...?)

Define and explain, discuss the significance, compare, and provide an example of encoding/decoding (Hall reading, Schirato reading)

1) -Decoding = When audiences use their own frameworks of knowledge, relations of production, and tech infrastructure to interpret a text's meaning, at or during the level of consumption, and thus gain control over meaning (which may be separate from mediamaker's preferred meaning). -Encoding = When media makers use frameworks of knowledge, relations of production, and tech infrastructure to encode a text with preferred meanings at or during the level of production. Texts are encoded with messages/meaning using culturally shared codes and conventions 2) Decoding = Allows for the audience to gain control over their own interpretation of a media text, potentially separate from the producer's preferred meaning. Encoding = Reveals the power mediamakers potentially have over audiences. Preferred meanings also often reflect the dominant ideology and perpetuate the interests of the powerful. 3) -Decoding: Reflects many different viewpoints/interpretations -Encoding: Reinforces perspective and power of the "elite" 4) -Decoding: Sponsored NYT post in FB feed that said "The truth is worth it..support independent journalism". The Times encoded the ad to portray the newspaper as objective. Some comments responded negatively by saying that the NYT was far from independent because of its corporate ownership, while others said it was mostly objective but now always. (This is an example of NEGOTIATED decoding) -Encoding: Pepsi's commercial with Kendall Jenner. The company capitalized on social justice movements for their own monetary gain and used "culturally shared" codes and conventions to paint a picture of "unity" through their product.

Define and explain, discuss the significance, compare, and provide an example of Squeezing vs stretching (Martin reading)

1) -Squeezing: adapting a text from one medium to another in which you "squeeze" into short-form content -Stretching: adapting a text from one medium to another in which you "stretch" into long-form content 2) -Squeezing: Distills story into just the core elements -Stretching: Adds backstory to characters and expand details 3) -Squeezing How-to: you focus on the most exciting stuff. You focus on plot and action. You strip away dialogue, minor characters, backstories, etc. You distill story into its core elements -Stretching How-to: Add material (emphasize descriptive richness/suspension/elaboration), fill out the middle (that's in between the beginning of a story and its conclusion). Suspend conclusion by adding additional obstacles and storytelling. 4) -Squeezing: squeezing a 10-hour novel read to a 2 hour movie to watch -Stretching: 2-hour film to something that can run dozens of hours (like a TV show)

Define and explain, discuss the significance, compare, and provide an example of Hegemony & counter-hegemony (schirato reading)

1) -hegemony: -process of maintaining power through seeking ideological consensus. -Framing own self-interest as the general interests of the society as a whole. -Ruling through agreement rather than force -counter-hegemony: -challenges hegemonic interests 2) -hegemony: Those in power use hegemony to replicate their own privilege through the dominant ideology. Reinforces the interests of the powerful. -counter-hegemony: counterweight to hegemony 3) -hegemony : An ongoing process that must be constantly reaffirmed because of counter-hegemony. Reaffirmed through media or risk being supplanted by new ideas (new ideologies) -Counter-hegemony: confronts dominant ideology, critiques it, presents alternative 4) -ex of hegemony: fascism

Define and explain, discuss significance, compare, and provide an example of technological vs. content convergence (convergence = Blurring of boundaries between two or more previously separate kinds of media)

1) -tech = category of convergence where a single piece of tech can perform functions of multiple, previously distinct media -content = category of convergence where content from one medium is now available through a variety of devices 2) Tech convergence provides for efficiency and customization. Content convergence provides a greater number of metrics for the media to calculate its success and greater options to access media for consumer 3) Tech convergence means hardware converges into one device. Content convergence means hardware diverges and software/content converges. 4) -Tech = phone functioning as clock, ruler, calculator, etc. -Content = TVs and phone both allowing for Downloads, streaming from app, etc.

Define and explain, discuss the significance, compare, and provide an example of story characters & audiences

1) story characters: characters (who are assigned traits) that impact the story. Are engaging and meaningful. Includes lead protagonist character that drives narrative forward. audiences: two types of audiences that consume and decode the story 2) Story characters: one type of character, the protagonist, works to make audiences identify with them and form a bond (key to audience enjoyment) Audiences: Includes imagined audience (intended audience of consumers) and actual audience (includes interlopers not part of imagined audience) 3) Story characters: Mediamakers make audience form bond with characters externally (frequency/screen time, rxn shots, achievement) and internally (providing access to characters thoughts and feelings through voiceover, POV, etc) Audiences: The two audiences media makers are working with in convincing them to follow the characters 4) Ex: Get Out. Story in which audience is rooting at the end for one character. OR...the Goonies!

Define and explain, discuss significance, compare, and provide an example of transmedia storytelling (Mikos reading)

1) "The systematic planning of a story throughout different platforms". A kind of transmedia extension in which all media share the same "textual universe" where each story "stands on its own" while at the same time contributing to the "larger story world" 2) Especially useful with TV as the core text because of its ongoing seriality (TV is such a massive text, consisting of dozens or hundreds of episodes in a timeline measured in years) 3) A form of both transmedia extension AND convergence (since there's a blurring between storytelling and promotion) (often, transmedia storytelling is just a marketing move) 4) Star Wars universe has expanded beyond movies through transmedia storytelling (the Mandalorian, books, cartoons, video games, Galaxy's edge, etc.)

Define and explain, discuss the significance, compare, and provide an example of The Real World utility + narrative (Kraszewski)

1) Author argues that the MTV show was constructed to serve channel's immediate needs and improve its image (industrial utility + narrative) -Industrial Utility: expand original production using cheap reality TV (MTV wanted more control over what it aired) -Narrative: respond to charges of racial exclusion (used to refuse content of black artists b/c it wasn't stuff that "young ppl/target audience" would be interested in) and promote liberal values (MTV promoted itself as young, hip and liberal) 2) Shows us that the construction of reality of TV helps construct our values and beliefs -Helps construct our views of "what's real" (ex: cultural values) 3) Industrial Utility: helped MTV create a routine schedule (for more original content). Narrative: blamed racism on rural individuals - that racism can be solved by changing the viewpoints of rural ppl. We recognize that this was a narrative designed to benefit MTV -Also, narrative absolves target demographics, structural factors (Encouraged audience members to think of themselves as enlightened individuals combating racism, but didn't make viewers question how they themselves may be subconsciously and unknowingly participating in racist policies and exclusions) 4) Show largely ignores systematic and institutional nature of racism by failing to comment/acknowledge MTV's own previous racist policies against Black artists

Define and explain, discuss the significance, compare, and provide an example of authenticity & symbolic resources (Sobande reading)

1) Celebs can provide "symbolic resources" (AKA relevant fantasies) that reinforce dominant norms....or challenge them. Sobande argues that celebrities can be a highly visible embodiment of cultural norms (In relation to beauty, race, gender, etc) -BUT: they can face "discipling" public ridicule for doing so (of defying dominant norms) from critics, media, and general public 2) Celebs claiming their marginalized identity is a way of authenticity -Represents experience "off-screen" (→ relatability and confrontation of the bias celebrity faces when challenging normative beliefs() (→ empower audiences who share identity and increase diversity) 3) Celebs can embrace their marginalized identity to communicate authenticity -To provide relevant fantasy 4) Viola Davis' performance of "blackness, naturalness, and femininity" (Sobande reading) -Analyzes Davis' interviews, public appearances, and as star of TV program "How to Get Away with Murder" -Specifically highlights scene where Davis removes her makeup and wig -Black women reported to appreciate scene where Davis takes off her wig and makeup in front of the camera to show her "true self" - Made her seem more authentic and broke traditional norms (Sobande reading)

three hybrid sales logics

1) Combination = multiple simultaneous logics Ex: some streaming services = turnstile + ad-supported -Sites like Hulu are often cheap for a subscription BECAUSE they are supported/partially subsidized by ads Ex: News site or papers (like NYT) -Revenue from subscription-plus ads -Subscription + ad supported + commodity Ex: some video games = commodities + microtransactions (NBA 2k!!!) 2) Economies of scope = selling a product across multiple revenue "windows" and logics Ex: movies = "theatrical window" -First released to theaters during first window = "turnstile logic" -Later, you can buy movie on Blu ray or DVD = "commodity" -Then, movie is available for rental for 48 hours = "turnstile" -Then movie drops on cable or streaming service = "turnstile" -Then, movie is played on an expanded cable channel = ad supported + turnstile -Then movie can end up on free broadcast Tv = ad supported -"Video window" → "pay tv window" → cable Tv window → free tv window 3) Premium option = charging additional $$$ for a premium version with additional packs -An "expansive" option Ex: turnstile add-ons Ex: Netflix premium offers simultaneous viewing on multiple screens and downloads for more money Ex: ad supported model charging additional money for premium turnstile options (Spotify Premium, YT premium, and other "ad-free" premiums

Define and explain, discuss the significance, compare, and provide an example of pop culture & immediacy

1) Critics complain pop culture is ephemeral, "throwaway", short lived (Frankfurt) -So therefore not worthy of critical examination and scholarly inquiry -Not like the works of "high culture" 2) However, pop culture texts aren't meant to be transcended. They pop up and disappear forever -BUT this is what makes them valuable, according to Fiske. Pop culture is tied to our current social conditions, which makes it useful in representing immediate values and concerns -They tell us about the cultural moment far more than anything authored decades or centuries ago 3) Ads powerfully punctuate how marketers attempt to appeal to consumers through presenting ppl this way with this theme at this particular cultural moment 4) Ex: New Newlywed. Short lived and not "high culture", but did reveal important dominant ideologies at the time

(six) criticisms of the Frankfurt School

1) Elitist defense of high European culture -(with suspicion and contempt for media enjoyed by huge swaths of the population) -Exemplified by dismissal of pop music (which is a unique genre in the sense that it's mostly dominated by women) 2) Premised on sweeping generalizations about media production across industries and audiences -Assumes the culture industry is one single, unified commercial political apparatus... What's lost here is specificity, nuance and potential for competing agendas 3) Fails to consider the greater media choice today -Today's media is fragmented and content abundant. The variety of media has since then exploded through traditional and new media outlets, with a greater diversity of content, purpose, etc. With that said though, the platforms are still probably commercial in nature 4) Doesn't account for failure -Most media endeavours fail to earn a ROI! -Assumes audiences just take in everything from culture industry point blank 5) Doesn't account for industry Innovation -Industry innovate through mix of familiar and unfamiliar -If audiences merely accepted what was given to them, there'd be no imperative to innovate... -Doesn't consider radical departures, media movements, and counterculture 6) Doesn't investigate actual audience interpretation/consumption -Postulates audience meaning making based on their own interpretation of the culture industry and the media it manufactures -doesn't use methods like audience interviews, surveys, etc -just because its encoded one way doesn't mean it'll be decoded by audiences that way

maximizing profit vs. market share (two ways to measure success for media business)

1) Maximize profit (Commodities, subscriptions, ad time, etc). You can do so by.... -Increasing revenue streams through: --economies of scope (wringing as much money as possible from a movie, for example, through many different outlets) --International markets --Overproduction (successes offset failures): Cost of production, marketing, and distribution are NOT offset by sales. So those movies, books, games, etc. that DO make money need to make as much to offset own costs as well as all the movies, books, games the businesses commissioned that failed to do so -Minimizing expenses: --Economies of scale: the cost of making a product decreases with the # of units sold. Costs a lot to make and sell only one product. So, the Goal = sell as many copies of that one thing as possible. In media, all total costs go into making that first product and subsequent copies can be generated at marginal cost. --"Hits"/blockbuster = small amount of products with a massive audience. Economies of scale prioritizes these "hits" 2) Market share Definition: The % of a market held by a specific company/medium Ex: Disney owned 38% of movie market shares in 2019...So 30% of all movie ticket sales was for Disney -Significance: Tracks how well a company does compared to its competitors Ex: if you're a major publisher and you increased revenue from last year (made more money) but your market share has decreased as your top competitors market share increased. This means although you've increased your profit, you're struggling in "market share".

Define and explain, discuss the significance, compare, and provide an example of celebrity

1) Person who attracts (public and media) attention to such a degree that their life and personality are of public interest -Celebrities are only those for which the public are concerned about their private lives 2) Lasting celebrity is rare and precious (most actors won't become famous) -Industry uses celebrity to their advantage like it does genre - as a label 3) BOTH: workers + products BOTH: culture products + economic products (both informs the other ) 4) Ex: jennifer lawrence is a worker but also a product of the work she produces (brand) -Audiences prefer an appetite for her movies

Define and explain, discuss the significance, compare, and provide an example of multicultural representation

1) Portrayal of cultural differences within groups -Identities, backgrounds, beliefs, etc 2) More characters = less weight of single representation -Less pressure on actor to bear the burden of representing an ENTIRE group -Unfortunately though, media texts like these tends to be atypical in the US -Though Crouteau and Hoynes point out that alternative media and outlets can work to solve this issue 3) Achieved through multiplicity of characters, relations, contexts -No single character can stand in for a whole experience! 4) Ex: Black Panther Represents this multiculturalist approach and diversity within group it provides

Define and explain, discuss the significance, compare, and provide an example of mediation

1) Practice of recording/selecting/ordering events from real life into media narratives. A construction shaped through engaging codes and conventions + narrative structure (associated with the genre or subgenre). -We add structure to our stories (beginning, climax, end) -We work the raw material to be interesting (relatability, humor, etc) 2) Through mediation, we make meaning from narratives. They communicate perspective and values. 3) All media are mediated representations, not reality -A version of what actually happened 4) -Ex: social media - we create content out of something that's happened to us - we make it engaging and meaningful for our audience (followers) - we MEDIATE using social media -Ex: MTV (Kraszewski reading)

blurred boundaries btw TV & film - convergence

1) Programming/consumption (scheduling/watching movies on TV) -Ex: editing a movie for length to fit into Tv's schedule grid -Movies on Tv aren't new - but it's worth noting that new forms of TV content distribution have always relied on them 2) Talent (film actors and directors making TV shows) -Greater fluidity of talent. Has increased prestige of TV -Increased flexibility in Tv formats and scheduling → makes it easier for top actors and directors to commit to both film and Tv projects -Can inspire film personnel to use TV to experiment with long-form storytelling and methods of audience engagement 3) Stories (movies rebooted at TV shows; film franchises extending to TV) Ex: Star Wars' first live action series The Mandalorian 4) Storytelling (films structures like multiple TV episodes) -Tv-like narrative plateau: plot lingers for a period of mood and detail before shifting with a twist and a new setting -Ex: Tarantino's Hateful Eight was aired as four episode mini series

Define and explain, discuss the significance, compare, and provide an example of problematizing the textual approach

1) Some codes and conventions are more important in determining a specific genre than others. Textual approach is thus based on select differences. So, through this approach, there's no system for what differences demand a new category. This just proves that genres aren't textually self-evident. 2) Textual approach can be misleading. Texts have MANY different components and only some are used to define their generic properties under textualist assumption. In reality, texts come together to form genres through interaction by cultural practices (production and reception) - genres are thus dependent on intertextuality. (Mittel reading) 3) We need to look beyond text to see how genres form (ex: production studio and industry personnel). Genres are NOT intrinsic to texts; they are constituted by "external elements", such as industrial and audience practices. Hence, the discursive approach (Mittell) 4) Ex: Michael Jackson music videos. Textual analysis answers questions that are valuable insight-wise, but don't answer questions that pertain to cultural influence (like MJ's videos and popularity in comparison to MTV's racist policies at the time) (Mittell reading)

Define and explain, discuss the significance, compare, and provide an example of "splitting" (Hall)

1) Splitting = fix boundaries between social groups -Illustrates how media creates differences and assign them worth -Stereotyping deploys a strategy of "splitting". Divides normal from abnormal and excludes everything that is different (Hall reading "the spectacle of the other") 2) GOAL = maintain "social order" through reinforcing power inequalities -Validating the identities and experiences of the group hailed as the "we" while dismissing "them" -Such media is hegemonic in that they fortify the interests of those in power (in control of media) 3) Step 1: create differences and fix boundaries -Binary, rigid categories -Ex: race, gender, sex, political beliefs, etc. You're either "this" or "that" (Such categorizations is reductive... in reality identity is more complex. By assigning ppl to rigid categories, media is exercising power) Step 2: us vs them (normal/mainstream vs abnormal/outsiders) -This is an act of inclusion and exclusion -Media stories in which we're meant to identify with the "normal" protagonist and scoff at "abnormal" character 4) Ben Johnson facing splitting and race profiling as degrading his athletic achievements (Hall reading)

Define and explain, discuss the significance, compare, and provide an example of structuring social relations (Fiske)

1) cultural value systems (dominant ideology) to which we understand and orient ourselves. Social norms that guide individual social relationships. What we learn about ppl in a society influences, but does not totally determine, how we interact with ppl at an interpersonal level 2) Grants power to some groups over others -Unequal distribution -reveals gaps between fantasy and reality 3) BUT: SSRs can be contested in the space between social norms and their particular application. Hegemonic media gives a place for audiences to contest the dominant ideology (so this media also has counter-hegemonic function). so fiske would argue that ppl are active audiences during consumption 4) New Newlywed Game (daytime TV game show) (fiske reading: pop culture) -Reinforces structuring social relations that present women as subordinate to men -The "official", prize winner: The woman who most accurately predict her husbands answers and protect his ego -Fiske says this reflects dominant norms and dominant ideology that grant men more power -The unofficial, "popular" winner: noncompliant women who got the answers wrong because their answers challenged social relations that privilege men's dominance -These women presented the reality of married life (not an illusion for the benefit of men) -Rewarded with laughter from the studio audience (who realize that these women breach social norms when they answer truthfully)

Define and explain, discuss the significance, compare, and provide an example of texts as polysemic

1) encapsulate different ideologies and can be interpreted in different ways. Variable interpretations means that texts are sites of struggle. 2) helps reinforce idea that consumption is always active (and consumers interpret meaning and value of a text based on their own experiences/beliefs). But as Hall says, not everyone will have WILDLY different interpretations 3) Ppl adhering to different ideologies can argue that the same media text has different meanings (based on Backgrounds, identities, cultural knowledge, etc.) 4) Ex: anything that can have multiple interpretations (like an art piece)

Define and explain, discuss the significance, compare, and provide an example of mass culture

1) industrialized media produced by the culture industry (the elite) 2) reifies audiences by turning them into objects. Frankfurt school argues that mass culture turns audiences (with experiences and beliefs) into cogs in a system (numbers, categories, target demographics). Damages individual and imperils democratic exchange/agency 3) Culture by the culture industry does not come from the masses, it's FOR the masses. Does not come from the bottom-up expression (desires, social interests, concerns) but rather top-down (bourgeoisie as Marx would call it) 4) Jazz as an example: little more than interchangeable cogs in a system, lacking any significance or consequence → products that makes process of consumption simple, repetitive, and effortless (standardization) (Hodkinson reading)

Define and explain, discuss the significance, compare, and provide an example of impact of mass culture

1) mass culture leads to... -conformity (in taste and thinking) -mindless, immediate stimulation -promotes artificial concerns -leisure time becomes commodified -no sense of community/collectively 2) -conformity: millions of ppl consume the same things. individuals --> masses -mindless stimulation: ppl use media to escape soul sucking labor (even though they know its junk/bad for them) -artificial concerns: The world burns around us as we keep our eyes glued to the screens and its distractions it provides -leisure time becomes commodified: We work for little pay and then we pay for the little time we have outside of work (buying commodities, maintaining subscriptions, etc). We're not educating ourselves, we're not politically active -no sense of community: we don't know our neighbors' names so we actively avoid them 3) -conformity: result of cultural industry producing standardized homogeneous media for massive anonymous audience -mindless, immediate stimulation: b/c Labor under capitalism is dull. Ppl are overworked and underpaid -promotes artificial concerns: Instead of educating ourselves, we're obsessed with the inanities provided by the media -leisure time becomes commodified: Time and attention with ads around us -no sense of community/collectively: A result of mindless fixation on screens (Frankfurt says this is the goal of media) (so we don't have any feeling that we can effect change for more rights/wages, etc) 4) Jazz as an example: little more than interchangeable cogs in a system, lacking any significance or consequence → products that makes process of consumption simple, repetitive, and effortless (standardization) (Hodkinson reading)

Define and explain, discuss the significance, compare, and provide an example of mass media industrialization

1) media is manufactured like other industrialized commodities. Through... -Standardization: assembly-line production -Social cement: reinforces "psychic" adjustment to the needs of capitalism to make us "emotionally obedient". The media text's dominant, elite ideology -pseudo-individualization: same product hidden by a veneer of difference 2) -standardization: Stamps out standardized products using over and over again, the same codes, conventions, and formulas. -social cement: proves that media is hegemonic and replicates values the reflects the needs of the most powerful/elite -pseudo-individualization: illusion of choice 3) -standardization: Adorno says media today = result of mass media manufacturing (media was more legit when this was not the case) -social cement: Way of creating media that complements working, routinized conditions. the type of media content created helps us stay "good little workers". -pseudo-individualization: when various companies promote basically the same products as unique 4) -Standardization: Hollywood film. End result of hundreds of ppl performing their own specialized duties -Social cement: 7 rings. Celebration of luxury products actively constructs consumerist message and music video helps paint a narrow pic of femininity. (Adorno reading on pop music) -pseudo-individualization: Eilish and Grande. While both have wildly different appearances of identity, both have signed with record companies that aim to make a profit and are therefore part of capitalist system

Define and explain, discuss the significance, compare, and provide an example of cultural studies and methods

1) method of studying media that recognizes how culture and media are linked together (media changes society + society changes media). Methods include -textual analysis -audience/reception studies -political economy 2) examines interrelationships of society and culture (industry, everyday life, politics, etc) and media 3) not saying that effects research/scientific approach isn't valuable...just saying we shouldn't solely focus on it 4) ex of textual analysis cultural studies method = taking notes of Star Wars and their representation of gender/race. ex of Fiske: used audience studies + textual analysis in his article

star text & its four components (how they are economic products)

Note: the following four components explains the discourse in which celebrities are economic products (consumer-oriented publicity machines that promote and circulate fame). The other discourse suggests that stars embody audience interests and thus their texts can be interpreted as sites for analysis and cultural meaning (this audience-driven discourse disproves the idea that the celebrity is a result of industry manipulation). -Ex of star text: Madonna (who has changed her star text multiple times) 1) Body of work -In film: Roles they play -The totality of their catalog of their performances 2) promotion -Defined as calculated and authorized image construction by stars, their studios, etc. (Includes press releases, ads, posters, music videos, social media, etc) -Functions as attempt to instill within the audience a specific understanding of stars and their qualities -Goal: You want to portray the celebrity in the best light possible. Used as vehicle to help sell celebrity media product 3) Publicity -Disseminated beyond the control of the star's studio and publicity agents (Independently Generated by the press, etc, Includes gossip stories, paparazzi, etc.) -Danger that the celebrity will be portrayed in bad light... (Though publicity is necessary for the propagation of star personas because it's generally considered more legitimate, unbiased and real to the public) 4) Audience texts and practices -Includes the general public, fans, and anti-fans (haters) (All contribute to our understanding of celebrities by how we discuss them, online or offline, and material we generate about them like fan art, gossip, etc)

the Other & how media spread it

The "Other": -Anyone who is "not like us" -We are "normal" while the other is "strange and different" -Presented as a contrast to "us" (whom are understandable, relatable, etc) -Thus, the "other" is defined by its difference -Media spread representations through "othering", which spreads intertextually Ex: Inside Out. Thin, traditionally feminine, cute, and perky in her sundress = Joy (Validates a specific form of femininity) 3 ways "othering" is spread by the Media (croteau and hoynes): 1) Absence of representation (lack of inclusion) -Ex: stories about a marginalized group go untold in news (their lives, faces, etc unacknowledged) -Media power is unequally distributed and often for-profit → not all audiences are equally valued - → Media represents overrepresent some identities and experiences over others 2) Stereotypes -Perpetuating power differences such stereotypes are built upon and reflect -*Note: Visibility depends on the QUANTITY and QUALITY of roles Positive depictions aren't enough alone (can still be superficial and limited, dependent on stereotypes) -Ex: are the characters in the film the main protagonist or just a supporting character/antagonist? 3) Absence of self-representation -Lack of media makers, execs, etc -Don't just acknowledge group, provide opportunities for that group to represent themselves -Why? Because representors have more knowledge in pulling information to present that group than do outsiders with limited experiences