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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

Artificial Scarcity

A

media makers control commercial risks through the careful supervision of distribution and promotion practices, effecting ‘artificial scarcity’ restricting access to products by limiting their availability to platforms that are owned by the parent company of the product

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5
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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6
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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7
Q

Big Six

A

six media companies that control almost all media in the world

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8
Q

National Amusements

A

the biggest of the Big Six, owns CBS

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9
Q

Disney

A

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

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10
Q

TimeWarner

A

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

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11
Q

ComCast

A

the fourth-biggest of the Big Six, owns Universal

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12
Q

NewsCorp

A

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

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13
Q

Sony

A

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

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14
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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15
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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16
Q

Citizen

A

a person who is a member of a particular country

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17
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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18
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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19
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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20
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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21
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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22
Q

Conglomerates

A

a company made of lots of companies merged together

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23
Q

Consumer

A

a person who purchases goods and services

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24
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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25
Q

Convergence

A

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

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26
Q

Creative Business Managers

A

look after marketing, distributing and financing of media products

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27
Q

Creative Symbol Makers

A

Hesmondhalgh suggests that those workers who create media products are the media’s creative symbol makers. Traditionally, creatives were given lots of freedom in the media industry, but, Hesmondhalgh argues, creative decision making is increasingly sidelined in favour of a business-orientated approach

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28
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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29
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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30
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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31
Q

Genre-Based Formatting

A

according to Hesmondhalgh, it takes considerable marketing efforts in order to break a writer or performer as a new star, yet star power, once enabled, can deliver ready-made audiences for products

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32
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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33
Q

Guest Diversity

A

occurs in shows like game shows, where guests are invited from a range of cultural, professional and academic backgrounds

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34
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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35
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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36
Q

Horizontal Integration

A

where companies buy companies to reduce competition

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37
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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38
Q

Focus on popular genres

A

look at what is currently popular and copy it

39
Q

Controlled Release Schedule

A

this can be achieved in two different ways

o Releasing everything at once reduces risk
o Limited Release

40
Q

Detailed Marketing Campaign

A

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

41
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)

42
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

43
Q

Impartial Reportage

A

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

44
Q

Independent Labelling

A

independents provide a useful means of engaging audiences that are reluctant to consume mainstream media and conglomerates also delegate production to independents to shield themselves from the impact of content failure on their brand identity

45
Q

Industrial Process

A

there are three stages to the industrial process

46
Q

Production

A

how a film gets made

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

47
Q

Distribution

A

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

48
Q

Circulation

A

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

49
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

50
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

51
Q

Internationalisation

A

refers to strategies adopted by media makers to maximise their profits and audience reach using global distribution

52
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

53
Q

Legacy Power

A

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

54
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

55
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

56
Q

Low Budget

A

£150,000 - £5,000,000

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

57
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)

58
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’

59
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

60
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

61
Q

Media Institutions

A

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

62
Q

Media Pluralism

A

media landscape with a healthy balance of products made by different media company types, including public service broadcasters, commercial media and citizen-generated media

63
Q

Micro Budget

A

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

64
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

65
Q

Minority Issue Debate

A

where media products choose to focus on minority issues not normally covered in commercial media

66
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

67
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

68
Q

Multi-Sector Integration

A

buying companies across the culture sector allows for further cross-promotion opportunities and the deployment of brands across media platforms

69
Q

Murder of Milly Dowler

A

Milly Dowler was a 13-year-old girl who was strangled by Levi Bellfield in 2002. Originally, police believed Dowler was still alive as her voicemails were being listened to. It later transpired that her phone had been hacked by NewsCorp and they were listening to her voicemails whilst she lay dead. This led to the formation of the Leveson Inquiry

70
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

71
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

72
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

73
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

74
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

75
Q

PSB

A

Public Service Broadcaster

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

76
Q

Regulation

A

the act of controlling something

77
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

78
Q

Regulator

A

an authority who creates and maintains rules

79
Q

Remakes

A

the media industry further reduces risk by recycling archived material that has enjoyed prior success; retellings often seek to recapture audience engagement through nostalgia-based appeals, whilst also rebranding content so that it fits the needs of a contemporary audience

80
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

81
Q

Rupert Murdoch

A

the owner of NewsCorp

82
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

83
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

84
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

85
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

86
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

87
Q

Studio Budget

A

over £50,000,000

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

88
Q

Subsidary

A

company controlled by a much larger company

89
Q

Synergistic Relationship

A

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

90
Q

Synergy

A

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

91
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

92
Q

Technological Convergence

A

advancement of technology, merging and integrating

93
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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