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Midterms > Comm Final > Flashcards

Comm Final Flashcards

1
Q

adorno & horkheimer

A
  • culture industry is capitalization, not entertainment
  • entertainment is escapism (distraction)
  • critique mass culture
  • mass communication research vs critical theory
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2
Q

mass communication research

A
  • study individual campaigns
  • effects of media on attitudes, actions, or beliefs
  • measurable elements of culture
  • support companies/government
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3
Q

critical theory

A
  • study the total of culture as an “industry”
  • unintentional consequences of media
  • cultural trends that are hard to measure
  • critique capitalism
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4
Q

benjamin

A
  • aura, mechanical reproduction, ritual, distraction
  • political potential in amateurism and
    distraction, types of reception that people often dismiss as
    unimportant
  • new forms of reception count on us developing new
    habits, which might be politically freeing
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5
Q

aura

A

unique, authentic presence of a work of art that is tied to its specific time, place, and cultural significance. It encompasses the sense of originality, history, and unrepeatable essence that makes an artwork distinct.

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6
Q

mechanical reproduction

A

technology to replicate artworks and objects on a large scale (ex. prints of paintings, film, etc.) things lose authenticity and aura

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7
Q

ritual

A

traditional and often sacred context in which art was historically embedded. not for entertainment purposes

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8
Q

Concentration vs Distraction

A

C: where individuals engage deeply and contemplatively with a work of art
D: A mode of engagement suited to modern, mechanically reproduced art forms, where individuals participate more casually and often in group settings

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9
Q

Hall

A
  • Encoding and Decoding (creating messages and interpreting them), in several ways
  • three positions of decoding: dominant, negotiated, oppositional
  • rejects sender/message/receiver
  • culture shapes everything
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10
Q

hegemony

A

dominant ideologies are naturalized and reinforced through cultural production

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11
Q

3 positions

A

dominant: audience fully accepts the intended meaning (hypodermic needle)
negotiated: audience partly accepts the preferred reading but also modifies it based on their own experiences or perspectives
oppositional: rejects the preferred reading and decodes the message in a way that contradicts the producer’s intentions

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12
Q

Doty

A
  • queer analysis of mainstream cinema, challenging traditional interpretations of “classic” films and their audiences
  • We don’t make texts queer by reading them in a different way. They contain
    elements that are already queer
  • “Straight is default because of preferred dominance. It doesn’t make it correct
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13
Q

Duneier

A
  • ethnography
  • social interaction public spaces
  • communication with marginalized groups
  • viewing homeless individuals as human beings with dignity, rather than merely as a social problem to be solved
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14
Q

ethnography

A
  • personal engagement with the subject is the key to understanding a particular
    culture or social setting.
  • Description resides at the core of ethnography, and however this description
    is constructed it is the intense meaning of social life from the everyday
    perspective of group members that is sought.
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15
Q

sidewalks

A
  • carry social life
  • safety
  • public characters
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16
Q

social positions

A

1) Cause people to act differently
2) Cause informants to think the researcher is exploiting them
3) Create blind spots for the researcher

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17
Q

ethnographic fallacy

A
  • taking respondent’s stories at face value
    without considering larger social forces.
  • determinism: suggesting everything about
    the lives of your informants is wholly determined by outside social
    forces
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18
Q

SAGE ethnography

A

Personal engagement with the subject is the key to understanding a particular culture or
social setting. Participant observation is the most common component of this cocktail, but interviews, conversational and discourse analysis, documentary analysis, film and photography, life histories all have their place in the ethnographer’s repertoire. Description resides at the core of ethnography, and however this description is constructed it is the intense meaning of
social life from the everyday perspective of group members that is sought.

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19
Q

four acts of ethnography

A

experimentation (entering the field)
ethics (affecting the social space)
data and notes
the social life of media

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20
Q

data and notes

A

fieldnotes (in the moment, messy, detailed, natural), interviews, recordings, documents, open ended questions, feelings

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21
Q

great field notes

A
  1. Date, time, and place of observation
  2. Specific details of what happens at the site and who is involved
  3. Sensory impressions: sights, sounds, textures, smells, taste
  4. Personal responses to the fact of recording fieldnotes
  5. Specific words, phrases, summaries of conversations, and insider language
  6. Questions about people or behaviors at the site for future investigation
  7. Page numbers to help keep observations in order
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22
Q

Ethnography

A
  • Hashtags as a digital protest tool
  • public discourse and activism
  • social media activism
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23
Q

Free Rider

A

take a “free ride” on the activism of others, enjoying the gains without putting in the work.
no need to join if it will succeed anyways

24
Q

clicktivism

A

ace-to-face and digital forms
of activism work in interrelated
and aggregative ways

25
Q

Toning Rony

A
  • the third eye
  • exotic bodies
  • scientific racism and the artistic ambitions of cinema. Ethnographic films often claimed scientific authority, presenting themselves as objective depictions of “truth” about racialized others while simultaneously engaging in artistic embellishment to appeal to audiences
26
Q

Zinn

A
  • bottom up approach: emphasizing the voices of those who have been excluded or silenced in traditional historical accounts
  • founding myths: think christopher columbus
  • a nation based on slavery
  • power and privilege
27
Q

third eye

A
  • examining oneself as an object
  • How and why the movie presents those people in a certain way.
  • What biases or power dynamics are at play (e.g., Western filmmakers shaping the story to fit their ideas about superiority).
  • How this portrayal impacts the audience’s perception of the culture being shown.
28
Q

primary vs secondary sources

A

p: direct, first-hand, eyewitness. diaries, correspondence, photographs, and almost
anything else.
s: Materials that discuss, synthesize, or use secondary sources. scholarly books and articles

29
Q

archives

A

collection of historical materials, usually
saved to preserve said materials. leads to otherwise forgotten materials

30
Q

Gitelman

A
  • If you research details of inventions even slightly, you discover they aren’t true
  • protocols (rules of how media work)
  • technologies are never entirely revolutionary as they are invented based off other things
31
Q

protocols

A
  • Protocols are technical or social “rules” and “codes” for how media work
  • Protocols often seem to be a natural part of a medium
  • Protocols become more perceptible when media are antiquated or when they break down. Then we are faced with “forgotten questions about whether and how media do the job”
32
Q

our class

A

Communication studies: quantitative, public relations, marketing
Cultural studies: critical
Media studies: physical stuff

33
Q

Mills

A
  • values in design
  • affordances (what you do with technologies both intended and not)
  • Hearing aids were among the first electronic devices to prioritize small size and portability. This demand for compact devices predates the consumer demand for smaller radios, televisions, and other electronics.
34
Q

Mackenzie

A
  • determinism
  • palimpsest
  • pure invention
  • path dependence
  • remediation
  • pull theories social shaping
35
Q

hard v soft determinism

A

H: cause and effect, technologies are said to cause revolutions in
the way we live
S: media doesn’t determine culture or actions, but it surely has influence

36
Q

palimpsest

A

The more things change the
more they stay the same
we overestimate impact and newness

37
Q

pure invention

A

Media are created through scientific and technical breakthroughs. These processes are relatively cloistered from society, and happen either in laboratories or under the supervision of gifted inventors

38
Q

path dependnecy

A
  • Innovations occur through small improvements on previous technologies
  • Infrastructure, economic interests, technical standards, and other forces tend to help media become entrenched. Stasis is more likely than change (think of the
    QWERTY keyboard)
39
Q

remediation

A

New media often imitate and revise older forms.

40
Q

pull theories

A

Media are “pulled” into existence by rising consumer demand.

41
Q

social shaping

A

Social forces (economics, politics, gender norms, etc) shape technology. We
see this most directly when:
a) Users construct new meanings and uses for technology
b) Users redesign a technology
c) Users demand changes to a technology.

42
Q

baker

A
  • the general critique of the market is not applicable to media
  • media are a commodity
  • the free market gives people what they want
43
Q

four feautures of communications products

A
  1. public good aspects (nonrivalrous use and nonexcludability)
  2. externalities
  3. selling media to audiences and audiences to advertisers
  4. don’t always satisfy existing preferences
44
Q

nonrivalrous products

A

One person’s use does not affect another person’s

45
Q

first copy costs

A

media have high first copy costs, but low duplication costs. Hard to get media made but easy to distribute

46
Q

externalities

A

Negative (pay to prevent, harmful stereotypes, misinformation, etc.)
Positive (pay to encourage, engaged public, education, enhancement)

47
Q

why do poor people pay more for media

A

poor (more dangerous) areas give fewer discounts, demand more payment in advance, and send in sales crews—if at all—only around the first of the month when welfare and Social Security checks are due

48
Q

NEWSPAPER ASSOCIATION OF AMERICA
RECOMMENDATIONS

A
  • good customer who pays on time, doesn’t need to be lured with discounts
  • concentrate on aggressive consumer pricing
  • eliminate fringe circulation (ittle value to
    advertisers)
49
Q

political economy

A
  • power (law or economic clout)
  • social totality
  • moral philosophy
  • action/change
50
Q

are media like other commodities

A

baker says absolutely not

51
Q

traditional media economics

A

Media companies sell time/space to advertisers

52
Q

smythe’s media economics

A

Media companies sell audiences to advertisers
this means we are the PRODUCT and our leisure is unpaid work

53
Q

Commodity audience

A
  • audience that will pay for things (have money to spend)
  • “manufactured” from the raw
    material of the general audience
54
Q

Dialectics

A
  • The law of unity and conflict of opposites
  • The law of the passage of quantitative changes into qualitative changes
  • The law of negation of the negation
55
Q

Matter over mind (materialism vs idealism)

A

Marx suggests that history unfolds
through material dialectics: “To me
the idea is nothing else than the
material world reflected in the human
mind.”

56
Q

vulgar marxism

A

The economy determines what
happens in culture.

57
Q

For Meehan, commodity audiences are not natural. They are created (via marketing measurement tools) for the interests of advertisers and media companies

A

The point: only by examining economic interests can we learn who counts as the audience and why.

Midterms (6 decks)

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