3. Content
• 1. The *subject matter of a *text or *message, as
distinct from its *form or *style. Informational texts
tend to foreground content (in contrast to aesthetic
texts). Content can only be separated from form
for analytical purposes. The idea that content (or
thought) precedes form has often been criticized;
from a *structuralist perspective there is no
content before form. 2. What is denoted, depicted,
or otherwise represented. 3. (informational
content) The *information in a message. In
*information theory this is based on the
predictability of letters or digits in a sequence.
4. • Content is the part of media with which we are
most familiar, and which is nearly impossible to
avoid.
• it is important to understand that the words
'content' and 'representations' refer to different
methodologies for studying the same thing
7. • Content will refer to the quantitatively derived
measurement and analysis of media
messages.
• Representation will refer to the qualitatively
derived analysis of media messages and will
be discussed at length next week.
8. What to study?
• We study content to determine whether there
are patterns, tendencies, foregroundings, or
omissions in the media's depiction of topics,
groups, and individuals
9. Questions studied through
content analysis
• Do anti-pregnancy public service announcements overrepresent female teens?
• What type of content gets taken of Facebook?
• Do young teens posts in Snap Chat differ from those of young adults?
• What type of sexting classifies as bullying?
• What types of human targets do digital first person shooter games contain?
• Is a particular political party foregrounded in a news channel?
• Is Donald Trump given more coverage than other Republican Party presidential
hopefuls?
• How is global warming covered in different news channels?
• Are women less often used as news sources and more often used to sell domestic
products in advertisements?
• Do single women sell different products than mothers in advertising?
• What types of roles do women play in Hollywood film?
• Are Julian Assange and Mark Zuckerberg covered differently by the press; one of them
as outlaw and the other one as heroic innovator?
10. Four steps
• Finding your images
• devising your categories for coding
• coding the images
• analysing the results
14. Coding
• `Coding' means attaching a set of descriptive
labels (or `categories') to the images.
15. • In their study of
National Geographic
, Lutz and Collins
chose one photo at
random from each of
the 594 articles on
non-Western people
published between
1950 and 1986
16. Codes
• world location
• unit of article organization (region,
nation-state, ethnic group, other)
• number of photographs including
Westerners in an article
• smiling in a photograph
• gender of adults depicted
• age of those depicted
• aggressive activity or military
personnel or weapons shown
• activity level of main foreground
figures
• activity type of main foreground
figures
• camera gaze of main person
photographed
• surroundings of people
photographed ritual focus
• group size
• Westerners in photograph
• Urban versus rural setting
• wealth indicators in photograph
• skin colour
• dress style (`Western' or local)
• male nudity
• female nudity
• technological type present (simple
handmade tools, machinery)
• vantage (point from which camera
perceives main figures)
17. • As Lutz and Collins (1993: 89) say, the
process of reducing the rich material in any
photograph to a series of codes is just that: a
reduction in which much will be lost. The key
point to remember, though, is that the images
must be reduced to a number of component
parts which can be labelled in a way that has
some analytical significance.
18. Working groups
• Live Events
• Mobilities
• New uses of the Old
• Personal Media
• Politics of representation
33. Why do Content Analysis?
• Content Analysis enables a more objective evaluation than
comparing content based on the impressions of a listener.
• Using Quantitative Method = the results of content analysis are
numbers and percentages.
- to remove much of the subjectivity from summaries
- to simplify the detection of trends.
• Useful to clarify Cause-Effect (causal) relationship of the case
35. • Analyzing 3,932 speaking characters from 100 of the top-
grossing film of 2013 in U.S..
• A full 74.1% were White, 14.1% Black, 4.9% Hispanic, 4.4%
Asian, 1.1% Middle Eastern, <1% American Indian or Alaskan
Native, and 1.2% were from "other" races/ethnicities.
• No meaningful change has been observed in the frequency of
any racial/ethnic group on screen in 600 popular films between
2007 and 2013.
Race/Ethnicity in 600 Popular Films:
Examining On Screen Portrayals and Behind the Camera Diversity (2014)
36. U.S. Census
2014 62.1% 17.4% 13.2% 1.2% 6.1%
underrepresented
Race/Ethnicity in 600 Popular Films:
Examining On Screen Portrayals and Behind the Camera Diversity (2014)
39. Race/Ethnicity in 600 Popular Films:
Examining On Screen Portrayals and Behind the Camera Diversity (2014)
trivialized, victimized, or sensationalized.
41. Case
• Imagine you are working on a study on
Nickelodeon commercials in 2009.
• https://www.youtube.com/watch?v=miEF53yhMI0
42. • In your group, think of what codes you are
going to count in the commercials
• Select six of them.
• Each member must count the frequencies – of
one code (how many times does the topic
show up)
44. Intercoder reliability
• Now each one of you present your topic to the
group
• Describe what patterns have you seen in your
images
• Add 2-3 minutes to hear feedback from the
group
45. Symbolic Annihilation
• Women and minorities were
• 1) underrepresented in the media,
or
• 2) when women and minorities were
represented they tended to be
trivialized, victimized, or
sensationalized.
Editor's Notes
by Stacy Smith et al.,
by Stacy Smith et al.,
Hispanic females (37.5%) were more likely than females from all other races/ethnicities to be shown partially or fully naked on screen. In comparison to black females (23.5%), White females were more likely to be shown with some exposed skin (31.9%) and Asian females were less likely (18.2%).
Hispanic males (16.5%) were the most likely to be shown in tight, alluring, or revealing clothing. Asian males (13.7%) were more likely than white males (8.3%) to be depicted in sexy attire. In terms of some nudity, male characters from "other" (18.2%) races/ethnicities were more likely than white male characters (9.9%) to be shown partially or fully nude.
Nearly a fifth of all films in the sample (17%) depict no African-American or black speaking characters across their unfolding narratives. Fifteen films depict black characters as 2.2-5.9% of the cast and another 22 movies portray black characters in 6-10% of the cast. Taken together, over half of the movies in the sample are under indexing in comparison to U.S. population statistics. Only 14% of the movies show black characters at or within 2 percentage points of U.S. Census (10.8-14.5%).
Media creates meaning about race, ethnicity and gender, and plays an important role in shaping the way we understand race, ethnicity, and gender as part of our identity, our history, our social institutions, and our everyday lives.
But seeing the media, how the women and minorities are portrayed?