Task #4 - Online research sources
Media Magazine Sources
MM34- 5. Evolving Technologies: Changes in Audiences and Consumption
pg 23 "Modern audiences are used to having all their desired technology at their fingertips in one product, and this has greatly affected audience consumption."
pg 23 "Over-accessibility may change why the audience chooses to consume in the first
place; where once there was a desire to see something that was a novelty and share it with friends and family members, the audience now constantly demands something new, and often watches it in isolation."
9. Hashtag TV: Twitter and television
pg 42 "Cultivating an audience that is interactive means building a sense of community and fostering the brand loyalty that all media institutions crave."
MM41- 1. Self-image and the media – selling us our selves. How do the media influence the ways we see ourselves, and our construction of our own identities?
pg 9 Freud’s ideas about the Self seemed to imply that beneath the surface there was an ‘essential self’ – the core of who you actually are. Later thinkers began to challenge this. Lacan, for example, talks of the ‘fragmented self’; an idea that we are not one simple ‘identity’ but we have many identities. Our identities change depending on external circumstances and relationships. Lacan argues that this fragmentation leaves us feeling incomplete and we seek to complete our selves by imagining an ideal state of self (the ‘ideal-I’).
pg 10 In addition, the increasing dominance of the mass media and what Baudrillard calls ‘media saturation’ results in high cultural value being placed on external factors such as physical beauty and fashion sense over internal traits such as intelligence or compassion.
9. Identities and the Media: How do the contemporary media represent the identities of different groups in society?
pg 39 Identity isn’t fixed, but changes over time and in different situations, and we can have multiple identities.
pg 39-40 Many post-feminists argue that in contemporary media gender roles are less rigid, and women can more easily define their own identity. Through the interactivity of digital media, audiences can increasingly select, manipulate or reject media representations, and thus can create their own identities.
pg 40 Web 2.0 has enabled active audiences to interact with and comment on the media and to become producers themselves. New Media theorist David Gauntlett argues that Web 2.0 platforms enable audiences to represent themselves. So rather than providing access to a narrow range of institutions, the media landscape is now a criss-crossing web of different connections in which audiences can choose to participate.
MM50- 2. The Media Concepts: Media Language
pg 16 The selection of media language elements and the way they are arranged can have artistic meaning or be part of a structured communication between producer and audience.
MM51- 1. The Media Concepts: Representation Old and New.
pg 6 A representation is a re-presentation (literally – to present again), and so the images and ideas we see on screen, in print or online are ‘removed’ from the original object. The media intervene and stand between the object and what we see – the act of communicating the image or idea in some way changes it.
pg 7 All representations, then, are the cumulative effect of a collection of media language choices. Certain choices are made; others are rejected. The representation itself is the combination of these selections and rejections. The elements that are rejected do not carry the meaning the producer wants to communicate.
MM52- 2. Two Key Concepts: The Relationship Between Audience and Institution.
pg 11 As the digital landscape has developed, audiences’ relationships with institutions have continued to change. Audiences now have more freedom to access media products when they choose, rather than when they are told.
pg 14 Psychologist Erving Goffman suggested that we are like actors, because we ‘perform’ a particular behaviour in order to create the impression we want to convey about ourselves.This behaviour changes depending on who we are with.
Media Edu
Understanding Audience
https://media.edusites.co.uk/article/understanding-audience/
Television producers need an audience for their programmes, so they can finance those programmes and make more programmes that the audience likes.
It suggests that a media text can ‘inject’ ideas, values and attitudes into a passive audience who might then act upon them. This theory also suggests that a media text has only one message which the audience must pick up.
A similar idea is known as densensitisation which suggests that long term exposure to violent media makes the audience less likely to be shocked by violence. Being less shocked by violence the audience may then be more likely to behave violently.
Identity:Representation of Youth
https://media.edusites.co.uk/article/ocr-a2-media-studies-g325-section-b-collective-identity-youth/
Collective identity implies a homogenous group, each with common interests and a similar lifestyle. Representation is the way in which the media mediate, repackage or ‘re-present’ individuals, people, places and social groups to audiences.
Hegemonic assumptions about collective identity are often reinforced and circulated by the media as ‘common sense’ and this can lead to marginalisation and can also embed ideological beliefs e.g. the myth of older age and its association with wisdom.
Changes in technology and the liberalisation of social values has led to more pluralistic representations however. Web 2.0 has changed the face of media and technology empowering youth more
E- Jump cut online media journal
http://www.ejumpcut.org/currentissue/-JenkinsNetflix/
Netflix’s geek-chic: how one company leveraged its big data to change the entertainment industry
In early 2015, Netflix boasted over sixty million subscribers in fifty different countries and announced its plans to be operational in every single country by the end of the following year. The company, as its name suggests, offers its members a large array of film and television content, through either a DVD mail-subscription service or a digital streaming membership for a low monthly cost. While its DVD library is certainly more exhaustive than its digital one, Netflix’s streaming service still offers its members thousands of different titles depending on the region and is so popular in North America that in 2014 it accounted for 34% of all traffic using downstream bandwidth (Govind).
If there is a thesis that summarizes Netflix’s history and development, it is that the company has always been a dangerous game changer for its competition in the entertainment industry.
A second thesis about the company’s growth and success, however, might consider Netflix’s unusual focus on big data. By definition, big data is data that surpasses the processing capacity of conventional database systems and is received at such a high volume that it requires an elaborate system of collection and analysis to fully understand it.
It also tracks what types of programs subscribers watch on different days of the week, what programs are popular in particular zip codes, and what color browsing poster a viewer is most likely to select from the home recommendation screen.
Netflix was the brainchild of two Silicon Valley business partners, Reed Hastings and Mark Randolph, who wanted to create “the next Amazon.com of something” in the late 1990s (Keating 13).
Politics and style in Black Girl (Possible historical text)
https://www.ejumpcut.org/archive/onlinessays/JC27folder/BlackGirlLandy.html
BLACK GIRL records the story of a young black Senegalese woman, Diouana, brought to Antibes by a French couple previously stationed in Dakar. Under the mistaken assumption that she has been employed as a governess for the couple's children, Diouana quickly learns that she must do the cooking, laundry, cleaning, and babysitting. Without salary or friends, treated as invisible by her employers, confined to the house except for shopping, and disillusioned by the sad discrepancy between the realities of her life in France and her earlier fantasies of France as a Mecca of beautiful people, appealing consumer items, and adventure, Diouana finally commits suicide.
In her anger, which leads to her suicide, she expresses the slave's classic and ultimate form of resistance to the master, the refusal to serve. Diouana's suicide has multiple significance. It is a reproach to her masters, who exploit her and do not even recognize their exploitative practices. It is also as the inevitable conclusion to her sense of total isolation and imprisonment.
The suicide at the end of BLACK GIRL raises a problem common to many neo-realist films. Namely, the death of the protagonist has implications of determinism. Neorealism poses a contradiction when it portrays oppression as the outgrowth of changing social conditions, while dramatizing individuals as immobilized and destroyed. Moreover, the narrative structures do not allow for alternatives, except perhaps mechanically. Also, in neorealist presentations, death can function as a rhetorical device to enlist the audience's sympathy often at the expense of analysis, offering catharsis rather than resistance. In his later films, Sembene adopts new strategies for depicting the oppressed. In his development of character, image, and theme, he orchestrates contrasts and alternatives more fully. And through foregrounding conflict rather than submission, he transforms his victims to active protagonists.
MM34- 5. Evolving Technologies: Changes in Audiences and Consumption
pg 23 "Modern audiences are used to having all their desired technology at their fingertips in one product, and this has greatly affected audience consumption."
pg 23 "Over-accessibility may change why the audience chooses to consume in the first
place; where once there was a desire to see something that was a novelty and share it with friends and family members, the audience now constantly demands something new, and often watches it in isolation."
9. Hashtag TV: Twitter and television
pg 42 "Cultivating an audience that is interactive means building a sense of community and fostering the brand loyalty that all media institutions crave."
MM41- 1. Self-image and the media – selling us our selves. How do the media influence the ways we see ourselves, and our construction of our own identities?
pg 9 Freud’s ideas about the Self seemed to imply that beneath the surface there was an ‘essential self’ – the core of who you actually are. Later thinkers began to challenge this. Lacan, for example, talks of the ‘fragmented self’; an idea that we are not one simple ‘identity’ but we have many identities. Our identities change depending on external circumstances and relationships. Lacan argues that this fragmentation leaves us feeling incomplete and we seek to complete our selves by imagining an ideal state of self (the ‘ideal-I’).
pg 10 In addition, the increasing dominance of the mass media and what Baudrillard calls ‘media saturation’ results in high cultural value being placed on external factors such as physical beauty and fashion sense over internal traits such as intelligence or compassion.
9. Identities and the Media: How do the contemporary media represent the identities of different groups in society?
pg 39 Identity isn’t fixed, but changes over time and in different situations, and we can have multiple identities.
pg 39-40 Many post-feminists argue that in contemporary media gender roles are less rigid, and women can more easily define their own identity. Through the interactivity of digital media, audiences can increasingly select, manipulate or reject media representations, and thus can create their own identities.
pg 40 Web 2.0 has enabled active audiences to interact with and comment on the media and to become producers themselves. New Media theorist David Gauntlett argues that Web 2.0 platforms enable audiences to represent themselves. So rather than providing access to a narrow range of institutions, the media landscape is now a criss-crossing web of different connections in which audiences can choose to participate.
MM50- 2. The Media Concepts: Media Language
pg 16 The selection of media language elements and the way they are arranged can have artistic meaning or be part of a structured communication between producer and audience.
MM51- 1. The Media Concepts: Representation Old and New.
pg 6 A representation is a re-presentation (literally – to present again), and so the images and ideas we see on screen, in print or online are ‘removed’ from the original object. The media intervene and stand between the object and what we see – the act of communicating the image or idea in some way changes it.
pg 7 All representations, then, are the cumulative effect of a collection of media language choices. Certain choices are made; others are rejected. The representation itself is the combination of these selections and rejections. The elements that are rejected do not carry the meaning the producer wants to communicate.
MM52- 2. Two Key Concepts: The Relationship Between Audience and Institution.
pg 11 As the digital landscape has developed, audiences’ relationships with institutions have continued to change. Audiences now have more freedom to access media products when they choose, rather than when they are told.
pg 14 Psychologist Erving Goffman suggested that we are like actors, because we ‘perform’ a particular behaviour in order to create the impression we want to convey about ourselves.This behaviour changes depending on who we are with.
Media Edu
Understanding Audience
https://media.edusites.co.uk/article/understanding-audience/
Television producers need an audience for their programmes, so they can finance those programmes and make more programmes that the audience likes.
It suggests that a media text can ‘inject’ ideas, values and attitudes into a passive audience who might then act upon them. This theory also suggests that a media text has only one message which the audience must pick up.
A similar idea is known as densensitisation which suggests that long term exposure to violent media makes the audience less likely to be shocked by violence. Being less shocked by violence the audience may then be more likely to behave violently.
Identity:Representation of Youth
https://media.edusites.co.uk/article/ocr-a2-media-studies-g325-section-b-collective-identity-youth/
Collective identity implies a homogenous group, each with common interests and a similar lifestyle. Representation is the way in which the media mediate, repackage or ‘re-present’ individuals, people, places and social groups to audiences.
Hegemonic assumptions about collective identity are often reinforced and circulated by the media as ‘common sense’ and this can lead to marginalisation and can also embed ideological beliefs e.g. the myth of older age and its association with wisdom.
Changes in technology and the liberalisation of social values has led to more pluralistic representations however. Web 2.0 has changed the face of media and technology empowering youth more
Contemporary Regulation of the Media
regulation of the media seeks to protect vulnerable elements within society who may be ‘victim’ to passive consumption, primarily the younger generation.
There is a strong argument in the interactive digital age to suggest that contemporary media audiences are much more sophisticated, active consumers of the media and media representations and are less in need of protection via censorship and regulation but to what degree and who censors and who has the right to censor?
Along with contemporary media regulation, freedom of information has also been a developing global concept
Understanding Representations and Stereotyping
Representation is the process by which the media presents the ‘real world’ to an audience.
Media texts construct meanings about the world – a picture, a film, a television programme or a newspaper article re-presents the world to help audiences make sense of it.
http://www.ejumpcut.org/currentissue/-JenkinsNetflix/
Netflix’s geek-chic: how one company leveraged its big data to change the entertainment industry
In early 2015, Netflix boasted over sixty million subscribers in fifty different countries and announced its plans to be operational in every single country by the end of the following year. The company, as its name suggests, offers its members a large array of film and television content, through either a DVD mail-subscription service or a digital streaming membership for a low monthly cost. While its DVD library is certainly more exhaustive than its digital one, Netflix’s streaming service still offers its members thousands of different titles depending on the region and is so popular in North America that in 2014 it accounted for 34% of all traffic using downstream bandwidth (Govind).
If there is a thesis that summarizes Netflix’s history and development, it is that the company has always been a dangerous game changer for its competition in the entertainment industry.
A second thesis about the company’s growth and success, however, might consider Netflix’s unusual focus on big data. By definition, big data is data that surpasses the processing capacity of conventional database systems and is received at such a high volume that it requires an elaborate system of collection and analysis to fully understand it.
It also tracks what types of programs subscribers watch on different days of the week, what programs are popular in particular zip codes, and what color browsing poster a viewer is most likely to select from the home recommendation screen.
Netflix was the brainchild of two Silicon Valley business partners, Reed Hastings and Mark Randolph, who wanted to create “the next Amazon.com of something” in the late 1990s (Keating 13).
Politics and style in Black Girl (Possible historical text)
https://www.ejumpcut.org/archive/onlinessays/JC27folder/BlackGirlLandy.html
BLACK GIRL records the story of a young black Senegalese woman, Diouana, brought to Antibes by a French couple previously stationed in Dakar. Under the mistaken assumption that she has been employed as a governess for the couple's children, Diouana quickly learns that she must do the cooking, laundry, cleaning, and babysitting. Without salary or friends, treated as invisible by her employers, confined to the house except for shopping, and disillusioned by the sad discrepancy between the realities of her life in France and her earlier fantasies of France as a Mecca of beautiful people, appealing consumer items, and adventure, Diouana finally commits suicide.
In her anger, which leads to her suicide, she expresses the slave's classic and ultimate form of resistance to the master, the refusal to serve. Diouana's suicide has multiple significance. It is a reproach to her masters, who exploit her and do not even recognize their exploitative practices. It is also as the inevitable conclusion to her sense of total isolation and imprisonment.
The suicide at the end of BLACK GIRL raises a problem common to many neo-realist films. Namely, the death of the protagonist has implications of determinism. Neorealism poses a contradiction when it portrays oppression as the outgrowth of changing social conditions, while dramatizing individuals as immobilized and destroyed. Moreover, the narrative structures do not allow for alternatives, except perhaps mechanically. Also, in neorealist presentations, death can function as a rhetorical device to enlist the audience's sympathy often at the expense of analysis, offering catharsis rather than resistance. In his later films, Sembene adopts new strategies for depicting the oppressed. In his development of character, image, and theme, he orchestrates contrasts and alternatives more fully. And through foregrounding conflict rather than submission, he transforms his victims to active protagonists.
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