Pop Cult

Roland Barthes - the fashion system

* signifying interactions – words and images
* whereby we can speak as a “language of clothing”

Dick Hebdige’s study of ‘subculture’ & punk music, behaviour, fashion - Punk is a ‘spectacular’ subculture

* very visual - they display their own distinctiveness
* through their style and semiological ‘grammar’ of punk style

Dick Hebdige - Message conveyed by punks

* working-class youth in Britain
* and experience of oppression and deprivation = anger about no opportunities and “no future”

Dick Hebdige - punk’s anti-aesthetic

* Stylistic and behaviour signifiers ‘create a spectacle” to generate outrage
* use safety pins, torn clothes, piercings, S&M leather, and spitting, swearing, visual profanity (swastika) aggression

Dick Hebdige - semiotic guerrilla warfare by punks

intent is to ‘offend’

Barthes - “Mythologies”

studies signs, signals, symbols, gestures, and messages

Barthes - Myth

* a semiological system, speaks to cultural themes, values
* conveyed (carried) through literature, film, TV, art, ads

Barthes - Understanding Systems of Signs - What we see, read, watch – is a mediated reality

* Semiotics – ‘read’ symbols and signs = interpret them
* studies systems of signs, and how they form cultural texts
* Mass culture – carries ideology – don’t take at ‘face value’ - must see how these are informed by our culture, values, worldview - science tropes

Guy Debord “Spectacle”

* Must situate modern spectacles in the context of capitalism – of mass production and mass circulation
* Conceals the relations between humans and class
* Is a ‘pacifier’ of the masses

Guy Debord – on television and consciousness

The spectator’s consciousness, imprisoned in a flattened universe, bound by the screen of the spectacle behind which his life has been deported, knows only the fictional speakers who unilaterally surround him with their commodities and the politics of their commodities. The spectacle, in its entirety, is his “mirror image.”

Debord - Television

a new form of spectacle – may de-sensitize viewers to the ‘constructedness’ of the world it creates, and the class ideology it carries

Barthes - The World of Wrestling

* Wrestling – a popular form of entertainment \*\* is not a sport, it is a ‘spectacle’
* Guy Debord: “The Society of the Spectacle” = a specially arranged, large-scale display that is public - Hulk Hogan

Sam Migliore - argues professional wrestling

is “more than entertainment ; it reflects , and
sometimes helps create, a particular vision of North
American values.”

* it “serves as moral commentary constructed,
deconstructed, and reconstructed by a segment of the
entertainment industry.
* this is a “commentary that at least in some cases,
presents a strong political message.”

characteristics wrestling

* Larger than life!
*  Characters
*  Large ‘medals’
*  Animosities
*  Heroes – The Hulk

Barthes – on wrestling

* Is not a sport, is a spectacle of excess
* is stage managed and exaggeratedly visible
* Viewer doesn’t expect a ‘contest’ – expects excessive gestures, drama, passion
* Like the grand outdoors occasions of history = Roman arena, bull-fights


* NOT boxing, judo, martial arts, or amateur wrestling
* Not a real ‘athletic competition’

Grandiloquence

* The sign of wrestling
* not truthful, is a dramatic ‘mime’
* Is passionate, with grand gestures, whether in defeat or success
* Passions – cruel, treachery, barbaric, suffering, cheating, rage
* is stage managed and exaggeratedly visible

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SAM MIGLIORE: PROFESSIONAL WRESTLING: MORAL COMMENTARY THROUGH RITUAL METAPHOR

Professional wrestling is “more than just entertainment” Multi-billion dollar industry

Guy Debord: “The Society of the Spectacle

a specially arranged, large-scale display that is public

Sam Migliore argues professional wrestling

* is “more than entertainment ; it reflects , and sometimes helps create, a particular vision of North American values.”


* it “serves as moral commentary constructed,
deconstructed, and reconstructed by a segment of the
entertainment industry.
* this is a “commentary that at least in some cases, presents a strong political message.”-

Barthes - play in a world of myth (wrestling)

* Wrestling affords the crowd the opportunity to play in a world of myth, to take part in a ritualized expression of that myth
* The ritual of the matches recounts the myth of the staged battle of Good and Evil in a variety of versions.
* can also “play on certain social fears”

Sam Migliore “ritual, metaphor, and entertainment”

* attract its mass audience.
* Wrestling is not simply entertainment though – cannot “ignore the power of ritual and metaphor to transform a performance into a potent political statement.”
* Capt. America and the ‘Iron Sheik’

‘Stars’ add to the excitement

* ‘Commentaries’ like Sports Shows relate the current issues, ongoing personal hatreds, feuding to add drama and spark interest
* Cyndi Lauper, Mr. T & Hulk Hogan
* The Crowd – is an entertainment too

Wrestling Is passionate

* with grand gestures, whether in defeat or success
* Passions – cruel, treachery, barbaric, suffering, cheating, rage

Grand heroes (wrestling)

larger than life, grotesque, base, outrageous

Costumes (wrestling)

* painted masks, masks, colourful clothes, accessories (hats, canes), wand, badges ... identify the ‘character’
* Contrasts with their poor ‘physiques’, yet are conceited

Online Fansites and Merchandizing (wrestling)

connects popular culture to mass marketing and consumption .... Only $862.00 replica belt

The audience (wrestling)

jeering, screaming, booing, singing, chanting

IN-Group vs OUT-Group

normal vs marginalized or excluded

Moral commentaries in wrestling

* During periods of conflict between the USA and Middle \n East after 9/11, conflict with Saddam Hussein, invasion of Iraq, it “served up a moral commentary” on events and
* patriotism – a moral and political message
* Identifies the ‘heroes’ and ‘villains’ in the context of \n patriotism and war

PASSION and DRAMA

* Defeat is tragic - torture, \n humiliated, begging, public \n humiliation
* Referee – not obliged to be \n fair, turns so they cannot see
* Match – followed by chaos, \n crush in the hall, ‘stars’ call \n out injustice

catharsis in wrestling

* Re-Enactment of social tensions, conflicts  allows \n the release of tensions
* Choreographed and highly scripted

political \n consequences

Can act as a form of persuasion

expresses \n resistance against the rules of society

Entertainment for popular culture, a mass \n audience, a working-class audience

Act out narratives engaging different issues, and \n wrestlers

* Alliances – reflect real life geo-political realities, \n reproduces ethnicities, racial divisions
* Reproduces and reinforces prejudices and \n stereotypes
* ‘Matches’ and long-standing feuds – act out relations

‘ethnic/racist stereotypes’

Hulk Hogan vs Kamala, The Ugandan \n Headhunter (1986) with the Wizard and \n the tooth of Chaka Khan

Major themes in wrestling

* Patriotism – Hulk Hogan is the ultimate, \n unquestionable USA Patriot , Vs Sgt. Slaughter – during Gulf War

‘I am the real American, I fight for the right of \n everyman’ – leads crowd in reading the Pledge of \n Allegiance

* the villains = break the rules: spit on opponent
* Unpredictable: dirty tricks, unexpected winners, re- \n matches, unexpected alliances,

Ritual Drama

* WWF made use of ritual drama and metaphor


* constructs their version of the Persian Gulf Crisis and its \n aftermath
* Sgt. Slaughter - performance and statements set the \n stage for both presenting a negative image of Saddam \n Hussein and Iraq and for silencing opposition
* Reinforce a certain ‘pro-American/West’ version of \n the world

Proclamations of \n Allegiance

* Pledge: “... all our brave men and women in \n the Middle East, so close to war, so close to \n war, there's no way I'm going to let you \n desecrate my country, my people, or my \n flag, God Bless America!”
* Props: American flags, eagle imagery \n Opposition: carry non-American flags
* Different matches – ‘re-enact different \n battles’
* 2014 match against a \n ’character’ Bulgarian named Rusev – a \n supporter of Putin, and the gorgeous but \n cunning Russian Lana

Wrestling is not simply entertainmen

we cannot “ignore the power of ritual and metaphor to \n transform a performance into a potent political \n statement.”

popular culture and \n pop music are

virtually synonymous

Music and Lyrics

move us and \n define our ‘youth’

Genres

establish style and \n vocabulary e.g. Rock ‘n Roll: a style of music, \n fashion, style, language – jive, \n cool, swingin’

films and tv

memory of show recalled when hearing a song

Multiple trends = pastiche

not defined by industry \n

Preferences may follow

1. popular trends: \n industry influence, peer/age pressure
2. age paths: once a rocker, always a rocker...
3. rural/urban split: country-folk
4. religious: Christian pop, Gospel
5. ethno-cultural: \n Bhangra Indian pop
6. politics: folk-ant war; hip hop \n urban resistance
7. Retro - swing
8. Punk – class-based \n resistance \n movement UK \n

Can vary with genre of style of music

1. Romance – All: love, relationships, break-ups \n ...
2. Heartache – Country “Your cheatin’ heart’
3. Hardship – Blues, Folk
4. Resistance: Anti-war (1970s), hip hop (1990s), \n rock ‘n roll (1950s), punk (1980s), indie (anti- \n pop)
5. Anti-Racism: Hip hop, Blues \n

Pop Culture and “The Market”

* mass culture, mass communication, mass production & consumption
* business of pop culture is ‘integral’ to our economy

Murray Forman (Prof. Art, Media, Design \n Northeastern University); \n • ‘Represent’: race, space and place in rap music

* Hip hop transcends/escapes the constraints of \n living conditions of urban poor in USA for Latino \n and Black youth = hip hop’s ‘spatial logic’
* Reshape identity for urban youth: transgress \n urban space to connect hip hop ‘nation’ and \n transgress industry and technology’s \n constraints by producing on own labels \n

1970s rap

and 1980s rap

* personae and turf as well as gang affiliations
* 1980s gone national across urban USA, there were independent record labels so the lyrics and movement came out of ghetto experience, the success brought debates about authenticity race (M&M)

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Paul Gilroy; \[The Black Atlantic: Modernity and \n Double Consciousness. Cambridge: Harvard \n University Pres, 1992.\] – from perspective of \n Britain:

* What does this movement say about a ‘national’ black \n experience?
* What connects the ‘hoods’ into a national consciousness? \n Transnational awareness?
* Is there a black diaspora – USA, Canada, Britain, Caribbean?
* Ghettocentric vision VS global shared struggles for empowerment

Pop culture & material culture studies

* “material items are a reflection of the culture that \n produced it”
* the ways in which people make, design, and interact \n with objects and the material/built environment \n reflect the society/culture of which they are a part

FASHION and STYLE

* who defines it?
* Who promotes it? Who profits/benefits?
* Social Movements, Current Issues: Fast \n Fashion
* explores genres of material culture (food or \n clothing), and considers categories of objects, \n (gifts and commodities}
* How is social value established in systems as \n the practices and meanings surrounding objects \n change?. \n

DENIM BLUE JEANS

* Originally ‘work clothes’ (Levi’s): \n comfortable, hard-wearing twill fabric
* But now are “global and ubiquitous”
* “single most common garment we wear’
* ‘style’ comes with variations (wide leg, \n frayed) and treatment (faded, acid \n washed)

Daniel Millar: blue jeans

* are ‘semiotic’ \n = part of a symbolic system -> what do \n they tell us?
* Can they tell us a lot about the ‘wearer’ \n and society?
* can be used to mark difference: gender, age, \n rich or poor class, ethnic variations
* as a form of material culture, differ by \n cost, fashionable-ness, style type (cool, \n geek, ‘Mom’), use
* we have been wearing blue jeans for over 100 \n years, originally as ‘working people’s clothes’, \n and they have changed little in terms of fabric \n and essential features
* most global item of clothing
* most personal item
* relieves anxiety – a comfort item
* Variety: faded, bleached, torn, frayed, baggy, \n skinny, flared...
* Localization: ‘funk’ movement;

Blue jeans are ubiquitous, therefore \n are they ‘post-semiotic’ if \n EVERYONE wears them? No \n significance anymore . . .

* Blue Jeans – an ICON of youth clothing
* James Dean in ‘Rebel without a Cause’ \n – youth, rebellion from authority, and \n independence 
* ‘Ordinary’ and ‘Comfortable’ – \n important distinguishing features
* Are ordinary, yet there are some Rules: \n wouldn’t wear them to a funeral

Blue jeans - Reflect the global system of \n production and global trade

Considered a symbol of ‘equality’ \n yet designer jeans cost = Lots \n • How is value created  logo is a \n recognizable sign = can price jeans \n by logo  prestige or not  \n categories =

\n Blue Jeans: Are they ubiquitous and \n superficial?

If they are worn by all, what is their
cultural significance?

* represent Western values of ‘equality’
* collective ‘Western/global modern
identity’
* articulate with mass production as area
mass consumption item
* are a marker for ‘cool’

Archetype

* universal symbols that evoke deep and sometimes \n unconscious responses in a reader.
* “In literature, characters, images, and themes that symbolically embody universal meanings and basic human experiences, regardless of when or where they live, are considered archetypes.”

Joseph Campbell “The Hero \n with a Thousand Faces”

* a hero as “one who has \n given his physical life to \n some order . . . , someone \n who has given his or her \n life to something bigger \n than oneself.”
* found in many \n different cultures \n

Mythological Heroines & Heroes in Pop Culture Common themes:

* Fight between good and evil; ‘magic fights’
* The Journey and ‘Trials’ – meeting challenges \n along the journey
* Personal Transformation: common themes: father- \n son conflict
* Bildungsroman\* – a coming of age story, \n transition to adulthood (\*revised term) \n

Roland Barthes “Mythology’

* a lot of pop culture’s emotional allure \n comes from recycling unconscious mythic oppositions”
* Heroes and villains are modeled after ancient mythic themes e.g. honest, dishonest, brave cowardly

Joseph Campbell Mythological re-telling of archetypal themes


1. The Hero and Heroine represents …
2. the Quest/Adventure

1. Represents the Self \n Symbolize heroism, \n virtue, justice, \n Righteousness, \n Often a loner
2. Represents Life and Its Challenges - Growing up, independence, from seniors =parents, father, mother

Classical Super Heroes – Greek- \n Roman Culture of Goddesses \n and Gods

Super human qualities: the hero archetype

* flying, invisibility, freezing touch
* superhuman strength-> Hercules
* mortality and/or rebirth
* A Hero Can be Anyone

Roland Barthes: unconscious symbolism makes spectacles emotionally powerful

heroes/heroines will seek justice; make things ‘right’ and restore ‘order’

Jean Baudrillard (French Theorist) - simulacrum

* border and distinction between reality and fantasy is not clear
* pop culture are ‘simulation machines’ that produce spectacles are ‘more real then
real’ = are hyperreal

Stages of the ‘Hero’s Saga’ (Campbell)

* The ‘quest’ follows the 3 stages (FORMULA) of an initiation that is followed in an initiation ritual or rite of passage = a process of transformation or change in a person’s social status
* SEPARATION (liminal stage) – INITIATION (rejoining)– REAGGREGATION
* Liminal Stage: a transitional stage (Latin ‘threshold’) \n ‘betwixt and between’ 2 stages of life

Hero/Heroine sets out on a journey: \n the road of trials

* Meets with challenges, many \n unfamiliar creatures, tricksters
* Undergoes ordeals, dangers  \n trials and temptations, battles
* Transitions - the real world with the \n ideal world = crossing the threshold \n between the human and \n supernatural world = multi-verses \n

Psychological ‘journeys

Themes of father-son in Star Wars \n • Transition from dependent to adult \n status \n • Darth Vader and Luke Skywalker \n • Coming of age stories \n • Coraline – Neil Gaiman

Four main archetypes for Heroes/Heroines:

1. Messiahs - save others through altruism - superman
2. Brother/sisterhood - superpower team - x-men
3. Amazons - female messiah counterpart - wonder woman
4. Golems - monster-like protectors - hulk

Superheroes

* are bigger than life – with super powers
* strength, x-ray vision, invisibility
* Human aspect of super heroes have super abilities, but also have a personal life
* challenges and fears that can grip us
* Superheroes must have a ‘human dimension’
* stories humanize them
* mythic or Shakespearean echoes
* their character and personality –> experiences world as we do, thinks, grieves, just as we do – makes them relatable \n

Also have heroic tragic flaw

* inseparable from their heroism - Achilles’ heal
* personal life, family problem, romance \n issues
* too shy, too poor, too proud
* Hubris – excessive pride, arrogance – \n leads to one’s downfall or nemesis

Technology enhances our ability for communication

Film and Animation enhance our ability to tell stories

Types of Films:

1. Narrative films: a dramatization of true events, or fiction \n • May adopt an existing novel, cartoon, play etc. \n • Has a cohesive story, dramatic elements, music, special effects
2. Documentaries: non-fiction film depicting real-life situations \n • biographies; historical events; scientific knowledge and natural sciences \n • May be real-life or animated
3. Animated Films or Cartoons: narrative story using animate characters \n • Often, but not always, targeted at children

Monsters and the Monstrous

* Literature, narrative, cinema reflects the world \n in which it is made
* Allegorical – themes address issues indirectly \n or through metaphor – deal with things society \n doesn’t address directly

Society’s worldview sets out its \n ‘natural’ order

* Classifies the world by distinguishing \n between categories (humans vs animals \n vs plants)
* Defines what is normal, normative, our \n values
* Sets out what is right and wrong – the \n moral order = ‘the way things are’

Mary Douglas (British Anthropologist): when society is in order…

* everything is in its proper place = shared values, proper social \n relations, defined categories = ‘purity’
* Things that are ‘out of place’ – are considered ‘dirty’ or socially \n polluted
* e.g. Animals that are a mix of ‘types’ \n - as seen in mix of features = wings, scales, fur...
* When rules are broken, people/things are defined as \n deviant, unclean, ‘polluted’
* Order will be reasserted when things are put back in \n their place, categories are re-asserted
* Problem: things, people who do not fit in only one \n category, cross several – are anomalous, to be \n avoided, unclean, an abomination = against the order
* May be seen as dangerous, deviant, unkept or \n monstrous

The Monstrous

* May have characteristics of \n several different ‘types’ of \n categories = mixing is a form of \n contamination = dangerous, vile \n – Vampires – human with fangs \n (animal), blood outside the body
* Mary Shelley’s “Frankenstein”
• Reflects concerns of its time
* a human put together from body parts
of different people ->initially good, then
turns dangerous, destructive
* Written in 1790s – end of the French
Revolution when society was ‘remaking’
itself, positive changes turned into
chaos, violence

Monsters

* Monsters of the 1950s science- \n fiction films: reflect anxieties \n about science and new \n technologies: radiation, bio- \n technology, robots, thermo- \n nuclear power and the nuclear \n bomb, mutations
* The power of science to do good vs the dangers of interfering with the ‘natural order


* ‘atomic monstrous mutations
* salvation vs doomsday
• Themes: Good vs Bad
 Power to protect vs to Mutate
• Radiation from atomic bombs mutates -> the beast –
diseased tissues ->radiative germs

Complex Societies

* may consist of more than one \n social group – minority/majority; equality/hierarchy, \n dominant-hegemonic/non-dominant \n – Age grades – separate into life phases (Chlld, Youth, \n Adult, Elderly) \n – Genders – as defined by a society (1, 2,3,4,5) \n – Class, Caste, Rank – divided by power, prestige, wealth \n (Max Weber = pronounce Vayber) \n – Social group and sub-cultures  Ethno-Religious-Racial \n Categories – criteria determined by a society

Society’s worldview

– Defines what is normal, normative, \n cultural values = ‘the way things are’ \n and what is not normal, abnormal \n – Sets out what is right and wrong – \n the moral and legal code \n – Establishes ideal understandings of \n beauty  aesthetics  music, \n clothing, art, beauty, landscape \n = aesthetics and anti-aesthetics

How do we recognize and \n account for ‘cultural’ \n differences within a society?

* Differences in social practices: \n religious groups have different \n beliefs and ceremonies
* Differences in values and \n attitudes towards ‘dominant \n society’: \n  Conform or non-conforming
* Differences in material form:clothing varies torepresent an identity group (age group)

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SUBCULTURE:

* Complex society may consist of smaller \n social groups within a larger ‘whole’ \n that share some distinct cultural traits \n and values - set them apart from the \n rest of society.
* Criteria of subculture must be defined: \n - ethnic or language variation \n - religious differences \n - youth/age group \n - political faction

Subculture – Characteristics

a group with:

1. Diffuse Networks: membership is informal,
boundaries with mainstream culture are
fluid
2. Share values, practices and cultural objects
that distinguish it from mainstream
3. Shared identity – signified by distinct style,
clothing, body decoration, symbols of
representation to themselves and outside
4. Resistance to dominant. Hegemonic culture; may be passive or active – brings attention to their ideals  independent vs reactive against
5. Marginalization – are defined against
standards of mainstream, have outside status,
style sets them apart
6. Stratification, Values and Vocabulary –
differences in the degree to which members
commit and conform, and use of a distinct
vocabulary denotes their membership (hip,
groovy, way-out) 1980s Goth

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Resistance, youth culture, class identity

* Dick Hebdige - subcult must be understood in its cult context
* punk is an aesthetic f non-conformity
* resistance is subversively articulated through trangressive music, fashion and lifestyle

Post WWII

* period of great social and \n economic change, increased materialism and \n consumerism
* Incomes increase, ‘distinctiveness’ of working \n class culture reduced
* Youth demographic begins to stand out
* Albert Cohen: subcultures have a \n ‘compensatory value’ for working class youth \n  youth gangs have internal \n hierarchies \n - enhance self esteem

Dick Hebdige: ‘subcultural sociology’

* Subculture: “each subculture represents a \n different handling of the ‘raw material’ of social \n ... existence”
* Identifications of groups  adopt styles of \n clothing, music, speech that signify their \n distinction from mainstream society

Punk

* in 1970s, class differences and \\n discontent of working/lower class status and \\n disadvantages in Britain reveal a “rejection of \\n British national symbolism”
* Punk = a white subcultural style, counter-culture \n - aesthetic of no-conformit
* Rather than develop a unique, alternative \\n positive identity, their style is ‘purely \\n negative’
* resistance is “subversively \n articulated” through \n transgressive music, fashion, \n lifestyle

Dick Hebdige’s “Subculture. The \n Meaning of Style” is a study \n of punk  is a semiotic one

How do punk youth engage in the signification of \n their attitudes and values  to symbolize their \n different attitudes = is an opposite positionality \n relative to ‘dominant middle- and upper-class Britain \n – In speech, music, behaviour, lyrics, clothing and body \n style

Thatcherism

* free market capitalism, \n neoliberalism, precarity: individualism  each \n individual takes care of themself
* there is no society, only individuals
* VS Marilyn Strathern = Britishanthropologist- free market, deregulation, privatisation of nationalindustries, control and limiting trade unions

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Margaret Thatcher’s \n Conservative government 1980s

* Post-WWII social democracies \n and civil rights movements \n = smaller gov’t, reduce \n services, cut social \n programs, individualism, \n Anti-unionism

Punk Aesthetic : signifies \n ‘chaos’

* a radical signifying practice \n (Kristeva): anti-aesthetic
* Skinheads: boots, braces, \n cropped hair were \n meaningful because “they \n communicated the desired \n qualities: ‘hardness, \n masculinity and working- \n classness’.
* Semiotics: allows an understanding the \n meaning of Punk style as a 'semantic \n disturbance“
* Violated conventional, dominant \n codes and meanings = anarchy \n – Torn clothes = chaos, rage

Movements since the 1960s:

* protest and resistance; musician \n important medium:
* anti-Vietnam war, civil rights \n movement, anti-poverty, \n environmentalism, feminist, hip \n hop/rap, anti-racism, hipsters,
* anti-consumerism, slow food, \n gleaners – garbage retrievers, \n hackers, Anonymous, \n anarchists, resist Wallstreet and \n the 2%, Black Lives Matter, Me/Too Movement . . .

Subcultures differs from fan culture

* Subcultures have \n continued resistance & a \n counter-culture
* Differs from fan cultures \n = Trekkies, Larpers, \n Furries , Bronies (My \n Little Pony) \n (entertainments, \n hobbies)

Situation Comedies - Sitcom

* Realistic – we can follow people through their lives, work, \n family, relationships, tragedies
* Serial – continuing story of characters’ lives, life changes, \n relationships – like a chapter book ...
* Comedy and drama - combines many themes
* Multiple Story Lines – interwoven, featuring different \n characters
* Social Issues addressed – changes with every generation

Technology and digitization

* the digitization of \n analog broadcasting signals takes \n place set in many parts of the world \n from early 2000s onwards
* Digitization – takes place in the main \n communication and contemporary \n culture sectors: music, publishing, \n cinema and video, photography, TV \n and radio \n - new technologies & markets

5 main consequences of Digitization:

1. from the 1990s onwards, see convergence of TV ownership \n frameworks towards media integration between TV & other \n communication sectors (example Bell – phone, internet, cable TV; \n Apple – computers, iPhones, entertainment ... )
2. digitization of traditional analog broadcasting signals from early \n 2000
3. the transformation of TV sets as viewing devices, accompanied by \n multiplication of digital accessories and tools -computers, cellphones, \n iPads- ‘Smart TV’ and screening on computers, phones
4. social viewing habits by audiences change - in spatial terms—with \n mobile viewing – cellphones —and in time frame terms with on \n demand viewing 24/7 – time of your choosing - PVR
5. the translation of cultural forms typical of TV into internet-based \n formats, with the dissemination of TV production and consumption \n linked to video sharing platforms - ie YouTube, TikTok, Facebook

Intermediality

* Refers to the mixing up of media = hybrids = are intersected and interconnected
* devices, markets, aesthetics and media practices that previously were \n separated in specific media sectors (such as TV, music or printed books) are now \n interwoven in the digitization process \n = multimedia as audio & video on TV, sound & slide presentations, audio-books

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The Digital Universe

* Computer, Internet, Mobile Phone
* Transition from Analog = single or differentiated media – radio or photography or music to \n digital media
* Each media was separate in terms of user experience and its economic/commercial \n sector – now different platforms are woven together = audio-visual

Changes in use of digitized media

* Individuals build their own “media repertoires” \n = media, channels, technologies
* Audio and visual media sharing is common - YouTube
* Integrates TV and Internet, TikTok – self-production and sharing
* Digital music sharing – Napster – technology circulates peer-to-peer \n (some based on piracy, breaking copyright laws) – by 2005, 20% of \n music circulated this way
* in a reconfigured digital scenario, TV (screens) is still a centrally \n important medium in social terms.
* Contemporary TV consumption - has not declined in the digitization era. Viewing figures increased even more

Watching TV “on the move:

* TV is not becoming obsolete – it changing, mobile \n Mobility but goes back to the portable analog TV \n era of the 1960s
* Now, with more personal digital devices such as \n smartphones and tablets -> “watching TV” is \n partially breaking away from “watching a TV \n set”.