Media Audiences and Audience Theory Flashcards
(230 cards)
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
2
Q
ABC Figures
A
Audit Bureau of Circulations Features
responsible for measuring the reach of different media across a range of platforms
3
Q
Aberrant Reading
A
a reading or product which does not recognise the preferred meaning but produces instead a deviant or unanticipated reading
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
5
Q
Active Viewers
A
viewers who are engaged, paying attention and emotionally responding
6
Q
Agenda-Setting Theory
A
Maxwell McCombs and Donald Shaw (1968) suggested media industries shape the political debate by choosing which topics and issues should feature in news broadcast and therefore influencing audiences’ opinions. By studying political content of daily newspapers, magazines and evening news broadcasts and comparing them to 100 participants’ interviews, they found that “voters tend to share the media’s composite definition on what is important”
7
Q
Ambient Television
A
you are consuming the media text but are more interested in social media feeds or notifications on your phone, a concept described by Jeremy Tungstall (1983)
8
Q
Aspirer
A
look at how others view them and try products for visual looks, want to be different
9
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
10
Q
Audience
A
all people who consume a media product by watching, listening or reading it
11
Q
Audience Connectivity
A
using digital media to connect audiences and producers
12
Q
Audience Engagement Theory
A
theory by Jeremy Tungstall (1983) that elaborates on theories differentiating between active and passive viewers and recognises that we consume media texts in different ways or levels of intensity depending on the situation and context
13
Q
Primary Viewing
A
the audience pays close attention to the text, for example, in the cinema
14
Q
Secondary Viewing
A
the media text is on in the background whilst you are concentrating on something else. You are still consuming the media, but not at the same intensity
15
Q
Tertiary Viewing
A
although the media text is present, we aren’t consciously aware of it
16
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
17
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
18
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
19
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
20
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
21
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
22
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
23
Q
BARB
A
Broadcaster’s Audience Research Board
the organisation that measures and collects television viewing data in the UK
24
Q
Bardic Function
A
an analysis of television and its role as ‘Bard’ within society today
25
Binge Watching
when multiple episodes of a TV programme are watched in succession
26
Blog
a short term for weblog
27
Blogger
a person who engages in blogging by updating and adding content to a blog
28
Broadcast Media
media such as television
29
Bulmer and Katz
the people who developed the Uses and Gratifications Theory
30
C2DE Demographic
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
31
Call to Action
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
32
Cinematography
the art of photography and camerawork in film-making
33
Clay Shirky
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
34
Cognitive Surplus
how technology makes consumers into collaborators, the cultural context of increase leisure time allowing for more sharing, collaboration and creativity using online platforms
35
Collective Identity
the shared sense of belonging in a group
36
Colloquialism
an informal expression, often used in casual conversation as opposed to writing, may be used to establish an informal communication with an audience
37
Communications Media
media such as telephones or the internet
38
Composite Emphasis
the overall emphasis the media places on some topics compared with others
39
Confirmation Bias
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
40
Consumable Product
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
41
Consumer
a person who takes in information or entertainment from media
42
Consumer Activism
whereby the instantaneous reactions of audience members adhere to form an informal focus group that speaks back to media producers
43
Consumption
the diet of information and entertainment that is taken in by a group or individual
44
Context
the time, place and mindset of the audience are all features of context that affect how a media text is read
45
Convergence
where various media producers come together to produce the same message or product
46
Convergence of Communications and Broadcast Media
describes the way that telephones and social media can now produce media content
47
Crossover Events
products often team up with other brands to take part in join events, enabling brands to gain exposure to other product’s fan bases
48
Cultivation Differential
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
49
Cultivation Theory/Desensitisation Theory
states that people who watch large amounts of television become desensitised and less susceptible to the bad things in the world
50
Cultural Capital
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
51
Curran and Seaton
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
52
Cyber Dystopian
people who view the internet as having a negative impact on society
53
Cyber Utopianism
people who view the internet as having a positive impact on society
54
Death of an Author
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
55
Democratisation Effects
Jenkins argues that democratisation can challenge official information sources. Citizen journalism, for example, can provide alternative views to those produced by traditional news outlets
56
Demographic Profile
a way of categorising audiences based on factors such as class, income and occupation
57
Demographics
the characteristics and make-up of a sample of the population, such as age, gender or nationality
58
Depoliticalisation
where media is softened and made as middle-of-the-road as possible to attract viewers
59
Desensitisation
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
60
Digital Communications Convergence
digital technologies have merged broadcast and communication media effects
61
Digital Era
the current era, where things are done by computers and large amounts of information are available because of computer technology
62
Digital Native
a person who is brought up with digital technology from a young age
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Digital Revolution
the shift from mechanical and analogue technologies to digital technologies
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Direct Effect
where producers encode messages and audiences decode them as expected
65
Direct Experience
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
66
Early Adopters
a type of audience who eagerly embrace technological change or new ideas. Early adopters buy emerging technologies long before any other groups
67
Economic Determinist
a theory in political economy which looks for economic conditions as the basis to explain social and cultural differences in society
68
Effects Theory
a collection of theoretical ideas that examine the potential impact the media may have on audience members; effects theories tend to see audiences as largely passive and vulnerable to negative effects of the media
69
Emerging Media
the communication that occurs through digital technology and new platforms with interactive elements, for example, podcasts and social media
70
Enculturation
how we learn the requirements of our surrounding culture through experience and observation, a process that Gerbner argues the media contributes to
71
End of Audience Theory
developed by Carl Shirky, suggests that audiences are no longer consumers, but are prosumers
72
Erotic Fanfiction
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
73
Escapism
an audience gratification that occurs when audiences consume media that provides them with a distraction from their everyday life
74
Essentialism
a process that involves ascribing certain traits or characteristics to someone by nature; those traits are seen to be part of that person’s nature and as such they are fixed and cannot be changed
75
Every Day Communities of Practice
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
76
Evolution of Power Theory
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
77
Explorer
need for change and discovery, want to be different
78
Fan Appropriation Theory
developed by Henry Jenkins, theorising that fan fiction plugs the gap between the needs of the audience and the commercially safe output of producers
79
Fandom
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
80
Fan Fiction Theory
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
81
Construct/Refocalisation
stories that reposition minor or secondary characters
82
Crossovers
stores in which characters from one show are placed in the context or timeline of another
83
Eroticisation
created when fan writers want to explore the erotic dimensions of characters’ lives, having been freed of the restraints of network centres
84
Expand
expand series timelines to provide imagined sequels
85
Fill In/Recontextualisation
fill in missing scenes and/or provide backstory
86
Moral Realignments
supply antagonists and villains with backstories that explain their dark motives and morally dubious character traits
87
Personalisation
stories that place the amateur author at the centre of a professional narrative
88
Refocalisation
construct stories that reposition minor or secondary characters as central protagonists
89
Fan Labour
the work (often free of charge) executed by fans and audiences that helps media makers to distribute and/or market their output
90
Fan Repostings
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
91
Filter First Publish Later
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
92
Gatekeeping
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
93
Generation Y
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.
94
Genre-Driven Mediation
where genre-driven rules frame the visual or narrative structures of media products
95
Heavy TV Viewers
people who watch TV for more than four hours a week
96
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
1. High Status People
2. High Status Country
3. Actors = public figures
4. Negativity
97
Hashtag Marketing
the use of social media hashtags by producers to channel audience engagement. Appropriation allows audiences to interact with mass media content
98
Hegemonic Reading
the most dominant reading of a media text based on cultural norms and mythologies
99
Henry Jenkins
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
100
Homogenised Cultural Effects
where TV makes people think the same things and adopt the same attitudes, achieved by the media’s reach and lack of cultural diversity
101
Hypodermic Needle Theory/Magic Bullet Theory
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
102
Identity Based Gratifications
occurs when audiences can relate to a media representation or when characters provide behaviours, outlook or ideals that an audience wants to copy
103
Instant Dialogue Like Culture
where the audience expects the ability to comment on or interact with the media they consume
104
Institutional Context
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
105
Interactivity
when media audiences take an active involvement with the media text
106
Internet Fatigue
term used to describe a state of mental exhaustion felt by a culture brought on by excessive use of digital devices
107
Interpellation
process by which a media product draws an audience in to make an announcement about something or someone
108
Mode of Reception
Intense Engagement
this is characterised by the intensity of fans’ emotional and intellectual involvement; the artist’s products get 100% of your attention and will be subject to scrutiny
109
Viewer Activism
Protest and Praise
this involves using online platforms to protest anything they feel contradicts their perception of what is desirable or appropriate; this can become bitter and cruel
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Interpretive Community
Theory and Criticism
fans develop their expertise by micro-analysing products, discussing fan theories, sharing assumptions and enjoying debates
111
Cultural Production
Textual Poaching
fans borrow materials from popular culture to create their own content
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Social Community
Subculture
becoming actively engaged in the subculture through events, virtually or physically connecting and collaborating
113
Lazarus Field
the man who developed the two step flow theory
114
Light TV Viewers
people who watch TV for less than 2 hours a week
115
Mainstream
fit in with changes of society and stick with value for money, what they know and save money, seek security
116
Mainstream Audience
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
117
Mainstreaming
where TV cultivates problematic attitudes and beliefs within mainstream society where they had not existed before
118
Major Coverage
a concept defined by McCombs and Shaw, includes lead stories and editorial discussion pages in newspapers and news reports longer than 15 seconds
119
Maslow's Hierarchy of Needs Top Level
Self-Fulfillment
accomplishment, mental growth
120
Maslow's Hierarchy of Needs Second Level
Esteem
approval, recognition, self-confidence
121
Maslow's Hierarchy of Needs Third Level
Social
friendships, group membership, social connection
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Maslow's Hierarchy of Needs Fourth Level
Safety
physical safety
123
Maslow's Hierarchy of Needs Bottom Level
physiological
food, shelter, clothing
124
Mass Audience
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
125
Mass Media
all the media in the world
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Mean World Syndrome
a theory that states that people start thinking the worst of the world because they’ve watched too much TV
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Media Appropriation
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
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Media Democratisation
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
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Media Flow
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
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Media Literacy
the ability to access, analyse and understand media, allowing a better understanding of the complex messages received via the media
131
Media Meshing
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
132
Media Saturation
a term used to describe how our experience of the world and the way we view it is dominated by the media on a national and global level
133
Media Stacking
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
134
Middle of the Road Reportage
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
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Minor Coverage
a concept defined by McCombs and Shaw, the opposite of major coverage
136
Misreading
an audience reading that fails to correctly decode the intended meaning of a media product as a result of its complexity or illegibility
137
Modelled Learning
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
138
Narrowcasting
opposite to broadcasting, addresses the needs of a specialised or niche audience
139
Negotiated Viewing
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
140
Niche Audience
a very small audience segment. An audience that might be identified by a set of highly specific demographic or behavioural variables
141
Nicholas Neprogonte
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
142
Democratisation
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
143
Miniaturisation
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
144
Personalisation
the internet enables us to consume media in a way that is tailored to our needs and desires
145
Not-for-Profit Media
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
146
Oligopoly
a state of limited competition in which a market is shared by a small number of producers or sellers
147
Oppositional Viewing
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
148
Opinion Leader
people such as politicians or comedians, who are more media literate than most people, so interpret the mass media for them
149
Parasitism
the opposite of symbiosis, where the producers working together brings harm to one but benefit to the other
150
Parasocial Interaction
a media effects theory where the illusion of face-to-face relations is constructed through techniques such as the mode of address; this can be applied to online media such as blogs and vlogs as well as traditional media forms like television
151
Participatory Culture
where audiences form online communities through the production of their own media
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Passive Viewers
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
153
Peer to Peer Networking
involves mass amateurism to distribute vast quantities of media quickly on a global scale
154
Positive Modelling Effects
Gerbner reminds us that products can have a positive as well as a negative impact on audience outlooks
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Power Without Responsibility
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
156
Preferred/Dominant Viewers
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
157
Primary Viewing
when lots of attention is given to a media product by its consumer
158
Product Maker Interactions
things like interviews, web chats and behind the scenes footage that bring fans and producers together by promoting personal engagement with products
159
Proliferation
the transition from only a few channels to hundreds of channels
160
Promotional Preview Material Release
where producers exploit fan power by releasing promotional material through fan networks as this is cost effective
161
Propaganda
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
162
Edith Cavell
a nurse who was executed by the Nazis during the first world war for being a traitor who the British then used in propaganda
163
Lord Kitchener
the man who appeared on many famous propaganda pieces during the first world war
164
Lusitania
the sinking of the Lusitania led to the most successful British propaganda piece in history
165
Nazi Propaganda
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
166
Prosumers
active audience members who create their own media and get to talk about it, to teach other and to producers
167
Psychographic Profile
a way of categorising audiences based on cross-cultural characterisation, motivational needs, values, attitudes and lifestyle
168
Publish First Filter Later
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
169
Qualitative Research
used to explore and gain an understanding of audience opinions and motivations
170
Quantitative Research
a collection of numerical data and statistics
171
Reception Theory
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
172
Reformer
intellectual and are tolerant, don't buy products just because they're new, seek enlightenment
173
Representational Modelling
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
174
Resigned
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
175
Role-Model Effects
Bandura argues that watching others who we hold in high regard (on screen stars/heroes) can amplify the impact of any modelled behaviours
176
Resonance
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
177
Resonance Theory
Gerbner states that audiences find examples of aspects of their own lives that appear to correlate with what they see in the media. This has an amplifying effect on perceptions of the world around them
178
Retention Processes
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
179
Secondary
when a fair amount of attention is given to a media product by its consumer
180
Secondary Audience
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
181
Secondary Research
involves the collation and analysis of research that already exists
182
Secondary Viewing
when a fair amount of attention is given to a media product by its consumer
183
Segmentation
the division of audiences into segments and categories
184
Selective Perception
where audiences pay more attention to what they are interested in, such as issues being addressed by their preferred political party
185
Semi-Active/Semi-Passive Theory
a theory involving the audience coming up with their own ideas about a media product from a pool of ideas from opinion leaders
186
Situated Logics
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
187
Slash Fiction
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
188
Social Interaction Gratifications
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
189
Stigmatisation
process of demonising groups repeatedly through media representation
190
Struggler
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
191
Succeeder
have strong goals and tend to be responsible, have an aggressive attitude to life and seek control
192
Symbiosis
describes the synergy and convergence theory, where the producers working together brings benefit to both
193
Symbolic Power
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
194
Synergy
where the convergence of media producers allows for better quality media
195
Target Audience
the specific group for whom a media product is intended
196
Technology Effects
contemporary media products are more likely to have fandoms because technology provides audiences with the means to engage in fan activity
197
Tertiary Viewing
when not a lot of attention is given to a media product by its consumer
198
Theory of the 3Bs
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
199
Textual Poaching
when someone takes someone else’s text and expands it
200
Transnational Culture
an analysis of the cultural effects of globalisation
201
Stuart Hall's Encoding/Decoding Theory
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
202
Socio-economic Grade A
high managerial, administrative or professional, makes up 4% of UK
203
Socio-economic Grade B
intermediate managerial, administrative or professional, makes up 23% of the UK
204
Socio-economic Grade C1
supervisory, clerical and junior managerial, administrative and professional, makes up 29% of the UK
205
Socio-economic Grade C2
skilled manual workers, makes up 21% of the UK
206
Socio-economic Grade D
semi and unskilled manual workers, makes up 15% of the UK
207
Socio-economic Grade E
state pensioners, casual or lowest grade works, and the unemployed who are living on only state benefits, makes up 8% of the UK
208
Third-Agers
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.
209
TV Answer
an over-exaggeration of the facts reflecting what is depicted on television
210
Tweenagers
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
211
Two Step Flow Theory
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
212
UK Tribes
a research project starting in 2005 by Channel 4 which split the UK population into 5 so-called tribes
213
Alternatives
driven by a need to be different from the mainstream
214
Aspirants
driven by a need to keep up with what’s cool without creating it themselves, hence they are attuned to Leading Edge circles and spend large amounts of money
215
Leading Edge
driven by a need for the new and now, often collaborating across other tribes, trends and developments, of ten reject passive consumerism and drive patterns across other segments
216
Mainstreams
defined by a strong emphasis on conformity, sticking with what is known and safe and never changing, and are proud of this
217
Urbans
intrinsically linked to inner-city living, due to being strongly influenced by their immediate environment and having access to the latest sounds, clubs and fashion
218
UGC
stands for 'user generated content'. UGC is published material that is authored by everyday audience members
219
Uses and Gratifications Theory
developed by Bulmer and Katz, who theorised that people have five reasons for watching media
220
Entertainment
need for diversion, examples include true crime, TikTok, Instagram reels and podcasts
221
Escapism
need for diversion, examples include Line of Duty, video games, London Kills and books
222
Integration
need for social interaction, examples include Strictly, Lord of the Rings, Ice Age and Red, White and Royal Blue
223
Personal Identity
need for personal identity, examples include Scarlet Ibis, There She Goes, Black Knives and The Curfew
224
Surveillance
need for information, examples include documentaries, news, true crime and Have I Got News For You
225
Violence Debate
a recurring debate over assumed audience behaviour which focuses possible effects of the representation of violence
226
Visceral Response
an immediate reaction to a media product that produces a physical or highly charged emotional response. Visceral reactions include: fear, shock, disgust or horror
227
Vladimir Propp
stated that a narrative is structured by a sets of stock characters, such as hero, antihero, sidekick, damsel in distress, donor, femme fatal, etc
228
Voyeurism
the pleasure of looking at others whilst remaining anonymous, often associated with the idea of looking to gain an illicit pleasure
229
Web 2.0
a concept by Jenkins used to describe commercial aspects of the media
230
Weblog
a website or web page often created by an individual or small group which is regularly updated, often written in an informal, conversational style
