This document discusses factors to consider in a cross-media study, including audiences and how they receive and interact with texts across different platforms. It examines the institutional contexts that influence text production and content, as well as representations and narratives within texts. Different platforms are analyzed, noting how elements like interactivity, content generation, visual codes, and regulation may vary across emedia, print, and broadcast media, ultimately influencing the construction and experience of the text.

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. 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?