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Media Studies A-Level > Media Audiences and Audience Theory > Flashcards

Media Audiences and Audience Theory Flashcards

1
Q

ABC1 Demographic

A

also known as ‘white collar workers’, this audience have middle-class job roles. This demographic group are often targeted by media producers because they attract big advertising revenues

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2
Q

ABC Figures

A

Audit Bureau of Circulations Features

responsible for measuring the reach of different media across a range of platforms

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3
Q

Aberrant Reading

A

a reading or product which does not recognise the preferred meaning but produces instead a deviant or unanticipated reading

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4
Q

Active Audience

A

the theory that media audiences do not just consume a test passively, they actively engage with it because of personal and social contexts

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5
Q

Active Viewers

A

viewers who are engaged, paying attention and emotionally responding

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6
Q

Aspirer

A

look at how others view them and try products for visual looks, want to be different

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7
Q

Attentional Effects

A

Bandura argues that the media is more likely to produce modelled behaviour than our real world encounters because media products command our undivided attention while we watch them

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8
Q

Audience

A

all people who consume a media product by watching, listening or reading it

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9
Q

Audience Connectivity

A

using digital media to connect audiences and producers

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10
Q

Audience Immersion

A

audience immersion occurs when a media product completely absorbs the attention of its audience. Escapist narratives tend to produce this effect

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11
Q

Audience Nostalgia

A

occurs when products make reference to ideas or things that prompt audience to think of their past: a powerful narrative strategy that quickly engages audience interest, especially that of older audiences

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12
Q

Audience Positioning

A

each media text that is constructed to position its intended audience in a particular place and to respond to a certain way about it

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13
Q

Audience-Producer Convergence Theory

A

theory by Henry Jenkins that states that the internet facilitates on exponential explosion of textual poaching as well as convergence of audience-producer relations meaning producers are not reliant on conventions and physical distribution of far output as the internet allows for peer-to-peer networking and for fan networks to be created in real time

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14
Q

Audience Relatability

A

describes the level of empathy or connection that an audience feels for a character or narrative situation. Media producers use relatability to connect products with the values of their target audience

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15
Q

Audience Surrogate

A

a character in a text that stands in for the audience, who may think and act as the audience might in the same situation

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16
Q

Bandura’s Social Learning Theory

A

suggests that people copy what they see, either in real life or in the media, first suggested by Bandura in 1963 when he repeated his famous Bobo Doll experiment two years after he originally did it, this time showing the children videos of either a person attacking a Bobo doll or a person dressed as a cat attacking a Bobo doll, and he found exactly the same results as his original experiment

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17
Q

BARB

A

Broadcaster’s Audience Research Board

the organisation that measures and collects television viewing data in the UK

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18
Q

Bardic Function

A

an analysis of television and its role as ‘Bard’ within society today

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19
Q

Binge Watching

A

when multiple episodes of a TV programme are watched in succession

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20
Q

Blog

A

a short term for weblog

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21
Q

Blogger

A

a person who engages in blogging by updating and adding content to a blog

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22
Q

Broadcast Media

A

media such as television

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23
Q

Bulmer and Katz

A

the people who developed the Uses and Gratifications Theory

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24
Q

C2DE Demographic

A

also known as ‘blue collar workers’, this audience group have working class jobs. Because this demographic group earn less, media products aimed at C2DEs attract limited advertising revenues

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25
Q

Call to Action

A

an instruction aimed at the audience with the hope to provoke an immediate response, can take the form of ‘subscribe now’, often used in advertising and marketing

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26
Q

Cinematography

A

the art of photography and camerawork in film-making

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27
Q

Clay Shirky

A

developed the End of Audience Theory, which suggests that audiences are no longer consumers, but are prosumers, theorised that by placing mass communication tools in the hands of the audiences, media production would be democratised so that ordinary people can organise and communicate widescale social change

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28
Q

Cognitive Surplus

A

how technology makes consumers into collaborators

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29
Q

Collective Identity

A

the shared sense of belonging in a group

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30
Q

Communications Media

A

media such as telephones or the internet

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31
Q

Confirmation Bias

A

occurs when audiences search for media that confirms their pre-held beliefs. Left-wing readers, for example, might choose to read a left-leaning newspaper to confirm their viewpoint and beliefs

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32
Q

Consumable Product

A

products that we use regularly that need to be replaced; some audience are loyal to a particular brand, whereas, others may be persuaded to change

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33
Q

Consumer

A

a person who takes in information or entertainment from media

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34
Q

Consumer Activism

A

whereby the instantaneous reactions of audience members adhere to form an informal focus group that speaks back to media producers

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35
Q

Consumption

A

the diet of information and entertainment that is taken in by a group or individual

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36
Q

Context

A

the time, place and mindset of the audience are all features of context that affect how a media text is read

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37
Q

Convergence

A

where various media producers come together to produce the same message or product

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38
Q

Convergence of Communications and Broadcast Media

A

describes the way that telephones and social media can now produce media content

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39
Q

Crossover Events

A

products often team up with other brands to take part in join events, enabling brands to gain exposure to other product’s fan bases

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40
Q

Cultivation Differential

A

a reflection of how heavy TV viewers either overestimate or underestimate a phenomenon because of what is reflected on TV when compared with light TV viewers

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41
Q

Cultivation Theory/Desensitisation Theory

A

states that people who watch large amounts of television become desensitised and less susceptible to the bad things in the world

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42
Q

Cultural Capital

A

refers to the behaviours/knowledge that allows individuals to belong to a social class. Consumption of media products can provide knowledge of these behaviours or can be used to signal class membership

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43
Q

Curran and Seaton

A

wrote the paper Power Without Responsibility, which argued that the internet is dominated by an oligopoly of commercial companies which minimises potential effects or participatory culture so producers still rely on traditional methods to market and reduce product risk

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44
Q

Cyber Dystopian

A

people who view the internet as having a negative impact on society

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45
Q

Cyber Utopianism

A

people who view the internet as having a positive impact on society

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46
Q

Death of an Author

A

a 1968 paper by Roland Barthes which suggested that while an author can attempt to encode certain messages in their texts, they have very little power over how an audience decodes a text

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47
Q

Democratisation Effects

A

Jenkins argues that democratisation can challenge official information sources. Citizen journalism, for example, can provide alternative views to those produced by traditional news outlets

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48
Q

Demographic Profile

A

a way of categorising audiences based on factors such as class, income and occupation

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49
Q

Demographics

A

the characteristics and make-up of a sample of the population, such as age, gender or nationality

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50
Q

Depoliticalisation

A

where media is softened and made as middle-of-the-road as possible to attract viewers

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51
Q

Desensitisation

A

a psychological process which suggests that audiences who are regularly exposed to acts of violence through media are increasingly less likely to feel empathy or concern when exposed to violence, bad language or other forms of aggressive behaviour

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52
Q

Digital Communications Convergence

A

digital technologies have merged broadcast and communication media effects

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53
Q

Digital Era

A

the current era, where things are done by computers and large amounts of information are available because of computer technology

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54
Q

Digital Native

A

a person who is brought up with digital technology from a young age

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55
Q

Digital Revolution

A

the shift from mechanical and analogue technologies to digital technologies

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56
Q

Direct Effect

A

where producers encode messages and audiences decode them as expected

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57
Q

Direct Experience

A

individuals learn or replicate aggressive acts as a result of their experiences of aggression; children learn to be aggressive from models of negative behaviour that parents provide, or conversely, they may reject violent behaviours as a result of parent-induced punishments and sanctions

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58
Q

Early Adopters

A

a type of audience who eagerly embrace technological change or new ideas. Early adopters buy emerging technologies long before any other groups

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59
Q

Economic Determinist

A

a theory in political economy which looks for economic conditions as the basis to explain social and cultural differences in society

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60
Q

Emerging Media

A

the communication that occurs through digital technology and new platforms with interactive elements, for example, podcasts and social media

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61
Q

Enculturation

A

how we learn the requirements of our surrounding culture through experience and observation, a process that Gerbner argues the media contributes to

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62
Q

End of Audience Theory

A

developed by Carl Shirky, suggests that audiences are no longer consumers, but are prosumers

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63
Q

Erotic Fanfiction

A

has led to the perception that fan fiction is seedy or marginal, is often written by heterosexual women who are frustrated with hypermasculine tropes in mainstream media, thus bringing awareness to minority groups such as the LGBTQIAP+ community, therefore countering the commercial imperative to maintain a heterosexual norm

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64
Q

Escapism

A

an audience gratification that occurs when audiences consume media that provides them with a distraction from their everyday life

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65
Q

Every Day Communities of Practice

A

where people overcome physical barriers and assemble in the digital world in the way they have always wanted in a self-policing environment driven by non-profit motives that are capable of creating social change, are resilient when threatened but can promote socially undesirable subjects

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66
Q

Evolution of Power Theory

A

developed by Clay Shirkey, this states that in the 20th century, power lay in the hands of the few wealthy people who could overcome large production costs, whereas in the 21st century, power lies with the many as production and publication cost are minimal with no risks

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67
Q

Explorer

A

need for change and discovery, want to be different

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68
Q

Fan Appropriation Theory

A

developed by Henry Jenkins, theorising that fan fiction plugs the gap between the needs of the audience and the commercially safe output of producers

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69
Q

Fandom

A

online communities that cross countries and can start movements, vent anger when beloved characters are killed off or call out issues in the media texts

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70
Q

Fan Fiction Theory

A

reflects the audience’s fascination with a product and the fans’ frustration with the producer’s refusal or inability to producer the material that fans want to see

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71
Q

Construct/Refocalisation

A

stories that reposition minor or secondary characters

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72
Q

Crossovers

A

stores in which characters from one show are placed in the context or timeline of another

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73
Q

Eroticisation

A

created when fan writers want to explore the erotic dimensions of characters’ lives, having been freed of the restraints of network centres

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74
Q

Expand

A

expand series timelines to provide imagined sequels

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75
Q

Fill In/Recontextualisation

A

fill in missing scenes and/or provide backstory

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76
Q

Moral Realignments

A

supply antagonists and villains with backstories that explain their dark motives and morally dubious character traits

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77
Q

Personalisation

A

stories that place the amateur author at the centre of a professional narrative

78
Q

Refocalisation

A

construct stories that reposition minor or secondary characters as central protagonists

79
Q

Fan Labour

A

the work (often free of charge) executed by fans and audiences that helps media makers to distribute and/or market their output

80
Q

Fan Repostings

A

audience engagement is further facilitated by reposting content or comments made by fans, allowing media producers to construct a sense that they are engaging with fans at a personal level

81
Q

Filter First Publish Later

A

the traditional mentality for media production, which involves length and expensive editorial processes, which play a vital gatekeeping role, protecting audiences from fake news and politically extreme content, graphic material or explicit narratives by playing it safe

82
Q

Gatekeeping

A

the vetting of material prior to publication. Traditional broadcasters use strict gatekeeping processes to maintain the quality of their products and to make sure that content is accurate

83
Q

Generation Y

A

a term used to describe people born from 1983-2007. The main concept behind this group is based around some of the key issues which is based around some of the key issues which have occurred within the timeframe such as the development of the internet and 9/11. This affects the values, attitude and lifestyles of members of that group. Key characteristics of this group include wanting security and safety, patriotism, heightened fears, acceptance of change and being technically savvy.

84
Q

Genre-Driven Mediation

A

where genre-driven rules frame the visual or narrative structures of media products

85
Q

Heavy TV Viewers

A

people who watch TV for more than four hours a week

86
Q

Gultung and Ruge’s 4 Criteria of What Makes a Story Newsworthy – at least three of this criteria must apply for a story to be newsworthy

A
  1. High Status People
  2. High Status Country
  3. Actors = public figures
  4. Negativity
87
Q

Hashtag Marketing

A

the use of social media hashtags by producers to channel audience engagement. Appropriation allows audiences to interact with mass media content

88
Q

Hegemonic Reading

A

the most dominant reading of a media text based on cultural norms and mythologies

89
Q

Henry Jenkins

A

built on Bartes and Shirky and theorisesd that, more often than not, fan readings of professional media are often oppositional, also worked on several other theories such as Audience-Producer Convergence Theory and Fan Appropriation Theory

90
Q

Homogenised Cultural Effects

A

where TV makes people think the same things and adopt the same attitudes, achieved by the media’s reach and lack of cultural diversity

91
Q

Hypodermic Needle Theory/Magic Bullet Theory

A

this term was coined by Harold Lasswell in 1927 in his book Propaganda Techniques in the World War. It became a mainstream theory after Orson Welles’s radio broadcast as HG Wells’s War of the Worlds in 1938. This theory states that the media injects messages into people’s brains and these messages are the same for everyone

92
Q

Identity Based Gratifications

A

occurs when audiences can relate to a media representation or when characters provide behaviours, outlook or ideals that an audience wants to copy

93
Q

Instant Dialogue Like Culture

A

where the audience expects the ability to comment on or interact with the media they consume

94
Q

Institutional Context

A

the media is constructed by fixed networks of people who collectively create a select perspective which may lead to political bias, so media producers might deliberately choose to employ people who share the same political bias

95
Q

Internet Fatigue

A

term used to describe a state of mental exhaustion felt by a culture brought on by excessive use of digital devices

96
Q

Lazarus Field

A

the man who developed the two step flow theory

97
Q

Light TV Viewers

A

people who watch TV for less than 2 hours a week

98
Q

Mainstream

A

fit in with changes of society and stick with value for money, what they know and save money, seek security

99
Q

Mainstream Audience

A

describes a media audience who come from a wide variety of backgrounds or socioeconomic groups. Products made for mainstream audiences often lack controversy or foreground light entertainment

100
Q

Mainstreaming

A

where TV cultivates problematic attitudes and beliefs within mainstream society where they had not existed before

101
Q

Maslow’s Hierarchy of Needs Top Level

A

Self-Fulfillment
accomplishment, mental growth

102
Q

Maslow’s Hierarchy of Needs Second Level

A

Esteem
approval, recognition, self-confidence

103
Q

Maslow’s Hierarchy of Needs Third Level

A

Social
friendships, group membership, social connection

104
Q

Maslow’s Hierarchy of Needs Fourth Level

A

Safety
physical safety

105
Q

Maslow’s Hierarchy of Needs Bottom Level

A

physiological
food, shelter, clothing

106
Q

Mass Audience

A

the vast majority of the population, who get overwhelmed by all the media being thrown at them so look to those who are more media literate to interpret it for them

107
Q

Mass Media

A

all the media in the world

108
Q

Mean World Syndrome

A

a theory that states that people start thinking the worst of the world because they’ve watched too much TV

109
Q

Media Appropriation

A

using media products for non-intended purposes. Fanfiction, for example, plays with the genders of TV characters in ways that helps fans to explore their own sexuality identities

110
Q

Media Democratisation

A

places power into the hands of ordinary audience members and so work is carried out free of charge and it is executed by fans and audiences

111
Q

Media Flow

A

refers to the distribution of professional media products using the digital networks of audiences. Fans, for example, might call attention to a product by ‘liking’ or ‘reposting’ content

112
Q

Media Meshing

A

using two media devices at the same time. Looking, for example, at social media commentary generated by a TV programme while watching the show’s live broadcast

113
Q

Media Stacking

A

use of multiple media devices to engage in activity that isn’t related. Watching, for example, a television show while also tweeting about an unrelated topic

114
Q

Middle of the Road Reportage

A

uses balanced reporting to foster large-scale audiences to boost advertising venue. They use central reportage because new radical ideas are dangerous but these subtly reinforce existing power structures

115
Q

Misreading

A

an audience reading that fails to correctly decode the intended meaning of a media product as a result of its complexity or illegibility

116
Q

Modelled Learning

A

Bandura tells us that we learn by watching others (direct modelling). Behaviours can be inhibited if we see others being punished. We might also copy behaviours if they are seen to be rewarded

117
Q

Negotiated Viewing

A

a compromise between dominant and opposition, where the audience accepts some of the producer’s views but has their own views on parts as well. This may occur when the audience member likes the text and is of the target audience, but struggles to follow the complex narrative

118
Q

Niche Audience

A

a very small audience segment. An audience that might be identified by a set of highly specific demographic or behavioural variables

119
Q

Nicholas Neprogonte

A

one of the first commentators to recognise the earth-shattering potential of the web during its infancy in the 1990s and his optimistic arguments about it can be split into three main points

120
Q

Democratisation

A

because nobody is in charge of the internet, it is immune from the abuses of large-scale organisations, governments or powerful multinational companies, meaning every voice can be heard on the internet

121
Q

Miniaturisation

A

the internet makes the world a smaller place because ideas are globally shared, resulting in the collapse of cultural differences and the erosion of social divisions

122
Q

Personalisation

A

the internet enables us to consume media in a way that is tailored to our needs and desires

123
Q

Not-for-Profit Media

A

Participatory culture is made for ‘not-for-profit’ motives - to make society a better place. Conversely, commercial producers uses digital media to sell more products and to gain profit

124
Q

Oligopoly

A

a state of limited competition in which a market is shared by a small number of producers or sellers

125
Q

Oppositional Viewing

A

the audience rejects the preferred reading and creates their own meaning for the text. This may occur if the text contains controversial themes that the audience disagrees with, when the text has a complex narrative structure, doesn’t deal with themes appropriately or if the audience members hold different beliefs or is not of the target audience

126
Q

Opinion Leader

A

people such as politicians or comedians, who are more media literate than most people, so interpret the mass media for them

127
Q

Parasitism

A

the opposite of symbiosis, where the producers working together brings harm to one but benefit to the other

128
Q

Participatory Culture

A

where audiences form online communities through the production of their own media

129
Q

Passive Viewers

A

viewers who don’t see the big picture, they are consuming media but only paying small amounts of attention to it, it’s background noise to them

130
Q

Peer to Peer Networking

A

involves mass amateurism to distribute vast quantities of media quickly on a global scale

131
Q

Positive Modelling Effects

A

Gerbner reminds us that products can have a positive as well as a negative impact on audience outlooks

132
Q

Power Without Responsibility

A

a paper written by Curran and Seaton that argued that the internet is dominated by an oligopoly of commercial companies which minimises potential effects of participatory culture so producers still rely on traditional methods to market and reduce product risk

133
Q

Preferred/Dominant Viewers

A

the audience decodes the text the way the producer intended. This may occur if messages are clear, if the audience member is in the target audience, if the narrative is easy to follow or if it deals with themes relevant to the audience

134
Q

Primary Viewing

A

when lots of attention is given to a media product by its consumer

135
Q

Product Maker Interactions

A

things like interviews, web chats and behind the scenes footage that bring fans and producers together by promoting personal engagement with products

136
Q

Proliferation

A

the transition from only a few channels to hundreds of channels

137
Q

Promotional Preview Material Release

A

where producers exploit fan power by releasing promotional material through fan networks as this is cost effective

138
Q

Propaganda

A

coined by the Catholic Church in the 1600s to describe the teachings of the Protestant Church, has been used by almost every nation to unite its people during wartime

139
Q

Edith Cavell

A

a nurse who was executed by the Nazis during the first world war for being a traitor who the British then used in propaganda

140
Q

Lord Kitchener

A

the man who appeared on many famous propaganda pieces during the first world war

141
Q

Lusitania

A

the sinking of the Lusitania led to the most successful British propaganda piece in history

142
Q

Nazi Propaganda

A

notable as it was a key element of government even before the war. One of Hitler’s first acts as chancellor was to establish the Reich Ministry of Public Enlightenment and Propaganda, demonstrating his belief that controlling information was as important as controlling the military and the economy. He appointed Joseph Goebbels as director, allowing him to infiltrate all German media

143
Q

Prosumers

A

active audience members who create their own media and get to talk about it, to teach other and to producers

144
Q

Psychographic Profile

A

a way of categorising audiences based on cross-cultural characterisation, motivational needs, values, attitudes and lifestyle

145
Q

Publish First Filter Later

A

according to Clay Shirkey, by reducing the cost of failure, the web enables participants to fail like crazy, meaning audiences can find almost anything, but this has led to a filtering problem as the sheer volume of media uploaded to the internet makes it impossible to check or corroborate content before it is published

146
Q

Reception Theory

A

asserts that media texts are encoded and decoded, that the producer encodes messages and values into their media which are later decoded by the audience

147
Q

Reformer

A

intellectual and are tolerant, don’t buy products just because they’re new, seek enlightenment

148
Q

Representational Modelling

A

learning behaviours from the media. Bandura argues that this can be more powerful than real world modelling because audiences often aspire to copy the actions of their media role models

149
Q

Resigned

A

generally the older generation, with unchanging values who stick to what they’re familiar with and tend not to change with society as they stick with older and more nostalgic values, seek survival

150
Q

Role-Model Effects

A

Bandura argues that watching others who we hold in high regard (on screen stars/heroes) can amplify the impact of any modelled behaviours

151
Q

Resonance

A

heavy viewers who are significantly less informed about real-life crime as a result of living in a safe neighbourhood are reported to significantly increased perceptions of violence in the real world, showing that watching television could lead to attitudinal change irrespective of whether viewers had any objective evidence to corroborate what they were seeing on-screen in the real world

152
Q

Retention Processes

A

representations of behaviours that are visually vivid or symbolically constructed will be retained for longer periods; given that television and film are encoded in a visually rich manner, the resulting effect is much richer than real-life modelling

153
Q

Secondary

A

when a fair amount of attention is given to a media product by its consumer

154
Q

Secondary Audience

A

an audience who aren’t directly targeted by a media product but play a significant role in managing the use of a product. Parents, for example, play a crucial role in gatekeeping internet access for their children

155
Q

Secondary Viewing

A

when a fair amount of attention is given to a media product by its consumer

156
Q

Semi-Active/Semi-Passive Theory

A

a theory involving the audience coming up with their own ideas about a media product from a pool of ideas from opinion leaders

157
Q

Situated Logics

A

refers to the experience, knowledge and beliefs that individuals use when decoding a product. Physical environments also effect decoding: group viewing, for example, can effect individual readings

158
Q

Slash Fiction

A

where heterosexual characters are reposition within gay fanfiction storylines, often by straight women who are frustrated at the dominance of hypermasculine tropes with mainstream television and yearn for less aggressive male characters

159
Q

Social Interaction Gratifications

A

where audiences use media products as a means to connect with people in real life. Audiences, for example, might have conversations at work/school about a topical television show

160
Q

Stigmatisation

A

process of demonising groups repeatedly through media representation

161
Q

Struggler

A

have the ‘you only live once’ approach and focus on the present and tend not to work hard or have any valuable skills; they consume alcohol, junk food and focus on brand choices, seeking escape

162
Q

Succeeder

A

have strong goals and tend to be responsible, have an aggressive attitude to life and seek control

163
Q

Symbiosis

A

describes the synergy and convergence theory, where the producers working together brings benefit to both

164
Q

Symbolic Power

A

those who have power in terms of gender, class and/or race are legitimised as real world power sources, when narratives reinforce real-world power

165
Q

Synergy

A

where the convergence of media producers allows for better quality media

166
Q

Technology Effects

A

contemporary media products are more likely to have fandoms because technology provides audiences with the means to engage in fan activity

167
Q

Tertiary Viewing

A

when not a lot of attention is given to a media product by its consumer

168
Q

Theory of the 3Bs

A

mass media BLURS cultural and social distinctions, BLENDS a variety of attitudes into the mainstream and BENDS the mainstream into serving the political and economic needs of the institutions that standardise it

169
Q

Textual Poaching

A

when someone takes someone else’s text and expands it

170
Q

Stuart Hall’s Encoding/Decoding Theory

A

Stuart Hall recognised that audiences aren’t passive, and therefore it would be a mistake to assume that they will decode a text the way that the producer intended. Instead, viewers are active and decode media in different ways. Hall stated that audience members adopt one of three positions when the decode text, or a combination

171
Q

Socio-economic Grade A

A

high managerial, administrative or professional, makes up 4% of UK

172
Q

Socio-economic Grade B

A

intermediate managerial, administrative or professional, makes up 23% of the UK

173
Q

Socio-economic Grade C1

A

supervisory, clerical and junior managerial, administrative and professional, makes up 29% of the UK

174
Q

Socio-economic Grade C2

A

skilled manual workers, makes up 21% of the UK

175
Q

Socio-economic Grade D

A

semi and unskilled manual workers, makes up 15% of the UK

176
Q

Socio-economic Grade E

A

state pensioners, casual or lowest grade works, and the unemployed who are living on only state benefits, makes up 8% of the UK

177
Q

Third-Agers

A

people in their 50s+, retired and have a high disposable income with time on their hands. They often seek adventures, enjoyment and experimentation from the remaining years.

178
Q

TV Answer

A

an over-exaggeration of the facts reflecting what is depicted on television

179
Q

Tweenagers

A

a fashionable marketing term for children, generally girls, aged 7-11, who have substantial purchasing power. They are more worldly-wise, fashion conscious and media-aware than children of this age used to be

180
Q

Two Step Flow Theory

A

a semi-active/semi-passive theory developed by Lazarus Field, who looked at how people decided who vote for. He theorised that the mass media is interpreted by opinion leaders, such as politicians or comedians, who are more media literate than the mass audience, because the mass media get overwhelmed by all the media being thrown at them

181
Q

UGC

A

stands for ‘user generated content’. UGC is published material that is authored by everyday audience members

182
Q

Uses and Gratifications Theory

A

developed by Bulmer and Katz, who theorised that people have five reasons for watching media

183
Q

Entertainment

A

need for diversion, examples include true crime, TikTok, Instagram reels and podcasts

184
Q

Escapism

A

need for diversion, examples include Line of Duty, video games, London Kills and books

185
Q

Integration

A

need for social interaction, examples include Strictly, Lord of the Rings, Ice Age and Red, White and Royal Blue

186
Q

Personal Identity

A

need for personal identity, examples include Scarlet Ibis, There She Goes, Black Knives and The Curfew

187
Q

Surveillance

A

need for information, examples include documentaries, news, true crime and Have I Got News For You

188
Q

Visceral Response

A

an immediate reaction to a media product that produces a physical or highly charged emotional response. Visceral reactions include: fear, shock, disgust or horror

189
Q

Vladimir Propp

A

stated that a narrative is structured by a sets of stock characters, such as hero, antihero, sidekick, damsel in distress, donor, femme fatal, etc

190
Q

Web 2.0

A

a concept by Jenkins used to describe commercial aspects of the media

191
Q

Weblog

A

a website or web page often created by an individual or small group which is regularly updated, often written in an informal, conversational style

Media Studies A-Level (6 decks)

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