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media studies a-level > Media Industries and Institutions > Flashcards

Media Industries and Institutions Flashcards

1
Q

2003 Communications Act

A

the key piece of legislation that outlines the UK’s current regulatory approach. The act brought OFCOM into being and shifted UK regulation from a citizen to a consumer based model

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2
Q

ASA

A

Advertising Standards Authority

independent body that oversees the regulation of broadcast/print advertising in the UK, requires advertisers to self-regulate content using their industry standards codes

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3
Q

Anonymised Content

A

a lot of online content is anonymously authored. This anonymity makes it hugely difficult for regulators or online services to take action when harmful material is published

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4
Q

Audience Loyalty

A

describes a product’s capacity to maintain audience engagement. Audience loyalty is often enabled when the brand values of a product align with those of a product’s audience

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5
Q

BBFC

A

British Board of Film Classification

independent body that oversees the regulation of film distribution in the UK. The BBFCs age rating code guides parental viewing choices and protects vulnerable audiences

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6
Q

Big Six

A

six media companies that control almost all media in the world

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7
Q

National Amusements

A

the biggest of the Big Six, owns CBS

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8
Q

Disney

A

the second-biggest of the Big Six, owns Marvel, Pixar, Star Wars, ABC, National Geographic and Vice

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9
Q

TimeWarner

A

the third-biggest of the Big Six, owns DC and Hulu

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10
Q

ComCast

A

the fourth-biggest of the Big Six, owns Universal

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11
Q

NewsCorp

A

the fifth-biggest of the Big Six, owns Fox and Harper Collins

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12
Q

Sony

A

the smallest of the big six, owns Columbia Pictures and TriStar

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13
Q

CAP Code

A

Committee of Advertising Practice Code

a non-voluntary code that governs UK print advertising that provides detailed guidance to stop the publication of material that might cause physical or moral harm

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14
Q

Channel Proliferation

A

term used to describe the expansion of media content provision. Media proliferation occurs when more products or channels become available for audiences

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15
Q

Citizen

A

a person who is a member of a particular country

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16
Q

Citizen Based Regulation

A

a regulatory system that outlines a civic role for the media, achieved by setting quotas for public service programming and by closely monitoring content so that it doesn’t cause harm or offense

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17
Q

Civic Republicanism

A

Livingstone and Lunt argue that the media, ideally, ought to contribute to the wider health and well-being of audiences to produce content that educates and informs

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18
Q

Commercial Media

A

an organisation that makes or distributes products for economic gain; they usually craft products to have mass appeal, using entertainment to garner large audiences

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19
Q

Commercial Viability

A

describes a media product’s capacity to make a profit. Commercially viable products tend to attract large audiences - creating profits from sales/subscriptions as well as advertising

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20
Q

Concentration Effects

A

Curran and Seaton tell us that media concentration is problematic because it has resulted in the production of formulaic mass market products and has given media owners too much power

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21
Q

Conglomerates

A

a company made of lots of companies merged together

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22
Q

Consumer

A

a person who purchases goods and services

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23
Q

Consumer-Based Regulation

A

regulatory system in which censorship of content is largely left up to audiences to decide for themselves. It also gives producers the freedom to produce more risqué programming

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24
Q

Convergence

A

moving towards union; coming closer together and meeting at a point

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25
Q

Digital Literacy

A

Sonia Livingstone argues digital literacy skills are essential tools that audiences - particularly young audiences - need to be taught so that they can safely engage with online products

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26
Q

Diverse Ownership

A

term used to describe media companies or organisations that produce content for reasons other than commercial gain, includes public service broadcasters

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27
Q

Economies of Scale

A

achieved when two or more subsidiaries are owned by a media company, allowing conglomerates to make savings through bulk buying or by sharing resources

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28
Q

Genre Formatting

A

positioning a product to emphasise its genre driven features. This marketing strategy helps audiences to understand the narrative satisfactions that a media product offers prior to consumption

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29
Q

Hesmondhalgh Theory

A

involves cultural industry, media producers are caught between the balance of creativity and profit and profit will trump creativity to avoid alienating the mainstream, meaning all media products exist as a result of their economic context and there is a constant tension between shareholders and creatives in the media industries. Hesmondhalgh suggested various ways to increase profit

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30
Q

Vertical Integration

A

where a production company buys companies that do other parts of production, such as distribution to minimise risk and maximise profit

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31
Q

Horizontal Integration

A

where companies buy companies to reduce competition

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32
Q

Work across a variety of media platforms and topologies

A

where companies not only make films, but other media formats such as video games

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33
Q

Focus on popular genres

A

look at what is currently popular and copy it

34
Q

Controlled Release Schedule

A

this can be achieved in two different ways

o Releasing everything at once reduces risk
o Limited Release

35
Q

Detailed Marketing Campaign

A

involves trailers, websites and various other media platforms, creating a vortex of publicity

36
Q

High-Mid Budget

A

£30,000,000 - £50,000,000

Apocalypse Now (1979) The Girl on the Train (2021), Bridget Jones’s Baby (2016)

37
Q

Hysterical News Value

A

term used by Curran & Seaton to describe sensationalised or exaggerated news content, usually used to increase sales or readership figures

38
Q

Impartial Reportage

A

news reporting that offers a balanced or non-biased viewpoint, usually found in quality press titles

39
Q

Industrial Process

A

there are three stages to the industrial process

40
Q

Production

A

how a film gets made

o Pre-Production
o Production
o Post-Production
o Marketing
o Distribution
o Circulation

41
Q

Distribution

A

how a film gets seen, for example, cinema, digital products, streaming, on-demand

42
Q

Circulation

A

how a film aims to build its audience via marketing and promotion

43
Q

Industry Influence

A

citizen-oriented regulation was scrapped as a result of industry lobbying. Producers wanted to ditch educational programming quotas so they could broadcast more commercially viable content

44
Q

Institutions

A

commonly used in writing about media to describe the modern day equivalents of those media organisations seen to be of cultural significance in shaping how we view the world today

45
Q

Internationalism

A

allows media makers to maximise profits and audience reach via global distribution. Media conglomerates strive to operate in multiple countries to create this global reach

46
Q

Legacy Power

A

a term used to describe the continued influence of traditional media organisations

47
Q

Leveson Inquiry

A

a public inquiry into how NewsCorp had hacked phones belonging to celebrities, politicians, members of the royal family, relatives of deceased British soldiers and victims of the 7/7 bombings

48
Q

Limited Distribution Company

A

term applied to companies who have limited capacity to sell their products. Independents, in particular, struggle to distribute their products because they aren’t vertically integrated

49
Q

Low Budget

A

£150,000 - £5,000,000

The Blairwitch Project (1999), Saw (2004), Psycho (1960), The Full Monty (1997)

50
Q

Low-Mid Budget

A

£5,000,000-30,000,000

Blinded by the Light (2019), The Exorcist (1973), The Shining (1980), La La Land (2016)

51
Q

Mass Market News

A

news designed to engage mainstream readerships, presenting hard news as entertainment and often critiqued for trivialising political issues, also known as ‘news depoliticization’

52
Q

Media Concentration

A

where media products are increasingly controlled by fewer companies. Curran and Seaton argue that the process of media concertation has accelerated since the 1960s

53
Q

Media Diversity

A

Curran and Seaton celebrate the BBC because it provides minority interest programming, has a duty to be unbiased, and, moreover reflects the diverse members of UK society

54
Q

Media Institutions

A

established regulated organisations that own and produce different media, products, platforms and brands

55
Q

Micro Budget

A

less than £150,000, for example, El Mariachi (1992)

56
Q

Minority Audience

A

very small target audience. Curran & Seaton argue that commercial imperatives push minority products to the margins of broadcast schedules because they don’t make a great deal of profit

57
Q

Multinational Company

A

media company that operates in multiple countries. Curran and Seaton argue that this maximises profits because producers can collect revenues for the same products across multiple countries

58
Q

Multiple Revenue Streams

A

media brand that generates income from a number of different sources. Films, for example, often create revenue through merchandising (toys, clothing and video games) as well as ticket sale

59
Q

Nation State Powerlessness

A

a concept that acknowledges that digital media regulation is difficult and the global nature of online media means that individual countries can’t easily regulate products/services that are distributed from outside their borders

60
Q

Ofcom

A

The Office of Communications

has regulated the UK media sector since 2003, centralised the responsibilities of the multiple regulators that previously existed in broadcasting and telecommunications, it regulates through a mixture of measures to promote competition, plurality and diversity

61
Q

PEGI

A

Pan-European Game Information

age-rating system that provides consumers with information about gaming content, tells parents whether games contain depictions of violence, swearing or gambling

62
Q

Pre-Sold Audiences

A

usually constructed through the use of star power or because a product is heavily marketed as genre driven. Both of these formatting techniques create pre-release fan-based appeals

63
Q

Proprietor Influence

A

Curran and Seaton suggest that news owners often control the agendas of newspapers. This means that UK news titles are biased and construct problematic ideological effects

64
Q

PSB

A

Public Service Broadcaster

media organisation that doesn’t make products for commercial gain, such as the BBC

65
Q

Regulation

A

the act of controlling something

66
Q

Regulation Overload

A

the volume of authors making online content poses a massive challenge to regulators. The scale of online social media platforms, for example, makes it impossible to vet all published material

67
Q

Regulator

A

an authority who creates and maintains rules

68
Q

Risk Aversion

A

when produce content deliberately lacks controversy. Newspapers, for example, might pursue a risk averse editorial mix to maximise advertising income or to cultivate a mainstream audience

69
Q

Rupert Murdoch

A

the owner of NewsCorp

70
Q

Self-Regulation

A

devolves regulatory decisions to industry practitioners. Self-regulation means that producers assume responsibility for policing/gatekeeping content they make and broadcast

71
Q

Self-Regulatory Influences

A

producers largely police their own content in the UK’s consumer-led regulatory system. Self-regulation is guided by audience and advertiser needs, as well as a producer’s ethical stance

72
Q

Serialisation

A

enables producers to reduce risk by formatting content so it that appeals to an established audience. Serialisation strategies include: prequels, sequels, spin-offs and remakes

73
Q

Speed of Change Effects

A

Livingstone & Lunt argue that the rate of technological change has been so rapid that governments have been unable to devise meaningful regulatory systems to police online content

74
Q

Star Power

A

foregrounding the presence of celebrities in a media product. Including star personas brings an inherited audience to a product or is used to suggest high production values

75
Q

Studio Budget

A

over £50,000,000

WALL-E (2009), Guardians of the Galaxy (2014), Star Wars: The Force Awakens (2015), Tangled (2010)

76
Q

Subsidary

A

company controlled by a much larger company

77
Q

Synergistic Relationship

A

two separate media organisations working together in a manner that benefits both organisation

78
Q

Synergy

A

where two or more people or businesses work together an therefore gain a mutual benefit, increasing the effectiveness of results

79
Q

Tech Giant Control

A

online tech giants - Google, Facebook and Twitter - are so powerful that individual governments are reluctant to take action that might control or regulate their activities

80
Q

Technological Convergence

A

advancement of technology, merging and integrating

81
Q

Vulnerable Audience

A

Livingstone & Lunt suggest that the principle function of the independent bodies who regulate the UK’s media is to protect children and other vulnerable groups from the effects of harmful content

media studies a-level (6 decks)

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