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Popular Culture and Communication > Second Mid-Term > Flashcards

Second Mid-Term Flashcards

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Sociology 101 flashcards
1
Q

The audience desires __________ to commercial media.

A

alternatives

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2
Q

What is the relationship between the social construction of taste and class divisions? What does the Internet do to this relationship?

A

Tastes are related to construction and maintenance of class divisions, altered audience data and the type of data

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3
Q

The domain of everyday experience suffers from what?

A

Distracted participation in ideology

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4
Q

The Internet has expanded the ___________ motives for amateur filmmaking.

A

fame and fortune

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5
Q

Marshall McLuhan: there is a relationship between _______ structures and _______ structures

A

media technology/ psychic

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6
Q

Home movies (“super 8”) offer ____________ representations of the world.

A

conventionalized

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7
Q

In the mid-twentieth century amateur filmmakers were advised to make what type of home movies?

A

less egocentric approach to the subject and edit out certain aspects

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8
Q

YouTube’s army of amateur videographers is leading to the _________ of idiosyncratic behaviour.

A

increase

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9
Q

Home moviemakers in the 20th century believed in the _________ power of the camera.

A

objective

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10
Q

Why did Richard Chalfen describe home movies as the ‘simplest situation’?

A

Film maker – audience – subject matter all similar

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11
Q

Why do some people think that Bert (of Bert and Ernie) is evil?

A

Bert on a poster with Bin Laden – out of context

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12
Q

Pierre Bourdieu claimed that ‘_________ can be terribly violent.’

A

aesthetic intolerance

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13
Q

The online audience often identifies with the presentation of the _________ while recoiling from ___________ that are not part of the mainstream.

A

universal/local cultures

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14
Q

James M. Moran suggests that different types of media practice signify different positions within social classes and different degrees of _____ & ______.

A

power/privilege

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15
Q

Moran suggests that home video’s dominant style of _______ and its primary subject of the ________ are seen as suspect in academic, art, and museum cultures.

A

realism/family

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16
Q

Richard Chalfen and Patricia Zimmerman saw _________ and __________ as significant factors within home video.

A

standardization/ideology

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17
Q

Daniel J. Solove argues that the YouTube generation “may find it increasingly difficult to have a _______.

A

fresh state/second change/clean slate

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18
Q

Our amateur video practices are ________ the context of our selfhood.

A

globalizing

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19
Q

Our sense of self is strongly dependent upon what __________ about us.

A

we think others think

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20
Q

We may be creating conditions for self-construction where ______ plays a much more current role in our lives.

A

the past

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21
Q

The privacy of the domestic space (home) protects __________ with social norms.

A

minor non-compliance

22
Q

Patricia Wallace argued the “we have ___________ over our self-presentation on the Internet compared to what we had in high school.”

A

more control

23
Q

The core value of YouTube is ____________.

A

authenticity

24
Q

Diaries once were a manifestation of an increased demand for ___________.

A

autobiographical

25
Q

Jay David Bolter claims that social computing is self-referential, fragmented, and multiple – the antithesis of the ______ ________.

A

aesthetic transparency

26
Q

Michel Foucault argues that deeply embedded within the institutions of the west was a formidable ______________.

A

machinery of confession

27
Q

Pierre Bourdieu spoke of ________________ that organize our actions.

A

invisible structure s

28
Q

Confession is a _____ ______ wherein individuals internalize the standards of acceptable behaviour.

A

normalizing process

29
Q

Online confession may function more as a mode of ______ _______.

A

normalizing deviance

30
Q

What are television formats and why are they useful?

A

A blue print for a program, purchase of format entails access to programs – production bible, expand into hostile markets

31
Q

The audience has ___ ____ of reading against the grain.

A

limited powers

32
Q

‘Television entertainment can use its ____ powers to _____ identification with those who we might otherwise be inclined or encouraged to view as odd, other and pre-eminently ____

A

affective powers to encourage identification/different

33
Q

Our current era of television is rich with

A

parody

34
Q

According to Jean Baudrillard “the real world has vanished, leaving us only with a mediated existence, and a reality more real than reality.”

A

hyper real

35
Q

What is the meaning of the term “long tail”?

A

Describes how online warehouses can make everything available to the consumers

36
Q

Why is the non-advertiser-funded delivery of programs increasing?

A

People want it

37
Q

Why does synergy provide free advertising?

A

Media corporations were small but neoliberalization removed barriers = conglomerates

38
Q

What does ‘intertextuality’ mean?

A

When a text is directly influenced or captures elements from another text

39
Q

Is it correct to claim, as Neil Postman did, that “television speaks in only one persistent voice – the voice of entertainment.”

A

no

40
Q

Is television becoming more or less social?

A

Intensely social

41
Q

Cultural appropriation:

A

taking from another culture that is not one’s own, expressions/artefacts

42
Q

Hyperreal:

A

reality presented as more then real

43
Q

Counter-discourse:

A

discourse encounters a counter-discourse that challenges the original discourses’ legitimacy

44
Q

Rhizomatic text:

A

text with no set beginning/multiple entry points

45
Q

Why did Plato suggested that poets should be expelled from his ideal republic?:

A

poets had an effect on emotions and rationality

46
Q

Benedict Anderson described communities

A

as imagined

47
Q

Popular culture is

A

contested terrain

48
Q

Commercial television is ___ and ____

A

hyperreal and idealized.

49
Q

Popular culture is popular because it

A

means different things to different people

50
Q

Balkanization, also called ‘egocasting’ describes how “We will all become such careful and thoughtful programmers of our own media menus that we will ___ ___ ___

A

not encounter difference

Popular Culture and Communication (1 decks)

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