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| Digital Rights Management |
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| Purpose of Original Copyright laws |
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| Music as a tool of social control |
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| Music as a site of resistance/revolution |
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| Artists want to get paid for music, people want it free; debate over copyrights |
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| No space for innovation/originality |
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| 1920s: draws attention to experiences of working-class African-American women through mass culture to the world; themes of dislocation, hardship, longing, desire; opposite of Girl Groups |
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| purely $$$ motivated; strength found in lyrics; young multi-racial audience; |
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| 70s movement in response to economic situations for working-class youth in Britain; collectivism --> individualism; musical and fashion rebellion |
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| assigning of meaning through language and in culture |
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| makes sense of the world, but also constructs it; does not reflect reality |
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| putting people into differences; expectations |
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| unequal; feature of the group is the cause of the groups position |
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| How women should be looked at; How women invite you to look; Body cut-ups |
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| study of signs and symbols |
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Langue- shared meanings
Parole- individual meaning, meaning can shift |
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Encode- makes meaning
Decode- understand meaning
Implies there is a clear-cut meaning but it doesn't exist |
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| Material effects of representation |
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| social expectations of women |
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| how much of a statement is true; journalism |
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| Type exists; Stereotype adds judgment |
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| Representation and identity |
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| gain identity through representation |
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| Representation and nationality |
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| build-up on "who's in, and who's out"; what is the norm, what is not |
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| Justified colonialism; traces still remain |
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subjects- have power to describe/ascribe social position; they have power
objects- consume; look at; use as accessory |
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| making someone an object; who is doing the looking and for whom is it being produced? |
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| ruling class = ruling ideas; keeps inequality in favor of those in power |
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| How those in power, stay in power |
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| How people accept social relations/ social standings |
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| unquestioned norms and assumptions in everyday life; its changing and violated (gay people holding hands & women do things outside of the house) |
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| model of power; consent & contest social relations; hegemony; common sense |
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| how people are conditioned to behave; either institutions force or persuade people how to behave |
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| power operates through discourse; knowledge; surveillance; subject positions; how people are disciplined |
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| ongoing process by which knowledge and culture (behavior) are constantly created and adjusted and it reflects the current power structure; how you and I know how to act in society and how we can make them act in a certain way |
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| Power as productive, circulating |
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| power is not longer (top-down) but passes through us and circulates through society; discourse doesn't go away after influence, it produces behaviors real things |
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| not only is knowledge in power, but power decides how knowledge is used; power makes knowledge "true" |
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| how discourse is formed; all related way s in which given set of ideas and meanings is constructed, subjects positioned |
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| discourse creates the roles and what rules are made for those roles and what consequences you have for breaking those rules |
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| multiple identities in conflict with each other (Asian men) |
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| stereotypes of women in the media |
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| women are meant to bear children and take care of them |
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| nuturing, passive, and inherently domestic |
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| Women portrayal (50s-90s) |
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| One is good for home, one is not. Cannot be both. |
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| the systematic underrepresentation of a particular group or groups and/or media representations that favor stereotypes and omit realistic portrayals |
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| men are active; women are passive |
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| women's bodies in advertising |
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| Surveillance of women's bodies |
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| body image is crucial for women, they must keep their bodies under surveillance |
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| Celebrates and mocks girliness |
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| feminism gains attitudes and achievements are woven into our culture fabric |
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| resurrects sexist stereotypes of women because "it's okay, because equality has been achieved" |
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| ideology that insists feminism's goals have been achieved; thus feminism is done, focus on other things |
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| Image v. image of representation of women in the media |
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| struggle in the media between embedded feminism and enlightened sexism |
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| What defines success for women? |
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| aggressive; ability to kill; self-reliant; resilient; emotionless; power over women; guardians |
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| Gay men were more accepted; on TV; but still stereotyped; rise of metro-sexual; "LAD" masculinity = boys will be boys |
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| Extreme example of hegemonic masculinity; lone fighter; do anything to make it through |
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| New guy who cares about what they look like; cares about fashion |
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| not a category of nature; ideology through which inequality is produced and maintained |
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| idea that outward differences indicate inner differences |
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| Jazz entered the mainstream music media, but still seen as more free and no rules |
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| process of assigning meaning to racial differences and constructing racial categories |
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| mode of explaining social differences using racial ideas to justify inequality (unequal access to resources) |
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| struggle over who gets to identify black people and culture; whites stereotyping black culture that have challenged racism and produced cultural forms that whites have loved and adopted |
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| Representation and containment |
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| How do representations contain/limit threats represented by a minority identity |
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| dimensions on which stereotypes operate |
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| the standard against which other races are compared to; self-controlled, disciplined, ambitious, rational, intelligent |
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| Entman & Rojecki say that media portrayals of Racial comity/hostility affect racial attitudes |
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| (Crenshaw & Kimberely) discourses of race, gender, & class intersect in influencing and shaping peoples' positions and social outcomes |
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| Media representations of class |
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| Showing the "American Dream"; middle class and white color represented well; blue collar/working class severely underrepresented; when poor is portrayed, it shows them gaining upward mobility |
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| Markers of class membership |
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| neither gender nor sexuality are not characterless; there is a continuum of behaviors and patterns; society tries to order them into male/female, straight/gay, to control and police their desires |
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| How have LGBT been represented in the media? |
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| no portrayal of queer sex or affection, always given design jobs, paired with straight people |
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| Why do representations change? |
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| Changing society; capitalism = new markets; niche marketing; audience segmentation |
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| How does discourse over race, gender, class, sexuality, disability, age affect how you are treated as a citizen; are you given social political, cultural, and legal freedom? full rights? |
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| In democracy the people govern, so people need accurate and reliable information; give topics of discussion in the public sphere |
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| actual product of the news, and the people who get it, make it, produce it, and own the outlets |
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watchdog
check and balances to help keep govt honest and serving the public |
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| the want and importance of being objective in reporting news and being unbiased; but realistically it is unattainable |
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| there are two sides to a story in the news; but in reality there are more than two sides |
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| everything is biased; nothing can be perfectly unbiased |
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| started as business and political, but developed overtime |
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| primarily political or opinion news; only rich got the news |
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| News was cheap, therefore more accessible; a bigger market was achieved; focused on events rather than opinion; became a commodity, no longer just for general good; emphasis on speed and attention = competition |
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| whoever got "the scoop" got the news first |
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| Era of competition among news business; yellow journalism = downplays legit news for eye-catching news |
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| journalism schools to teach ideals; reliable content; people trusted media; journals had more power and presented more professional news |
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| promoted good journalism; Pulitzer prize |
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| deeper of analysis of news; not only this happened but what does this mean; it's bad because it sways opinions |
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| more news outlets; different views on news; little agreement on different facts and interpretations |
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1. newness
2. threshold, if it affects more people you should cover it
3. proximity
4. negativity
5. predictability
6. continuity
7. composition, whats on the cover
8. personalization
9. entertainment |
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| impact on nation or large number of people; significance on past or future; novelty (if it is new); TV - if it has a lot of images and pictures |
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| recent event or public official's statement which is used as a handle on which to hang other related stories; something that happened to enhance the story |
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| Advertisement first, left over space for news stories |
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| Why do we get the news we do? |
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| news values with a bias towards conflict, agendas of public officials, journalistic ambitions, ratings, profit pressures, press release, entertainment values, pressures from advertisers, censorship, time/technological/economic constraints, news routines |
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| members of Congress, presidential aides, people with the insides of politics, relationships with people who an provide sources of news |
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