CIMS 1002 Quiz 2 - UPENN

“The Magic System” (Raymond Williams):

Williams’s idea that broadcasting—especially TV—works like an everyday “magic” flow of images and messages that seems natural and effortless, pulling viewers along and shaping attention, desires, and norms (often through advertising and program “flow”).

Penny Press:

Cheap 19th-century newspapers (costing about a penny) funded largely by advertising, aimed at mass audiences, and known for human-interest stories and sensational news.

Creel Committee:

The U.S. government’s WWI propaganda agency (Committee on Public Information) created to build public support for the war through posters, films, speeches, and press messaging.

Edward Bernays:

Early PR pioneer who applied psychology to mass persuasion; promoted the idea of “engineering consent” and shaped modern public relations and advertising strategies.

Madison Avenue:

A shorthand term for the U.S. advertising industry (especially mid-20th-century NYC agencies) and its style of mass-market branding and persuasion.

Herbert Hoover:

U.S. President (1929–1933); also earlier a prominent public figure associated with commerce and modern mass communication—often referenced in media history discussions about government messaging and public image.

Bulova:

U.S. watch company famous for one of the earliest TV ads (1941), making it a key example in the history of sponsorship and advertising on television.

Seikosha:

Early Japanese clock/watch manufacturing company (linked to the origins of Seiko), important in the history of timekeeping industries and advertising/branding in Japan.

Sponsorship:

A media funding model where a brand finances a program (or segment) in exchange for advertising integration—often shaping the show’s content, tone, and scheduling (especially in early radio/TV).

Sanka:

Decaffeinated coffee brand historically advertised heavily in mid-century U.S. media; useful as an example of sponsor-driven TV/radio marketing.

Mr. Potato Head commercial:

Often taught as a landmark early children’s TV ad (Hasbro) that helped define kid-targeted TV advertising and the direct “toy-to-child” persuasion model.

Roy Rogers and Gene Autry lawsuit:

Disputes involving western-star branding/rights in merchandising and media—often used to illustrate how star images became valuable commercial property (names, likenesses, products).

“I Like Ike” campaign:

Dwight D. Eisenhower’s 1952 TV-era political advertising campaign using catchy slogans and short televised spots—an early model of modern image-based political marketing.

“The first TV President”:

Common label for John F. Kennedy, emphasizing how effectively he used television aesthetics (image, performance, charisma) to shape public perception.

Joe Kennedy:

Joseph P. Kennedy Sr.; powerful businessman and patriarch of the Kennedy family; influential in shaping the Kennedy brand and political rise.

Nixon–Kennedy Debates:

The 1960 televised presidential debates; famous for showing how TV appearance and performance could influence public perception (viewers vs. radio listeners often noted differently).

Jacqueline Kennedy’s White House tour:

A televised 1962 tour of the renovated White House hosted by First Lady Jacqueline Kennedy; a major example of TV used to craft cultural authority, taste, and a presidential “image.”

Kennedy assassination:

The 1963 assassination of JFK; a defining media event in U.S. television history, experienced collectively through nonstop broadcast coverage and shaping national memory.

U.S. Civil Rights Movement:

Mass social movement (1950s–60s) to end racial segregation and discrimination; TV news images played a major role in national awareness and political pressure.

Martin Luther King Jr.:

Civil rights leader and minister; central figure in nonviolent protest and public speaking, closely tied to media coverage of civil rights activism.

“I Have a Dream” speech:

MLK’s 1963 speech during the March on Washington; iconic civil rights address broadcast and circulated widely, shaping public discourse on racial justice.

Lyndon Johnson “Daisy” commercial:

A 1964 political TV ad implying nuclear-war danger if Johnson lost; famous for emotional persuasion and fear-based messaging in TV politics.

MC Hammer Japanese Pepsi commercial:.

Example of U.S. pop-celebrity advertising in Japan; useful for discussing globalization of celebrity marketing and how stars are “translated” for local audiences

Celebrity endorsements in Japan:

A major advertising practice where celebrities (including musicians, actors, athletes) lend “trust” and desirability to products; often more pervasive than in the U.S., with heavy use of stars in commercials.

Shingo, SMAP:

Major Japanese pop-idol celebrities (SMAP as a hugely influential boy band; Shingo refers to Shingo Katori, a member). Useful examples of idol-based cross-media celebrity endorsements.

Public Health Cigarette Smoking Act:

U.S. law that banned cigarette advertising on television and radio (effective 1971), reshaping sponsorship and advertising strategies.

Product placement:

Embedding branded products inside entertainment content (film/TV) as part of the narrative or setting, often paid or negotiated, to market without traditional ads.

E.T. – Reese’s Pieces:

Classic product placement case where the candy appears prominently in the film, often cited as a breakthrough example of placement boosting brand visibility and sales.

Production of consumption:

The idea that industries don’t just produce goods—they produce consumers by shaping desires, habits, identities, and “needs” through marketing, media, and culture.

Cultural Studies:

An interdisciplinary approach (often tied to Stuart Hall/Birmingham School) that studies how culture and media relate to power—how meaning is made, contested, and lived in everyday life.

Resistance:

Ways audiences or groups push back against dominant meanings/power (e.g., interpreting media differently than intended, remixing, rejecting, or repurposing it).

Subcultures:

Smaller social groups with distinct styles, values, and practices that can challenge or rework mainstream norms (punk, hip-hop scenes, fandom communities, etc.).

Fans:

Highly engaged audiences who invest emotion, time, and identity into media; often build communities and produce their own interpretations and creations.

DiscoVision:

An early laserdisc format/brand (pre-DVD era) for playing movies at home via optical discs; part of the evolution of home video distribution.

Sony Betamax:

Sony’s home videotape format competing with VHS; known for quality but lost the format war largely due to market and licensing dynamics.

Sony v. Universal:

The Supreme Court “Betamax case” (1984) that held home recording for time-shifting can be fair use, and manufacturers aren’t liable if the product has substantial non-infringing uses.

Revue:

MCA/Universal’s television production company (major producer of early TV), important to the industrial shift where Hollywood actively produced for TV.

Technological protection measures (DRM):

Technical locks controlling access/copying of digital media (encryption, region codes, license systems) to prevent piracy or unauthorized use.

Contributory infringement: Legal doctrine:

you can be liable for copyright infringement if you knowingly help, encourage, or materially contribute to someone else infringing.

Sandra Day O’Connor:

U.S. Supreme Court Justice (served 1981–2006); relevant in media/copyright contexts as a key judicial figure of the era.

Time-shifting:

Recording a TV broadcast to watch later (like taping a show); central to the Sony v. Universal fair use ruling.

Sell-through:

Selling movies/shows directly to consumers for ownership (rather than renting)—e.g., VHS/DVD priced for purchase.

E.T.:

A landmark 1982 blockbuster often used in media industry examples (merchandising, licensing, product placement—like Reese’s Pieces—and home video economics).

Informal distribution:

Non-official circulation of media (bootlegs, peer-to-peer sharing, street markets, copied discs, file sharing) that often fills gaps where legal access is limited.

Iran:

Often discussed in media studies as a case where state control, censorship, and informal media markets shape what people can watch and how.

Ayatollah Khomeini:

Leader of the 1979 Iranian Revolution and Supreme Leader afterward; associated with major shifts in Iranian media regulation and cultural policy.

VCDs (Video CDs):

Cheap optical-disc video format (popular in many regions) used for movies/music videos—important in informal distribution and markets with limited DVD/broadband access.

Myanmar:

Frequently referenced in media infrastructure contexts (state control, limited access historically, later mobile expansion affecting media circulation).

Mobile privatization:

Opening mobile telecom to private companies/competition (often reducing prices and expanding access), which can rapidly increase media access via phones.

Walkman:

Sony’s portable cassette player (late 1970s onward) that reshaped listening habits—private, mobile, individualized media consumption.

iPod:

Apple’s portable digital music player (2001) that accelerated the shift to digital music ecosystems and legitimized new consumption models (iTunes era).

“Rip, mix, burn”:

Apple/iTunes-era slogan describing digital music practices—copy songs from CDs (“rip”), create playlists/compilations (“mix”), and write CDs (“burn”)—tied to changing norms around personal copying and ownership.

Long Tail:

Theory (Chris Anderson) that digital distribution allows niche content to remain profitable over time. + Instead of only blockbusters making money, many small, specialized works collectively generate revenue. Long tail is other films being made…head was only block buster films being made..long tail is bigger audience is bigger audience and commercial more than just blockbuster

Fans

:Active audiences who deeply engage with media texts. + Create, analyze, reinterpret, and circulate content rather than consuming passively.

Slash:

Subgenre of fan fiction pairing two same-sex characters romantically/sexually. + Named after the slash between character names (e.g., Kirk/Spock).

Convergence Culture:

Term by Henry Jenkins. + Media content flows across multiple platforms. + Industries and audiences interact and collaborate in shaping media.

Transmedia Storytelling:

A narrative told across multiple platforms (TV, film, comics, games). + Each platform adds new story elements rather than repeating the same content.

Participatory Media:

Media systems where audiences actively contribute (commenting, remixing, creating). + Blurs line between producer and consumer.

Prosumer:

Combination of “producer” and “consumer.” + A person who both consumes and creates media content.

Cosplay:

Short for “costume play.” + Dressing up and performing as fictional characters, often at conventions.

Otaku:

Japanese term for someone intensely devoted to anime, manga, or gaming. + Outside Japan, often used positively to describe dedicated fans.

Archive of Our Own (AO3):

Nonprofit, fan-run online archive for fan fiction. + Supports transformative works and fan autonomy.

Doujinshi :

Self-published Japanese fan comics or creative works. + Often based on existing anime/manga. + Sold at conventions like Comiket.

Remix Culture:

Creative practice of transforming existing media into new works (mashups, edits, fan vids). + Challenges traditional ideas of originality and authorship.

Fair Use:

U.S. copyright doctrine allowing limited use of copyrighted material without permission. + Applies to criticism, commentary, parody, education, scholarship.

Camp:

Aesthetic style embracing exaggeration, theatricality, irony, and artifice. + Often associated with queer cultural expression and “so-bad-it’s-good” appreciation.

Ada Lovelace:

19th-century mathematician who wrote early notes on Babbage’s Analytical Engine, often credited with the first published algorithm intended for a machine; an early figure in thinking about “software” concepts.

Charles Babbage:

British inventor who designed the Difference Engine and Analytical Engine—mechanical computing machines that anticipated programmable computers.

ENIAC:

One of the first general-purpose electronic digital computers (1940s), built for large-scale calculations (famously ballistics). Symbolizes the shift to electronic computing.

Homebrew Computer Club:

1970s Silicon Valley hobbyist group where early personal computer ideas and hardware were shared; key community in PC culture.

Apple I:

Early personal computer kit designed by Steve Wozniak and sold by Apple (1976); significant as a hobbyist-to-consumer bridge.

Xerox PARC:

Xerox’s research center that pioneered major computing ideas (especially personal computing concepts), including GUI and mouse-driven interaction.

GUI (Graphical User Interface):

Interface style using windows, icons, menus, and pointer/mouse interaction—making computers easier for non-experts than command-line text.

Apple v. Microsoft:

A major legal dispute where Apple claimed Microsoft copied the “look and feel” of the Macintosh GUI; often used to discuss ownership, borrowing, and competition in interface innovation.

Vannevar Bush:

U.S. science administrator who proposed the “Memex” concept—an imagined system for organizing information via associative links (a precursor idea to hypertext).

J. C. R. Licklider:

Computing visionary who promoted interactive computing and networked communication; influential in early ARPANET planning (often tied to the idea of an “Intergalactic Computer Network”).

Network of networks:

A common definition of the Internet—multiple independent networks interconnected so data can move across them.

ARPANET:

Early U.S. government-funded computer network (late 1960s) that pioneered networking methods that later shaped the Internet.

Cold War:

Geopolitical rivalry (U.S. vs. USSR) that drove massive investment in science/technology and defense research, including computing and networking.

Packet switching:

Sending data by breaking it into small packets routed independently across a network, improving efficiency and resilience compared with dedicated circuits.

TCP/IP:

The core Internet protocol suite that standardizes how data packets are addressed, transmitted, routed, and received across networks.

Radia Perlman:

Network engineer known for key work on network bridging and the Spanning Tree Protocol; often called a “mother of the Internet” for foundational contributions to networking.

Network neutrality:

Principle that Internet service providers should treat data equally (no blocking/throttling/paid prioritization based on content, site, or service).

World Wide Web:

A system of linked documents and media accessed via browsers using URLs/HTTP—built on top of the Internet (not the same thing as the Internet).

Tim Berners-Lee:

Inventor of the World Wide Web (HTTP, HTML, URL concepts) developed at CERN to share information across networks.

The Source:

An early commercial online service (late 1970s/early 1980s) offering news, information, email, and forums via dial-up—part of the pre-Web online ecosystem.

AOL (America Online):

Major dial-up online service/portal in the 1990s that provided email, chatrooms, news, and packaged Internet access for mass audiences.

Prodigy:

Early online service (late 1980s/1990s) offering content, shopping, forums, and email—another key pre-Web/early-Web “walled garden.”

Marc Andreessen:

Programmer who led development of Mosaic and later o-founded Netscape; central figure in popularizing the Web.

Mosaic:

Early widely used web browser (1993) that helped mainstream the Web with easier graphics and navigation.

Netscape:

Web browser/company (Netscape Navigator) that helped commercialize and popularize the Web in the mid-1990s; central to the “browser wars.”

Yahoo:

Early web directory/portal that organized and categorized websites for navigation before search engines dominated.

Google:

Search engine/company that became dominant by ranking pages based on links and relevance (PageRank era), reshaping how people find information online.

Countercultures:

Social movements (especially 1960s–70s) that rejected mainstream politics/values; in media/tech history, tied to anti-authoritarianism, communal living, experimentation, and early digital idealism.

Grateful Dead:

Influential rock band whose fan community (“Deadheads”) became a model for participatory culture—taping/sharing concerts, grassroots networks, and early online fandom.

Summer of Love:

1967 youth counterculture moment centered in San Francisco (Haight-Ashbury), associated with psychedelics, antiwar politics, music, and alternative lifestyles.

Acid Tests:

Ken Kesey/Merry Pranksters events mixing LSD, music, light shows, and performance—early “multimedia” counterculture happenings.

Woodstock:

1969 music festival symbolizing counterculture ideals (peace, music, antiwar sentiment) and mass youth gathering.

Whole Earth ‘Lectronic Link (WELL):

Early influential online community/forum (1980s) blending counterculture and tech culture; known for discussion boards and early online social norms.

Larry Brilliant:

Physician/activist connected to global health and early networked culture; associated with the WELL/Whole Earth milieu and later tech initiatives.