Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
50 Cards in this Set
- Front
- Back
|
The rise of the symbolic economy
|
jobs and industries that involves some form of symbolic manipulation as their central tasks, whether those symbols are audiovisual stories, print, music, numbers, or consumer research data
refers to both the tendency for industries that produce culture to move to the center of economic activity and for consumer goods industries to rely on telecommunications and computer industries to segment and track the general public |
|
|
fordism
|
emphasize centralization
standardization long-term profit horizons durable goods reflected preferences of a general, national listening audience, rather than the cultural tastes of subgroups |
|
|
postfordism
|
just-in time
decentralized production production for niche market increasing reliance on service and information industries in the overall economy |
|
|
market-professional era
|
trade and industry became increasingly important dimensions of the overall economy
required creative workers of the time to serve as both business people and creator |
|
|
complex professional era
|
1950s creative workers began to become salaried employees of organizations devoted to creating culture
not interchangeable - based in distinct skill sets durable goods |
|
|
stagflation
|
stagnant economic growth combined with currency inflation (1973) - interest rates rose
|
|
|
data mining
|
industry-wide perceptions about how valuable information about consumers' habits has become for today's businesses
|
|
|
artificial scarcity
|
helps guarantee that even relatively unpopular tests will garner at least some revenue, because people have so few options to choose from
|
|
|
telecommunications act of 1996
|
removed ownership caps on the number of television or radio broadcasting stations that one entity could own
|
|
|
society-making media
|
are designed for all members of society
fordist era broad appeal and their inoffensiveness to most of the public those that have the potential to get different cross-sections of the population talking to each other |
|
|
segment-making media
|
target only a small segment of society
those that encourage small slices of society to talk to themselves |
|
|
pure demographics
|
refers to segments of the audience that are relatively absent of members of other demographic groups
- media texts and genres that can establish clear taste boundaries among demographic groups are said to have edge |
|
|
curtin
|
companies do not work independent of one another but they seem to interact
macarena |
|
|
bagdikian
|
the big five control what society and the population gets
compares the companies to a cartel homogeny |
|
|
digital
|
efficiency
maintains quality operates as a common language |
|
|
analog
|
requires transfer to a physical medium
takes up space/limits portability some argue has a "deeper" sound |
|
|
convrgence
|
coming together of cultural or technological forms (TV and internet)
merging of communication systems (bundling) |
|
|
Jenkins' convergence
|
more than a technological process - represents a cultural shift as consumers are encouraged to seek out new info and make connections among dispersed media content
stresses difference between delivery technologies and media delivery technologies (how we get it) die, not media (written word, recorded sound, visual image) |
|
|
pareto's principle
|
known as the "80/20" rule which shows that in most industries, 80 percent of the profits are made form 20 percent of the products
|
|
|
anderson
|
digitization reduces the marginal cost of media distribution to such a degree that offering "free" content might become a viable economic strategy
make everything available cut the price in half, now lower it help me find it |
|
|
turow
|
shift from society making to segment making
|
|
|
fragmentation
|
driven by shift from mass marketing to target marketing (intentional pursuit of specific segments of society)
|
|
|
primary media communities
|
formed when viewers or readers feel that a magazine, TV channel, newspaper, radio station, or other medium reaches people like them, resonates with personal beliefs, and helps them chart their position in the larger world
|
|
|
the long tail
|
describes the value media industries can find outside blockbuster hits. describes the slope of pareto's principle of popularity of plays by media used for a number of media
digitization makes it accessible embraces niches - even smaller than those already served by most media |
|
|
transmedia entertainment
|
storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience, ideally, each medium makes its own unique contribution to the unfolding of the story
|
|
|
jenkin's seven core concepts of transmedia storytelling
|
spreadability vs. drillability
continuity vs. multiplicity immersion vs. extractability worldbuilding seriality subjectivity performance |
|
|
experiential marketing
|
blurring lines between entertainment and marketing
the dark night - viral marketing campaign |
|
|
challenges of transmedia entertainment
|
keeping audiences satisfied -each unit needs to be self-contained
co-ordinating across various departments/with different partners executives unable to find significant value in transmedia. treat it often as an afterthought |
|
|
YouTube four key features
|
video recommendations via the "related videos" list
an email link to enable video sharing a comments function an embeddable video player |
|
|
multi-channel networks
|
companies that enter into agreements with youTube creators, to serve as distribution partners
benefits: audience/cross-promotion, monetization/sales, digital rights management, production studios, programming/channel optimization -become a gatekeeper for content |
|
|
additive comprehension
|
refer to the ways that each new texts adds a new piece of information which forces us to revise our understanding of the fiction as a whole
|
|
|
collective intelligence
|
new social structures that enable the production and circulation of knowledge within a networked society
|
|
|
globalization
|
refers to a variety of complex and sometimes contradictory social and economic developments that have been taking place for centuries
|
|
|
media globaliztion
|
industrial strategy that aims to spread as widely as possible the considerable risks and rewards of commercial media
|
|
|
cultural imperialism
|
the imposition of western cultural products on the non-west
the potentially homogenizing effects of western culture as it spread across the world the destruction of indigenous traditions by such cultural flows, and the transfer of belief systems from the west to the non-west |
|
|
cosmopolitanism (consequence of globalization)
|
expanded awareness of and respect for the world
the idea that the recognition of similarities and respect for differences among the world's people can diminish war and suffering and some observers have suggested that media globalization can help create that recognition and respect |
|
|
localization
|
the term that most people in the media industries use to describe this process of unmooring media texts from their immediate cultural surroundings and securing them in another locale
|
|
|
co-production
|
refers to a business arrangement in which production staff and creative workers from more than one country work together on a project with the aims of distributing the final product in each participant's home market and perhaps beyond
|
|
|
outsourcing
|
refers to the process whereby certain elements of production are completed somewhere overseas in order to take advantage of cheaper labor conditions and government subsidies
particularly those elements that require the greatest degree of labor and the slightest degree of creativity |
|
|
diaspora communities
|
groups of people often defined by ethnicity or national origin, who live in various different countries but maintain cultural connections with one another
|
|
|
ABBA success
|
the role model thesis
the early adopter thesis english proficiency thesis globalization thesis small market thesis industrial cluster thesis governmental and institutional support thesis |
|
|
global film rules
|
1 - chemistry on paper does not = on-scree
2- sports movies cant jump 3-national history bore everyone but us 4 - minimal awareness is insufficient 5 - mixed genres dont work 6 - no cowboys, no hats, no horses, no cattle, 7 - cowboys only work with tarantino - black cowboys |
|
|
patronage system
|
retained and supported by aristocrats
salary not creative freedom (had to do what they wanted) |
|
|
market professional (from podcast)
|
intermediaries sprung up between artist and buying public
division of labor more creative freedom but more dependence on commercialization |
|
|
complex professional era (from podcast) --> happening now
|
increasing complexity of the division of labor
high degrees of specialization unusual degree of autonomy in creation distinct stages of production system of reward (not secure working conditions/comes through copyright and syndication sales) highly conglomerated internationalization |
|
|
the long downturn
|
term that describes the broad political and economic shifts that begin in the 1970s
- 1973 oil embargo, stagflation, jump in interest rates led to deregulation which was good for creative fields |
|
|
windowing
|
describes the strategy of releasing new media texts on staggered schedule, differentiated by medium and territory. This helps build excitement about the text in order to drive people to want to consume the texts more immediately (to maximize profits)
|
|
|
geo-cultural market
|
cultural linguistic space that are also contiguous or closely linked by geography
|
|
|
trans-national cultural linguistic
|
are not geographically common -diasporas
|
|
|
glocal content
|
adjusting exported media content to allow for specific tastes
|
