Mediast 10 Final Study Guide PDF

Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt 1. broadcasting - focus on mass audience - advertising strategy w specific GOAL of reaching largest audience possible, transnational brands...

Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt 1. broadcasting - focus on mass audience - advertising strategy w specific GOAL of reaching largest audience possible, transnational brands logic = "least objectionable programming" (broadest ap- peal) meaningful across demographics, regions, and gen- erations 2. Narrowcasting focus on niche audiences desired by advertisers GOAL: produce content for a niche, then sell access to that niche to ads logic = divide audience into categories useful to marketers note that narrowcasting hasn't replaced broadcasting, nar- rowcasting just complements broadcasting 3. audience seg- - media products targeted to reach different groups of ppl mentation - target audience = desire segments producers want to reach - valued bc they spend money and time in similar ways 4. Segment types - geographic (not that useful in age of national/transnation- al brands) - more useful on social media - demographic: categories like gender, age, education, marital status, political affiliation etc. - lifestyle: interests, hobbies - psychographic: personality characteristics and attitudes - ex. Bravo channel targets "affluent influencers" who have insatiable love for all things media 5. Data Collection - profile: collection of "data points" on an individual con- sumer - databases: constantly updated collections of user pro- files sortable by relevant info desired at a particular time: 1. first-party data: data collected by the site/platform 2. third-party data: data purchased from data brokers, e.g. Axiom 6. interactive - programmatic media buying: algorithm buys ad space microtargeting targeting u at a cost based on the data in ur profile (Einstein) - touch points: ads follow u across ur web browsing 1 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt - converting: user purchases product - lookalike modeling: aggregate all shared data points between converters and target others sharing all those data points 7. Child Audience Audience seg: Marketing groups + Cultural groups 8. Two understand- - Children are a desirable and lucrative demographic for ing of child au- producers, distributors, and advertisers. dience: Media in- - They have a huge influence on parents and high-frequen- dustry view and cy media consumption. why they target - Children are exposed to products early to foster brand loyalty. - They develop a consumerist mindset, and even before purchasing, heard of coca-cola before even trying it 9. Two understand- - Children are seen as blank slates, innocent, and fragile. ing of child audi- - They lack the taste distinction and ability to choose, ence: Protection- consuming whatever media they are exposed to. ist view and how - Consumption is a passive activity. they understand Therefore, media must be carefully controlled and select- and suggest ed to protect children. 10. Children & TV - - The assumption is that children's consumption of TV is Why? passive. - Kids watch TV to see depictions of the world, and for learning things like math, words, and behaviors. - Kids' TV often focuses on educational material and so- cial-emotional curricula. - Active mediation through parent-child conversations is necessary for deeper engagement and understanding. 11. Children & TV - The assumption is that kids consume media like adults but How? without the critical skills to understand it fully. Engage with TV by: - Direct participation: answering questions, singing repeat- able songs, etc. - Problem-solving: narratives often require multiple views to fully understand. 2 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt - Repetition: helps kids learn storytelling conventions and understand the media better. 12. Screen Content PBS for children (Pot- ter & Steemers). What is the pri- mary source of broadcast pro- gramming blocks for children? 13. What type of Channels that target specific audiences rather than a channels are broad audience. considered nar- rowcast cable channels? 14. What does SVOD Subscription Video On Demand stand for in the context of chil- dren's media? 15. What types Both professional and user-generated content, including of video-shar- long and short videos. ing services are available for chil- dren? 16. What are the 'pro- Concerns over content, commercialism, and data collec- tectionist' ten- tion. sions in chil- dren's media? 17. What is one pre- There will be an emphasis on curation and safe spaces. diction about the future of chil- dren's media? 18. 3 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt What is an- There will be a shift towards global properties rather than other prediction national ones. regarding chil- dren's media properties? 19. What ongoing is- Digital divides sue remains rele- vant in children's media? 20. Online affinity Friendship-driven and interest-driven networks (Pfis- ter & Martin): What are the two types of youth online participa- tion identified by Psfiser & Martin? 21. What does Offline relationships and experiences friendship-dri- ven online participation rely on? 22. What does inter- Interests and affiliations outside their local community est-driven online participation in- volve? 23. What is a key A sense of belonging, especially when 'geeking out' benefit of online affinity networks (OANs)? 24. Who are the ma- Most are browsers and lurkers jority of partic- ipants in on- 4 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt line affinity net- works? 25. What sustains Relationships, culture, activities, expertise, and responsi- an online affinity bilities network? 26. What is a po- They can reinforce problematic perspectives and pursuits tential downside of online affinity networks? 27. Three common Specialized: Centered around a specific affinity or interest, features of OANS increasing status through niche engagement. (Pfiser & Martin) Intentional: Users opt-in or opt-out, often outside of offline relationships, and can be exclusionary but easier to es- cape. Open: Discoverable, easy to observe and join, with visible and searchable content and communication. 28. productive prac- interpretation: what does the text mean? tices of con- speculation: constant reinterpretation ex: who is the killer sumption after the most recent plot twist? what will happen next? projection - what would u do in this situation? playing along at home discussion - talking online/offline about the text source of engagement of connection 29. Defining Fandom high engagement close scrutiny social practice public display AND: they're heightened examples of typical behaviors and pleasures 30. black fandoms INTERVENTION: academics focus on white fandoms (Martin Jr.) make it normative & examine black fandoms can decenter it BLACK FANDOMS THREE INTERLOCKING DIS- COURSES 5 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt must see blackness - consumption as "civic duty" support for blackness) economic consumption - monetary support pedagogical properties - teaching tools & role models AND: the applicable to other fan groups & their desire for greater visibility 31. fandom online 1. info seeking: more info on what u watch - google, sub- reddits, video walkthroughs 2. Consumption u can buy rare and out-of-print material on eBay 3. Backstage access: access to media makers and celebs through their social media outlets - keeping tabs 4. Social media / OANs: join groups based on our fandom, share our fan love on TikTok/Insta 5. Cultural production fans can build upon/transform texts fan art, fan tribute videos, fanfiction, cosplays products of arts&crafts represent their own beliefs/concerns/per- spectives enabled by new techs of production, distribution (across the internet), & exhibition (via. social media, etc) can express underserved audiences & needs 32. cultural produc- - fans can build upon/transform texts tion fan art, fan tribute videos, fanfiction, cosplays products of arts&crafts represent their own beliefs/concerns/perspec- tives - enabled by new techs of production, distribution (across the internet), & exhibition (via. social media, etc) - can express underserved audiences & needs 33. cultural produc- cultural production can be unauthorized, violate IP laws tion vs. copy- BUT: IP holders tolerate cultural production to help fan- right (Gwenllian doms flourish Jones) fandom = niche market cultivated by the industry regard- less of IP violations GOAL: an active large audience 34. industrial util- - fandom is an industrial construct and not a community ity of fan- - the industry's adorning offspring" not its nemesis - based on consumption: not critique transmedia con- 6 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt dom (Gwenllian sumption, heavy consumption, Jones) brand advocates / free promo 35. critical media Critical Media Policy is not just about solving technical policy (Kirk- problems—it's a way to study the deep connections be- patrick) tween media, power, and society. 36. What does in- It examines how values, meanings, and power structures terpretive policy shape policies. analysis focus on Example: Who decides what counts as "sexual content"? in critical media policy? 37. How does politi- It studies how economic power influences policies. cal economy re- Example: Wealthy donors shaping policy agendas. late to critical media policy? 38. What role do cul- They explore how cultural policies regulate behavior. tural policy stud- Example: Rules on sexual content influencing ideas of ies play in critical "appropriate sexuality." media policy? 39. What is a ma- Many decisions are made secretly, "behind closed doors," jor challenge in making it difficult to analyze. studying critical media policy? 40. What is the dif- Regulation involves government oversight to prevent anti- ference between competitive practices, while deregulation removes owner- regulation and ship rules to let the free market drive competition. deregulation in media policy? 41. How does dereg- By allowing cross-media ownership, such as broadcast ulation aim to in- stations owning cable channels or cable providers becom- crease competi- ing ISPs, to increase choice and lower costs. tion in media? 42. 7 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt What happens In media mergers, companies combine through buyouts during media instead of direct competition. A media conglomerate is mergers, and a single corporation that owns multiple media divisions what is a media under one umbrella. conglomerate? 43. What is vertical Vertical integration combines production, national distrib- integration in me- ution, and local exhibition within a single media division. dia? Example: Comcast owns NBC broadcast, broadcast sta- tions, and USA networks. Benefits: Keeps profits in-house, decreases costs, and increases efficiency. 44. What is horizon- Horizontal integration involves owning multiple media divi- tal integration in sions to diversify operations and spread risk. media? Key Benefits: Synergy: Divisions work together to enhance a multimedia brand (e.g., content convergence creates more value than individual efforts). Challenge: Synergistic mismatches can reduce efficiency and drain profits. Ex: Disney - film, tele, streaming services, merchandising 45. Synergy when media divisions work together to boost a brand, making more money through content convergence than working separately (1+1=3). Challenge: Mismatches can lower efficiency and profits. 46. What are criti- - Narrows voices: Few companies own most media, reduc- cisms of con- ing diversity of perspectives. glomerate power - Limits democracy: Supergiants control reform and act in in media? their own interests. - Framing issue: Treats audiences as consumers, not par- ticipants—more choice, but not more voice. 47. What are defens- - Dynamic industry: New players constantly emerge. es of conglomer- - Growth necessity: Media companies must expand to ate power in me- thrive. dia? - Absorb losses: Big companies can afford risks and inno- vation. 8 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt - Internet freedom: Enables more production and sharing than ever, balancing fewer large producers. 48. What is self-reg- Self-regulation is when media industries police them- ulation in media, selves to protect their commercial well-being. and what drives Factors driving it: it? 1. Threat of imposed regulation. 2. Internal standards and practices (e.g., script approvals). 3. Pressure from public advocacy groups. 4. Pressure from advertisers. 5. Corporate self-interest (avoiding harmful reporting). 49. What is media Worldwide integration of media industries, leading to globalization? 1. shared content 2. cultural exchange 3. the spread of media across borders.Key Features: - Expands media markets globally. - Promotes cultural sharing, but can lead to cultural ho- mogenization. - Dominated by large corporations influencing global nar- ratives. 50. What factors Political: Opening foreign markets (e.g., post-Cold War). contributed to Economic: Deregulation and trade treaties. the rise of global- Technological: Advances like satellites and digital net- ization in media? works. Cultural: New migration patterns that media industries capitalize on. 51. What are the key - Film corporations target home video and global audi- points of glob- ences. alization of film - Small studios increase the number of firms. (Balio)? - Major studios create blockbusters and promote "media events." - Synergy and tie-ins are used to maximize profits. - Globalization makes it easier to distribute films. - Result: Focus on high production values and plots that appeal to multiple markets. 52. 9 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt 4 obstacles for Import quotas: Only about 34 foreign films allowed per Hollywood in year. China (Song) Censorship review: Films undergo strict government cen- sorship. Short promotional window: Limited to 4-6 weeks for pro- motion. Revenue sharing: Hollywood must share revenue with local distributors and exhibitors. 53. What are the ad- - Broadcast strategy works internationally. vantages of US - Primetime dramas have broad appeal and high produc- TV producers in tion value. IMPORTATION? - US performance predicts international success. - Advantages for buyers: Cheaper and less risky than local production 54. What are the The US faces challenges in importation as foreign media challenges the thrive in specific niches at home, while abroad, it com- US faces in IM- petes with a growing number of international products and PORTATION? brands. 55. What is CO-PRO- Co-production: A partnership between producers from dif- DUCTION, and ferent countries. what are its Advantages: advantages and - Shared costs, including international sales. disadvantages? - Tailored to cultural specifics of both markets. - Tax credits/funding from all countries. Disadvantages: - Language and industrial differences cause conflict. - Conflicts in advertising/program structure, scheduling. - Stronger partner's needs may dominate. 56. What is FORMAT- Importing a show's premise and adapting it to local con- TING in media, texts. and why is it ad- Advantages: Cheaper to buy ideas (premises) than fin- vantageous? ished products. Example: UK show 'Ghost' adapted to the US. 57. "multiple proxim- Primary cultural proximity: Domestic media foster connec- ities" in media tion to national culture through: 10 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt (La Pastina & - Language Straubhaar) - Shared experiences, Values (good vs. bad), - Cultural forms Secondary cultural proximity: People may feel connected to other nations or experiences through shared factors like: - Religion - region - migration history, etc. - Countries with similar cultural specifics. 58. What is China's A strategy that encourages Chinese companies to expand "Going Out" pol- and invest internationally, particularly in media and cultural icy according to industries. Keane & Zhang? Goals: - Increase China's global influence and soft power. - Promote Chinese culture and values worldwide. - Gain access to international markets and technologies. Key Focus: Media, film production, and broadcasting ex- pansion to increase China's presence in global media. 59. Technological the belief that technology is the primary driver of societal Determinism change. Key Question: "What is tech doing to us?" It can be utopian (positive view) or dystopian (negative view). Example: Dystopian: "I Forgot My Phone" short film. Utopian: UGM ad promoting technology's positive impact. 60. The medium is The sensory experience provided by new media shapes the message how we think, not just the content. (McLuhan) The medium (e.g., technology) itself influences us more than the message it conveys. Example: Electric light is a medium with no content but it changes how we interact with the world. 61. development of Technology is guided by human stakeholders at every new techs (New- level. man) - Invention/Development 11 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt - Distribution (including business models) - Government regulation - Domestication: First, New techs are met with fascination and fear. Then:, Techs become "invisible" as they integrate into daily life. 62. Changing dis- Previously: courses on mo- - media use based at home/work bile media Late 90's: - tech can encourage people to out-public spaces - ex: mobile phones, laptops, cybercafes 2000's - free wifi - "haptic" & customizable mobile techs (esp. smartphones) - location-aware apps reliant on location to function 63. spatial conver- Spatial convergence is the blurring of boundaries between gence and its 3 public & private, and physical & virtual spaces. forms - Privatized mobility: Bringing your home with you (e.g., mobile devices). - Ambient awareness: Ubiquitous connectivity through tech to maintain a sense of connection. - Net locality: Merging the web with local spaces via mobile media, influencing both mobility and location character (de Souza e Silva). when local media use location awareness to foster better engagement 64. What are "mo- Mobile kits are the items we carry to meet our needs and bile kits" (Ito et manage time in public spaces. al.), and how do - Primary kits: Always taken when leaving home. they manage our - Secondary kits: Carried when working or studying away presence in pub- from home. lic spaces? 65. "Forms of Cocooning place-making" - shelter from engagement or for killing time (Ito et al.) - scrolling on phones to avoid engaging with surroundings. Camping - temporary workspaces in public - studying in the library 12 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt Footprinting - public spaces that try to create a relationship with a person - loyalty programs 66. planned obsoles- Designing products with a limited lifespan to encourage cence repeat purchases. Design logic: Products are made to wear out or become unusable over time. Marketing logic: Encourages upgrading to newer versions through ads and features. PRO: Drives improvement and innovation. CON: Causes extra costs, frustration, and environmental waste. 67. components of - Gameplay accessibility (story & gaming mechanics) mobile gam- - Software accessibility (available through a variety of ing (Steirer & devices) Barnes) - Everyday ubiquity (encourages daily play) - Variable monetization (esp. "free to play" with ads or in-app "microtransactions") 68. Games & Player Gameplay simultaneously exists in two spaces Spaces - game space = virtual world of the game - Player space = environment where the person is playing 69. How do con- Focus on immersive play and the game space. sole games re- Goal: Fully absorb the player's attention. late to spatial convergence? 70. What is "avatari- Players project their identity into the game through their al introjection" in avatar: console games? Avatar becomes "me," "I," "mine." 71. What are es- Esports: Institutional, regulated elite gaming tournaments. ports, and how Adopts the "spectacle" of traditional sports and other me- are they struc- dia events tured? (Witkows- ki) 13 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt 72. How does video Live streaming allows players to monetize spectatorship. game spectator- Builds a career through drawing audience power and en- ship monetize gagement. and sustain ca- reers? (Witkows- ki) 73. What is the Reminds spectators of gameplay experiences. pleasure of es- Strengthens team loyalties. ports spectator- ship? (Witkows- ki) 74. What are 3 ways Technologically, Socially, Economically Web 2.0 operate? 75. How does Web Utilizes open platforms designed for interactivity and shar- 2.0 operate tech- ing. nologically? Allows users to generate content using provided tem- plates and tools. 76. How does Web It emerges from the desire to create and share knowledge 2.0 operate so- and culture, enabling people to share content that others cially? find engaging. 77. How does Web Enables content creation and sharing in a way that is 2.0 operate eco- monetizable. nomically? 78. What is the About creating a participatory culture where everyone can promise of Web contribute and share. With tools for easy content creation 2.0? and peer-to-peer sharing: - Sharing and modifying content changes how we think about ownership. - Anyone can create standout content, like profession- al-quality videos. - There's less need for traditional media outlets. - Information and creativity are open to everyone, making culture more inclusive and collaborative. 14 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt This fosters a more interactive and community-driven on- line space. 79. What is a viral Videos that grow popular through user-led networked dis- video according tribution. to Burgess? - Can be commercial or non-commercial. - Contain "hooks" and replicable ideas for spreadability. - Viral videos and memes are networked practices, not just standalone texts. 80. What are the Participatory culture is unpaid work under corporate plat- costs of Web 2.0? forms. - Users: unwaged, subjected to ads and data collection. - Algorithms steer users toward promoted content. Participatory ` powerful. 81. Who are influ- Small-scale, entrepreneurial content creators. encers, and what - Produce consistent, popular content with a DIY aesthet- do they do? ic. - Known as "microcelebrities" who maintain intimate con- nections with their audience. - Navigate Web 2.0's tech, social, and economic dimen- sions. 82. How do inter- MCNs (Multi-Channel Networks) sign and professionalize mediaries shape YouTubers in easily monetizable genres. YouTube as a - Use metadata expertise to boost algorithmic visibility. "textual space" - Facilitate cross-promotion between clients and partner (Lobato)? with brands. 83. What is the im- Privilege certain video makers and types of content over pact of intermedi- others. aries on YouTube Influence which creators succeed based on monetizability content? (Loba- and partnerships. to) 84. Surveillance to see without being seen // to be seen without seeing the watcher 85. Personal traces 15 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt the 'footsteps' left behind (surveillance cameras, browsing histories, etc.) 86. "Sensor Soci- describes how our devices constantly monitor and collect ety" (Andrejevic data about us, like a digital diary that records our every & Burdon) move for immediate use and future insights. - Techs as sensors: Devices track events and states, al- ways on with passive interactivity. - New data collection: Collects data for both immediate needs and future analysis, tracking specific individuals and usage patterns. 87. How does "Sen- Current privacy laws are not equipped to handle the per- sor Society" re- vasive, undirected use of data collection. late to privacy laws? 88. What is An inscrutable info ecosystem involving massive corpo- the "Cryptopi- rate and state surveillance. con" (Vaid- Involves precise, covert data gathering on people. hyanathan)? 89. What is the goal To monitor potential crimes, such as dissidents and critics, of state surveil- especially in authoritarian governments. lance? 90. What are the Direct surveillance: Screening, tapping, and tracking pro- types of state grams. surveillance? Indirect surveillance: Laws that force private companies to save and hand over users' records and communications. 91. What is repu- Managing privacy and self-exposure in different social tation manage- contexts to control one's persona/reputation. ment? 92. What makes rep- Personas vary depending on the intended audience. utation manage- Many platforms encourage maximum contacts and shar- ment challeng- ing, making it difficult and time-consuming to manage ing? privacy and audiences online. 16 / 17  Mediast 10 Final Study Guide Study online at https://quizlet.com/_g94pzt 93. Screen Content "MEDIA INDUSTRY" **sources**: for children - b-cast programming blocks (now only on PBS) - narrowcast cable channels - SVOD added sub-appeal - Video-sharing services (US & global // long & short // pro & user-generated // from adults & from youth) BUT: "PROTECTIONIST" tensions over content, commer- cialism, data collection - Prediction 1: emphasis on curation & safe spaces - Prediction 2: global over rather than national properties, trust in property AND STILL RELEVANT: digital divides 17 / 17