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AS Cross Media Study

How to keep platforms at the heart of your AS Case Study

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AS Cross Media Study

  1. 1. CROSS  MEDIA  STUDY:  Research   •  Audiences  and  how  they  receive  and  respond  to  (and  create)  texts.  The   power  and  control  audiences  have.  Do  audiences  differ  across  plaEorms   for  the  same  main  text?   •  Ins*tu*onal  contexts  including  the  relaJonship  with  the  adverJsing   industry,  the  level  of  independence/  corporateness  and  how  this  may   influence  the  producJon  and  content  of  texts,  the  brand  values,  the  elite   dominant  ideologies  presented.  Know  the  values  or  mission  of  the   InsJtuJons!   •  Representa*ons  available  within  the  texts  and  how  these  are  constructed.   Are  stereotypes  used  in  different  plaEorms?  What  is  included  in  one   plaEorm  and  ignored  in  another?     •  NarraJve  and  genre  codes  and  conven*ons  within  the  individual  texts   and  across  the  topic,  accounJng  for  similariJes  and  differences  in  codes   and  convenJons  across  the  media.  How  doe  the  codes  change  meaning?   •  Features  and  issues  such  as  synergy,  cross-­‐media  promoJon,  public   service  remit  and  other  obligaJons,  censorship  and  control,  news  and   entertainment  values,  the  technologies  used  in  the  produc*on  and   recep*on  process  
  2. 2. Cross  Media  Study:  PlaEorms   EMEDIA   •  Text  is  accessible  on  many   devices   •  InteracJve  with  text     •  InteracJve  with  ins*tu*on   •  Mulitple  narra*ves   •  Audiences  can  produce  and   generate  content   •  Audiences  can  self-­‐represent   •  Audiences  can  interact  with   friends  via  social  networking   •  Liberally  pluralisJc  –does  not   have  elite,  ins*tu*onal   dominant  ideology   •  Visual  codes  &  conven*ons  –   media  language   •  Audiences  can  control  and   personalise  content  for  their   own  idenJty,  preferences   and  graJficaJon.   •  Text  is  temporary  /dynamic   •  Unregulated  /uncensored  but   sJll  large  elite  ins*tu*onal     presence.   PRINT   •  Text  SJll  enjoyed  as  a   physical  product   •  Marxist  –  elite  text  with   dominant  ideologies   communicated  to  mass  / niche  audiences   •  Single  narra*ve  of  ins***ons   •  Text  created  by  ins*tu*ons   who  are  primary  definers   •  Audience  have  no   opportunity  for  interacJon  –   one-­‐way  messaging  -­‐  bias   •  Need  for  commercial  success.   Ins*tu*ons  driven  by   economic  factors  –    reward   for  loyal  consumers   exclusives,  must  haves  etc.   collector  ediJons,  shock  and   emoJve  content   •  Visual  codes  and  conven*ons   –  media  language  as  well  as   text/wri]en  codes  of   persuasion/opinion/fact  etc.   •  Censored  &  regulated   BROADCAST   •  Text  not  always  accessible   unless  through  convergence   of  Emedia   •  Marxist  –  elite  texts  with   dominant  ideologies   communicated  to  mass  /   niche  audiences   •  Text  created  by  ins*tu*ons   who  are  primary  definers   •  Single  narra*ves  of   ins*tu*ons   •  Audience  encouraged   interact  through  convergence   •  Ins*tu*ons  driven  by  need   for  commercial  success  –   rewarding  loyal  audiences,   exclusives,  compeJJons,   series,  franchises  etc.   •  Can  use  stereotypical   representa*ons  to   communicate  meaning   clearly  and  quickly   •  Censored  and  regulated   The  key  to  this  is:  Whatever  the  topic  of  your  quesJon  (audience,  narraJve,  commercial   factors  etc.)  focus  on  the  ‘medium  is  the  message’  Marshall  McLuhan.  How  does  the   plaEorm  change  the  construcJon/content  of  the  text  and  the  experience  for  the  audience?  

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  • frankeewinham

    Apr. 27, 2016
  • MontageMelodies

    May. 22, 2018

How to keep platforms at the heart of your AS Case Study

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