Term
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Definition
• Citizenship: people w/ the right to political participation in a society
o Modern citizenship requires media to communicate ideas
o Holds the state accountable
o The state= a country’s governing body
o Public sphere: where a group of individuals come together in public spaces to engage in critical debate in England & France in the 1800s
o It was a response to the rise of middle class, free trade and printing press
o It allows society to develop outside aristocracy
o RESULT: leads to free assembly, speech & price
o Capitalism provided economic incentive to provide news & culture outside government control + public spaces to discuss them |
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Term
| Four descriptions of the public sphere |
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Definition
• 1) not an institution but a communicative network
• 2) citizens behave as a public body
• 3) sphere of public control debating public info
• 4) made possible thru media |
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Term
| Criticisms of the public sphere: |
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Definition
• 1) idealizes a privileged & exclusionary sphere
• 2) separates “public” matters worthy of discussion from “private” matters that aren’t
• 3) not a single public sphere but many
• 4) simplistic, dystopian assessment of media |
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Term
| The networked public sphere: |
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Definition
• Network of spaces where we live our cultural and political lives
• Public and virtual spaces
• Professional and non-professional media makers
• THUS: media is central to ideas about freedom of info and expression |
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Term
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Definition
• Tv is good b/c it is broadcast approach, brings in huge audience
• Heart of everyday life
• Informs public
o Teaches media citizenship: political and cultural, self-determined
• Place to learn about news & events
• Publicizes a diversity of ideas and representations
• Emphasizes reading OVER writing but this is secondary to its speed and trust worthiness
• THUS: TV is a form of literacy rather than behavior |
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Term
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Definition
| • Produces new material by editing existing content |
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Term
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Definition
| • Mislead people into thinking that the route to contentment comes from consumption rather than upward mobility |
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Term
| Alternative media & the fifth estate |
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Definition
| • Alternative media: outside mainstream production and gatekeeping • Alt media can differ in content & style, modes of production and distance, & relationship w/audience • Can express counter-hegemonic ideas • FIFTH ESTATE: o caters and provides counter points to powerful commercial media- it rises to police 4th estate |
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Term
| The divide between amateur & professional |
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Definition
• 1) professionalization of film and tv industries
• 2) standardization of equipment
• 3) denial of access to networks of distribution
• 4) industrial & popular discourse on quality |
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Term
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Definition
a. More than cost, it is an alternative aesthetic
a. Being cheap forces you to be efficeient
b. Props/effects ad emphasis
c. Many small audiences add up to a large audience
d. Greater immediacy/turn around of production
e. Doesn’t need to be “well-behaved” |
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Term
| Internet & the public sphere & three takeaways |
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Definition
• Internet opens up access to media
• Allows access to more voices in the public sphere
• Can range from personal diaries to news coverage or social commentary
• Gatekeeping practices largely removed
• Value comes from insight or capturing a crucial development
• 3 TAKE AWAYS
o 1) users must negotiate personal identity w/larger information and viewpoints
o 2) unfiltered media raises issues of quality control, veracity, noise.
o 3) not just technology, but how the technology is accessed and used |
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Term
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Definition
• Discourses on consumption tied to economic and personal necessity
• Consumption presented as:
o Leisure & pleasure
o therapy |
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Term
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Definition
• fashion and its ads provide the lure of self-realization
• crucial to the development of consumer culture
• helps us externalize who we are or desire to be
o express social identities (age, gender, class, etc)
o express attitudes, moods, aspirations
• fashion is powerful but not deterministic. We choose mix, appropriate etc. |
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Term
| The three definitions of celebrity |
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Definition
• a famous person
• a famous persons public persona
• a performative practice |
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Term
| The three ways of performing celebrity |
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Definition
• relation to others (practice)
o audience & fans
o industry (directors, publicist, journalists, other celebs)
• presenting seemingly authentic self (person)
o private lives
o interest in “real” but distance still mostly maintained
• cultural practice of fans & viewers
o we also make meanings |
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Term
| Fiske on Madonna & celebrity: |
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Definition
• ideological meaning behind a star text is more important than the products she or he produces
• stars are a site of struggle for audience interpretation
• CASE STUDY: Madonna’s sexualized performance of feminity
o Is it for the pleasure of men or is she taking charge of her sexuality?
• TAKEAWAY:
o Start texts can proved an empowering “relevant fantasy” capable of challenging repressive norms. |
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Term
| Micro-celebrity & from where it emerges |
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Definition
• Web can’t create “old-fashioned stars” but it can allow for micro-celebrity
• Micro-celebrity:
o People broadcast themselves & collect an audience across media & social networks
• This emerges FROM:
o Increased access to production and distribution technologies
o Creation of public personas
• Where connections w/ others are integral to self-presentation
o Built around sense of “liveness”, intimacy, and authenticity |
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Term
| Medical images as representations |
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Definition
• Visual representations are used to catalog and judge the body and its functions
o An attempt to understand and manage difference
o Determines what is normal and what is abnormal
• BUT: scientific images can be aesthetic visual objects that communicate certain cultural and ideological meanings
• Western culture privileges practices that manifest that which is unseen
• Vision as primary avenue to knowledge (occularcentrism)
• The “medical gaze” penetrates that body
o EX: DNA analysis & xrays used as evidence of abnormalities and truths
• Visual power of images used to medicalize problems |
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Term
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Definition
• The “medical gaze” penetrates that body
o EX: DNA analysis & xrays used as evidence of abnormalities and truths |
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Term
| The five “scapes” (Appadurai): |
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Definition
1) Ethno-scapes: deterritorilization or Diaspora
2) Technoscapes (machines): can be high-tech or low tech
3) Financescapes (money): TNC (transnational corporations), stock markets, etf
4) Ideoscapes: ideology
5) Mediascapes: images |
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Term
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Definition
• Electronic media facilitate instantaneous communication and interconnection
• Diverse content can reach a potentially global audience
o Provides complex repertoires of images & narratives
o We experience globalized media as interconnected w/blurred boundaries |
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Term
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Definition
• We are the world song
• BUT: the power to produce mass media remains concentraied in a few wealthier nations
• US based media products dominate the global market
• CRITICS FEAR:
o Homogenization of cultural products
o Ability to shape cultures of other nations through western corporate media messages in ways that conflict w/local values
o Top down flow from more developed groups to less developed groups |
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Term
| Five ways to complicate imperialism: |
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Definition
• Doesn’t consider specific impact on diff types of media
• Assumes a passive audience that decodes texts hegemonically and uniformly
• Underestimates the role & popularity of local media
o EX: “Korean wave” & bollywood
o Asymmetrical interdependence= US programming blended w/local & ?
• 3- pronged corporate strategy to appeal to a given market
o Market international superstars/blockbusters
o Produced localized version of popular media forms
o Nurture local talent
o Hybridity= a recombination of cultures based on aspects of the old & new untraceable to a single national culture
• New media techs make alternative content readily available |
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Term
| Globalization & new media: |
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Definition
• Internet & networking are vehicles for:
o 1) maintaining contact w/ family and friends
o 2) maintaining a sense of connection w/the homeland
EX: Liming = relaxing
o 3) education the public about the homeland and its culture |
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Term
| Digital divide definition & fear: |
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Definition
• Gap between those who have access and those who don’t in terms of technology and knowledge
• FEAR: the divide will fortify the advantages of developed nations and lead to further imbalances |
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Term
| Characteristics of postmodernism: |
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Definition
• 1) rejection of fixed & universal truths
• 2) focus on multiplicity, fragmentation, individuality, choice
• 3) advertising & consumer culture
• 4) globalization, increased mobility & hybridization
• 5) “speeding up” of culture thru media & trends |
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Term
| Simulation & its reasons & impact (Baudrillard): |
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Definition
• Techs shape our ability to understand the world & blur the boundaries between real & virtual
• We see and come to know the world, history, & culture thru media representations
• Simulation: we measure reality not by real life but by how its constructed in the media
• REASONS:
o Rise of consumer culture
o Media that provide sophisticated visual imagery
• IMPACT:
o Needs replaced w/desire
o “the real” is lost, undermined
o Representations have little anchor in reality |
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Term
| Simulacra & hyperreality (Baudrillard): |
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Definition
• Simulacrum: a copy w/out an original
o Media produce their own reality rather than represent “the real”
o Film, etc is a construction of scripting & editing
o Encourages us to engage in fantasy world
o “presupposes the real” & blinds us to the “really real”
• The result is HYPERREALITY: blurred distinction between simulation & reality
o The real & unreal consumed w/o distinction
o Diff between the two is less important, doesn’t matter
• RESULT: fluidity of truth (truthiness) (feels real)- what you feel in your gut |
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Term
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Definition
• Self-conscious irony= evens seem deliberately contrary to our expectations
• Powerlessness= lone individuals can’t effect change
• Intertextuality: text reference each other & presume viewer knowledge
• Pastiche: a form of intertextuality that imitates another work ___?
• Reflexivity: texts draw attention to their constructed nature as media
• Commodification: blurred distinctions between art and advertisement
o Stella commercial: 30 rock
• Excessive style: focus on style & appearance rather than depth & meaning (TMZ) |
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Term
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Definition
• Owned by google
• Innovation comes from openness & spreadability rather than technical innovation
• Streaming provides quick loading & centralized control (take down offending/infringing content)
• Growth came from user-friendliness + re-purposed commercial content + huge variety of videos/creators
• Waka waka & Charlie #!1 #2 most viewed videos
• Illustrates
o A) content diversity
o B) YT’s power to collect a mass audience |
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Term
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Definition
• Flow:
o TV: Keep people on channel as long as possible, convince to return
o YT: keep viewers on the site thru selections on scrollable sidebar
• Mass Audiences:
o TV: attract a simultaneously viewing public
o YT: collect audience over time, provide connections through comments, sharing, etc
• Content Diversity:
o TV: more channels means more options but coming from the same few media corporations
o YT: radically increased content choices & created diversity
• RESULT: uses become broadcasters creating, filtering, & circulation content |
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Term
| Web 2.0 & how it operates: |
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Definition
• Combo of open-ended & participation-enabling architectures to encourage user contributions & innovations.
o EX: blogs, social networks, photo & video storage, wikis, etc
• Utopians: we create the content and this results in an democratization of authorship, info and culture
• OPERATES;
o Technologically (geared towards interactivity & sharing)
o Socially (by encourage the creation & exchange of knowledge & culture)
o Economically (to do all of this in way that is monetizable) |
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Term
| Participatory culture & its development: |
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Definition
• Utopians: distinction between producer & consumer out dated
o People make, remix, collaborate, share
o EX: Burgess & viral video
• Development:
o 1) diversity of content leads to increased choice & “information pull”
o 2) access to production tools
o 3) digital content is “non-rivalrous” (consume w/out destroying it & is easy to copy and modify |
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Term
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Definition
• Media techs alter our sense of presence
• We use media to simultaneously exist in 2+ places in real time
o 1) physical space
o 2) conceptual space (for narratives) or interactional space (for interactive media) |
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Term
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Definition
• Specific form of space multiplication
• Video signals place the user to inaccessible locations
• EX:
o Telemedicine, telephony (skype, chat roulette) |
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Term
| Three measures of immersion: |
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Definition
• We measure how immersive media is thru its:
o 1) vividness (rich environment)
Sensory breadth (# of sense engaged)
Sensory depth (quality, resolution)
o 2) interactivity (user can influence form/content)
o 3) emotional engagement |
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Term
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Definition
• Meant to be a wholly immersive simulated reality
• GOAL: total transparent immediacy "style of visual representation whose goal is to make the viewer forget the presence of the medium (canvas, photographic film, cinema, and so on) and believe that he is in the presence of the objects of representation"
• Gestural interface in combo w/ a) head mounted display or b) room-sized cube w/ responsive screen
• BUT: still on experimental technology o Prototype o Fictional media representation
• Approximation of reality remains crude |
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Term
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Definition
• Diffusion of computer techs into our physical things & environment
• EX: wearable computer (beanie w/ headphones)
o Interface built into environment
o Wifi everywhere |
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Term
| Virtual reality vs. ubiquitous computing: |
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Definition
• Virtual reality:
o Replaces physical reality & telepresence
o Isolating, typically tech is spate from society
• UBICOMP
Mobility, unrestrictive visual field
Permeates daily life & society |
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Term
| Mobile phones & our close relationship w/ them: |
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Definition
• Omnipresent part of everyday life for most Americans; spreading rapidly throughout the world
• Users often feel a close relationship throughout the world
• Users often feel a close relationship w/ their phone b/c they
o 1) are ubiquitous; always near our bodies
o 2) are immersive
o 3) multiply space
o 4) provide navigational view
o 5) augment reality |
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Term
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Definition
• extend human senses instead of immersion in artificial world
o info overlay in physical space
o see things beyond human perception |
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Term
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Definition
• cyborg: organism w/ both organic and inorganic elements
• most images come from pop culture
• BUT: we can apply this to any apparatuses that fix or alter the body |
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Term
| Archives vs. Web 2.0 archives |
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Definition
• Archives:
o A collection of documents and the place that houses it
o Controlled by an authority in a controlled space w/ controlled accessibility
• Web 2.0 archives
o Online archives co-exist w/ traditional ones
o Can be public in their contribution, construction, maintenance, and control
o Can result in open and collaborative projects |
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Term
| YouTube as a database (Kessler & Shaefer) |
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Definition
• Youtube is a flexible resource
• Like an archive, stored material is accessed through search
• Unlike an archive the collection is unstable and streamed
• INSTEAD: youtube is a database that is sorted through “info-management” that utilizes humans (ratings, tags, comments, etc.) & code (search & browsing information) |
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Term
| YouTube as an archive & its result (Prelinger) |
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Definition
• Archivists concerned w/ preservation & copyright. Youtube uploaders concerned w/ access
• SO: Youtube is our default archive
• PROS: massive, adaptable, diverse, content
• CONS: less concerned w/ ownership, quality, ephemeral, uneditable
• RESULT: capable of encouraging users to contribute & share cultural material in two ways
o 1) archiving the personal through home video and vlogging
o 2) preserving media texts. |
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Term
| Preserving media texts & “clip culture”: |
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Definition
• Youtube is a huge clip library (mostly) uploaded from their own personal libraries
• Result: CLIP CULTURE
• Youtube becomes a pop culture resource and memory bank to be revisited at will
• Model of access driven by user desire to upload & share material on Youtube and embedded elsewhere to provide connection |
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Term
| Preserving media texts & copyright: |
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Definition
• BUT: conflicts over copyright
• Web 2.0 logics make ownership harder to define & uphold
• Implications:
o IP Holder: loss of control & revenue
o YT user: content can appear and disappear quickly
• So we have to balance the rights of IP holders w/ the value that comes from users sharing & revisiting texts that are meaningful to them |
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Term
| Individualized archiving: |
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Definition
• Web 2.0 archives can be collaborative but they are often individualized
• RESULT: no canonical objectivity or quality standards |
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Term
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Definition
• web 2.0 attitudes of archiving can change our attitudes of what is and what is not worth saving
• depicts everyday life @ “ground level” for an audience of friends & family
• BUT: we were already doing this w/ home video
• SO: Youtube alters circulation rather than production |
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Term
| Metadata, linking, & meta-archive: |
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Definition
• User generated/uploaded content made up of data (photo, video, blog entry, etc) and meta data (labels, tags, title, etc(
• Metadata allows data to be classified & searched
• Promotes connectivity & multiple entry points to data
• THUS: connections to content across the internet through hyperlinking turns the internet into a meta-archive |
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Term
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Definition
• We use online archives as memory banks
• Memory enabling content (media texts, snap shots, home video) in our physical space but more easily accessed in our lives
• RESULT: a culture of leaving innumerable traces |
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Term
| Inclusion/exclusion of archives & today: |
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Definition
• Foucault: historical memory is governed by an “official body” that determines what is included as “official history” in an archive
• Other knowledge is excluded & erased
• Today: inequalities of access means that some people can document their experiences & interests while others have lesser access to technologies and literacies |
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Term
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Definition
Commingles w/ rather than replaces modernism
- defined for class as a :
condition of modern life
an aesthetic style
Characteristics:
-rejection of fixed universal truth (master narratives)
-focus on multiplicity and fragmentation, individuality, choice
-advertising and consumer culture
-globalization, increased mobility, hybridization
-”speeding up” of culture” through media and trends |
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Term
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Definition
-self-conscious irony= events seem deliberately contrary to our expectations
-powerlessness: lone individuals can’t affect change
-intertextuality: texts reference each other and presume viewer knowledge
-pastiche: a form of intertextuality that imitates another work or genre-->celebrates self by combining codes of other genres
-reflexivity: texts draw attention to their constructed nature as media---playfulness
-commodification: blurred distinctions between art and ads |
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Term
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Definition
Perceptions of beauty
Connected to taste cultures and habitus
So-- what is beautiful to one culture/person might not be appreciated by another
Subjective rather than obejctive |
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Term
| Definition of remediation & diff from repurposing |
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Definition
Remediation--> to use/incorporate one medium in another
ex--> like photo galleries on the internet |
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Term
| Transparent immediacy vs. hypermediac |
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Definition
T.I.= mediation that appears invivsible, does not bring attention to its manufactured nature
H= mediation that brings attention to its manufactured nature.
===but really, ALL media is hypermediated, we KNOW we are watching TV when we turn it on, or when we watch a film. |
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Term
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Definition
| Video clips that grow popular through rapid, user-led network of distribution |
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Term
| Viral video “hooks” (Burgess) |
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Definition
| Hooks-- elements that foster repetition, parody and spreadability |
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Term
| “Vernacular creativity” (Burgess |
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Definition
· Viral video and memes spread replicable ideas
o A networked practice, not separate texts
o People share and revise videos and memes according to their tastes and interests |
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Term
| Definition of “myth of viral success” & its results |
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Definition
web 2.0 discourse celebrates democratization and laments poor production standards
-emulating professional standards leads to large audiences (which are desirable)
RESULT--> perpetuates traditional production norms and encourages well established conventions instead of innovation |
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Term
| User interface & gestural interface |
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Definition
user interface: how we interact with machine
Gestural interface: we interact with computer by moving our limbs |
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Term
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Definition
| How easy it is for novices to use and understand a computer or internet technology |
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Term
| YouTubers & their value to advertisers |
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Definition
YTers are valued by advertisers as “influencers”
YTers’ value comes from consistent output and perception as an influencer |
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Term
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Definition
| YT encourages flow across social media |
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Term
| YouTube modeling itself after cable |
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Definition
| YT wants to provide viewers and advertisers with a regular stream of new material thru a variety of niche channels |
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Term
| Celebrities engaging in SNS |
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Definition
-lack of gatekeepers
-new spaces for authenticity and intimacieis
-shared experience
-more responsive than traditional media
-greater possibility for niche success |
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Term
| Personal performance of celebrity |
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Definition
on SNS:
-our friends as ‘audience’ or publics
-we construct and perform personas
-we display our connections to to others |
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Term
| Representing identity online today & via SNS |
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Definition
1. “about me” descriptions
2. what we unite and share
3. who our friends are
4. photos that depict our desired physical impression
Situatedness: “map” of traces that represent our digital identity and presence and our online identities are policed by others for consistenc |
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Term
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Definition
-supports media
-saturates our experience of media and everyday life |
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Term
| Eight advertising persuasive strategies |
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Definition
1-famous person testimonial (admire them)
2-plain folks pitch(product fits into everyday lives)
3-snob appeal (product will elevate your social status)
4-association principal appeal(associate product w/ positive image/value)
5-bandwagon effect appeal(claims you are being left behind)
6-hidden fear appeal (plays on anxiety or insecurity)
7-irritation advertising (product name recognition by getting in your head)
8-shock advertising (edgy appeal cuts through the clutter) |
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