Media Studies Exam

Marshall McLuhan

Marshall McLuhan

“The Medium is the Message”, Media is an extension of us

hot media

“too hot to touch”, High definition, rich in sensory data, engages all senses completely

cold media

low definition, has to be completed by the viewer

remediation

the act of passing the same content or function onto a different medium

immediacy

the medium disappears and leaves us in the presence of the thing represented

hypermediacy

makes the viewer aware of the medium, utilises multiple mediums, self-advertising, many engagement points, enhanced interaction

Digital paradox (double logic) of remediation

using mediated technology to achieve immediacy, multiplying media to erase the traces of mediation

aura and authenticity

unique existence in time and space that mechanical reproduction destroys

democratisation of art

accessibility at the cost of aura

Lev Manovich

new media

new media

the use of computer for distribution and exhibition, including but not limited to production

principles of new media

1. Numerical representation

2. Modularity

3. Automation

4. Variability

5. Cultural Transcoding

numerical representation

all new media objects are composed of code, all can be described mathematically, subjected yo algorithmic manipulation, media becomes programmable

Digitalization

1. Sampling

2. Quantification

Modularity

media is an assemblage of discreet units:

independently stored, assembled into a large scale object, may be altered without damaging the whole

automation

numerical representation+modularity

algorithms use the data base to create, analyse and modify

low level - photoshop, filters

high level- AI, machine learning

Variability

varies from person to person, not like traditional media trying to fit all

cultural transcoding

computer layers (what computer can do), cultural layers (what we want it to do)

hypothermic needle theory

• 1930s

• shapes opinions/ actions

• media is irresistable

• discredited today

agenda setting

• not how we think, but what we think about

• cognition, not opinion and attitude

• does not reflect reality but filters it

• the third person effect

• spiral of scilence

• ubiquity

• cumulation

• comonance

spiral of scilence

“noone says it and i wont”

third person effect

media effects everyone but not me

ubiquity

media accessible to all

cumulation

repetition of topics and themes

comonance

diverse media outlets but same opinions and topics

multiple-step flow model

• opinion leader with personal influence spreads the idea to their followers

uses&gratification

• individual purposes

• media is not done to but for people

• people are not passive but active

media effects

intended or unintended consequences of what media does

persuasion

open, interactive, transparent

propaganda characteristics

• well-being of audience is secondary

• promotes intentions of the propagandist

• eliminates nuance and perspective

• conceals purpose

• conceals of misstates the identity of the source

white propaganda

• correctly identified source

• accurate info

• argument one-sided

gray propaganda

• source may/ may not be identified correctly

• uncertain accuracy of information

black propaganda

• concealed source

• spreads false information

propaganda techniques

• certain buzzwords

• symbolic images

• controlling flow of information

black box

the lack of transparency within the algorithmic process

advertising

the process of giving notice to something

fordism

a system of production based on mass standardisation

post fordism

flexibility, catering to market demands

use value

relates to the utility a product or servise it provides to the user

symbolic value

what product say about the group consuming it

surveillance capitalism

• profit through targeted advertising

• economic system based in data

• private experience is material for human data

• data about us not for us

• users are converted into product advertisers into product advertisers and data producers

plato’s cave

In the allegory "The Cave", Plato describes a group of people who have lived chained to the wall of a cave all their lives, facing a blank wall. The people watch shadows projected on the wall from objects passing in front of a fire behind them and give names to these shadows. The shadows are the prisoners' reality, but are not accurate representations of the real world. The shadows represent the fragment of reality that we can normally perceive through our senses, while the objects under the sun represent the true forms of objects that we can only perceive through reason.

reflective representation

direct correspondance between the representation and the thing represented

intentional representation

connects meaning and language to culture by emphasising the role of the creator’s intentions and cultural context

constructionist representation

not a direct reflection of reality but is actively constructed through cultural and social processes

types of representation

• reflective

• intentional

• constructionist

Stuart Hall

representation is a reflection of reality, shaped by culture and power, constructs meanings of realities

types of signs

• iconic

• indexical

• symbolic

iconic signs

physically resemble what it stands for

indexical signs

there is a relation between the sign and the object

symbolic signs

relies on convention, agreement, shared cultural meaning

Arbitrary: no similarity or cause-effect

Signs in Saussure

sign

signifier - physical form (word, image)

signified - the concept of the thing

what do signs do?

construct meaning, they can also be objects themselves

certain clothes - a sign of wealth

semiotics

study of signs, symbols and their interpretation

Roland Barthes

semiotic approach to pop culture

denotation

literal meaning

connotation

emotional, cultural meaning

systems of representation

conceptual system

language system

relation between the two - code

conceptual system

concepts in ur brain

language system

organised system of signs that carry and express meanings

code

rules and conventions in a culture or society

why gaf about representation?

Representation and semiotics provide insights into how meaning is created, conveyed, and
interpreted in human communication.
• Critically analyze media messages -> hidden meanings and biases
• Understanding representation helps us recognize and challenge stereotypes and
misrepresentations
• In marketing and advertising, representation and semiotics play a vital role in shaping
consumer behaviour
• Art and Aesthetics: how artists use symbols and signs to convey their artistic visions.

concealed coding, naturalisation, hegemonic code

the process of making certain representations appear as common sense, objective and natural

encoding & decoding

the producers encode meaning, aim and intention

the audience decode them depending on their characteristic, they can accept or reject the encoded meaning

encoding/decoding positions

• the dominant position

• the negotiated position

• the oppositional position

the dominant decoding position

• agree and accept what the media encodes

• the “preferred reading”

the negotiated decoding position

• partially agree with the encoded message

• accept preferred reading but sometimes partially resist and modify it based on interest or experience

the oppositional decoding position

• understands the preferred reading

• rejects it

• decodes differently

marx & media

Media as purveyors of dominant ideology
• Bourgeoisie/the ruling class VS Proletariat/working class
• Dominant ways of thinking/ideology: reflect the interests of the ruling class
emerged from capitalist relations
• “False consciousness”: people in capitalist societies accept the system, even
though the ideological messages contradict their actual living conditions
the worldview of the ruling class becomes the accepted cultural norm
They present the world as it is (i.e., the subordination of
the lower classes) as natural, therefore as correct and
acceptable.

Frankfurt School

The ideological role of consumerism and mass media.
Culture industry and art -> mass commodity (under capitalism)
• content: standardised, predictable
• consumption: simple, repetitive, effortless
superficial and fake
uniqueness and
individuality => impression
of freedom of choices and
originality of meaning (pseudo-individualisation)

"false needs”: provide motivation to work ever harder for the system, while
distracting people from their true needs

media is primary entertainment, consumers need to be standardised

cultural appropriation

the dominant system adaption to counterculture

political Economy

ownership and profit orientation: media are
controlled by a small number of highly powerful
corporate institutions
media consolidation
• imperative to attract and retain advertisers
• extensive influence on media of a range of other
wealthy and powerful groups

cultural imperialism

he globalisation of culture as a highly unequal process dominated by powerful capitalist interests based in wealthy countries

involves the systematic exploitation and cultural domination of small countries by powerful transnational companies based
in wealthy parts of the world
• the whole world -> market
• unable to compete
• money is transferred out of such countries
• Homogenisation: loss of national and local identity
• and the threat of the local culture's extinction
• Global spread of capitalism/ideology
• National productions but with foreign formal elements

race representation

• exclusion

• stereotypical representation

• assimilation

• othering

exclusion (race rep)

the process in which certain racial groups are “written out of history” and underrepresented

stereotypical representation

Misleading representations – define members of a group by a small
number of characteristics

assimilation

Visibility - overlooks the cultural identities of
minorities and their real-life conditions.
Representations (sitcoms, family shows): family,
professional, or romantic issues but ignore
matters of social power and oppression
Superficial diversity: Multiracial casting that gives
the impression of acknowledging diversity

othering

marginalisation by defining minorities in relation to the white majority

gender

culturally and socially constructed differences

feminism

a political project that explores the diverse ways women are socially empowered or disempowered

post-feminism

Feminism had “done its job,” “equal” place in society
• any remaining feminist project should turn attention to women’s “individualism”
• the body and attractiveness can be used as a tool for empowerment
- beautiful, white, and
successful media personalities
- privileged wealthy groups
consumerism

Mark Deuze

“media life” “every aspect of our life takes place in media”

media paradoxes

Visible and invisible
• Media everywhere and nowhere
• Together and alone
• Being free and mediated
• Humans and computers

private/public

“the panopticon effect - we are always being watched but we do not see by who

threat of invisibility

metrics

numbers matter

everywhere/nowhere

• algorithms

• everything is done through media

• part of daily life

media as everyday practices

• everyday routines

• users as producers

network society

• globalisation

• work and labour are hybrid with technology

• hyper social society

• communication

• political processes

technological alienation (network society)

– Technology isolates.
– Technology leads to
destruction of jobs.
– Surveillance is getting out
of hand

technological utopia (network society)

– Technology helps us connect.
– Technology helps us work
more efficiently.
– Technology makes us safer.

networked publics

publics that rely on network technology and network people

aspects of the networked publics

persistence: online expressions are automatically recorded and archived
(accessible)
• visibility: information shared in networked publics can potentially reach a
wide audience (makes interaction public by default)
• spreadability: viral nature of content, the ease with which content can be
shared (low bar for creating and duplicating)
• searchability: the ability to find content

positives of networked societies

• magnifies voices

• gathers audiences

• connects

• more possibility to protest

high-level affordances of technology

the dynamics and conditions enabled by technology, connection, visibility so on

low level affordances of technology

materiality of the medium such as features, buttons, screens

what do affordances do?

they suggest, enable and constrain the users action by highlighting the desirable one and downplaying the undesirable ones, they build their ideal user

how to analyse an interface?

why does a specific feature appear and not another?
• on what beliefs/norms is it based?
• who is the Ideal User that is shaped?
• what are the consequences of these design choices?
Functional: possibilities, what a user can do with a site/app
Cognitive: how users know what they can do with a site/app
Sensory: close to an aesthetic analysis of the interface

a passive recipient of content

1. Endless and constantly renewed content – trigger prolong consumption
2. Content for passive consumption - repetitive, brief view of images
3. “Trained” towards a repetitive and instinctive
• hidden affordances (location stamp, filters-story)
• passive and standardized actions are promoted
• “Like”: a quick double-tap on an image
• comments: accompanied by predetermined responses

what is a filter bubble

algorithmic selection based on usage history\ news and information is automatically filtered out (no information diversity, passive formation

echo chamber

overexposure to things we like an agree with, active participation - actively seek out and engage with alike viewpoints