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51 Cards in this Set
- Front
- Back
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Media literacy
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Ability of a citizen to access, analyze and produce information for specific outcomes
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Elements of media literacy (7)
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1. critical thinking skill that enables audiences to develop independent judgments about media content
2. understanding of the process of mass communication 3. awareness of the impact of the media on the individual and society 4. development of strategies with which to analyze and discuss media messages 5. awareness of media content as a "text" that provides insight into our contemporary culture and ourselves 6. cultivation of an enhanced enjoyment, understanding and appreciation of media content 7. ability to produce effective and responsible media messages |
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Obstacles to media literacy (7)
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1. Elitism
2. affective nataure of photography, film, tv and radio 3. audience behavior patterns 4. audience expectations 5. nature of programming 6. credibility of media 7. complexity of the language of the media |
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Why is media literacy needed? (12)
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1. amount of exposure we have to media
2. maybe seeing isn't believing 3. impact of the image (shifting priorities away from word to image) 4. commercialization 5. impact on child development 6. cultivation effect-more we're exposed, more likely we are to begin believing 7. socialization factors 8. all media messages are constructed 9. media messages are constructed using creative language w/ its own rules 10. dif. people exp. the same media messages dif. 11. media have embedded values and POV 12. most media messages are constructed to gain profit |
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Third person effect
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"Most of us believe that other people are more influenced by advertising, media violence and news coverage than we are."
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4 stages of critical thinking
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1. Description
2. Analyze 3. Interpretation 4. Evaluation |
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Use/gratification factors/theory
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assumes audience is powerful, taking an active part in selecting media
underlying assumption of needs/wants -entertainment, time punctuation -informative, surveillance -escapism, nostalgia -companionship, conversation building -problem solving -personal enrichment and development -catharsis, tension release |
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Manifest messages
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direct, clear to the audience. Little trouble to recognize these messages when we are paying full attention to a media presentation.
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Latent messages
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indirect and beneath the surface, escape our immediate attention. may reinforce manifest messages or suggest entirely different meanings
-affective strategies -embedded values -cumulative messages |
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Types of interference in the communication process
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Communicator Interference
Channel Interference Environmental Interference Audience Interference -Selective exposure -Selective Perception -Selective Retention Attention Span Ego |
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Feedback in the communication process
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1. Participatory responses
2. cognitive, attitudinal or behavioral responses 3. cumulative and quantifiable measures 4. revenue 5. critical responses |
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Unique traits of mass communication
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saturation
preservation collaboration industry |
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Functions of communication (13)
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1. expression
2. description 3. instruction 4. info exchange 5. persuasion 6. entertainment 7. exploration 8. creative expression 9. rituals 10. performance 11. emotional catharsis 12. disengagement 13. profit |
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Complicating factors of communication functions
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1. multiple functions
2. manifest vs. latent function 3. undefined function 4. false function 5. competing factors |
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Audience identification
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affects:
-communication strategies -modifies style -content |
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What makes a communicator successful? (7)
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1. Understands the Communication Process
2. Recognizes the purpose of the communication 3. Is self aware 4. Understands the message 5. Understands the characteristics of the channel that he or she uses 6. Can identify his or her audience 7. Uses feedback to ensure that the audience comprehends the message. |
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Para-social relationships
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When we respond to a media figure as though he/she/it were a real person
-the user of mass media responds as though in a typical social relationship Two identified functions -companionship -personal identity strength of the relationship -perceived realism -attraction |
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Reception theory
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An active audience negotiates the information they receive through mass media
Viewers interpret the same message differently Address issues of taste Background Interest Level Predisposition Priorities Demographic Profile Psychological Profile Communications Environment Stage of Development |
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Lines of inquiry of historical context (6)
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1. valuable insight into the period in which in was produced.
2. opportunity for media communicators to comment on political and cultural issues in an indirect fashion where civil liberties are restricted. 3. insight into the media presentation. insight into themes and messages in the media presentation. 4. a form of social criticism that forecasts historical events. 5. insight into how the public will respond to events when they occur. 6. an influence that shapes historical events. |
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ideologies,
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Gramsci
The predominance of one social class over others. This represents not only political and economic control, but also the ability of the dominant class to project its own way of seeing the world so that those who are subordinated by it accept it as 'common sense' and 'natural'. Commentators stress that this involves willing and active consent. Media does not merely reflect or reinforce culture but in fact shapes thinking by promoting the dominant ideology of the culture |
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stereotyping
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An associative process where ideas about groups are based on a shared understanding of the group.
A natural coping mechanism. Decisions are based on generalizations in order to function on an everyday basis. Media communicators rely on stereotypes because they don’t have time to develop unique characters. Used to compensate for the inability to collect firsthand information. Word choice Editing decisions What to include and exclude Patterns of inclusion and exclusion Context of characters |
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world views
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pop artists construct a complete world out of their imaginations. premise, plot and characters of fictional narratives are based on certain fundamental assumptions about how this world operates.
-cultural ideologies -media and subcultures -media stereotyping |
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Hegemonic Masculinity
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Masculinity that is intended to dominate.
Based on the “hypermasculine ideal” of strength and toughness The men who are most admired are those who are most capable of dominating others. |
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Subordinated Masculinity
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Alternative or outcast masculinity
Homosexuality Trailer Trash In media these men are the subject of derision |
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Men as Buddies/Pals
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Loners
Powerful, charismatic figures: Superman Close pals Pals, but not equals: Batman and Robin Duos Pals that are also equals: Laurel and Hardy |
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The Family Man
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Men are rarely portrayed with children without the mother being present.
More likely to be seen caring for infants than school-age children. Child care more likely to involve boys. Men more likely to be involved in educational and quality time activities. Dads are likely to be playing in ads. |
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Relationship between media and popular culture
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Programming reflects attitudes, values and behaviors that define a culture
Texts identify the importance a culture places on issues Content discloses cultural myths. Reinforces cultural attitudes. |
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Premise
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the initial circumstances, situation or assumption that serves as the point of origin in the narrative. A description of the premise of a media presentation usually answers the question "What is this program about?"
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Explicit content
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Explicit Content
Events and activities displayed through visible action. The viewer uses this to construct meaning. |
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Implicit Content
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Elements of a plot that remain under the surface.
What are the motives behind character’s decisions and actions? What is the connection between events that occur early in the narrative and those that appear later in the plot? Are the consequences for characters’ actions made clear? |
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Formulaic structure
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a genre generally fits within an identifiable, unvarying structure or organizational pattern. In maany genres, the standard formula is order/chaos/order
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Conventions in media
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a practice or object that appears so often in the media that it has become standard. Conventions furnishs cues about people, events, and situations
-setting -storyline -trappings |
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bright lighting
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innocence
purity religious faith delicacy delight joy and goodwill life discovery force and strength |
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dim lighting
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death
evil lack of communication pollution a problem of religious faith foreshadowing trouble something hidden |
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hard lighting
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pessimistic
harsh brutal accentuates flaws |
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soft lighting
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obscures defects, minimizing surface detail. reveals the subtleties of gradation of tone
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Blue
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Cool, calming, steadfast, friendly
Some cultures believe blue brings peace, has religious significant, keeps bad spirits away Blue conveys importance and confidence without being somber or sinister Long considered a corporate color, blue, especially darker blue, is associated with intelligence, stability, unity, and conservatism |
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RED
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Seemingly conflicting emotions from passionate love to violence
Can increase blood pressure or heart rate Red is power, danger, emergency In some cultures red denotes purity, joy and celebration. It is the color of happiness and prosperity. Can be used to grab attention and keep things from falling into the background |
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Yellow
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Denotes happiness and joy, but also cowardice and deceit
Used for hazard and warning signs Sign of hope-as used in yellow ribbons of war |
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Gray
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Color of mourning and formality
Part of the uniform of the corporate world Dark charcoal carries some mystery and strength Can be seen as cloudy or moody |
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Circle
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Mystical, complete, wholeness, cyclical conception of time, endlessness
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Square
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Worldly, precise, dependable, solid, stable, straight, honest, dull, ordinary
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Triangle
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Motion, conflict, tension, abandonment of power
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Gestalt
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predisposition to order--audience tends to feel unsettled if all the activity is placed in one corner of the screen
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movement toward the audience
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friendly, aggressive, menacing
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movement away from the audience
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abandonment, retreat, avoidance, resolution
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movement directed upward
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positive sign
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movement directed downward
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a negative sign or signals defeat
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Parallel action
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used to create the illusion that events on-screen are occurring simultaneously
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POV
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First person: action as interpreted by one character
Depicted by extreme close-up camera shots Second person: reader is primary participant. Difficult to portray on screen, sometimes represented by a character to represent viewers concerns Third person: describes the activities and internal process of one character Determined by asking Whose story is this? Omniscient: all knowing point of view. Communicator has the ability to enter the heads of all characters providing comprehensive exposure to all characters Portrayed by extreme long shots. |
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angle
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filmed from: high angle=small, weak, frightened, vulnerable
low agle=larger, more important, powerful |
