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A series of intended promotions of a new media product.
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Characters within a narrative, i.e. depictions of particular personalities.
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Closed Narrative
A narrative with a clear sense of an ending and no loose ends.
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Codes and Convections
Elements such as visual and sound that create meaning for the audience and are typical of a particular genre.
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Refers to the state of being connected through the sense of a global village, e.g. a person in London could communicate with a person in New York via email or a social network
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What a phrase or word suggests or implies.
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Where two or more media sectors are merged together to create synergy. An example is the convergence of print media such as newspapers and online newspaper content, e.g. The Guardian newspaper and
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Creative Media Sector
Refers to all areas of media production, ranging from the traditional to the interactive.
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Where a media product can be distributed across a range of different media platforms. The Angry Birds franchise is an excellent example of cross-media (games on different platforms, merchandise, etc.)
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Used to describe the audience of a media product through factors such as age and gender, e.g. the demographic of Vogue magazin can be described as predominantly female.
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The literal meaning of a word or phase.
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The collective term to describe technological objects such as mobile phones, MP3/MP4 players, laptops, PCs, games consoles, etc.
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The current system of broadcast.
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When a media product is available to the audience through advertising and promotion.
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The showing of a media product.
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A type that has a sat of typical conventions, e.g. a horror movie being scary or a comedy movie being funny.
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Global Village
A term first used by Marshall McLuhan to describe how the Internet has made communication far more accessible, enabling us to become more involved and connected with people from various social groups and countries around the world.
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Group Consumption
Media platforms and devices that can be enjoyed by a group of people at the same time, e.g. going to the cinema.
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Images or symbols that are associated with a particular person or subject.
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A system of beliefs, ideas and values that are common to a specific group of people.
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Refers to an immediate involvement with something.
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Individual Consumption
Media platforms and devices that can be enjoyed by one person, e.g. reading a book.
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Digital media that encourage audience participation and interaction.
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The placing of two opposing elements next to one another to emphasise their differences.
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Mainstream Audience
Describes a large target audience that consumes what are considered to be popular culture (mainstream) media texts.
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The arrangement of objects in the frame, e.g. actors, composition, costumes, lighting, props and sets.
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Mode of Address
How a media text speaks to an audience.
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Multi-strand Narrative
A number of different storylines within a single episode or film.
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Describes and account of connected events.
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Narrative Devices
Techniques that move the narrative forward, e.g. the climax and plot twists.
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Negotiated Reading
Meaning that is generated depending on what the audience brings to a media text through attitudes, beliefs, values and personal experiences.
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Niche Audience
Describes a small target audience that share unique/specialised interests.
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NRS Social Grade
A system of audience demographic classifications that are based on the occupation of the audience. This system is used in the UK.
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Ofcom (Office of Communications)
Known as the communications regulator, Ofcom regulates TV and radio sectors, fixed-line telecoms, mobiles, postal services and also the airwaves over which wireless devices operate, in order to protect the consumer.
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Omniscient Narrator
A narrative mode in which the narrator knows everything, giving a sense of truth and believability to the plot.
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Open Narrative
A narrative with no clear ending.
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Oppositional Reading
The rejection of the intended meaning of a media text, i.e. the audience disagrees with the intended meaning created by the media producer.
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Passive Media
Media that requires observation rather than an active response and the questioning of media texts, e.g. TV can be described as a passive media to some extent.
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Passive Viewing
An audience/consumer/viewer that does not fully interact physically with the product or its associated content, nor do they generate content or influence production in any way.
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PCC (Press Complaints Commission)
A voluntary regulatory body that administers the self-regulation of the press (newspapers and magazines), by dealing with complaints about the editorial content.
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Adjusting content for a particular individual. Can be used to improve a user's experience and add value.
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PEGI (Pan European Game Information)
A rating system that rates games based on the games content.
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Describes how media products are distributed, e.g. TV broadcast, pay-per-view, cinema release, digital download, radio broadcast, website (web pages), streaming, etc.
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Defines the events that make up a story.
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Polysemic Reading
A media text that has multiple meanings.
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Refers to an object able to be moved with ease.
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Tasks that are done after filming is finished. These include editing video footage, reeshooting, adding SFX, creating and editing sounds, adding titles and graphics, etc.
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Preferred Reading
The intentional meaning of a media text by a media producer.
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Tasks that are done before filming and production begins. These include building sets, casting, costume design, making production schedules, prop design, script writing, recce (visiting locations to check their suitabiliy for filming), etc.
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Primary Audience
Also known as the target audience, who the media product is aimed at.
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Primary Research
Information obtained first hand from the audience.
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Term used to describe the type of media that has been produced, e.g. e-magazines are a publishing product.
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The shooting of footage.
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Qualitative Research
Describes research based on attitudes, thoughts and opinions rather than facts and figures.
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Quantitative Research
Describes research based on facts and figures that can be used to form numerical and statistical data.
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How people, places, events and ideas are portrayed in media texts so that the audience learns to easily understand the world around them.
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Secondary Audience
Describes viewers who are considered to be outside the primary target audience and are viewers that can affect the consumption statistics if not accounted for, e.g. parents taking their children to watch a childrens movie.
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Secondary Research
Research that has already been conducted by someone else and can be found in books, journals and online.
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Different parts of the creative media industry. These are separated into audio, websites, publishing, games and moving image.
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Typical traits associated with a particular social group or genre that become conventional and are continuously repeated and used within the media.
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Recounting the sequence of events.
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Framework that presents the narrative in a particular order, e.g. a linear narrative will logically start at the beginning and will be chronological.
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Stylistic Codes
What is used in media products, e.g. colour, framing and angels, movement, composition or navigation, mise-en-scène, lighting, editing and sound.
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Describes two or more media sectors working together. The combined effect is considered to be greater than the lone effect of each of the individual media sectors.
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Technological Convergence
Describes the coming together of more than one media area, e.g. content that can be distributed across a range of media platforms simultaneously.
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The Hypodermic Needle Model
The theory that proposes that media messages can be "injected" into the audience and can influence people to act in a particular way.
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Topics of discussion in a narrative, e.g. coming of age and conflict.
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User-Generated Content
Content that can be created by the media user, such as blog posts, vlogs, podcasts, photography, etc.
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Uses/Gratifications Model
The theory that audiences use media texts in order to fulfil pleasures and needs, such as education, escapism, personal relationships, surveillance, entertainment, personal identification and social interaction.
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An industry term to describe user/audience (the 'we') created media without the need for media professionals.
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Aberrant Reading
Describes when the audience interprets meaning that is different from the intention of the media producer.
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Refers to a means of approach, i.e. making media is far more accessible now than ever before.
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An older and now outdated system of broadcast.
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Active media
Media that requires audience interaction and engagement in order to acquire the full meaning or message embedded within the product.
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Active Viewing
An audience/consumer/viewer that fully interacts physically with a media product, who contributes and becomes part of the production while having an element of control over how they interact with it.
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ASA (Advertising Standards Authority)
The UK's independent regulator of advertising across all media sectors.
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Audience Profiling
A detailed breakdown defining the type of audience that would be interested in a particular media text. Producers use this when creating a new product to work out who the target audience would be.
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Audience Research Methods
Finding out information about the audience through different means, such as questionnaires, surveys, focus groups (primary research) or Internet research (secondary research).
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Audience Statistics
The collection of numerical data in terms of circulation, hits, box office figures, ratings and sales, that can be used to analyse the audience.
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BBFC (British Board of Film Classification)
Funded by the film industry, the BBFC is responsible for giving films their censorship classifications, e.g. U, PG, 12A, 12, 15, 18.
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Being able to do something with little difficulty or effort.
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Other cards in this set

Card 2


Characters within a narrative, i.e. depictions of particular personalities.



Card 3


A narrative with a clear sense of an ending and no loose ends.


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Card 4


Elements such as visual and sound that create meaning for the audience and are typical of a particular genre.


Preview of the back of card 4

Card 5


Refers to the state of being connected through the sense of a global village, e.g. a person in London could communicate with a person in New York via email or a social network


Preview of the back of card 5
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