MS 10 Final

productive practices of consumption (ignored format)

Interpretation: Codes and codebooks, Cultural literacies. Ex: What does the song or movie mean? Speculation: more advanced form of interpretation, to "reinterpret", We speculate on what will happen next. Ex: who is the killer based on the twist from the last scene? Projection: You imagine what you'd do if you were in place of character, Playing along with home. Ex: I wouldn't open that door Discussion: Talking about what we consume, Can happen while we consume or after, Way of connection with others

definitions of surveillance & personal traces

Surveillance = to see without being seen // to be seen without seeing the watcher. Personal traces = the "footsteps" ppl leave behind. Privacy = a value, but also a LEGAL construction including "intrusion of seclusion" (physically or electronically invading private space and matters) formed through legislation, regulation and courts that can apply electronically as well. "Intrusion of seclusion": intruding on someone's private life, private space, and private matters (includes internet data sharing practices) the state (gov't as a social organization) can counteract companies especially when investigating threats (with increased powers) USA Freedom Act gives gov't right to compel internet companies to hand over browsing and search histories for counterintelligence and counterterrorism investigation without probable cause of warrant Ex: of personal traces include forensic evidence, electronic evidence (browsing history, surveillance cameras), and commercial interests (tracking our electronic footprints through shopping cart, location, etc)

Interactive Microtargeting (Einstein)

1) "Microtargeting" refers to delivering extremely narrow targeted segments. "Interactive" because you interact with them through your user-generated data trails 2) There's benefits and concerns to consumers. Pros include: Increases amount of relevant info // decreases amount of irrelevant info (useful in fragmented media environment), and automated (no human surveillance, just code). Cons include: compiled with little user access (invisible), no way to guarantee accuracy of our full profiles (if a friend used your device...), limits potential future choices, no limit to duration of data points (history doesn't erase), doesn't distinguish between public and private info, data points are vulnerable to hacking and data breaches 3 and 4) can be seen through programmic media buying (ad space target you at a cost based on data in your profile), touchpoints (ads follow you across web browsing), converting (user ends up purchasing product after seeing ad), lookalike modeling (aggregate all shared data points between converters and target others sharing all those data points)

"cryptopicon" (Vaidhyanathan)

1) "an inscrutable info ecosystem of massive corporate and state surveillance". A massive and precise data gathering on ppl through less-than-visible means. Inscrutable = impossible for everyday users to understand. Ecosystem = not just individual platforms, services, and business but the dense lattice work of data across them (sales, partnerships, etc) 2) ppl "reveal themselves" to commercial and state interests either through intentional user-generated content (links, posts and images) or behaviors and demographic info (unintentional) 3) Abstracted from the mechanisms of surveillance ppl are comfortable sharing their interests and activities without reservation. Social media companies frame their value to marketers based on the data their collecting from their user base 4) terms of service is ambiguous and doesn't really explain how companies will use our data

technological determinism

1) = presents tech as central in transforming society so tech changes us (society) and how we understand ourselves and the world. Can be utopian or dystopian. Found in political speeches, ads, fictional movies, etc 2) can inspire new ideas and political movements 3) Utopian ex: McLuhan or mobile media revolutionizes activism through citizen journalism. Dystopian ex: mobile media → ppl being less concentrated to those around them. Criticisms include that tech is inevitably shaped by human action (development, business models, gov't regulation, actual use) 4) Grossberg reading. "Alphabet created modern civilization", "internet caused globalization", "printing press allowed for democracy"

promise of Web 2.0

1) Access to production + peer-to-peer sharing = participatory culture 2) "Nonrivalrous" and changes understandings of authorship (products of participatory culture are always open for further remix), demystifies the production process (not ONLY a privilege of those in the industry), less reliance on traditional media (we can turn to internet for its creativity in news/entertainment, etc), democratization of authorship, info and culture (greater diversity of ppl and media creators) 3) Happens through easy access of inexpensive production tools and open networks of sharing (like social media) 4) Plenty of cooking channels on YouTube now with millions of views/subs, not just a privilege of Food network or chefs on TV

"the medium is the message" (McLuhan)

1) Argues that sensory experiences of new media shape our thinking. Instead of ppl evaluating media based on content, that sensory extensions afforded by medium are more important (content changes over time). 2) AND different media requires different levels of participation from users to "fill in or complete". Media = hot or cool based on how much attention they demand 3) Hot media = data rich and high definition that requires little effort to understand (like movie or college lecture). Cool media = data poor and low definition that requires more effort to understand (like telephone or discussion) 4) Ex: electric light (a medium without a message). You can create content with an electric light through its illumination. Not how ppl can use it to communicate, but how we can use it to extend our sight in the midst of darkness → we can now do things during the night that were once limited to day time (read, eat, etc)

Conglomerate Power Critics

1) Assert that the free market is bad and strong gov't regulations need to be put back in place to protect media audiences from excesses of commercial media. Conglomeration → oligopolies that favor their own interests/partnerships and make it difficult for outsiders to compete 2) Two results. "Illusion of diversity" (more choice BUT NOT more voice) and "power is knowledge" (power to control circulation of ideas...these conglomerates can restrict our access to alternative opinions) 3) While media grows, the # of speakers can shrink as media companies merge. They argue that unchecked media concentration narrows range of speakers b/c it's not always clear who/what company controls what media/channel 4) ex: Facebook owns Facebook, Instagram, Messenger and Whatsapp!

4 obstacles for Hollywood in China (Song)

1) China is the world's 2nd largest film market, but Hollywood faces obstacles not found elsewhere. 2) → media regulation to promote specific cultural values and protect Chinese film. → 5 key relationships Hollywood must manage with China 3) includes: Import quotas - limits foreign film numbers per year allowed in China to 34, Censorship review - run by propaganda department (communist), Short window for promotion - usually marketing lasts months to years, Must "share revenue" with local distributors + exhibitors (no vertical integration, China wants film importers to share the wealth) 4) ex: ____

console games & spatial convergence

1) Console games = Triple-A blockbuster games that focus on immersive play and the game space (not so much the player space). Goal: fully absorb your attention, focus on game space and NOT player space. 2) Result: "avatarial introjection" of identity in game space. When we refer to our Avatar as "me", "I', "mine" and are emotionally attached. Feeling a personal connection/kinship to other characters in the game. Can be avatars of other players or NPCs (non player characters controlled by the game itself). 3) Different from mobile games in the sense that it has more diverse selection and requires more time commitment. Can be further immersified through realism (photorealist representation, force feedback, degree of interactivity, and unpredictable encounters). Mobile games focus on casual play and balancing the two spaces, in contrast. 4) NBA 2k, Skyrim Elder Scrolls, COD

four perspectives on global media impact (ignored format)

1) Cultural exchange = utopian view that sees global flows as part of a "global village" - global media can unite people regardless of language differences. Advocates a deregulated free flow of media, "universal cultures''. Supported by international media corporations and dominant countries (hegemony on a global scale). Ex: music, videos, games 2) Cultural Imperialism = dystopian view that sees global flows are part a "global pillage". Global media is seen as a one way flow from US/West to the rest, there's no real exchange of ideas and the West has an unequal position of influence that imposes cultural values. Local media is suppressed or is forced to imitate US media. 3) Cultural Nationalism = local cultures need to be protected through regulation (from asymmetric information granting more powerful media businesses and their countries of origin). Should be reasserted through gov't funding for domestic media projects and/or restrictions/quotas for media imports. Ex: China and its film prohibition, restricting outside TV imports for primetime 7-10 pm hours 4) Cultural Hybridity = utopian view that sees global flows as a recombination of cultures that creates diversity and difference. Hybridizes the local with those media forms and messages introduced from a variety of other places and sources

cultural production vs. copyright (Gwenllian Jones)

1) Cultural production can be unauthorized, violating copyright law BUT copyright holders often tolerate cultural production to help fandoms flourish since it serves CR holders' economic interests. Therefore, cultural production relies on copyright holder tolerance 2) → a large audience + smaller niche, active one (fandom). For smaller audience, consumption is continuous, for large audiences, consumption is the cost of the ticket or commodity 3) fan culture production doesn't flourish despite the industry, but because it allows it to do so 4) ex: Disney allowing star wars fans to produce content to further engage niche audience

video game spectatorship (Witkowski)

1) Esports = institutional, regulated elite gaming tournaments. Video games have always been about being player + spectator of play (in 70s, there were plenty of arcade competitions). Achieved through things like live streaming now (A means of MONETIZING spectatorship and SUSTAINING career through drawing power) 2) → esports pleasure = reminder of gameplay + team loyalties 3) Adopts "spectacle" of traditional sporting events/broadcasts + other media events (like live performances, music festivals, etc) 4) Ex: Gamers can use dedicated streaming channels to accrue revenue, like through fan to player donation. Ex: players can bring to their teams their audience drawing power and individual skills (like Smash)

industrial utility of fandom (Gwenllian Jones)

1) Fandom seen as a social/industrial construct, NOT a community 2) Fandom is the industry's "adoring offspring", not its nemesis. 3) Contends that fandom's based on consumption, not critique...through transmedia consumption (The industry desires fans because they follow the text onto other media as transmedia extensions like playing video game adaptation), increased consumption (fans may take issues with storylines but will still consume media later), and brand advocates/free promotion (promotions through memes, posts explicitly or implicitly by friends through social media) 4) Star Wars. Fans may be mad, but will still see the movie

black fandoms (Martin Jr.)

1) Finding by Martin Jr. that showed that different fandoms show different discourses (previously, academic's focus on white fandoms was the norm). Martin interviews 50 ppl of color and examines Tyler Perry movies, Black Panther and Misty Copeland 2) Findings are applicable to other fan groups and their desire for greater visibility and better representation 3) Four interlocking discourses proposed. Must-see blackness (consumption as "civic duty" support for blackness), economic consumption (monetary support where black audiences support text with dollars to better ensure success, even if they're not that excited about it), and pedagogical properties (teaching tools and role models) 4) Ex: Black Panther. Had waves of support from black fandom since it featured an all black cast in a mainstream Hollywood movie and featured all interlocking discourses.

Narrowcasting

1) Focuses on niche audiences desired by advertisers. Goal: produce content for a niche, then sell access to that niche to advertisers. Logic: divide audience into categories useful to marketers 2) BUT not every niche is represented on cable! New channels don't launch because of audience need, they do so because of ADVERTISER need. Audiences divided up into categories ONLY useful to marketers 3) narrowcasting represents media AFTER broadcasting. Includes cable and satellite 4) Sportscenter/ESPN (for EVERYTHING sports-related) OR MTV offers marketers interested in young ppl a smaller, but more concentrated audience (they thus pay less for more)

game & player spaces

1) Gameplay simultaneously exists in two spaces. Game space = the virtual world of the game. Player space = environment where the person is playing. 2) shows how spatial convergence manifests itself in video games 3) Game space is as viewed by the screen or window that enters you into that world. Where you navigate the game, where you solve puzzles, where you interact with the game, etc. Player space is a physical environment. 4) Game space = the racetracks of Mario Kart tour. Player space = bed, hall right before a lecture, bus, living room, etc

China's "going out" policy (Keane & Zhang)

1) Gov't assistance for Chinese media in internationalizing to provide "cultural security". Manifests as government funding to assist approved movie and TV exports, co productions, overseas filming, etc 2) Two goals: help China compete in global marketplace and spread positive message about China via "soft power" of cultural diplomacy (to strengthen and develop primary and secondary cultural proximities to Chinese locals and diaspora) 3) Traditionally, the China cultural specificities hasn't translated well to global success, so China is looking to strengthen its "weak cultural consumption". 4) ex ______

K-pop hybridity (Jin)

1) Hybridity = tool used to target both the domestic audience and global markets. Kpop = Hybridizing a variety of western musical forms and genres by using outside composers and producers (from US and Europe). 2) Pro = it illustrates the "playfulness" that comes with hybridizing "ingredients" (shows diversity and heterogeneity). Con = targeting global audiences can stunt local identity and reduce hybrid innovation to formula (lacks variety through routinized formulas and loses distinctiveness of Korean culture) 3) Achieved through adding English to both song titles and in lyrics of songs themselves, especially chorus (language), dances popularized by American groups, and elements of visual style (fashion and music videos) 4) TWICE incorporates english interjections into main hook of songs

planned obsolescence

1) Includes two logics (design and marketing). Design logic = constructing consumer goods with a functionally limited lifespan REQUIRING consumers to buy/replace with a new version. Marketing logic = ENCOURAGING consumers to upgrade to a newer version because its outdated 2) Resulting pro and con. PRO = incentivizes improvement and innovation by the company. CON = added expense (ppl pay twice as much), frustration (to have to learn to navigate through new device), e-waste 3) Design logic says that planned obsolescence is common in consumer electronics, marketing logic is premised on understanding that ppl will replace their existing devices if the new one is good enough 4) Apple! Hardware companies stop making pieces, software companies stop offering updates. Most iphone users keep their phone for 2 yrs, less than half of its supported lifespan because they want newest iphone because of marketing

"mobile kits" (Ito et al.)

1) Kits we use to manage "our presence in public spaces" to fill our time and needs. Includes primary and secondary mobile kits. 2) Study by Ito found that we manage our presence through these mobile kits. Primary mobile kit = kit we always take with us. Secondary mobile kit = when we work/study (for a long time) away from home (ex: what's in our backpack, charging cord, snacks, laptop, etc) 3) Research process by Ito focused on young urban professionals from LA, Tokyo and London. Involved interviewing subjects, having subjects complete two days of diaries, shadow a routine activity, and perform a final interview. 4) Ex of primary kit = wallets, keys and phone, headphones. Ex of secondary kit = what's in our backpack, charging cord, snacks, laptop

Horizontal integration

1) Logic in which business owns many different media divisions, sometimes only with partial control 2) Spreads risk: You diversify so that failing in one venture doesn't tank your total profits 3) Goal: synergy 4) AT&T. AT&T and Warner Media have different divisions across film production, distribution and exhibition, broadcast and cable distribution, exhibition and distribution, international theme parks, etc.

Vertical integration

1) Logic in which the media business controls production + distribution + exhibition within a single media division. Making it + delivering it to you. Measures success through increasing revenue and minimizing expenses. 2) All about total control w/in single media division. All about expansion (as with horizontal integration) 3) Goals: keep profits in-house//decreased costs and increase efficiency (fewer negotiations with outside firms, no bidding processes, greater communication/co-op between divisions) 4) ex: comcast. Vertically integrated with NBC. owns universal TV which produces content like Chicago Fire. Owns NBC broadcast channel that distributes shows nationwide. Owns 12 broadcast stations airing content for local exhibitions (KNBC, KNTV).

intermediaries as productive (Lobato)

1) MCNs can shape YT itself as a "textual space". MCN = "Youtuber" talent management and support (for a % of their earnings) that help provide personal expertise, data rich analytics, helps increase production skills, and cultivate relationships with YTers and brands (to help them grow into a celebrity) 2) intermediaries privilege some videomakers/types of content and NOT OTHERS (like birdwatching for example) → shapes how ppl view and consume the platform 3) Expertise and tools MCNs provide help narrow the type of content we see on YT. Happens through...signing and "professionalizing" YTers from easily monetizable genres (and not others), metadata application expertise to increase algorithmic visibility (ways to label videos, tags, etc), cross-promotion between clients (Web 2.0's "synergy" to increase subscriber base), and partnerships with brands (ads placed within video content itself) 4) ex: ____

reputation management + difficulty on Facebook

1) Managing our privacy in different social contexts through controlling self-exposure. One's persona/reputation varies with different intended audiences 2) Managing our privacy/audiences online can be fraught + time consuming. Fraught in the sense that you may be worried as to who sees your content 3) Platforms like FB encourage maximum contacts and sharing (by constantly recommending friends or birthdays) while placing the burden on managing privacy on individual users (you may manage this by having two accounts on one platform like Finsta vs Insta or blocking ppl from seeing your post) 4) linkedin vs instagram vs tinder

costs of Web 2.0

1) Participatory culture is framed as fun but it's a form of work under corporation platforms. Those critical of web 2.0 contest that it doesn't turn users into enfranchised creators and producers, though it's in the interest of the platforms to make them think that 2) SO: users may be participatory but that doesn't mean they're powerful. Participation ≠ power sharing 3) Users are unwaged // mandatory content licensing (Far majority of users are making content for free), we're still subject to ads and data collection (We create content to draw in ppl, then platform advertises that content for our audience → stockpiles our interests in their databases and profiles. Recommendation features steer users to promoted content (those with money have added visibility through story ads, promotion posts, etc) - so participation comes with a cost! 4) Platforms allow users to make stuff royalty free through user agreements in exchange for the company being allowed to share your content indefinitely (ex: TikTok, Instagram).

multiple proximities (La Pastina & Straubhaar)

1) Ppl have "primary cultural proximities" and "secondary cultural proximities". Cultural specificity of domestic media fosters "primary cultural proximity" with the national. Ppl feel "secondary cultural proximities"/sense of relevance and connection to other nations/experiences through media imports 2) Most ppl favor their own domestic media because of its relevance to cultural specificities, lives, and tastes but can develop an affinity for another country's media through secondary cultural proximity (helped by social media) 3) "Primary cultural proximity" achieved through sharing common language, reflecting common experiences (history, occupations, etc), reflecting values commonly held by a country's population and perpetuation of shared cultural forms (codes, conventions, styles, etc). "Secondary cultural proximity" achieved through appealing to additional proximities (religion, region, etc), recognizing countries with similar/shared cultural specificities (like language) and sharing other countries' favorite genres (animation, Japanese horror etc) 4) Ex. of primary = Americans liking american media. Ex. of secondary = Americans liking anime or kpop

changing discourses on mobile media (ignored format)

1) Previously commonly held belief: Media use is based at home/work (NOT on the move/public). That ppl need to be in a specific place in order to consume it in most of its forms. Ex: at home to watch TV, at work to work on computer 2) Late 90s. Conversations arise based on how tech in public space can encourage ppl to go out. Ex: mobile phones, laptops (work, study, or write from various locations), cybercafes (ppl paid for time on computers equipped with wifi) 3) 2000s. When conversations arose where media could complement public and outdoor activities: Free wifi, "Haptic" (operated through touch) and customizable/flexible mobile techs (especially smartphones) and Location-aware apps reliant on location to function (To be used while traversing through space like pokemon go or waze)

Broadcasting

1) Refers to means of media dissemination (broadcast TV and radio are free over the air). Focus on the mass audience. Goal: largest audience possible. Logic: "least objectionable programming" (broadest appeal, content that collects large, national audiences) 2) Use advertising strategy to help make up for that free access to viewers 3) Broadcasting explains how media was BEFORE cable and satellite industries. Narrowcasting has since then complemented it. 4) Includes TV channels like NBS, CBS, ABC, and FOX (just need antenna, not satellite) for major sports games, sitcoms, medical dramas, etc

YouTubers

1) Small-scale, entrepreneurial content producers with consistent, popular content (in views and subs) and are relatable "microcelebrities" with an intimate, DIY aesthetic (talking to camera, filmed in home). Oftentimes from home studios generating revenue through YT's partnership program and/or product placement from deals with companies 2) YTers sometimes beat out mainstream media/industry conglomerates - subscriber count is used as an important metric since it's a stamp of approval. Intimat, DIY style is a basis for their appeal to advertisers as well - audiences are believed to be more engaged with these Youtubers and the brand they make so therefore advertising messages → basis of the name "influencer" 3) YTers must navigate Web 2.0 tech + social + economics (Production, editing, nuances of social media platform (which evolves), by finding ways to appeal through robust engagement and need to find ways to make money like through book deals or public speaking events) 4) Any YouTuber you can think of. Casey Neistat is a popular vlogger who has done all of the above.

Formatting

1) TV remade for the local market. Local TV programmer may buy premise of a TV show, then make their own version for their own local audiences since its cheaper to buy ideas and is attractive to programmers because they are proven successes 2) Enables cultural specificity (language and accents, identities, etc) 3) Somewhere between import and co production 4) Metastasis Breaking Bad or Voice (which originated in Holland)

Importation

1) TV show made for one national market and then imported by local TV programmers into another 2) → US TV producers in a position of power because of their: Broadcast strategy working internationally as well (able to collect many ppl), primetime dramas are $$$ to produce and have wide appeal (local TV programmers usually import US prestige dramas to avoid taking a risk in making their own) and programs performance in US predicts international success (reliable indicator of popularity abroad) 3) Advantages include: cheaper, less risky than local production for buyers. Local TV programmers tend to favor US imports when filling out their schedules 4) Simpsons

Web 2.0

1) Term popularized in 2004 that characterizes a shift in the way ppl use and understand the internet (produce, share and consume) 2) Users generate content themselves in Web 2.0, users/subsequent response from more users become central to adding value to content online and it operates to necessitate the way we consume, create and share (for which businesses can direct) 3) Operates technologically (open platforms geared towards interactivity, sharing and reaching an audience), socially (a result of the desire to create and circulate knowledge and culture), and economically (to do all of this in a way that is monetizable for web 2.0 platforms and apps) 4) Ex: Any social media. Instagram gives you templates to make your posts, you feel compelled to share posts as you see others do, instagram profits off of you by showing ads

fandom online

1) The internet makes it easier to engage in "fannish" behavior 2) reaches a far more massive, diverse audience 3) composed of information seeking (want more info? Google it, watch YT tutorial, etc), additional outlets for consumption (eBay), "backstage access" (access to celebs through social media), community/social media participation (subreddits), and cultural production (fans producing work around favorite texts) 4) Ex: Googling, eBay, social media, subreddits

Free market defenders

1) Those who trust in the free market and not the gov't 2) believe that corporations should be allowed and gov't shouldn't intervene 3) Argue that media industry is dynamic and changing (natural), corporations must grow or lose market share in abundant marketplace, corporations absorb losses/can afford risks, internet allows more production and sharing than ever, and companies self-regulated content 4) Disney can afford to take risks and WILL so they don't lose money with the same old content and alienate customers

tweens & smartphones (Kim & Davis)

1) Tweens = marketing term (a form of segmentation for new cultural groups) for young people between 10-14 (between childhood and teenhood). Kim and Davis article explores conflict between parents and tweens regarding their smartphone usage. For parents, phones = monitor kids for safety, for tweens = connect with peers and be independent, result = conflict over use, parents fear they're less tech savvy 2) Finding 1 (also a source of conflict): parental rules don't align with tween use (parents prohibited phone use during nighttime, and told kids not to talk with strangers). Finding 2 (also source of conflict): Haphazard enforcement by parents so tweens circumvent parental control. INSTEAD, parents should talk to their tweens about their ACTUAL motivations/use 3) Kim and Davis use an audience studies approach to explain why parents need to understand HOW kids use their phones. Studies private middle school in a tech-oriented city in NW US. Method = tween surveys + focus group. BUT Kim and Davis admit that affluence + tech capital "limits the generalizability" of research study 4) But tweens felt parents didn't account for how they use their phones (ex: phone may have to be used for HW at night or they may not talk to strangers anyways but want to talk to friends)

viral video (Burgess)

1) Videos that grow popular through rapid user-led networked distribution...commercially or non commercially motivated. Has hooks that encourage spreadability (including replicable ideas), which explains why ppl share stuff and make/record their own versions. 2) So: viral videos (and memes) are networked practice, not separate texts (focus on all other videos inspired by one viral video as well) 3) Burgess' article can be applied to TikTok, Snapchat, etc. not just Youtube (Burgess wrote her article in 2008, when Youtube and internet was just starting to become popular) 4) Chocolate Rain by Tay Zonday. Original video was just for fun, had repetitive melody and lyrics, earnest amateurism, became viral → ppl making their own version of Chocolate rain. Once it went viral, Zonday then entered an ad revenue sharing agreement with Youtube via its partner program

"forms of placemaking" (Ito et al.)

1) What we DO with our mobile kits. 2) All three forms = 3 genres of presence 3) Cocooning: Using our media as shelter from engagement or for killing time to make our time more entertaining and create a bubble around us. Camping: when we build temporary personal workspaces in public and settle down. We may go to particular places with wifi, power outlets and pleasant ambience and typically use our secondary kits here. Footprinting: public place that tries to create relationship with person (unlike camping or cocooning, which are based on our own motivations). An attempt from a public establishment to foster a relationship with us to encourage us to continue to visit (either physically or digitally) 4) Ex of cocooning: using headphones and staring at phone before class, in line or on a train, reading, listening to music, etc. Ex of camping: cafes, libraries, parks Ex of footprinting: free wifi, personal relationships with employees, etc.

media mergers

1) When media companies merge through buyouts rather than compete with one another (they absorb rivals) 2) A response to deregulation. Happens so often now. Easy to accept it as "survival of the fittest".. 3) → Media conglomerate: company that owns several media divisions under a single corporate umbrella 4) Disney company. Some of its holdings include the film studios Walt Disney Motion Pictures, Pixar, 20th century studios, Marvel, Walt Disney Records, broadcast channel ABC, cable channel Disney, 80% of ESPN, 73% of Nat Geo TV, TV production studios, Fox 21, etc. Owns Disney plus, ESPN plus, 60% of Hulu, Disney parks, disney stores, disney mobile and more

Audience Segmentation

1) When media products are targeted to reach different groups of ppl (not mass ppl). Target audience = desired segments producers want to reach. 2) Only targets groups that are DESIRABLE 3) Valued by media because they spend money and time in similar ways 4) MTV's target audience is 18-24 year olds

Data Collection

1) advertisers capture spending habits through the internet and massive data collection. When advertisers make "profiles" of individuals, reducing our online info, action, purchases and behaviors into readable data points. 2) Marketers then collect these profiles into massive databases. Databases = constantly updated collections user profiles sortable by relevant info desired at a particular time (for a particular ad campaign). Includes first (collected by site/platform) and third party data (purchased from data brokers like acxiom) 3) Advertisers can input the desired number of attributes they want (based on geography, demographics, etc). Companies then return number of users matching this combo of data points 4) Ex: FB has 52,000 potential data points for consumers. Acxiom (world's largest data broker that has 1,500 data points for every user)

SST (social shaping of technology) before, tech, after

1) alternative to tech determinism where tech is believed to have "logics" that influence but don't (inherently) determine how ppl use them. Grants ppl agency and says that tech can be predictable, unexpected (memes), recognizes how tech affirms previous practices (we use phones to connect with others), and recognizes how tech can disrupt previous practices (we use phones for dating apps). 2) After SST, we now analyze/examine actual practice of tech. Tech = examine possibilities and constraints // social structure disrupted or reinforced 3) Before SST, we focused on societal circumstances 4) Ex: Before SST, how did society at the time influence the gestation of the tech and its perceived utility- how it set the stage? After SST, did consumers' usage of tech fall in line with those imagined goals by tech makers?

Self regulation

1) industry polices itself to keep a competitive position in the marketplace through pressure from lawmakers/gov't (threat of regulation is enough for industries to control their own policy rather than have them mandated from gov't), advocacy groups (threats of large-scale boycotts is enough for industries to listen to groups/large portion of their consumer base), and advertisers (threat of cancelling ad contracts since advertisers are squeamish of being promoted against off-brand media content) 2) critics say that self-regulation argument problematically equates capitalism with democracy when, in fact, businesses only protect their own self-interests. So self-regulation marginalizes ppl not valued by capitalism (like poor folks who don't have a lot of disposable income) 3) helps fuel free market defender argument 4) ex: social media. CEOs release privacy statements on data sharing, hate speech, etc. after facing hard questions from lawmakers to avoid regulation

Deregulation

1) new way policymakers ensure competition between media businesses in which the gov't removed/relaxed ownership rules. Started in the 80s and increased in 90s as part of Telecommunications act 2) theoretically serves the interests of the ppl but hasn't. Companies have grown in size especially through new allowance of cross-media ownership (ex: broadcast stations can own cable station, cable providers can be internet service providers, etc) 3) lets "free market" competition increase choice/innovate offerings and lower costs. Shows a change in how to achieve the same goal of ensuring competition. 4) Ex: Spectrum owns TV cable service + internet

Regulation

1) previous way policymakers ensured competition between media businesses in which the gov't oversaw prohibited anticompetitive practices 2) Prohibited one company from growing so large that it can price set and limit option without competition (monopoly) 3) Previous method by policymakers. Now replaced with deregulation 4)

state surveillance

1) state (gov't as an apparatus) monitors potential crimes (+ dissidents and critics in authoritarian gov'ts) through direct surveillance and indirect surveillance 2) Goal: monitor potential crimes (+ dissidents and critics in authoritarian gov'ts) 3) Direct surveillance = screening, tapping and tracking programs, etc. Indirect surveillance = laws that compel private companies to save and hand over user records and communications 4) Direct ex: Using fake personas to gain access to semi-private postings or hacking! Indirect ex: USA freedom act that forces people to hand over browsing histories, searches, etc

sensor society (Andrejevic and Burdon) (ignored format)

1) tech are sensors tracking events and states: Always on, Passive interactivity. Generating content without intentionally doing so. Includes Texts, computers, cars, fit bits, etc. that Detect and record events (status updates, browsing history, etc) as well as our states (the temperature, locations) 2) new form of data collection and storage (albeit only one available for powerful institutions). Logic = turn everything into machine-readable data as added to our profiles (Immediate needs + info for future analysis, Specific individuals + larger social usage patterns (big data)). Powerful institutions = state and major businesses that have the power to collect and make use of the info and data AND: current privacy laws are unequipped to handle such pervasive, undirected use. Electronic privacy laws are more focused on eavesdropping than preventing data collection (although CA privacy law has counteracted these companies)

Co-production

1) when producers from two or more countries cooperate to make a TV show for their individual markets. Works well because ppl of a country prefer local programming of similar quality to outside imports 2) Disadvantages include: Language coordination and industrial differences create conflicts and needs of stronger partner usually win out (ad/program structure, scheduling, etc) 3) advantages include: shared costs (including international sales), tailored to the cultural specificities of both like actors, characters, themes (unlike just importing), and get tax credits from gov't/funding incentives from all countries (local talent featuring local experiences or histories qualifies same TV show as domestic product in two different countries) 4) The New Pope = co production between Italy, Spain, France and US

Children and TV (ignored format)

1st ASSUMPTION: consumption is passive The kids are "little couch potatoes" But consumption is always active! We're processing the information we're getting BUT: why do kids *really* engage with the TV they watch? To see (depictions of) the world TV offers a multitude of different perspectives of the world (behaviors, relationships, identities, etc) For learning math, words, behaviors, etc TV is a teaching too! SO: kids TV focuses on educational curricula and/or social-emotional curricula Social-emotional curriculum = empathy, self efficacy, and emotional recognition To provide kids tools for succeeding in school as a social environment Ex: Daniel Tiger's neighborhood (reading) But REQUIRES: "active mediation" of parent-child conversation Parents need to watch more closely and help to clarify program's central message So parents need to participate in order to better realize potential of how children are engaged with TV 2nd ASSUMPTION: kids consume media as adults do but without critical skills BUT: how do kids really engage with the TV they watch? Program producers use the following to reflect the needs/interests of kids... Direct participation = answering questions, repeatable songs, etc Directly addresses child viewer to play along and talk back at character Ex: Dora the Explorer, Mickey mouse clubhouse Problem solving = narratives require multiple views to grasp Age-appropriate challenge for kids to solve Can be in the form of direct participation Asking the kids to put themselves in the pov of characters Ex: Elmo Repetition = learn to understand storytelling conventions Learning the media literacies through watching over and over again (that adults take for granted) SO: kids are active in watching TV shows

spatial convergence & its three forms (ignored format)

= Blurring of boundaries between public and private // physical and virtual spaces. 1) privatized mobility = bring comforts of home with you out in the real world. We can use in public spaces with the same flexibility and options. Ex: Mobile media (we can use computer on the go) 2) ambient awareness = sense of connection with others felt through the "ubiquitous connectivity" of always connected mobile media/communication tech. You sort of know what others are up to, watching, reading and engaging. Ex: liking, commenting, looking at posts, our phones are always on, always connected to the internet 3) Net locality = "location-aware" mobile media merges www + local, influencing mobility and "character of locations" (de Souza e Silva reading). Ppl makes decisions on where to go based on geographic coordinates, gameplay or reviews → changes location of character. → ppl see location differently because of tech (ex: if there's a pokestop, if the place has a good or bad review, etc)

globalization of film (ignored format)

Both its industry and storytelling forms have evolved as a result of globalization Small studios = increase # of films. Bigger audiences too (abroad). Increase profit through many low to mid budget movies Major studios = create high budget blockbusters. Increased profit through bigger budgets. Idea: spend more money on ONE movie Ex: Jaws, Star Wars, Superman, etc 1970s Maximizing the investment capital (stars, etc) Economies of scale (easier to promote/distribute to audience) - saves money and effort that would be required for multiple campaigns Free publicity as "media events" - these high budget, extremely well advertised blockbusters become so anticipated that they become sources of press attention (newsworthy events) Allows synergy and tie-ins (horizontal integrated companies treat blockbuster films with all their attention) (ex: Frozen) (includes transmedia extensions as well as tie-ins, like limited edition menu items or food products)

defining fandom

Dystopian representation of fandom 1) understanding of fans where they're presented as falling outside "normal" media consumptions. Care too intensely (about movie franchises, sports teams, etc), Obsessed with fictional worlds or the lives of others → artificial concerns 2) fans are duped by mass culture products. Fans' passions are relentlessly monetized. To participate in fandom, is to give money to massive corporations (under this belief). 3) This is a disempowering belief that sees fandom as only bad 4) Caring too much about Disneyland that you spend so much money as a result Utopian representation of fandom 1) understanding of fans where they're recognized as highly engaged (in a positive way as opposed to dystopian) and capable of close scrutiny (will seek more info/perspectives about something) 2) fandom → social practice. Recommendations from friends, posters, photo, etc. 3) this belief is an intensified illustration of what we do with and how we enjoy the same media (may be overestimating the majority of the population/too optimistic) 4) You review multiple sources to become knowledgeable of a political topic after hearing one segment from the news Definition of fandom = niche market of highly motivated consumers

Synergy

Effect when there's coordination across media divisions so that the whole is greater than the sum of its parts ("1+1=3"). Added value through coordination → logic = corporation would make more money from content convergence than the divisions working separately to create their own brands Each corporation division works together to advance a multimedia brand Frozen. Movie made by Walt Disney Animation and distributed by Walt Disney motion pictures. But..through synergy, its so much more...emojis made by Disney mobile, music made by Disney records, attractions found at Disney World, MERCH, video games, etc.

cultural production

Fans, and those attempting to appeal to fans, can build upon/transform original texts. Fans can add to text through this process (unauthorized). Includes products of art and craft (drawing, video making, etc) Can express underserved audiences and needs. Thus, cultural production = site for inclusion and control Enabled by new techs of production, distribution (across the internet), and exhibition (via social media, etc). Users can follow, share, and like their favorite pieces Ex: sharing a drawing online of Captain America and Winter soldier sharing a kiss to represent LGBTQ+

Segmentation types (ignored format)

Geographic: Advertise your product or service to an area where the audience has access to it. Not that useful in the age of national brands. Applies more so through social media. Ex: CA ads may be for Safeway grocery stores Demographic: categories like gender, age, education Lifestyle: Interests, hobbies. What you do with your time. Ex: Tennis channel. It exists because advertisers want to target this group with tennis equipment, tennis tickets, etc. Also, these audiences for tennis channel may fit into other demographic categories (for financial service providers, luxury brands, etc) Psychographic: Personality characteristics. Attitudes, motivations. Ex: Bravo. Doesn't target a particular demographic nor interest. Instead it targets a demographic it calls "affluencers". "Core audience = those who have an insatiable love of all things media, including advertising. One that's hyper engaged and ready to buy"

media globalization (ignored format)

Instantaneous (cross time + space) b/c of tech and satellites and internet No need to physically transparent films and tapes Interconnected (communication/relationship across cultures) Between ppl in different nations Extends to news and entertainment media (fostering empathy and connection) Interdependent (global economies) Requiring international sales to earn ROI Global companies with operations in many companies BUT: globalization is uneven due to inequalities of power The dividends/rewards that is Some nations are able to take advantage of media globalization more so than others

Two Understandings of the Child Audience (ignored format)

Media Industry Who: producers, distributors (ex: tv programmers, websites), advertisers/marketers (ex: toys, games, fast food), etc. They see children as a desirable and lucrative demographic: This was not the case over a century ago since advertisers figured that kids don't have money to spend....once they started to experiment, they saw that sales spikes since children have huge influence on the people around them that DO have money (parents) They see children as exhibiting high frequent media consumption: children 8-12 spend 4 hours a day using screen media for non-academic purposes. Over 70% of kids have a smartphone by age 12 They see children as having a consumerist mindset: children are particularly receptive to ad messages They aim to foster brand loyalty early on: ex would be Coca Cola. Too young for coca cola, but once kids are old enough, they'll buy one because they've been conditioned/exposed by ads early on "Protectionist" Group Who: parents, watchdogs, educators, lawmakers/regulators They frame children as blank slates: (who are absorbing repeated exposures to misogynistic and violent messages from the media as a whole) They present children as innocence and fragile: media can cause long-term harm to kids. They say that children lack taste distinction and ability to choose: they'll consume any media in front of them, which means parents have to protect kids from harming themselves Paints media consumption as a passive activity: says that children just sit there staring at screens and don't do anything

rise of media globalization (ignored format)

Political = end of Cold War and opening up of new foreign markets Fall of Soviets Potential audiences grew Econ = deregulation, loosening ownership regulations, and trade treaties Gov'ts have been more relaxed Tech = satellite, digital networks Can facilitate international reach and intercompany communication Ex: video conferencing Cultural = new migration patterns and movements of ppl When they relocate, they take their media preferences with them → new demand, new markets → storytelling, genre innovation, etc

components of mobile gaming (Steirer & Barnes) (the most popular form of gaming) (ignored format)

gameplay accessibility: story and gaming mechanics. Mobile games tend not to have that much of narrative/plot and are easy to learn, intuitive game mechanics (few options) → repetitive play (over and over again) → so skill and enjoyment of mobile games is increasing your competency, speed, or your score (instead of new scenarios or learning new functions) software accessibility: available through a variety of devices including consoles, computers, tablets, phones - you don't need to buy game-specific hardware because you already have it! everyday ubiquity. Manifests through rewards/challenges to encourage daily play and results broadly from the nature of mobile gaming (in which you play anytime, anywhere) → mobile games are designed to provide quick payoffs for low investment. Ex: you can play Angry birds for 15 minutes, but not a game like Borderlands. For Angry birds, 15 minutes is plenty of time to level up, play through multiple rounds and earn rewards thanks to gameplay and software accessibility Variable monetization (especially "free to play" with ads and/or in-app "microtransactions"). For console games, the model is based mostly off of flat, one-time fee (unliked mobile games for the most part). Main model for mobile games = free to play model subsidized by microtransactions (in-app purchases and/or ads). User retention = when users are encouraged to keep playing through offering new characters, rewards or features, etc. LEADS TO: reduced barriers to entry for developers - mobile games are cheaper and easier to make than console or PC games