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GROUP 1 By Olivia Wilson TODAY'S TOPIC Language and Mediation  THE TEAM ORTEGUIA AGUILA ORGANIA  LANGUAGE AND DISCOURSE: Focus on what media and language do rather than just what they are.  LINGUISTIC APPROACHES: Traditional Linguistics: Studies languag...

GROUP 1 By Olivia Wilson TODAY'S TOPIC Language and Mediation  THE TEAM ORTEGUIA AGUILA ORGANIA  LANGUAGE AND DISCOURSE: Focus on what media and language do rather than just what they are.  LINGUISTIC APPROACHES: Traditional Linguistics: Studies language as a set of rules (e.g., Noam Chomsky  Pragmatics: Studies how people use language to perform actions (e.g., threatening, apologizing  Conversation Analysis: Examines how conversations are structured and governed.  INTERACTIONAL SOCIOLINGUISTICS Looks at how language constructs identities and relationships. Critical Discourse Analysis: Investigates how language reflects and perpetuates power and ideologies.  DISCOURSE ANALYSIS VS. OTHER LINGUISTIC APPROACHES: OTHER LINGUISTIC APPROACHES (SYNTAX, DISCOURSE ANALYSIS SEMANTICS, ETC.) Language use in social and cultural Structure and meaning at the sentence, contexts, analyzing larger units like word, or sound level, often within formal conversations and texts. rules. Understand how meaning is constructed Analyze grammatical structures, word and communicated through context and meanings, or sound patterns. interaction. Language teaching, computational Media studies, political discourse, and linguistics, and theoretical analysis. conversational analysis. Mediated Discourse Analysis: Examines how media and language together mediate social actions and societal structures.  DEFINITION OF MEDIATION: The process of facilitating interaction between entities through media is called mediation, as introduced by Lev Vygotsky. which include both physical and mental tools.  MEDIA AS EXTENSIONS OF HUMAN CAPABILITY Marshall McLuhan described media as "extensions of man," meaning they expand our abilities (e.g., electric lights extend vision, computers extend cognitive capabilities)  TECHNOLOGICAL DETERMINISM VS. HUMAN AGENCY: Technological determinism is the idea that media determine what we can do and think. However, the text argues that while media influence us, humans creatively shape and adapt media use.  SOCIAL CONVENTIONS AND MEDIA IDEOLOGIES: Social conventions and media ideologies shape how media are used, with beliefs about the "appropriate" use of media varying across cultures and contexts. THAN K Y O U ! Media, Modes, and Materialities THE LANGUAGE OF MEDIA Roxanie Lamparero Anelyn Heart Lobaton Media, Janine Jerika Acuerdo Modes, and Materialities CONTENT 1 5 9 Mediation in Peirce's Media's Impact Media Semiotics on Daily Life 2 6 Modes of Media Communication Materialities 3 7 Regularization of Audience Modes Interaction 4 8 Media, Barthes on New Media and Modes, and Photography Multimodality Materialities MEDIATION IN MEDIA Different types of media (like photos or news articles) shape how we create and understand content. The medium (print or digital) affects how we interpret messages. Media, Modes, and Materialities MODES OF COMMUNICATION Different media communicate in different ways. Text is read in a sequence, while images can be viewed in any order. This affects how we understand and process information. Media, Modes, and Materialities REGULARIZATION OF MODES Language has clear rules and meanings, while images and gestures can be more ambiguous. However, these modes still follow some shared understanding. Media, Modes, and Materialities BARTHES ON PHOTOGRAPHY Roland Barthes explains that a photo's meaning depends on its context and the social setting in which it's seen. This shows that interpreting images can be complex. Media, Modes, and Materialities PEIRCE’S SEMIOTICS Charles Peirce classified signs into icons (which look like what they represent), symbols (which are arbitrary), and indexes (which depend on context). Different media use these signs in various ways. Media, Modes, and Materialities MEDIA MATERIALITIES The physical form of media affects communication. For example, digital photos can be easily altered, changing how we view their authenticity. Media, Modes, and Materialities AUDIENCE INTERACTION Traditional media is one-way, while modern platforms like YouTube allow for two-way communication. Digital media also mix real-time and delayed interactions. Media, Modes, and Materialities NEW MEDIA AND MULTIMODALITY Modern digital media use multiple modes (like video, gestures, and sound) to communicate. New tech like VR and smartwatches are expanding these modes further. Media, Modes, and Materialities MEDIA’S IMPACT ON DAILY LIFE Media fit into daily routines in different ways. For example, radio allows multitasking, while digital media encourages quick, frequent content consumption. Media, Modes, and Materialities Thank you! LANGUAGE OF MEDIA Media, Modes, and Materialities MEDIA GENRE STYLE  REPORTERS Castillo, Mendez, Lebuna, Alyzza Ashley Joyce Jaica MEDIA GENRE  GENRE Classifies texts based on characteristics Example: Romance Biography GENRE ANALYSIS According to John Swales and Vijay Bhatia Genres are recognizable forms with specific purposes.  GENRES IN MEDIA Media genre distinguish different media types such as chat shows and horror movies Development and Evolution Genres evolve with societal and technological changes.  Social Function Genres shape media production and audience expectations.  Generic Disruptions and Innovations “Horizons of Society Expectation” Culture “MENTAL SET” Societal and Cultural Expectations can lead to the following :  IMITATIVE BORING FORMULAIC  Sometimes media producers break from generic conventions and combine elements of different genres. However, such mixing can be risky and have unpredictable consequences It might be perceived as odd or inappropriate and be negatively evaluated or rejected.  For example: The Adaptation of the Rain in España new or hybrid genre  A hybrid genre is a literary or film genre that blends themes and elements from two or more different genres. MOCKUMENTARY DOCUMENTARY REALITY TV SITCOM STYLE Style is a manner of doing something, often linked to distinctive designs, compositions, or ways of speaking.  Style in Sociolinguistics In sociolinguistics, style refers to the way people use language, including vocabulary, grammar, pronunciation, and non-verbal cues. Evolution of Style Concept Style has evolved from a formal vs. informal concept to a broader understanding involving linguistic and non-linguistic resources to project social identity.  Contextual Use of Style Style is not just planned but also performed in interactions based on context, audience, and the intended message. What Makes Style ‘Appropriate’?  Imaginary Relationships with Audiences Media producers create styles based on imagined relationships with their audiences, leading to conventionalized styles. Example of News Presentation BBC news presenters use formal English (RP) and specific language features to convey seriousness and urgency.  Audience Design Media styles change based on the perceived audience, a concept known as "audience design." Conventionalized Styles and Media Gaffes  Media styles can become conventionalized, and shifts in style, whether intentional or unintentional, can lead to significant effects or public outcry. Style and Other Modes  Style Beyond Language Style in media is not only achieved through language but also through various design elements. Design Elements in Style Fonts, photo tinting, and layout contribute to the overall style, especially in multimodal texts.  Function of Design Elements Design elements work together with language to create a cohesive discourse style, setting audience expectations. Newspaper Example Broadsheets and tabloids use different design styles to signal seriousness or sensationalism. Styles and Social Identities Style as a Marker of Social Identity Style can signal belonging to a particular group or community.  Stylistic Choices as Acts of Identity Language and style are used to project social identity based on the context.  Style and Stereotyping Styles can lead to stereotyping and prejudice, especially when linked to undesirable behaviors.  Media's Role in Reinforcing Stereotypes Mainstream media often perpetuates stereotypes by linking certain speech styles with specific behaviors. THANK YOU!  Media Storytelling GROUP 4  PRESENTERS ALONSABE, DAVE : RODRIGO, CHERRYL YANSON, JAMIL JOY BRYON  Yanson Media Storytelling news stories in social media posts 28_fig1_289584852https://www.pinterest.com/pin/809 733208035409312/  Yanson Narrative: From Structure to Interaction Narrative Storytelling tool for social interaction in a usually held to be range of contexts (e.g. chat universal activity shows) Narrative genres include anecdotes, fables, fairy tales, love stories, novels, etc. nfluential People behind Narrative Structure Jerome Bruner https://www.researchgate.net/figure/Labovs- sociolinguistic-model-of-personal-narratives-adapted- 28_fig1_289584852 psychologist suggests there’s an “innate” human propensity to organize events into memorable stories.  Yanson Influential People behind Narrative Structure primarily interested in vernacular forms of language he used the technique of storytelling to elicit natural speech from the participants in interviews https://www.researchgate.net/figure/Labovs- studied stories together with his sociolinguistic-model-of-personal-narratives-adapted- 28_fig1_289584852 colleague Joshua Waletzky William Labov  Yanson Canonical Model of Narrative Linguistic and Language Studies (Labov, 1972; and Waletzky, 1967): https://www.researchgate.net/figure/Labovs- sociolinguistic-model-of-personal-narratives-adapted- 28_fig1_289584852  Facts about Canonical Model These elements can’t only be found in the longer stories, but can also be found in shorter media narratives. These elements does not neatly fit all the kinds of narratives that we produce.  RODRIG O Narrative as a Performance It was introduced by anthropologist Richard Storytelling Bauman. It is not just about reproducing social and It is a performance in cultural conventions; it which social and can also be an important cultural practices of the site of social and cultural teller’s and listener’s transformation. community are (re)enacted.  RODRIG O Storytelling as a Performance It is a performance that is always a site where tradition and innovation meet. (Bauman) The following are examples of popular cultural storylines: 1. Rags to Riches 2. Voyage and Return 3. Overcoming the Monster  RODRIG Note: Stories are not only influenced by larger cultural scripts, O but also by the specific contexts in which they are told. The following are examples: 1. Work by Elinor Ochs (linguistic anthropologist), Lisa Capps (psychologist), and Shoshana Blum-Kulka (sociolinguist) talk-in-interaction 2. Labov and Waletzky’s Model the listener assumes a passive role  RODRIG The following are examples: O 3. Blum-Kulka’s (1993) work on dinner conversations narratives are often jointly co-constructed by all participants involved 4. Ochs and Capps’ (2001) work on narratives in informal conversations Narratives are not simply recounts of what happened, but important resources for people to collaboratively reflect and make sense of events and situations, establish common ground, and display and negotiate their identities. For example: narratives produced on chats  RODRIG O Narrative as an Interactional Resource It highlights the fact that we engage in a variety of storytelling practices for a variety of different reasons.  RODRIG O Small Stories They are defined as ‘scraps’ of stories The following are examples: by sociolinguists Michael Bamberg 1. breaking news and Alexandra Georgakopoulou 2.projections (2008). 3.shared stories The analysis of narratives, including media narratives, must go beyond the They are favored in social traditional focus on highly structured, media. canonical narrative genres to see narrative as embedded in multiple genres and distributed throughout For example: RODRIG O 1. Instagram and Snapchat stories For example: RODRIG O 2. Memes Media Stories RODRIG O They are often collaboratively composed, with different people contributing to them, and that they often perform important social functions, allowing people to manage their social identities and social relationships. (Page, 2010) Narrative and Power Narratives are an interesting lens through which we can both explore accounts of personal experience as well as trace larger societal and cultural norms that shape that individual experience. They often serve the same functions as ‘myths’ in the ancient Media Narrative RODRIG O It works on two levels: 1. Literal Level 2. Symbolic Level Media Narrative According to Scholars: Neutral stories that we encounter in media work to construct and reinforce identities and social practices that align with existing relationships of power, especially within the framework of global capitalism in which humans are seen chiefly as freely choosing customers whose happiness depends on them acquiring goods. For example: Lee Artz's (2015) analysis of television cartoons and  RODRIG O Power in a Narrative It does not only work through the contents conveyed in the narrative. The power of narrative is also related to the fact that narratives, especially those told from personal experience, are often seen as ‘true’ accounts of events reflecting ‘real’ unedited experiences.  Alonsabe Frames in Media Storytelling refer to the perspectives or angles through which information, events, or stories are presented to an audience.  refers to the ways in which stories are selected, presented, and organized in order to Joseph N. Cappella emphasize a certain perspective on events over others (Capella & Jamieson, 1997). Kathleen Jamieson Framing is agenda-based and subjective Todd Gitlin presentation, making some aspects of a story more accessible and salient to the audience  Example of agenda-based and subjective presentation : 1. Agenda-Based Framing Scenario: A local government decides to build a new highway. Pro-Highway Agenda: Anti-Highway Agenda: Headline: “New Highway to Boost Headline: “New Highway Local Economy and Ease Traffic Threatens Environment and Congestion” Displaces Residents” Example of agenda-based and subjective presentation : 2. Subjective Presentation Framing Scenario: A story about a high school student who excels in academics and sports. Positive Subjective Frame: Critical Subjective Frame: Headline: “Meet the Star Headline: “Are Schools Putting Student Balancing Academics Too Much Pressure on Students and Athletics with Grace” to Excel in Both Academics and Sports?” FRAMES IN LINGUISTICS According to Gregory Bateson (1972), the processes through which people signal 'what's going on' in a communication, in other words, are we 'joking around', 'having an argument, 'sharing secrets, etc. EXAMPLE Consider someone saying, "You're such a genius," with a sarcastic tone and a smirk. Contextual Cues The sociolinguist John Gumperz (1982) called these signals contextualization cues, signals that people send through the words or style that they use, or through things like facial expression or tone of voice to show how what they are saying ought to be interpreted. Cognitive Linguistics and Political Framing According to George Lakoff (2006), a cognitive linguist, frames are mental structures that shape the way we see the world. Lakoff added, In politics our frames shape our social policies and the institutions we form to carry out policies.  Example of Political Framing Strict Father vs. Nurturing Parent Frames: Strict Father Frame: Nurturing Parent Frame: Politicians support strict law Politicians support policies that provide social safety nets, such as healthcare and education, enforcement and oppose welfare to help people in need, emphasizing programs, arguing that people need compassion and collective support. to take responsibility for their actions.  Framing in Media Reception the way audiences interpret what they see, read, or hear in the media. One of the most famous studies of frames in media reception was performed by the linguist Deborah Tannen (1980).  Example of Framing in Media Reception She found that Greek participants structured their responses around the narrative aspects of the film, whereas American participants were more likely to comment upon the technical aspects of the film and their experience as viewers of the film.  Jones’ Study In this study, the Chinese students talked about the commercials as 'moral stories, focusing on the actions of the characters and the consequences of those actions, whereas the Western lecturers talked about the stories as 'lectures, concentrating on their informational content.  Thank you very much for listening!  Media discourse and processes Presented by Group 5  Member of Group Bea Alexandra Charie Javan Nethal Addy s Iguales y Pillo Gabion Damas Topics 1.Objectives 2.From media products to discourse processes 3.Communities of practice 4.Newsworthiness and Standardization  Objectives To explain how media transforming actions and events into texts and then transporting those texts into different contexts. To examine the processes that take place ‘behind the scenes’ as media content is produced.  Media products Discourse processes It is shared through various In essence, discourse processes channels like television, the are all about how we make, internet radio and print. In short, Recontextualizati understand, and organize media products are the various inserting it on into a new communication in a way that forms of content we consume context others can follow and respond to every day, created to inform, discourse effectively. elements and entertain, persuade, or educate their meanings are not us. simply copied Examples: and Published pasted, articles, Examples: Podcasts, social media but rather reports, adapted reviews, letter toin a editor the  From media products to discourse Media products are notprocesses static entities that can be put on a shelf ready for academic scrutiny. ( e.g. podcasts, online articles, newspapers) When media products appear in front of our eyes, we experience them as ‘finished products’ that we can watch or read as well as analyze.  From media products to discourse All media products liftprocesses fragments of discourse from particular contexts and place them in other contexts. Subsequently, others might lift fragments of media content that has already been published or broadcast and transport it into still other contexts.  Entextualization A process of ‘lifting’ discourse from the context in which it is produced. (Bauman & Briggs, 1990) It involves two related processes: Decontextualization and Recontextualization Keyword: (Original to new context)  Decontextualizati Recontextualizati on on taking discourse out of its inserting it into a new context. context. Recontextualizati when something (like a word, inserting it on into a new when something (like a word, context phrase, or idea) is taken from phrase, or idea) is taken out discourse elements and its original context and of its original context and their meanings are not placed into a new one, used in a different situation, simply copieditand often giving pasted, or a different often leading to a change or but rather adapted expanded meaning. in a loss in meaning.  Intertextuality A process which all of media content, is at least to some degree, we will argue, a matter of cobbling together ‘scraps’ of discourse containing the ‘voices’ of different people. Keywords: (Reusing, Reference)  Intertextuality The mixing of voices in media products. All texts, spoken or written, make meaning by explicitly or implicitly responding to what has been said or written before or by anticipating future texts.  Heteroglossia In Greek, hetero means (different) and glossa means (tongue). A text is never static; its meaning emerges in the ‘conversations’ or dialogues the text has with other texts. The presence of different ‘voices’ in a text is sometimes made explicit (quotations or paraphrases), but sometimes implicit (presuppositions).  Heteroglossia refers to the presence of different voices, perspectives, or styles of language within a single text or conversation. It shows how people from different backgrounds or with different viewpoints speak differently, even within the same story. Keyword: (Diversity) Communitie s of practice Bauman and Briggs (1990) note that entextualization requires authority, often linked to power and resources. The rise of the internet has shifted this dynamic.  Reusing a type of discourse requires access and specific skills, often gained through journalism education and newsroom experience, forming a "community of practice" among journalists.  Jean Lave and Etienne Wenger's concept of "communities of practice" involves groups learning from shared activities and goals, gaining practical skills and maintaining professional boundaries. 1991 book Situated Learning: Legitimate Peripheral Participation. Joining a community of practice helps with socialization into its norms and practices. In journalism, it means applying formal skills to real scenarios, learning tacit knowledge, and understanding boundaries like separating advertising from reporting. Maintaining neutrality and objectivity in journalism involves separating business from reporting. New genres like advertorials and native content blur these boundaries, complicating the practice. Neutrality and objectivity guide newsroom practices, with decisions made in editorial meetings involving negotiations of values and principles like newsworthiness, standardization, and innovation.  NEWSWORTH INESS Newsworthiness refers to whether a story is worth publishing, broadcasting, or posting based on its relevance to the audience. Not all events are considered 'news,' and news producers must select which stories to tell. John Bogart's Quote: "Dog bites man is not news; man bites dog is." News Values: Criteria used to determine what counts as news. NEWS VALUE S News values are centered on three dominant parameters: 1. Timeliness: Relevance of the story to current events. Is it old or new? 2. Proximity: The story’s relevance to the audience's immediate situation or location. 3. Prominence: How important the event or person is within the SELECTION AGENDA- SETTING ◾News as Selection: News is not a direct reflection of what happens in the world but is shaped by editorial and creative processes. ◾Agenda-Setting: The media doesn’t just report events but uses techniques to highlight certain issues and direct public attention, potentially creating bias. RHETORIC IN NEWS ◾Rhetorical Purpose: News serves not only to inform but also to engage audiences, which may lead to biased representation, manipulation, or even deception. ◾Framing & Spin: These are techniques used to portray events in specific ways to influence public perception STANDARDIZATION The Role of Media What is Standardization? in Language Consistency Standardization in media refers to the consistent use of language considered 'correct' by society. Media outlets follow style guides like the Associated Press (AP) Stylebook to ensure uniformity in spelling, tone, and grammar.  ROLE OF LANGUAGE IN MediaMEDIA often adopt the language style considered prestigious, like Received Pronunciation (RP) in the UK, despite being spoken by only a small group. Example include the BBC’s use of RP as the standard for "good" language.  MEDIA AS PROTECTORS OF LANGUAGE Media, along with educational and political institutions, protect and disseminate standard language. Journalists and editors often view themselves as protectors of language standards, promoting 'correct' forms. STANDARD LANGUAGE IDEOLOGY The belief that standard forms of language are superior to non-standard dialects. Example: Isn’t and aren’t are favored over ain’t, despite widespread usage of the latter. Media promote this ideology by marginalizing non-standard forms of language. Media play a crucial role in standardizing language by promoting consistent linguistic norms and suppressing non- standard dialects. This practice helps preserve societal language standards but also reinforces certain biases about language correctness. Innovation  Evolving Standards: Media practitioners uphold traditional language standards but must adapt to evolving language and audience needs, shifting from standard public address to a more inclusive and diverse approach. Commercial Broadcasting: Since the 1950s, UK commercial broadcasting adapted to audience preferences with diverse formats like reality TV, quiz shows, and chat shows to attract and retain viewers. Digital Media Impact: Digital media and multichannel broadcasting transformed media discourse, with social networks and platforms like blogs, vlogs, and YouTube introducing diverse new voices and  Increased Diversity: Today’s media environment features a broader range of voices, including those from various backgrounds and non-traditional media producers. Despite this diversity, the prestige of standard language persists, maintaining traditional authority and social structures. Interaction of Voices: Understanding contemporary media discourse involves examining how diverse voices and speech styles interact and how language-variety hierarchies are preserved across different media formats. Media, Modes, and Materialities THE LANGUAGE OF MEDIA Roxanie Lamparero Anelyn Heart Lobaton Media, Janine Jerika Acuerdo Modes, and Materialities CONTENT 1 5 9 Mediation in Peirce's Media's Impact Media Semiotics on Daily Life 2 6 Modes of Media Communication Materialities 3 7 Regularization of Audience Modes Interaction 4 8 Media, Barthes on New Media and Modes, and Photography Multimodality Materialities MEDIATION IN MEDIA Different types of media (like photos or news articles) shape how we create and understand content. The medium (print or digital) affects how we interpret messages. Media, Modes, and Materialities MODES OF COMMUNICATION Different media communicate in different ways. Text is read in a sequence, while images can be viewed in any order. This affects how we understand and process information. Media, Modes, and Materialities REGULARIZATION OF MODES Language has clear rules and meanings, while images and gestures can be more ambiguous. However, these modes still follow some shared understanding. Media, Modes, and Materialities BARTHES ON PHOTOGRAPHY Roland Barthes explains that a photo's meaning depends on its context and the social setting in which it's seen. This shows that interpreting images can be complex. Media, Modes, and Materialities PEIRCE’S SEMIOTICS Charles Peirce classified signs into icons (which look like what they represent), symbols (which are arbitrary), and indexes (which depend on context). Different media use these signs in various ways. Media, Modes, and Materialities MEDIA MATERIALITIES The physical form of media affects communication. For example, digital photos can be easily altered, changing how we view their authenticity. Media, Modes, and Materialities AUDIENCE INTERACTION Traditional media is one-way, while modern platforms like YouTube allow for two-way communication. Digital media also mix real-time and delayed interactions. Media, Modes, and Materialities NEW MEDIA AND MULTIMODALITY Modern digital media use multiple modes (like video, gestures, and sound) to communicate. New tech like VR and smartwatches are expanding these modes further. Media, Modes, and Materialities MEDIA’S IMPACT ON DAILY LIFE Media fit into daily routines in different ways. For example, radio allows multitasking, while digital media encourages quick, frequent content consumption. Media, Modes, and Materialities Thank you! LANGUAGE OF MEDIA Media, Modes, and Materialities  ELS 144: LANGUAGE AND MEDIA MEDIA AND THE ATTENTION ECONOMY GROUP MEMBERS: CUBITA, ELICAÑA, ROSIE JILL JESCEDALE ANN SEBLIT, SONGCUYA, KATHERINE CLARISSE FAYE  CONTENTS: 1. Overview of Media and the Attention Economy 2. The Attention Economy 3. Memetics and Virality 4. Sensationalism in Media OVERVIEW OF MEDIA AND THE ATTENTION ECONOMY 1. FOCUS ON SPREADABILITY The unit examines why certain media content grabs attention and spreads more effectively. It emphasizes "spreadability," a term by Jenkins, Ford, and Green (2018), which refers to the features that encourage people to share media content. 2. SPREADABILITY VS. NEWSWORTHINESS Spreadability adds value and meaning to content beyond the traditional notion of newsworthiness. Not all newsworthy content is spreadable, and vice versa. 3. ROLE OF SOCIAL MEDIA Social media facilitates the sharing of content through extensive networks, making it easier for users to spread messages.  4. AUDIENCE ENGAGEMENT 5. CONCEPTS TO EXPLORE Media content is more spreadable when it prompts audience Highlights environments members to actively participate in of media exposure, its distribution by sharing or competition for reacting to it. attention, memetics, virality, and linguistic strategies used by traditional media to attract audiences. THE ATTENTION ECONOMY 1. INTRODUCTION TO THE ATTENTION ECONOMY The attention economy Media producers have always focuses on capturing aimed to attract attention, and monetizing from early publishers to audience attention. modern media. 2. EVOLUTION OF MEDIA STRATEGIES EARLY MEDIA: BROADCAST MEDIA: Penny press and yellow Techniques like journalism aimed at payola and attracting less-educated strategic readers through interruptions were sensational content. used to maintain viewer attention. 3. SHIFT TO DIGITAL MEDIA Current Challenge: Surplus of content with a shortage of attention. Impact: Media producers face difficulty standing out in a crowded digital space. 4. ATTENTION AS CURRENCY Herbert Simon's View: Information consumes attention, leading to a scarcity of attention in an information-rich world. Monetization: Attention is sold to advertisers, and personal data is collected to tailor ads. 5. PERSONAL DATA AND ATTENTION Digital Advertising: Platforms collect data on user habits to create targeted ads. User Perspective: “Free” services often monetize user attention by selling data to advertisers. MEMETICS AND VIRALITY 1. INTRODUCTION TO MEMES Memes are cultural elements carries specific meaning that spread from person to person through imitation (Dawkins, 1976). Importance: Memes shape culture by gaining value as they attract attention and spread.  2. MEMES AS MIND-VIRUSES It spreads by infecting 3. thoughts and UNDERSTANDING emotions VIRALITY Factors: Rapid spread of Content Impact: content through originality, They evolve as they move social networks, emotional impact, from person to person, driven by and a conducive influencing culture. sharing sharing environment. 4. SOCIAL SHARING AND IDENTITY Sharing content builds a sense of community and belonging. Focus: The act of sharing often matters more than the content itself, reinforcing social bonds.  5. ACTIVE ROLE OF CONSUMERS Consumers actively influence the spread SUMMARY: and value of content by Memetics and virality sharing it. highlight the power of collective participation in shaping culture. SENSATIONALISM IN MEDIA 1. INTRODUCTION TO SENSATIONALISM Sensationalism is the Importance: strategy of "packaging" This approach is commonly information to make it used by media to grab attention appear more interesting, and compel audiences to extraordinary, and engage with or spread content. relevant than it might inherently be. 2. NEWSWORTHINESS VS. SENSATIONALISM Newsworthiness: Traditionally, events are considered newsworthy based on their intrinsic qualities. Sensationalism: Sensationalism goes beyond intrinsic news value, using specific language and framing to create a sense of importance and urgency around the story.  3. LINGUISTIC FEATURES OF SENSATIONALISM Evaluative Language: SPEECH ACTS: Use of moralistic or emotionally charged EXPOSING: REVEALING WARNING: language to provoke HIDDEN TRUTHS. CREATING strong reactions (e.g., ANXIETY ABOUT “Greedy bankers to POTENTIAL GENERALIZING: DANGERS. face prison”). MAKING BROAD JUDGMENTS ABOUT GROUPS. 4. COMMON STRUCTURES IN SENSATIONAL HEADLINES Interrogatives: Headlines that ask provocative questions to compel readers to seek answers (e.g., “Are we about to witness the end of Britain?”). Nutshell Narratives: Condensed stories that rearrange elements to place the climax first for maximum impact (e.g., “Innocent man who rang 999 from back of police van gets five figure pay out”). 5. IMPACT OF SENSATIONALISM ON INFORMATION Changing Meaning: Sensationalism not only alters the form of information but also its meaning by exaggerating or foregrounding certain aspects. Cultural Impact: It plays on cultural storylines and reader associations, potentially distorting reality to fit a more dramatic narrative. THANK YOU FOR LISTENING!  RESOURCE PAGE Use these design resources in your Canva Presentation. Happy designing! Delete or hide this page before presenting. TRUTH, LIES, & PROPAGANDA Jetro Celestial Lea Ann Fullon Ma. Alodia Jarandilla Truths & Lies truth in media involves accurate, objective reporting, and presenting facts, without biases. lies in media talks about misinformation, involving unintentional or deliberate spread of false information. Media Bias refers to the way media are crafted to convey specific points of view, often aligning with the agendas of those who create them. Post-Truth Era a cultural and political environment where objective facts are less influential in shaping public opinion than appeals to emotion and personal beliefs.  Media Messages the content produced and distributed through various forms of media, such as televisions, newspapers, social media, films, radio, and online platforms. News Bias can someone from the decisions of reporters and editors about what is worth reporting and what is not, about whom to interview to find out “facts” about events, and even about where cameras are placed to record events and how pictures get edited. Newspaper Editorials & Opinion Columns (op-eds) Persuasion Knowledge Model by Marian Friestad and Peter Wright (1994) a theory which postulates that the more people recognize that the purpose of the message is to persuade them, the less likely they are to be persuaded by it. brand Branded and Native Content Native -refers to paid content that mimics the form and function of the platform on which it appears. Branded- a type of native advertising, is specifically designed to look and feel like regular editorial content, often blending seamlessly into the surrounding material. Truthiness The term “truthiness” was coined by comedian Stephen Colbert to describe information or claims that “feel” true or seem to be true because they align with a person’s pre- existing beliefs, rather than because they are based on factual evidence. Confirmation Bias The psychological tendency for individuals to favor, seek out, and give more weight to information that confirms their pre-existing beliefs while disregarding or downplaying information that contradicts those beliefs. Propaganda “conscious and intelligent manipulation.” - Edward Bernay “contains disinformation to promote a certain viewpoint.” - Black’s Law Dictionary Ideology over Idea language in advertisements and columns convince you of an “idea” propaganda socialize people into an “ideology” Propaganda Persuasion it takes hold of the entire person with an “organized myth” mere act of convincing people More about Propaganda it seeks not just to get people to think in a certain way, but to get people to act in a certain way More about Propaganda it makes people feel like they are a part of a “team” or a “tribe” which is better than some other ‘team’ or ‘tribe’. (Jacques Ellul, 1965) Propagandist? person who leads a propaganda use indirect ways, they try to manipulate people’s attitudes and assumptions Short story about Propaganda: A brief example Post-truth and the manufacture of doubt creating doubt to confuse people, making them rely on emotions, leading them to be easily influenced and controlled. Manufacturing Controversy Propaganda often creates controversy, making people think there’s a debate when issues are already settled. This sows doubt, leading to mistrust in scientific findings or inconvenient truths. Strategy of Sowing Doubt Companies create doubt to challenge established facts. This is done by promoting ideas that contradict scientific consensus, making it hard for people to distinguish between reliable and unreliable information. Post - Truth In a post - truth world, the goal is not to convince you that something is true, but to make you doubt everything, leading to confusion and manipulation by those in power. Danger of Thingking “Nothing is true” The real danger is believing that no facts matter, making us vulnerable to manipulation by those who use media to stir emotions rather than present the truth. Thank You  GROUP 9 Media, Censorship, and Resistance Group Members Bacia, Prince Jeremy Enerido, Romel Guzman, Christy Ann Pacete, Hanna May  Group 9 Bacia, Prince Jeremy Enerido, Romel Guzman, Christy Ann Pacete, Hanna May In this document: 1. Introduction 2. The Role of Media in Society 3. Censorship Meaning and History 4. Censorship in Media 5. Types of Censorship 6. The Cybercrime Department 7. Resistance to Censorship 8. Conclusion Media, Censorship, and Resistance August , 2024 Introduction In today's interconnected world, media plays a crucial role in shaping public opinion, disseminating information, and holding power accountable. However, media is often subjected to censorship, a practice used by governments, corporations, and other powerful entities to control the flow of information. Media, Censorship, and Resistance August , 2024  MEDIA Media, Censorship, and Resistance August , 2024 Role of Media in Society Media, encompassing traditional platforms such as newspapers, radio, and television, as well as digital platforms like social media and blogs, serves multiple functions: INFORMATION DISSEMINATION Public Debate and Opinion Shaping Accountability Media, Censorship, and Resistance August , 2024 Definition of Censorship and History Media, Censorship, and Resistance Auust, 2024 Censorship The word censorship comes from the Latin word censor, the job of two Romans whose duty was to supervise public behaviour and morals, hence 'censoring' the way people acted. Blocking certain material by government Materials may be politics, religious, sexual, economic, or violent. This may be done on the basis that such material is considered objectionable, harmful, sensitive, or "inconvenient". Media, Censorship, and Resistance August,2024 Censorship in Media Media, Censorship, and Resistance August , 2024 Censorship involves the suppression or prohibition of speech, public communication, or other information. Censorship can take various forms: GC cc sc Corporate Censorship Self-Censorship Government Censorship Corporations, especially Media outlets and Governments may those that control media journalists might self- censor media to platforms, can censor censor to avoid backlash, suppress dissent, control content that threatens legal consequences, or narratives, and maintain their interests or violates harm to their reputation. power. their policies. Who Imposes Censorship? Rulers of Government Leaders of Democracy Parents Military Officials Media, Censorship, and Resistance August,2024 Need of Censorship Protects against pornography and violence. Limits certain materials for religious and cultural reasons To avoid virus and spam messages Some uneducated people may not know the complex ideas of politics Avoid pornography to reach minors Stop illegal materials in internet Media, Censorship, and Resistance August,2024 Types of Censorship 1 Educational Censorship- avoiding unwanted contents in frequents sites used by students. 2 Moral Censorship- blocking racist posts in social network like Facebook and Twitter. 3 Military Censorship- to keep secret as secret (technologies and methods used by military) Political Censorship- political parties should not influence the uneducated people by creating negative 4 thoughts on the rulers. Religious Censorship- countries like India doesn't belong to a single region, in those countries religious 5 advertisements must be blocked. 6 Corporate Censorship- the workers log must be monitores to avoid unwanted usages. Media, Censorship, and Resistance August,2024 The Cybercrime Department is a crucial entity responsible for protecting individuals, organizations, and national security from a wide range of cybercrimes. Scans each and every websites and message. Block unwanted things. Primarily work as a surveillance of every activities on the internet Media, Censorship, and Resistance August,2024  Ways to develop Censorship MAKE THE This may control unauthorized persons SAFETY MODE from viewing contents on site. Required users must login or sign in to view content in a particular site. Media, Censorship, and Resistance August,2024  Ways to develop Censorship CHANGING BLURRED EFFECT CHANGE THE BLURRED EFFECT Blurring is often used to protect the identities of individuals who appear in images or videos, especially in sensitive contexts like Media, Censorship, and Resistance August,2024 crime scenes, court cases, or witness protection. This helps prevent unwanted exposure or harassment. Resistance to Censorship Despite efforts to control media, resistance often emerges, fueled by the human desire for freedom of expression and the public's right to know. So we have: Independent Journalism Independent media outlets and journalists often operate outside mainstream platforms, providing alternative narratives and exposing censored stories. Citizen Journalism With the rise of social media, individuals can share information and report on events, often bypassing traditional censorship mechanisms. Media, Censorship, and Resistance August,2024 Resistance to Censorship Anonymous Platforms Platforms like Wikileaks allow whistleblowers to share information anonymously, resisting censorship. Technological Solutions Tools like VPNs, Tor networks, and encrypted messaging apps help individuals bypass censorship and communicate securely. Media, Censorship, and Resistance August,2024 Conclusion Media, censorship, and resistance are interwoven in a complex relationship that reflects the ongoing struggle between power and freedom. While censorship remains a tool for controlling information, resistance continues to evolve, driven by the human spirit's desire for truth and justice. The future will likely see this dynamic continue, with new technologies and methods shaping the landscape of media freedom. Media, Censorship, and Resistance August,2024 Thank you. Media, Censorship, and Resistance August,2024