This document provides an overview of the book "Making Media: Production, Practices and Professions". It summarizes that the book contains critical analysis of media industries, management and production with a focus on fields like journalism, television, film, games, music, and advertising. It explores current practices and what may come next. The book has contributions from 53 authors across 14 countries and 6 continents examining topics like changes in media production and professions as well as new models of international media work.
Jane Pauley interviews Hillary Rodham Clinton.
“The American political system is probably one of the most brutal in the world,” Jane Pauley’s interview of Hilary Rodham Clinton June12, 2014. Experienced Liberal Jane...said nothing. No questions about “hey, what did you think of Adolf's, or maybe Saddam's, or how about Assad's?”
Are you kidding me?
And she is potentially running for president?
And Jane Pauley is still doing interviews.
Has the world gone nuts?
Jane Pauley interviews Hillary Rodham Clinton.
“The American political system is probably one of the most brutal in the world,” Jane Pauley’s interview of Hilary Rodham Clinton June12, 2014. Experienced Liberal Jane...said nothing. No questions about “hey, what did you think of Adolf's, or maybe Saddam's, or how about Assad's?”
Are you kidding me?
And she is potentially running for president?
And Jane Pauley is still doing interviews.
Has the world gone nuts?
Returning Veterans:Our Help and Our HopeIlona Meagher
"Returning Veterans:Our Help and Our Hope" presentation given by Ilona Meagher to participants of the "When the War Comes Home: Advocacy and Treatment for Returning Veterans" Conference at the National World War One Museum. Kansas City, MO. October 31, 2008.
How do you change your behaviors when you discover your unconscious bias? Your attitude affects your behavior creating a vicious cycle that must be broken or else there will be damage done. The easiest example of this happens almost daily with students and teachers.
Donor Wall: List Of Maynard Institute donors and members.pdfZuade Kaufman
Maynard Institute donors and members provide the resources needed to do great things such as: Career advancement for journalists of color, Events that convene journalists with community leaders and activists, The creation and support of trustworthy news institutions that reflect a rich diversity. We wouldn't be able to do this work without your support! Thank you very much!
Returning Veterans:Our Help and Our HopeIlona Meagher
"Returning Veterans:Our Help and Our Hope" presentation given by Ilona Meagher to participants of the "When the War Comes Home: Advocacy and Treatment for Returning Veterans" Conference at the National World War One Museum. Kansas City, MO. October 31, 2008.
How do you change your behaviors when you discover your unconscious bias? Your attitude affects your behavior creating a vicious cycle that must be broken or else there will be damage done. The easiest example of this happens almost daily with students and teachers.
Donor Wall: List Of Maynard Institute donors and members.pdfZuade Kaufman
Maynard Institute donors and members provide the resources needed to do great things such as: Career advancement for journalists of color, Events that convene journalists with community leaders and activists, The creation and support of trustworthy news institutions that reflect a rich diversity. We wouldn't be able to do this work without your support! Thank you very much!
Slides for the book (and course) Life in Media: A Global Introduction to Media Studies (The MIT Press 2023). Designed by Mark Deuze, University of Amsterdam, The Netherlands.
Presentation to support the Media Love book project (contracted with Polity Press), arguing that we need to take love seriously to study media - and through media, how people create worlds.
Mental Health and Well-Being of Media ProfessionalsMark Deuze
First draft of a slide pack to support the Happiness in Media Work project, dedicated to understanding and improving the mental health and well-being of media professionals (in journalism, film/TV, games, advertising, music, and social media entertainment).
Slidepack to support presentations about our book and on-going research project Beyond Journalism (with Tamara Witschge), featuring case studies of journalism startups around the world.
Life in Media (Media Studies for a Life in Media 08)Mark Deuze
Last of an 8-part series of slidepacks for a course and book about the role, insights, and possible future of media studies for a life in media. Feel free to use, please cite, and share your comments!
Make Life (Media Studies for a Life in Media 07)Mark Deuze
Seventh of an 8-part series of slidepacks for a course and book about the role, insights, and possible future of media studies for a life in media. Feel free to use, please cite, and share your comments!
Change Life (Media Studies for a Life in Media 06)Mark Deuze
Sixth of an 8-part series of slidepacks for a course and book about the role, insights, and possible future of media studies for a life in media. Feel free to use, please cite, and share your comments!
Love Life (Media Studies for a Life in Media 05)Mark Deuze
Fifth of an 8-part series of slidepacks for a course and book about the role, insights, and possible future of media studies for a life in media. Feel free to use, please cite, and share your comments!
Real Life (Media Studies for a Life in Media 04)Mark Deuze
Fourth of an 8-part series of slidepacks for a course and book about the role, insights, and possible future of media studies for a life in media. Feel free to use, please cite, and share your comments!
Public Life (Media Studies for a Life in Media 03)Mark Deuze
Third of an 8-part series of slidepacks for a course and book about the role, insights, and possible future of media studies for a life in media. Feel free to use, please cite, and share your comments!
Your Life (Media Studies for a Life in Media 02)Mark Deuze
Second of an 8-part series of slidepacks for a course and book about the role, insights, and possible future of media studies for a life in media. Feel free to use, please cite, and share your comments!
Media Life (Media Studies for a Life in Media 01)Mark Deuze
First of an 8-part series of slidepacks for a course and book about the role, insights, and possible future of media studies for a life in media. Feel free to use, please cite, and share your comments!
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
1. Making Media:
Production, Practices and Professions
• critical analysis of media industries,
management, and production
• focus on: journalism, TV/film, games, music,
advertising/marketing/public relations
• exploration of what comes next…
#makingmedia
7. Sarah Baker
Amanda Lotz
Alisa Perren
Jennifer Holt
Bernard Miège
Dwayne Winseck
Terry Flew
Göran Bolin
Tanja Storsul
Arne Krumsvik
Paulo Faustino
Eli Noam
Oscar Westlund
Eugenia Siapera
Doris Ruth Eikhof
Chris Bilton
Paul Dwyer
Lawrie Zion
Penny O'Donnell
Nicole Cohen
Tamara Witschge
Sara Rosengren
Dustin Supa
Ilana Gershon
Sofia Johansson
Patrick Vonderau
Aphra Kerr
Casey O'Donnell
Brooke Erin Duffy
Vincent Mosco
Leslie Meier
David Lee
Anna Zoellner
Henry Jenkins
Stefania Milan
Robert Picard
8. Sarah Baker
Amanda Lotz
Alisa Perren
Jennifer Holt
Bernard Miège
Dwayne Winseck
Terry Flew
Göran Bolin
Tanja Storsul
Arne Krumsvik
Paulo Faustino
Eli Noam
Oscar Westlund
Eugenia Siapera
Doris Ruth Eikhof
Chris Bilton
Paul Dwyer
Lawrie Zion
Penny O'Donnell
Nicole Cohen
Tamara Witschge
Sara Rosengren
Thomas Poell
Ilana Gershon
Sofia Johansson
Patrick Vonderau
Aphra Kerr
Casey O'Donnell
Brooke Erin Duffy
Vincent Mosco
Leslie Meier
David Lee
Anna Zoellner
Henry Jenkins
Stefania Milan
Robert Picard
17. Good Work Bad Work
good wages/working
hours
workplace/creative
autonomy
interest, involvement
sociality
self-esteem
self-realization
work-life balance
security
product excellence
product contributing to
the common good
poor wages/working
hours
powerlessness
boredom
isolation
shame
frustrated development
overwork
risk
low-quality products
products do not
contribute to well-
being of others
26. "We know what people watch on Netflix and we’re able with
a high degree of confidence to understand how big a likely
audience is for a given show based on people’s viewing
habits."
27. "We know what people watch on Netflix and we’re able with
a high degree of confidence to understand how big a likely
audience is for a given show based on people’s viewing
habits."
32. tips & tricks
• take courses (on issues) you care about
• get internships (don’t work for free)
• join professional communities
• invest in your network
• read/study media management and
production scholarship
• make media!
Making Media 01
introduction
Readings:
Making Media: Production, Practices, and Professions 13
Mark Deuze and Mirjam Prenger
Media Industries: A Decade in Review 31
Jennifer Holt and Alisa Perren
Media Production Research and the Challenge of Normativity 45
David Lee and Anna Zoellner
Access and Mistrust in Media Industries Research 61
Patrick Vonderau
what does it take to make it work?
some recent academic books on media production
very few on what it is (really) like.
Media production considers issues at play within, across, and around the institutions and forces that create our media, our information, and our culture: management and economics, media policy, markets, consumers
Media practices involve the various ways in which media professionals make media (and, importantly, how they ‘make it work’ in the media industries): innovation, working conditions, affective labour.
Media professions are those more or less demarcated fields of work that make up professional life in the media industries, including (but not limited to): journalism, advertising, marketing communications, public relations, digital games, television, music and recording, and social media entertainment. Absent: FILM.
Mirjam Prenger: Historica Mirjam Prenger (Enschede, 1964) is coördinator van de masteropleiding journalistiek en media van de UvA, afstudeervariant research en redactie. Voordat ze naar de UvA kwam werkte ze lang bij de Volkskrant: de buitenlandredactie, de nieuwsdienst en de opiniepagina en Historisch Nieuwsblad. Ze publiceerde onder meer een studie over journalistieke onafhankelijkheid, Schuivende grenzen (2004), een bundel over zelfcensuur in de Nederlandse journalistiek, Een selectieve blik (2007), en – in samenwerking met Leendert van der Valk, Frank van Vree en Laura van der Wal – het onderzoek Gevaarlijk spel. De verhouding tussen pr & voorlichting en journalistiek (2011).
Darren Carter: Vivid Image was set up by Darren Carter in 1992. The company has made animations, commercials, motion graphics for TV, video for events, documentaries, promo films for the Internet and commercial DVDs. With this background and experience, Vivid Image is effectively a one-stop address for a wide range of moving image projects. Here (www.vividimage.nl) is a small sample of the original work, highlighting different styles, concepts and solutions...all produced with a minimum amount of fuss, very sensible budgets and a lot of serious creative input. Freelancer for UNICEF, RTL4, Veronica, Frame Factory,
in recent decades there has been a marked shift from consumer electronics to information technology as the most powerful sectoral force shaping how media content gets produced, distributed, and experienced
Automation, data, and algorithms play an increasing role in all forms of media work, acting as demand predictors as well as content creators
https://www.theguardian.com/media/2019/feb/02/what-2000-job-cuts-tell-us-the-free-market-kills-digital-journalism
Big commercial online news providers are shedding staff in large numbers as social media firms swallow advertising revenues
the digital realm introduces a new media logic, one that seems oblivious to industrial-age schedules or more or less predictable production cycles, forcing organizations to aggressively replace ‘analogue’ production practices with ‘digital’ ones.
Toyota "Just-in-Time" means making "only what is needed, when it is needed, and in the amount needed.”
As a response to new media logic
explained by Big Bang Theory
Toyota "Just-in-Time" means making "only what is needed, when it is needed, and in the amount needed.”
As a response to new media logic
“We realized we had a brand that filmmakers took great comfort in,” says Nick Smith, Pinewood’s commercial director, who oversees the international studios. “It soon became obvious through our research that if you took that brand and put it on a set of boxes (i.e., soundstages) somewhere else in the world, you’d gain great traction.”
http://variety.com/2013/biz/features/production-services-help-filmmakers-around-the-world-1200501477/
http://variety.com/2013/biz/news/pinewood-toronto-studios-global-reach-1200501326/
Pinewood: The company, which owns and operates the U.K.’s two oldest, largest and most prestigious studio complexes, Pinewood and Shepperton, had watched on the sidelines in the 2000s as vendors and clients dispersed around the globe, chasing the latest production incentives. In the intervening four years, Pinewood has applied the model to another pre-existing studio — in Berlin — as well as to new facilities in Malaysia, the Dominican Republic and Atlanta.
Films at Pinewood:
The Mummy (1999) PG-13 | 124 min | Action, Adventure, Fantasy. ...
Guardians of the Galaxy (2014) PG-13 | 121 min | Action, Adventure, Comedy. ...
Doctor Strange (2016) ...
Avengers: Age of Ultron (2015) ...
Eyes Wide Shut (1999) ...
The Princess Bride (1987) ...
Ex Machina (2014) ...
Me Before You (2016)
Kraidy/Wasserman:
First, they demonstrate that in some parts of the world, media industries are entangled in a political-economic-cultural nexus that is ever shifting and the consequences of which are often unintended.
Second, new patterns of creative migration emerge within a region that shares a language and a transnational media industry
Third, Third, the work of creative resistance, often created and disseminated under extremely difficult security conditions, gives a new meaning to the notion of precarity in creative labor, broadening its prevailing understanding as economic contingency to include torture-risking and death-defying creative work.
More attention needs to be paid to how the dynamics of media globalization play out in various parts of the world, especially in the global South. Too often there is an implicit assumption that the changes that media industries in media-saturated countries of the North are undergoing have implications for the future of media—the imminent demise of newspapers or the political power of social media via smartphones, for example, are universally true. Yet the flows and contraflows of global media, and the shifts that media industries undergo as a result, require a more nuanced social reading informed by a study of the contextual factors and dynamics. For instance, while the demise of newspapers in the global North is widely believed to be merely a question of time, the newspaper industry is still vibrant in many regions in the South.
what is good work in media work? table from: David Hesmondhalgh & Sarah Baker, “Creative Labour” (2011: 39)
Bantz the news factory: dilemma of productivity over quality? bad work but productive, good work but low sales?
collapsing units of analysis: system, social institutions, organizational, routines, individual, but not a flattening of hierarchies
Overall, we see an ongoing convergence of different domains, sectors and disciplines within and across the creative industries, bringing new challenges for managing media firms, business models and production processes.
convergence/blurring of boundaries: between roles, disciplines, genres
Ik zou business models onder collapse schuiven: trad. modellen werken niet meer of nog maar deels, allerlei modellen lopen door elkaar heen, integratie van modellen etc; evt ook bij technology: the consumer as commodity/new commodity form.
Business models (verschuivingen/disruptions in manieren om geld te verdienen door digitalisering, van leveren van content naar verdienen aan intermediair zijn, turning consumers into commodities)
vgl Bilton’s disappearing product
Media products are becoming increasingly hybridized and are thus difficult to place into categories that can be isolated and therefore effectively managed.
making/promoting/distributing
4c model: content and connectivity, creativity and commerce
transmedia storytelling and all the other opportunities for digital innovation and creative potential, cheaper and easy to use technologies, access to a truly global market
shift over the last twenty years from consumer electronics (CE) to information technology (IT) as the most powerful sectoral force shaping how music and culture are mediated and experienced
rise of new publishers: the frightful five: The business model of FAANG/frightful 5 or scary 6 incl Microsoft devalues media content and marginalises media producers.
key: they figured out distribution as key to profitability: no responsibility for content nor for channels.
challenge: how to get people to find and access your content…
more focus is placed on user-generated content and consumer engagement as well as digital (Big) data
algorithms as demand predictor as well as content generator
House of Cards: When the program, a remake of a BBC miniseries, was up for purchase in 2011 with David Fincher and Kevin Spacey attached, the folks at Netflix simply looked at their massive stash of data. Subscribers who watched the original series, they found, were also likely to watch movies directed by David Fincher and enjoy ones that starred Kevin Spacey. Considering the material and the players involved, the company was sure that an audience was out there.
As Jonathan Friedland, Netflix’s communications director, told Wired in November, "We know what people watch on Netflix and we’re able with a high degree of confidence to understand how big a likely audience is for a given show based on people’s viewing habits."
a general shift in power away from professional content creators to users and owners
a general shift in power away from professional content creators to users and owners
flexibility as key governing principle in media work:
numerical: the creative use of workforce numbers to manage more effectively the organization
functional: the division of the workforce in a multi-skilled core of employees and a periphery of freelance professionals
temporal: the lack of dependable, well-organized (such as ‘9-to-5’ type) working schedules
financial: individualized and performance-based systems of rewards and remunerations (instead of unform salaries).
Labor conditions (vesrchuivingen in work/life-balance, opkomst gig-economy, noodzaak voor permanente profilering op social media etc)
also for those with steady jobs (see game industry)
learning to live with uncertainty (vgl Bauman: ropewalking without a safety net)
4C Model of Media Work
see Lampel/Shamsie: artistic value vs mass entertainment; product differentiation vs innovation
freelancers have had to find creative and experimental ways to address work-related challenges outside official legal regimes, including visibility projects, organized campaigns, and collective organizations
#metoo #balancetonporc
research: we need to pay attention to how making it work is all about integrating the creative self with system-based creativity; that can be selling out, but is ALSO about finding a voice, a place of work-life balance, a way to be financially secure as well as pursuing creative/artistic expression.
consider affective, emotional, immaterial and passionate labor
Passion (als buffer/motor/zelfrechtvaardiging voor alles - inclusief uitbuiting cq laten uitbuiten)
'Black Panther' Wins Outstanding Performance by a Cast in a Motion Picture at the 2019 SAG Awards
passionate work: extreme emotions as part of making the work meaningful (suffering from exploitation, glass ceiling etc but “cannt believe I’m getting paid to do this”)
rise of entrepreneurship framed as individual solutions to systemic problems
alternative conceptualization of e.: not as business savior, but as social support system.