media and culture essay

Understanding Media and Culture: An Introduction to Mass Communication

(32 reviews)

ISBN 13: 9781946135261

Publisher: University of Minnesota Libraries Publishing

Language: English

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Reviewed by Jenny Dean, Associate Professor, Texas Wesleyan University on 2/27/24

This book is pretty comprehensive, but it is getting old in the media world where things are changing at a great pace. The basic text is good, but needs supplementary materials to truly keep pace with technology today. read more

Comprehensiveness rating: 3 see less

Content Accuracy rating: 3

I am sure the book was accurate when it was published, but the world keeps changing, and it isn't as current as it needs to be. But, it still isn't bad for a free book to access.

Relevance/Longevity rating: 3

Once again, same issue. The book is almost seven years old and hasn't been updated. The issue is that the examples and illustrations are getting to be a bit dated. I suspect that there aren't any updates of this book planned, which is unfortunate. If updated, this would be a fantastic read for students.

Clarity rating: 5

It is simple to read and is easily accessible. It meets the needs of a young college student.

Consistency rating: 5

Yes, the textbook is internally consistent in terms of terminology and framework.

Modularity rating: 5

It is well-subdivided and easy to access. Good use of subheadlines. It is a smooth read, and easy to find information through headers, subheads, headlines, and blocks of type.

Organization/Structure/Flow rating: 5

Everything is presented in a clear and concise manner.

Interface rating: 5

This textbook comes in a wide variety of formats and can be accessed by almost everyone through one method or another. It was super easy to access.

Grammatical Errors rating: 5

The text is clean and clear of errors.

Cultural Relevance rating: 3

I don't think this book is as inclusive as the typical book written today. This is simply because times have changed, and the need for inclusive and culturally sensitive books has escalated exponentially from the time this book was written. It needs more culturally relevant examples. I wouldn't say that anything in the book is culturally insensitive or offensive, but it isn't as diversified as it needs to be.

This is an excellent book for an introduction to mass communication or an introduction to media and society course. It covers all the basics that I would expect to cover. It just needs some updating which can be done through supplementary materials.

Reviewed by Ryan Stoldt, Assistant Professor, Drake University on 12/15/22

Comprehensiveness rating: 4 see less

Understanding Media and Culture: An Introduction to Mass Communication thoughtfully walks readers through popular media and connects these media to questions about culture as a way of life. The book undoubtedly is comprehensive in its scope of American media but largely fails to consider how media and culture relate in more global settings. The book occasionally references conversations about global media, such as the differences between globalization and cultural imperialism approaches, but is limited in its engagement. As media have become more transnational their reach and scope (due to technological access, business models, and more), the American focus makes the text feel limited in its ability to explain the relationship between media and culture more broadly.

Content Accuracy rating: 5

The text is accurate although it has limited engagement in some of the topics it explores. As such, this would be a good introductory text but would need to be paired with additional resources to dive into many topics in the book with both accuracy and nuance.

Many of the sections of the book are relevant, as the book often contextualizes media through a historical lens. However, the more current sections of the book (such as the section on the Internet and social media) have become outdated quickly. These, once again, would be useful starting places for classroom conversation about the topic but would need to be paired with more current readings to hold a deeper conversation about social media and society today.

Some terms could be further explained, but the text is overall well written and easy to understand.

Consistency rating: 4

The book pulls from multiple approaches to researching and discussing media and culture. The introductory chapter draws more heavily from critical media studies in its conceptualizations of the relationship between media and culture. The media effects chapters draw more heavily from more social scientific approaches to studying media. The author does a nice job weaving these approaches into a consistent conversation about media, but different approaches to studying media could be more forwardly discussed within the text.

The author has made the text extremely easy to use modularly. Chapters are self-contained, and readers could easily select sections of the book to read without losing clarity.

The book employs consistent organization across the subjects discussed. Each chapter follows a similar organizational structure as well.

Interface rating: 4

Because the text is so modular, the text does not flow easily when read on the publisher's website. Yet, downloading the text also raises some issues because of strange formatting around images.

I have not seen any grammatical errors.

As stated previously, the book is extremely biased in its international representation, primarily promoting Americans' engagements with media. The book could go further in being more representative of different American cultures, but it is far from culturally insensitive.

Understanding Media and Culture would be an extremely useful introductory text for a class focusing on American media and society. A more global perspective would require significant engagement with other texts, however.

Reviewed by David Fontenot, Assistant Professor, Metropolitan State University of Denver on 11/15/22

The text comprehensively covers forms of media used for mass communication and includes issues towards emerging forms of mass communication. read more

Comprehensiveness rating: 5 see less

The text comprehensively covers forms of media used for mass communication and includes issues towards emerging forms of mass communication.

Content Accuracy rating: 4

In some places there is nuance missing, where I feel brief elaboration would yield significantly clearer comprehension without bias or misleading associations about media's influence on behavior.

Relevance/Longevity rating: 5

Still relevant and up-to-date with a valuable emphasis on issues related to internet mass media.

Very readable, with little jargon. Definitions are presented clearly and used in subsequent discussions.

Internal consistency is strong within the chapters.

Modularity rating: 4

The majority of chapters can be taken independently, with only a few larger structural pieces that lay the foundation for other sections.

The book takes an historical approach to media, which lends itself to a logical progression of topics. I might suggest, however, that for most students the material that is most accessible to their daily lives comes last with such an approach.

Interface rating: 3

The downloaded file has some very awkward spots where images seem clipped or on separate pages than the content that reference them. I only viewed this textbook in the online downloaded PDF format.

Grammatical Errors rating: 4

No grammatical errors have jumped out at me in sections read so far.

There are quite a few opportunities to include discissions of media and culture that don't seem so anglo-centric but they are passed up.

I am using this textbook as the basis for an interdisciplinary class on media and the criminal justice system, and in that regard I think it will serve very well for an introductory level textbook. It provides a concrete set of core ideas that I can build off of by creating tailored content to my students' needs.

Reviewed by Elizabeth Johnson-Young, Assistant Professor, University of Mary Washington on 7/1/22

Appropriately comprehensive. Having some more up-to-date citations, particularly in the media effects theories criticisms section (with some more explanations) would be beneficial--perhaps supplementing with some ways these have been updated would... read more

Overall, content is clear and accurate.

Relevance/Longevity rating: 4

Mass media may always need updating, but this is appropriate and up-to-date.

Clarity rating: 4

Is an accessible text in terms of clarity and provides necessary definitions throughout in order to provide the reader with an understanding of the terminologies.

Text introduces terms and frameworks and uses them consistently throughout.

Small, easy to read blocks of text--could easily be used in a variety of courses and be reorganized for a particular course.

Organization/Structure/Flow rating: 4

Topics presented clearly and in an order that makes sense.

Easy to read through and images clear and displaying readily. It would help if there was a way to move forward without having to click on the table of contents, particularly in the online format.

No errors that stick out.

While appropriately comprehensive for an intro text, more examples and/or acknowledgment of who has been left out and those impacts could be helpful in the social values or culture discussions.

Overall, this is a great text and one that could be used in full for a course or in sections to supplement other communication/media studies courses!

Reviewed by David Baird, Professor of Communication, Anderson University on 4/18/22

I don’t know if any intro textbook can cover “all areas and ideas,” but this text was adequate to the task—basically on par with any other textbook in this space. I didn’t see a glossary in the chapters or an index at the back of the book. On the... read more

When the text was published, it would have been considered “accurate.” The content was competently conceptualized, well written and reflective of the standard approach to this kind of material. I didn’t notice any egregious errors of content aside from the fact that the book was published some years ago is no longer very current.

The primary weakness of the book is that it was published more than a decade ago and hasn’t been updated for a while. The text is relevant to the focus of the course itself, but the examples and illustrations are dated. For example, the book uses a graphic from the presidential election of 2008 in a treatment of politics, and “Who Wants to be a Millionaire?” is an example of current television programming.

I conducted a text search that tabulated the number of references to the following years, and these were the results: 2010: 588 2011: 49 2012: 8 2013: 4 2014: 0 2015: 2 2016: 0 2017: 0 2018: 1 2019: 1 2020: 0 2021: 1 2022: 1

The references to the more-recent years tended to crop up in forward-looking statements such as this one: “With e-book sales expected to triple by 2015, it’s hard to say what such a quickly growing industry will look like in the future.”

The second part of the question referred to the implementation of updates. I doubt that any updates are planned.

The text is well written and meets the usual standards for editorial quality.

The framework and "voice" are internally consistent.

The chapter structure provides the most obvious division of the text into accessible units. Each chapter also has well-defined subsections. Here’s an example from one chapter, with page numbers removed:

Chapter 13: Economics of Mass Media

Economics of Mass Media Characteristics of Media Industries The Internet’s Effects on Media Economies Digital Divide in a Global Economy Information Economy Globalization of Media Cultural Imperialism

This aspect of the text makes sense and is largely consistent with similar textbooks in this area.

The text is available in these formats: online, ebook, ODF, PDF and XML. I downloaded the PDF for purposes of my review. The formatting was clean and easy to work with. I didn’t notice any problems that made access challenging.

I can’t say with certainty that a grammatical error or typo can’t be found in the textbook, but as I noted above, the writing is strong. I’ve seen much worse.

Cultural Relevance rating: 4

The text seems to be around a dozen years old now, so it doesn’t include discussion of some of the high-profile perspectives that have surfaced in more recent years related to race, ethnicity, sexuality, etc. However, the book does discuss examples of media issues “inclusive of races, ethnicities, and backgrounds,” and this material is presented with sensitivity and respect.

This is a reasonably good resource for basic, intro-level definitions and explanations of some of the major concepts, issues and theories in the “Mass Communication” or “Media and Society” course, including:

• functions of the media • gatekeeping • media literacy • media effects • propaganda • agenda setting • uses and gratifications

The textbook also offers the standard chapters on the various media—books, newspapers, magazines, radio, television, etc. These chapters contextualize the various media with standard accounts of their historical development. My feeling is that much of the historical background presented in this book is more or less interchangeable with the material in newer textbooks.

However, the media industries have changed dramatically since the textbook was written, so all of the last decade’s innovations, developments and controversies are entirely missing. Of course, even a “new” textbook is going to be somewhat dated upon publication because of the book’s production timeline and the way that things change so quickly in the media industries—but a book published in 2021 or 2022 would be far more up-to-date than the book under review here.

The bottom line for me is that if one of an instructor’s highest priorities is to provide a free or low-cost textbook for students, this book could work with respect to the historical material—but it would have to be supplemented with carefully selected material from other sources such as trade publications, industry blogs and news organizations.

Reviewed by Kevin Curran, Clinical Assistant Professor, Loyola Marymount University on 3/21/22

This is one of the most comprehensive media studies books I’ve read. It attacks each media platform separately and with sufficient depth. That is followed by economics, ethics, government/law, and future predictions. Takeaways attend of each... read more

Takeaways attend of each section will aid comprehension. Exercises at end of sections could be jumping off point for discussions or assignments. Chapters end with review and critical thinking connections plus career guidance.

The Chapter 2 rundown on both sides of media theories and summary of research methods was well-done.

Everything about this tome is good, except for its dating.

The book is well-researched and provides valuable, although often dated, information. The author used a variety of sources, effective illustrations, and applicable examples to support the points in the book.

It can be very hard to keep up with constant changes in the mass media industry. This book was reissued in 2016, but it has not been revised since the original copyright in 2010. The dated references start on page 2 when it speaks of Ringling Brothers and Barnum & Bailey as existing, when that circus ceased in 2017. The medium-by-medium exploration is well done, although the passage of time affects the end of each chapter.

Adoption of the book as-is will mean developing an update lesson for each chapter. For example, while smartphones are mentioned, they had not achieved saturation status at the time this volume was published.

The points are presented clearly. References with hyperlinks are available at the end of each section for those who still have questions or want more information. However, it is possible that because of the age of the book, some of those links may no longer be available.

The media chapters each follow a similar pattern in writing and order.

This will break up easily. The first chapter gives a good taste of what is to come. The book provides a comprehensive look at the history and influence of each medium individually. The last group of chapters necessarily contains many flashbacks to the medium sections.

It follows a logical pattern from the introduction to the individual medium chapters to the “big picture” chapters. That does require signposting between the two sets of chapters that some might find frustrating.

Interface rating: 2

The book is a standard PDF with links. The scan could have been better, as there is a lot of white space and illustrations are inconsistently sized. Users hoping for lots of interactivity are going to be disappointed.

The book is well edited. It is hard to find errors in writing mechanics.

The authors took a broad view of the mass media world. The music chapter was very well done.

Reviewed by Lisa Bradshaw, Affiliate Faculty, Metropolitan State University of Denver on 11/26/21

This textbook, downloaded as a 695-page PDF, contains 16 chapters and covers a variety of media formats, how they evolved, and how they are created and used, as well as issues related to media impact on society and culture. It is quite comprehensive in its coverage of media for the time of its writing (copyright year 2016, “adapted from a work originally produced in 2010”).

Content seems accurate for its time, but as technology and media have evolved, it omits current references and examples that did not exist when it was written. There does not seem to be bias and a wide variety of cultural references are used.

As mentioned previously, this textbook’s copyright year was 2016, and it was adapted from a 2010 work. It’s not clear how much of the content was updated between 2010 and 2016, but based on the dates in citations and references, the last update appears to have been in 2011. Even if it had been updated for the year 2016, much of the information is still out-of-date.

There is really no way to write a textbook about media that would not be at least partially out of date in a short time. This text’s background and history of the evolution of the various media forms it covers is still accurate, but there is much about the media landscape that has changed since 2010–2016.

Due to the textbook’s age, references to media platforms and formats such as MySpace, Napster, and CDs seem outdated for today’s media market. The textbook refers to previous political figures, and its omission of more recent ones (who were not on the political landscape at the time of writing) makes it seem out-of-date. To adapt it for modern times, these references need to be updated with fresh examples.

The writing level is relatively high. A spot check of the readability level of several passages of text returned scores of difficult to read, and reading level 11-12 grade to college level. The author does a good job of explaining technical terminology and how different media work. If adapting the text for students with a lower level of reading, some of the terminology might need to be revised or explained more thoroughly.

The text is consistent in its chapter structure and writing style. The order of topics makes sense in that chapters are mostly structured by media type, with beginning and end sections to introduce each respective media type in general, and conclude with a look to the future.

If adapting and keeping the same structure (intro to media in general, coverage of different media types in their own chapters, and main issues related to media), this 695-page textbook could be condensed by eliminating some of the detail in each chapter. There are a number of self-referential sentences that might need to be removed. If adapting the text to a more specific subject, the instructor would need to go through the text and pick out specific points relevant to that subject.

Each chapter introduces the respective media type and concludes with a summary that reflects on the future of that type and how it might evolve further. The chapters overall follow the same structure for consistency: overview, history, the media in popular culture, current trends, and potential influence of new technologies, with end-of-chapter Key Takeaways, Exercises, Assessment, Critical Thinking Questions, Career Connection, and References.

The text is well written and logically structured and sequenced. Despite its length, it’s easy to find information, as it’s ordered by chapters that address each media type and major issues related to media, and each chapter has a parallel structure with the others, all following mostly the same pattern.

I did not notice grammatical errors. The text is clearly and accurately written, and appears to have been thoroughly copyedited and proofread.

Cultural Relevance rating: 5

I did not notice cultural insensitivity in the text. A wide variety of cultural references are used. Examples from around the world and from many different cultures are included, including discussions of digital divide and inequity issues related to media access in disadvantaged populations.

Reviewed by Adria Goldman, Assistant Professor of Communication, University of Mary Washington on 7/11/21

The text nicely breaks down different forms of mass communication. The text provides some historical background and discussion of theory to provide context for discussing mass media, which is all useful in helping students understand media and communication. There is not much discussion about the cultural significance of media. If using the text in a course, supplemental readings on the significance of culture and diversity, the importance of media representation, and media influence on an individual level (ex: impact on identity), would be especially helpful for a course exploring media and culture. The text does not feature a glossary or index, however the bolding of key concepts throughout the text is helpful in defining key terms.

The content is error-free. More discussion on culture would provide a more accurate account of mass communication and its significance.

The subject is very relevant and the book features topics important for a discussion on mass communication. As mentioned in other parts of this review, there is not much diversity featured throughout the text, which can impact the relevancy of the material to audiences and impacts the relevancy of the content in discussions on mass media and society. Updates would be straightforward to implement.

The text is clear and easy to follow.

The text is consistent in its use of terms and its framework. Since the book title mentions a focus on culture, an interesting add-on would be to have each section (on a specific type of mass communication) feature a discussion of culture and its significance.

The text's modularity is useful. It looks like it would be easy for students to follow and for instructors to re-structure in order to fit their course design.

The information follows a logical order, beginning with a discussion on the significance of mass communication and then going into each type.

No issues with interface noted.

No glaring grammatical issues noted.

Cultural Relevance rating: 2

There is not much focus on the significance of culture. More discussion on the role of race, class, sex, gender, religion and other elements of identity would be helpful in exploring mass communication--past, present, and potential for the future. The text could also use an update in images and examples to include diverse representation and to further communicate the role of culture, diversity, and representation in communication and mass media.

The book provides an understanding of mass communication that would be easy for undergraduate college students to follow. The optional activities would also spark interesting discussion and give students the opportunity to apply concepts. Students using the text would benefit from (1) more discussion on culture's significance in media and communication and (2) more diversity in the images and examples used.

Reviewed by Brandon Galm, Instructor in English/Speech, Cloud County Community College on 5/4/21

One of the strong suits of this particular resource is its comprehensiveness, with topics ranging from specific mass comm mediums to the intersections/impacts of media on culture, politics, and ethics. There's enough here to easily cover a full... read more

The content is well-sourced throughout with a list of references at the end of each chapter. The hyperlinks on the references page all seem functional still. Hyperlinks within the chapters themselves--either sending the reader to the reference list or to the articles themselves--would be helpful.

As of this review writing, some of the content is relatively up-to-date. However, with a quickly changing landscape in mass communications and media, certain chapters are becoming out-of-date more quickly than others. The information discussed is more current than most of the information cited. The structure of the book lends itself to easy updating as technologies and culture shift, but whether or not those updates will take place seems unclear with the most recent edition being 5 years old at this point.

All information is presented in a way that is very clear with explanations and examples when further clarification is needed.

For a book covering as many different topics as it does, the overall structure and framework of this textbook is great. Chapter formats stay consistent with clearly stated Objectives at the start and Key Takeaways at the end. Visual examples are provided throughout, and each chapter also includes various questions for students to respond to.

Chapters are broken down into smaller sub-chapters, each with their own sub-headings hyperlinked in the Table of Contents. Each sub-chapter also includes the above-mentioned Objects, Key Takeaways, and questions for students. Chapters and/or sub-chapters could easily be assigned in an order that fits any syllabus schedule and are in no way required to be read in order from Chapter 1 to Chapter 16.

I would like to have seen the book laid out a bit differently, but this is a minor concern because of the overall flexibility of assigning the chapters. The book starts with broad discussions about media and culture, then shifts into specific forms of media (books, games, tv, etc.), then returns to more broad implications of media and culture. Personally, I'd like to see all of those chapters grouped together--with all of the media and culture chapters in one section, and all of the specific forms chapters in another. Again, this is a minor issue because of the overall flexibility of the book.

As mentioned above, hyperlinks--including in the Table of Contents and references--are all functional. I would have liked to have hyperlinks for the references in the text itself, either as a part of the citation or with a hyperlinked superscript number, rather than just in the references page. All images are easily readable and the text itself is easy to read overall.

No grammatical errors that immediately jumped out. Overall seems clear and well-written.

The text provides lots of examples, though most do come from US media. The sections dealing with the intersections between media and culture are similarly US-centric.

Overall, a solid introductory textbook that covers a wide range of topics relevant to mass communications, media, and culture. The text is bordering on out-of-date at this point, but could easily be updated on a chapter-by-chapter basis should the publisher/author wish to do so.

Reviewed by Dong Han, Associate Professor, Southern Illinois University Carbondale on 3/30/21

It covers all important areas and topics regarding media, culture, and society. Different media forms and technologies from printing media to social media all have their own chapters, and academic inquiries like media effects, media economics, and media and government also receive due attention. This textbook will meet the expectation of students of all backgrounds while introducing them to theoretical concerns of the research community. Its chapter layout is properly balanced between comprehensiveness and clarity.

Its content is accurate and unbiased. The textbook is written with ample research support to ensure accuracy and credibility. References at the end of each chapter allow readers to track sources of information and to locate further readings.

It is up-to-date in that the major cultural and media issues it identifies remain highly relevant in today’s world. However, since it was first produced in 2010, some more recent occurrences are not part of the discussion. This is not meant to be a criticism but a reminder that an instructor may want to supplement with more recent materials.

It is written with clear, straight-forward language well-suited an introductory textbook. The chapter layout, as mentioned earlier, is easy to access.

The book is consistent in terms of terminologies and its historical approach to media growth and transformation.

Each chapter is divided in sections, and sections in turn have various reading modules with different themes. For undergraduates taking an introductory course, this textbook will work well.

The topics are presented in an easy-to-access fashion. The textbook starts with a general overview of media and culture and a persistent scholarly concern with the media: media effects. Then it moves through different media in alignment with the chronological order of their appearance in history. The last few chapters focus on important but non-technology-specific topics including advertising and media regulations. For an introductory textbook, it is very accessible to the general student body.

The textbook does not have significant interface issues. Images, charts, and figures all fit well with the text.

There are no grammatical errors.

The textbook has a number of examples of minority cultures and ethnicities. It does not, however, have ample discussions on media and culture phenomena outside of the US, except those that have had significant impact on American culture (e.g., Beatlemania).

All considered, this is a very good textbook to be used in an introductory course. It is comprehensive, easy-to-read, and can help prepare students for future in-depth discussions on media, culture, and society.

Reviewed by Elizabeth Johnson-Young, Assistant Professor, University of Mary Washington on 7/6/20

Comprehensive text regarding mass communication, culture, and effects. The historical perspectives are helpful for understanding, particularly as it goes on to focus in on convergence throughout the text. A more complete glossary or index would be helpful for terms for an introduction text, but key terms are highlighted and defined throughout. Extra examples would help throughout, particularly with theories and research methods.

Accurate, up to date information on history, concepts, and theories.

The information focuses on important historical moments, theories, cultural impacts, and moves to the present with ideas and examples that will likely remain relevant for quite some time.

Clear, easy to read text that would benefit introductory students of mass comm.

Introduces terms and concepts and then utilizes them throughout.

The separation of the larger text into smaller sections is incredibly helpful and makes reading and assignments of readings easy, leading also to the ability to separate into sections that would be appropriate for any course organization.

Organization is logical and easy to follow. Importantly, because of the modularity, it would also be easy to re-organize for one's course.

Navigation works, images clear and detailed.

No glaring grammatical errors.

The examples and images demonstrate diversity in race and also provides examples outside of the United States, which is important. There is some diversity in terms of gender and sexual diversity, more of which would be beneficial and various sections would be appropriate for that inclusion.

This is an excellent and comprehensive text for intro students that includes important historical moments and thorough coverage of main concepts and theories in the field, with a diverse set of moments and examples.

Reviewed by Emily Werschay, Communication Studies Instructor, Minnesota State University System on 10/22/19

Overall, this textbook is quite comprehensive in covering various channels of media, particularly from a historical perspective, and would work well for an introductory course. It features the same focused areas of content that are in my current publisher textbook and incorporates elements of culture as well. It does not provide a glossary or index, which would be helpful, but key terms are in bold.

The text contains accurate research with clearly-cited references that give credibility to the content.

The historical content is well-crafted. The text provides a clear and informative introduction to the history of media and does well with the rise of newspapers, television, and movies. You will not, however, find a reference more recent than 2010, which means any advancements in media and technology in the past decade are not covered. An instructor using this text would have to supplement content on current types of media such as streaming television and music services and the current debate of social media shifting toward news publishing in terms of content delivery. While the text includes culture and political climate of the past, much would need to be supplemented for the last ten years.

The text is professional and well-written. It is well-suited to a college reading level.

The chapter format, writing style, and overall presentation of information are consistent throughout the text. I appreciate the defined learning outcomes and key takeaways pulled out in each chapter.

The text is divided into clear chapters focusing on one medium at a time, much like other publisher texts for mass communication. For example, books, newspapers, magazines, music, radio, movies, and television each get their own chapter. Each chapter begins with clearly defined learning outcomes, and features key takeaways, exercises, assessments, and critical thinking questions at the end, as well as a section on career connections.

The topics are presented in chronological order from the history of mass communication, through the various mediums, and finally to the future of mass communication (though most will find the content particularly about recent and current trends will need to be supplemented as it is outdated).

I didn't find any problems with the interface as it is a standard text that can be viewed as a PDF, but an index would really help navigation. I will say that it's not particularly user-friendly, so I may try integrating the online format chapter-by-chapter into D2L so that I can break it up by modules and add links to make it more interactive with supplemental resources.

Professional, well-written text with no errors.

I don't believe readers will find any of the text culturally insensitive or offensive. The text is focused on U.S. media, however, so some supplemental content may be needed.

This textbook is very comprehensive and will work well for an introductory course. It covers the same focus areas as my publisher text, so I feel comfortable switching to this textbook for my Introduction to Mass Communication course with the awareness that it does not cover the past decade. I will need to provide supplemental information to update examples and cover current topics, but that is generally accepted in this particular field as it is continually changing with advancements in technology.

Reviewed by Bill Bettler, Professor, Hanover College on 3/8/19

This text is comprehensive on several levels. Theoretically, this text echoes the framework employed by Pavlik and McIntosh, which displays sensitivity to convergence. However, this text understands convergence on multiple levels, not just the three employed by P and M. This text is well-researched, with ample citations on a whole host of media topics. Each chapter has multiple ways that it tests the reader, with "Key Takeaways," "Learning Objectives," etc. And finally, the text features chapters on the history and development of key historical media, as well as key emerging media.

Some students find Pavlik and McIntosh a bit too transparent in their Marxist assumptions. While this text certainly introduces Marx-based theories about media, it seems to do a better job of contextualizing them among several other competing perspectives.

Some of the popular culture texts felt a bit dated--for example, opening the "Music" chapter (Chapter 6) with an extended case study about Colbie Caillat. Unfortunately, this is the nature of mass media studies--as soon as books come into print, they are out of date. But I have a hard time imagining my mass communication students being inspired and engaged by a Colbie Caillat case study. I'm not sure what the alternative is; but it seemed worth mentioning. Other examples are much more effective and successful. The historical examples from different types of media are well-chosen, thoroughly explained, and insightful. Also, this text discusses emerging media more successfully than any other texts I have used.

The style of this text is straightforward and scholarly. It seems to strike an effective balance between accessibility and specialized language. For example, key concepts such as "gatekeeper" and "agenda setting theory" are introduced early and applied in several places throughout the text.

Like Pavlik and McIntosh, this text uses the concept of "convergence" to explain several key phenomena in mass communication. Unlike P and M, this text understands "convergence" on more than three levels. Like P and M, this concept becomes the "glue" that holds the various topics and levels of analysis together. As mentioned before, this text is especially effective in that it introduces foundational concepts early on and applies them consistently across succeeding chapters.

On one hand, this text rates highly in "modularity," because I could imagine myself breaking its chapters apart and re-arranging them in a different order than they are presented here. This is in no way meant as a criticism. I routinely have to assign chapters in more conventional texts in a different order. The fact that the technology involved in delivering this text makes it easier to re-arrange is one of its best selling points. The reason I scored this as a "4" is because some of the chapters are quite dense, in terms of volume (not in terms of difficulty). Therefore, I could see students perhaps losing focus to some degree. I might combat this by making further breakdowns and re-arrangements within chapters. This is not a fatal flaw--but it does seem like a practical challenge of using this text.

As mentioned above, some of the chapters are quite dense, in terms of volume. Chapter One is such a chapter, for example. I could easily see Chapter One comprising two or three chapters in another textbook. Consequently, there is a likelihood that students would need some guidance as they read such a dense chapter; and they would likely benefit from cutting the chapter down into smaller, more easily digestible samples. On the other hand, the Key Takeaways, and Learning Objectives, will counteract this tendency for students to be overwhelmed or confused. They are quite helpful, as are the summarizing sections at the ends of each chapter.

I did not encounter any problems with interface. In fact, the illustrations, figures, charts, photographs, etc. are a real strength of this text. They are better than any other text I have seen at creating "symbolic worlds" from different forms of media.

The writing style is professional and free of errors.

This is a genuine concern for mass media texts. Media content is a direct reflection of culture, and today's culture is characterized by a high level of divisiveness. I did not detect any examples or samples that were outwardly offensive or especially controversial. But, perhaps, there is a slight bias toward "the status quo" in the case studies and examples--meaning that many (but certainly not all) of them seem to be "Anglo," Caucasian artists. Looking at the "Music" chapter, for example, some popular culture critics (and students) might lament that Taylor Swift is an exemplar. While this choice is undeniable in terms of the popularity of her recordings and concerts, some might hope for examples that represent stylistic originality, genre-transcending, and progressive ideas (Bruno Mars, Kendrick Lamar, Jay-Z, Beyoncé, Lady Gaga, etc.).

I have been using the same text for seven years (Pavlik and McIntosh). I have decided to adopt Understanding Media and Culture: An Introduction to Mass Communication. It is simply more thorough in its sweep of history and contextualization of culture, more multi-layered in its theoretical perspectives, and more rich in its examples and insights. This books is recommendable not just as an open source text, but as it compares to any conventional text. Students will benefit greatly from reading this text.

Reviewed by Hsin-Yen Yang, Associate Professor, Fort Hays State University on 11/29/18

Understanding Media and Culture: an Introduction to Mass Communication covers all the important topics in mass communication and media history. It also provides case studies, Key Takeaways, Exercises, End-of-Chapter Assessment, Critical Thinking Questions, and Career Connections in every chapter. Although this book does not provide a glossary, the comprehensiveness of the book still makes it a great textbook choice.

While the information was accurate and the discussions on key issues were supported by good references, it was odd to see the questionable formatting and quality of the first reference on page 3: Barnum, P. T.” Answers.com, http://www.answers.com/topic/p-t-barnum. --> First of all, Answers.com is not considered as a credible source by many scholars and the other half of the quotation marks was missing.

The major weakness of this book is the fact that many of the references were outdated. For example, on page 479, the statistics in the section, "Information Access Like Never Before," the cited reports were from 2002 and 2004. When discussing topics such as Net Neutrality, digital service providers, new policies and technologies, the urgency for updated information becomes evident. However, as the author correctly pointed out: "Although different forms of mass media rise and fall in popularity, it is worth noting that despite significant cultural and technological changes, none of the media discussed throughout this text has fallen out of use completely."

The writing in this book is very clear and easy to understand. The colored images, figures and tables should be very helpful in terms of student comprehension and engagement.

The framework and terminology are consistent throughout the book.

Each chapter can be assigned to students as a stand-along reading, and can be used to realign with other subunits should an instructor decide to compile reading within this book or from different sources.

Each chapter follows similar flow/ format: the history, evolution, economics, case studies and social impact of a mass medium, followed by Key Takeaways, Exercises, End-of-Chapter Assessment, Critical Thinking Questions, Career Connections and References. It was easy to navigate the topics and sections in this book.

I downloaded the book as a PDF and had no problem to search or navigate within the file. The book can also be viewed online or in a Kindle reader.

I spotted a few minor formatting or punctuation issues such as the missing quotation marks stated earlier, but no glaring errors as far as I know.

While it mainly focuses on American media and culture, this book contains statistics and cases from many countries (e.g. Figure 11.7), provides many critical thinking exercises and is sensitive towards diverse cultures and backgrounds.

Overall, this is a high-quality textbook and it contains almost all the key issues in today's media studies in spite of the somewhat outdated data and statistics. The strengths of this book are: Excellent historical examples, critical analysis and reflections, clearly defined key issues and in-depth discussions. Even when using the most recent edition of textbooks, I always research for updates and recent cases. This open resource textbook makes an outstanding alternative to those high-priced textbooks.

Reviewed by Hayden Coombs, Assistant Professor, Southern Utah University on 8/2/18

Perhaps the best quality of this text, Understanding Media and Culture is a very comprehensive textbook. I have used this text in my Mass Media & Communication course for two years now. Each chapter focuses on a different type of medium, starting with the earliest books and working its way up to the latest technological advancements in mass media. Other beneficial topics include: Media & Culture, Media Effects, Economics of Mass Media, Media Ethics, Media and Government, and the Future of Mass Media. These topics provide a solid base for a 100 or 200-level introductory communication course. They also were written in a way that each chapter provided sufficient material for a week's worth of discussion.

This book was written in a very unbiased manner. It is completely factual, and not much room is left for subjective interpretation. The discussion questions allowed multiple themes and schools of thought to be explored by the students. Because this book is intended for an introductory course, the information is fairly basic and widely-accepted.

My biggest issue with this title was that the latter chapters were not written with the same quality as the first ten or so chapters. However, that was the thought I had after the first semester I used this text. Since then, multiple updates have been written and the entire text is now written in the same high-quality throughout. Because this title is being constantly updated by its authors and publishers, the text is never obsolete.

Terminology is clearly defined, and students have little trouble finding definitions in the glossary. Because this text is written for an introductory course, there are not many intense or confusing concepts for students to understand.

Consistency rating: 3

As previously mentioned, the biggest struggle I've had with this text is the fact that the latter third was not written to the same quality of the first ten chapters. However, this issue seems to have been remedied in the latest edition of this text.

The modularity was the biggest selling point for me with this text. Our semester runs 15 weeks, the same number of chapters in this text. I was able to easily focus our classroom discussions and assignments on the chapter theme each week. The text also provides plenty of material for two or three discussions.

Organization/Structure/Flow rating: 3

The text starts by introducing some basic concepts like culture and effects. From there, it focuses on ten different types of media (books, newspaper, radio, television, etc.). The concluding three chapters go back to concepts such ethics and the future of mass media. While not a major issue, there was a major difference in the tone of the two types of chapters.

This text is available in .pdf, kindle, .epub, and .mobi formats, as well as in browser. While nothing fancy or groundbreaking in terms of usability, it is simple and all of my students were able to download the format that best suited their individual needs.

The text contained no grammatical errors that I noticed in the latest edition, a tremendous improvement from the first semester I used this text.

I did not find the content to be culturally insensitive or offensive in any way. It used a variety of examples from the world's history, but I found none of them to be inherently offensive. The subject matter and the fact that this is an introductory text probably assist with the cultural relevance because it is easy to understand, but the themes rarely get into "deep" discussion.

This is a fantastic text. Comparing it to other texts for my COMM 2200 Mass Media & Society text, this textbook was not only easier for my students to understand, but it was written and compiled in a way that made teaching the material enjoyable and easy. I have recommended this book to the other instructors of this course because it allows our students to save money without sacrificing anything in terms of content or learning.

Reviewed by Heather Lubay, Adjunct Faculty, Portland Community College on 8/2/18

Overall the book is comprehensive, covering everything from books to radio to electronic media & social media. Each topic has a descent amount of information on both the history and evolution, as well as where we are today (though, as tends to be the nature of the industry, the “today” piece gets outdated quickly. However, the text covers the topics that most other texts of this subject cover as well. I would have liked to have seen just a bit more depth and analysis, instead of the broad, surface-level coverage.

The text is fairly accurate, though, with the rapid rate of change, it’s difficult to be accurate shortly after publication. Using sites such as MySpace as an example, or only looking at movies put out through about 2007, impacts the accuracy as society has changed and moved on. Students in 2018 are given more of a historical perspective from when they were kids more so than having a representation of what media means in today’s world.

Relevance/Longevity rating: 2

This is a hard one because the historical information stands the test of time, but many of the examples fall short for today’s students. The Social Media chapter still references MySpace and Friendster as current platforms and only goes as far as FaceBook & Twitter. The author makes it a point to clarify when the book what published, which helps, but, again, it’ll be hard for a current student to see past that when they’ve grown up with the platform being discussed as “new” and have moved on.

The book is fairly fast-paced and easy enough to follow for lower level or beginner students. Examples are easy to follow and the key takeaway boxes and exercises help further basic understanding.

The chapters are fairly consistent, covering the basic history, evolution, and influence/impact.

The text can easily be used as formatted, or broken up into sections and moved around.

The organization is fairly straightforward. Earlier forms of mass communication are covered first, moving on to newer forms. Once students have a basic understanding of each form, they can then move on to topics like ethics, government, and economics, which need that basic understanding to fully grasp the larger concepts.

The book is easy to navigate with had no issues viewing the photos or charts.

The book is well written and free of any gratuitous errors.

The book does a good job of focusing on US media and society. It uses pretty typical examples, though it could incorporate more relevant examples to today’s students. Some case studies reference minority groups, but it would have been nice to see even more examples featuring minority groups. Also, Using YouTube as a “new” viewing outlet and discussing “The war between satellite and cable television” and DirectTV versus Dish makes the cultural relevance more towards older generations than younger ones.

Overall the book does a great job with the history of mass communication and society. It would work for any lower level course. However, the examples are fairly out of date and the instructor would have to present more recent and relevant examples in class.

Reviewed by Randy (Rachel) Kovacs, Adjunct Associate Professor, City University of New York on 6/19/18

I like the way that the author has broadened the scope of the book to incorporate so many aspects of culture, society, politics and economics that some people would be inclined to distinguish from the mass media, when in reality, all these aspects of contemporary life are intertwined with and influenced by media messages. It provides an historical retrospective but also shows how convergence and constantly-evolving technologies have driven the way consumers use the media and the way producers will use those technologies to rivet the attention (and influence the purchasing choices) of today’s consumers. The text incorporates the most salient areas of media’s evolution and influence.

The book appears to be objective and adopts a critical but non-partisan perspective. It presents data, including media laws and policies, accurately, and the cases it cites are well documented. The author provides sufficient references to support the facts he states and the conclusions he draws. Caveat--The media landscape and technologies are constantly evolving, so the book is accurate for its time of publication but needs to be updated to include new developments.

The way that the author integrates the historical perspective with current roles of social media in is a clear indication of its relevance. The dates may change, as may the celebrities, industrialists, spokespersons, and there may be geopolitical and cultural shifts, but the author’s explanation of theories/principles and the cases selected show how mass media power and influence are here to stay. The author advances the salient issues at each juncture and contextualizes so they we can relate them to current events. The book could be updated but is still has relevance/longevity.

The book is written in a language that is accessible to the layman/beginning student of mass media. The cases that are boxed, and key takeaways at the end of each chapter further distill what is already explicated. There are many concrete facts but a minimum of jargon and any terms used are adequately explained.

The framework and the terminology are consistent. There is also a consistent structure in terms of the visual layout and breakdown of each chapter’s sections, which makes the material far more accessible to students. It’s reassuring in a way, because students know where to go in each chapter for clarification of terms and restatement of the major media developments or areas of impact.

The book’s content is broken down within chapters into (pardon the expression) digestible chunks. The way each subsection is organized makes sense. The major sections where media, developments, policies, etc., are first introduced are illustrated by boxed portions and then reiterated clearly at the end of the chapter with small, chunked takeaways and questions that challenge the students to ponder issues more deeply. The modules are distinguished by color, typset, size of font, etc. which is aesthetically appealing.

The organization makes sense and the topics segue smoothly from one area of media focus to another. Also, the way the book opens with an overview of mass media and cultural is a good starting point from which to document specific historical eras in the development of communication and to transition from one era of communication to another within a context of technology, politics, industry and other variables.

: The text does not have any interface issues, as it is easy to navigate, all illustrations, charts, and other visuals are clear and distortion-free. All features of the book are legible and all display features are legible and functional.

The book is grammatically accurate and error-free.

The book represents a range of cultural groups in a sensitive and bias-free way. Its discussions of media with regard to both dominant cultures and various minority cultures is respectful, bias-free, and non-stereotypical. It is culturally relevant and inclusive.

For many years, I have used a textbook that I have regarded as very high quality and comprehensive, but as it has become increasingly expensive and out of reach financially for many of my students, I find it hard to justify asking my struggling students to add another financial burden to them. Why should I when they can use this OER textbook? I am seriously considering using Understanding Media and Culture in future semesters and recommending it to my colleagues.

Reviewed by Stacie Mariette, Mass Communication instructor, Anoka-Ramsey Community College on 5/21/18

This OER is very comprehensive. I used it for an online course as a PDF textbook. While this discipline evolves faster than any other communication area I teach, this book remains solidly grounded in a wide variety of resources and foundational... read more

As I use it more often, I find myself wanting to update it only for examples regarding the evolution in technology/platforms and the societal/cultural changes that result – not to change the historical content of what is already there.

I haven't come across any factual errors at all.

The examples in this book are often dated. This is my one very mild criticism of this text and only reflects the nature of the information. As we grow into new media and adapt as a society to those delivery methods, it's only natural. I actually use updating the examples in the textbook as an assignment for students.

Some closer to up-to-date examples that I have added into my teaching of the course and to the materials are:

"Fake news" and social media's role in spreading it, especially in terms of Facebook and the last election

Data mining and algorithm practices

"Listening" devices and digital assistants, like Siri and Alexa

The subculture of podcasts

Business models – both for artists and consumers – of streaming services across all media

The chapter on convergence is short and could be a text all on its own. Information relating to this topic is sprinkled throughout the book, but the concept itself is so important to analyze that I like to think about it on its own. This is an area I will beef up in future semesters for my own students.

Streaming services and online journalism overall are two areas that I have noted to update and reference in nearly every chapter.

The short segments and snippets of information are very helpful and clear for students. It's all very digestible and the vocabulary is at just the right level.

The discussion questions and further reading/information are placed in logical places in each chapter. And this consistency helps the reader understand their prompts and what to do next – and additionally the important topics to take away.

I love how this text can be reordered very easily. Since it's so comprehensive, I actually omit a couple of the chapters (radio and magazines) to take the info at a slower pace and have never struggled with remixing other chapters.

In fact, I plan to blend Chapters 11 and 16 (Social Media and New Technology) for my upcoming semesters and have no doubt the text and materials will allow for this.

I like how the chapters primarily focus on one medium at a time. From there, the structure of evolution, technological advancements, social/cultural implications and then a look at trends and emerging controversies helps to build to exciting and relevant discussions and for students to have the backdrop to bring their own insights.

The interface is reliable and easy-to-use. I deliver it as a PDF within my online classroom software. I have never had issues with students downloading and reading on multiple devices – or even printing and referencing – based on their preferences.

This book is very concise and grammatically crisp. It's clear that the authors of the version I am using valued precision in their language and it helps students to see this resource as high-quality!

Cultural and societal relevance are important in this discipline and it's purposely covered in each and every chapter. However, as I mentioned earlier, the examples are outdated in many cases. So I layer this into class discussions and supplement with further readings and assignments. Some of the topics I add are: Representation in entertainment media, like TV and film, for example how the #MeToo movement gained ground based on the film industry Ways that online gaming culture is permissive of the communication of –isms, like sexism and racism Ways that social media and screen time are impacting attention spans, interpersonal relationships/communication and child development How citizen-sourced video and reporting differs from that of trained journalists and how important the differences are The section on media effects is helpful and thorough. I always include a key assignment on this topic. It's also an area I plan to emphasize even more in the future – particularly the idea of tastemaking and gatekeeping. There are many crossovers to many examples that are more up-to-date than the version of the text I have been using.

I love this book and it is on-par with many others I have reviewed for my Introduction to Mass Communication class.

Reviewed by Stacy Fitzpatrick, Professor, North Hennepin Community College on 5/21/18

The presentation of the historical context of media evolution in the US is clear and reasonably detailed, providing a good foundation for an introductory level course. As other reviewers have mentioned, this text was published in 2010 and is out of date in multiple areas, particularly with respect to media laws and regulation, social media, and newer developments of technology (e.g. preference for streaming television, technological and social advancements in gaming). Beyond needing updates to reflect newer advancements in media, this text would benefit from more attention to global media structures, including how they vary across political systems and how they impact how citizens use media to communicate. Additionally, an index and glossary would be helpful for navigation.

I am basing this on the fact that this was published in 2010. Considering the publication date, the factual content for that particular time frame is presented accurately, clearly cited, and reasonably unbiased. There is perhaps an unintended gender bias in the presentation of some content (e.g. Sister Rosetta Tharpe is absent in the music section, as is Nina Simone), though this could be a result of a broader, societal gender bias. Images, charts, and graphs are used well and clearly explained.

The historical content is fine, but the text is almost 9 years out of date and there is a great deal of content that needs to be updated. Making the necessary updates may take some time since the content is tightly written and there are reflections of the date of publication throughout the examples used, images presented, and media discussed. Using this text in class would require the instructor to provide supplemental content on newer advancements in media.

This text is appropriate for a freshman/sophomore level course and reads well. Important terms are defined and each section includes an overview to set a context and clearly defined learning objectives.

The language, terminology, and organization of the text is consistent throughout. This makes moving between chapters easy since they follow a similar format.

With a few exceptions (chapters 1 and 2), the text lends itself well to using different sections at different points. Where there are self-references, there is typically a hyperlink to the section referenced. This is useful for those reading the text online, but less useful if printed sections of text were used.

Chapters 1 and 2 clearly present a structure that the following chapters follow. The only chapter that seems to really break that flow is Chapter 16, but that is more a result of the text being so out of date than a significant change in structure.

I found the online reading format the easiest to navigate. The Word and PDF versions are somewhat more awkward to navigate without using a search keyboard function.

There were a couple minor typos, but no significant grammatical errors that might impact comprehension. The readability assessment (via MS Word) indicated a reading grade level of 13.1, which is consistent with lower division college coursework.

There is a heavy focus on US media, which is acknowledged early on in the text. More integration of content related to global media would strengthen the text. There should be more examples that integrate multiple forms of diversity, such as gender, ability, age, sexuality, race, and ethnicity. Additionally, without an update, younger students may not understand some of the references. For example, younger students in 2018 don’t know Napster as a file-sharing site since it has rebranded to become a streaming site more similar to Spotify.

It would be great to see an update in the content of this text for 2018 that also incorporates broader perspectives of multiple identities and global perspectives. As is, I would use sections of the text and supplement that content with more current examples and issues. Balancing the cost of textbooks in this field with the quality and recency of the content is an ongoing challenge.

Reviewed by Craig Freeman, Director, Oklahoma State University on 5/21/18

The book covers all of the topics you would expect in an inter/ survey course. read more

The book covers all of the topics you would expect in an inter/ survey course.

The book does a good job of accurately surveying mass communications. Good job sourcing information.

The most recent citations are from 2010. That's just too far in the past for a rapidly changing subject like mass communication.

The book is clear and easy to read. Well written.

The book is internally consistent, with recurring sections.

The book does a good job breaking the information down into smaller reading sections.

The book follows the standard structure and flow for introductory texts in mass communication.

The interface is fine. It's a big book. Would appreciate active links to help skip chapters.

No grammatical errors.

I would appreciate a little more diversity in the examples used.

Really wish the authors would update this a bit. It does a great job with the history. Needs updating on the modern issues.

Reviewed by Kateryna Komarova, Visiting Instructor, University of South Florida on 3/27/18

Comprehensiveness rating: 2 see less

The title Understanding Media and Culture: An Introduction to Mass Communication suggests that we are looking at a comprehensive introductory text. In my opinion, this book is the most valuable to GE courses and entry level courses across Mass Communication disciplines, as it does excellent job in covering the fundamentals of mass communication. The textbook is heavy on history, which is a great thing.

I found the content to be accurate and, to my knowledge, error-free.

In comparison with other introductory texts, the content is generally up-to date with current trends. Yet, the distribution of attention towards various forms of media tends to be slightly disproportional. For instance, print magazines alone (essentially, one of many forms of print media that’s experiencing a stable continuous decline) receive as much attention as all forms of social media altogether. As a communications practitioner and an instructor, I was pleased to see information on the merge of paid media and social media (content partnerships and native advertising being the prime examples, albeit these particular terms were not used by the author). On the other hand, some aspects of current media landscape (such as the role of mobile apps, for instance) could be explored further.

The text is written in simple, easy-to-understand language and would be appropriate to non-native speakers.

I find this text to be consistent in terms of terminology.

The book is organized in rather non-trivial fashion, without a unified approach to chapter categorization. Yet, I found this approach refreshing. I loved that the author suggests specific learning outcomes for each section (example: "Distinguish between mass communication and mass media"), key takeaways, and practical exercises. The question bank provided as part of this textbook is a treasure box! It’s a great resource that allows me to have more fun in the classroom by asking interesting questions that wake up the students and generate some amazing answers. The chapters are designed to be used selectively, in no particular order. Big plus.

The content is presented in chronological pattern: from past to future. Other than that, I did not trace much consistency in the material. For instance, Media and Culture is followed by Media Effects, after which the author switches to reviewing various forms of media (Radio, Magazines, Newspapers, etc.). The chapters to follow are Economics of Mass Media and Ethics of Mass Media. I find to be an advantage, as the subsections may be used selectively, and the order may be easily redesigned.

I read the textbook online via the Open Library portal http://open.lib.umn.edu/mediaandculture/chapter/1-2-intersection-of-american-media-and-culture/ . I found the navigation to be very easy. Good interface.

I did not spot any grammatical errors.

I found the content USA-centric. For this reason, it may have limited application to global courses (such as Global Citizens Project courses offered at USF). The majority of case studies are drawn from the United States; much attention is paid to the history of mass media in the USA and current U.S. legislation safeguarding privacy. In today’s increasingly globalized culture and economy, a broader outlook on media and culture may be expected. More international references would enhance the points made by the author. It is important for students to understand that major trends in mass communication, such as convergence of the media, are not unique to the United States. Similarly, increasing media literacy should be positioned as a global, rather than national, priority.

It is a great introductory text that provides a current overview of various forms of media and highlights the role of mass communication in society.

Reviewed by Joel Gershon, Adjunct Professor, American University on 2/1/18

The book should be the perfect fit for my course Understanding Media, as it indeed covers all of the subject matter of the course. The problem is that it is not up to date and therefore detracts from the complete picture that each one of these topics delves into. For example, the music section poses the question: How do the various MP3 players differ? It refers to Spin as a magazine (it ceased its print operations in 2012). Or in the section on television, there is a question about the war between satellite and cable television. I think the winner of that is neither, as streaming a la carte is what people are talking about in 2017 as the direction TV is going in.

This criticism, of course, is obvious and easy. It's actually an exhaustive book that does contain a wealth of useful information, although no glossary or index – glaring omissions. Unfortunately, it suffers from not being up to 2017, when we are living in an up-to-the-second world. Especially in a field like media studies, it makes this book unusable in its entirety. The chapter ethics and economics aren't as badly out of date.

It is accurate for the time it was written in, but in today's world, much of this doesn't hold up. Just one example, there is the claim that Reader's Digest has the third highest circulation of all magazine, which is no longer the case in 2017. It is not in good shape. Even the references to "President Obama," obviously show that it was written a different era with a very different landscape for the media world. Still, the great majority of it appears to be represented fairly, albeit in an outmoded way. It's just that the trends and latest innovations in 2010 won't even make sense to a college freshman whose frame of reference likely came about three years after

Content is up-to-date, but not in a way that will quickly make the text obsolete within a short period of time. The text is written and/or arranged in such a way that necessary updates will be relatively easy and straightforward to implement.

Obviously, this is a major weak link of the textbook. I've already commented on this, but I think any time the textbook is referring to MySpace or Friendster in a way that suggests that they are viable social media sites, it makes itself into a caricature of an outdated guide.

No real problem here. The book is fully clear, well-written and to the point. The problem is that the point was made in 2010. That said, there is no glossary or index.

Again, this book is solid as a foundational textbook to get students the basic information regarding the history and meaningful cultural highlights of different forms of media. From radio to media and democracy, the lessons are thorough and contain useful and important information. It's just that some of this information is outdated.

The book is quite easy to read, the organization is fine and reads like any typical textbook. I will say that there have been advancements made, and that this book should be more interactive and multi-media if it wants to keep up with the Joneses.

It's fine in this regard. The writing itself is great and it's broken up nicely. Very readable and I wish it was up to date because it's a solid textbook.

This is fine for 2010, but there is no interactivity or video or things to let us know that we are in 2017.It's basic and fine, but nothing stands out are particularly innovative.

Written well. No issue here at all.

Again, this is the fatal flaw of the book. It's just not going to be persuasive if it doesn't manage to maintain the sensibilities of someone in 2017. Between politics and technology there have been extreme shifts in the media in the past few years and a book like this would need to be updated monthly to stay relevant. It could work as a historical document to see how people thought in 2010, but not really as a relevant book today.

Reviewed by Suzi Steffen, Instructor, Linn-Benton Community College on 6/20/17

This text is rather comprehensive, at least for the time it was published. It covers pretty much any topic one might want to cover in a Media and Society or introductory media and communications class, though for those interested in topic areas like journalism, advertising, and public relations, this textbook is much more about the history of those areas than how they are surviving and functioning today (and that's fine with me; I can update with information that's more recent). There is no index (at least in this form), and there is no glossary, but terms are well-defined within each chapter and within pull-out boxes as well. It would be incumbent upon the professor and students to keep some kind of glossary or wiki, which is not a bad idea for a media history/media and society class in any case.

Often in a textbook for media and society or media history, one can see the author's world view shining through - is capitalism too much for media? Should media creators take an "unbiased" view of the world? How is a medium influenced by the way it is funded? The book has a solid conversational tone and is authoritative on its history, but I might prefer a little more analysis of media ownership and consolidation. As for accuracy, yes, the facts seem quite accurate to the best of my knowledge, and the text is written (and edited) by someone with a journalist's view of language - it's useful, it's best done well, and occasionally it lends itself to some essayistic moments.

I'm not sure there's a way to write a book like this that can keep it relevant past the month in which it was written, much less seven years later. Many of the examples the author uses to illustrate music, social media, books, newspapers (some of which don't exist anymore), magazines (ditto), etc., are simply no longer relevant. It *is* interesting to read about what the author thought was relevant at the time, and what the author thought would last, but this kind of book needs almost constant updating during this time of constant media churn and reinvention. I am giving it a 3, but really it's more like a 2.5 as any instructor would need constantly to find new examples that students will understand.

The book is accessible and lucid, absolutely. As with any history of a large discipline, the book contains a fair amount of jargon that is relevant to each portion of the subject matter covered, and the book is good about not only giving context and giving definitions but also setting aside boxed or special areas for examples that reinforce what it's talking about. The key takeaways at the end of each chapter, added to the exercises that are meant to help the students understand what's important in the dense historical detail and context of each chapter, are helpful as well.

This book is wonderfully consistent with terminology and the framework it employs to discuss media across a wide range of areas. From the beginning of each chapter, where an introduction lays out the plan of the chapter, to the end of each chapter - where a box of "key takeaways" explains what students should have learned - the book keeps a tone of very slightly amused detachment, mixed with earnest passion for certain topics, throughout, which is utterly consistent with how media people actually live their lives.

The text is definitely modular. It's written in a way that could easily be read in various chunks as the instructor or professor wishes to assign it. Blocks of text are broken up with images, a few charts, and a few stories that are boxed and that illustrate examples of topics within the chapters.

I think it's hard to know how to organize a media history/media and society textbook. Do you start with the printed word? But then, what about radio? Should radio come closer to magazines or closer to movies and TV? In that case, where do audiobooks and podcasts go? So, even as any instructor would grapple with these sorts of questions, the book is laid out in a way that made sense to the author - and that can be ripped apart and reassigned by each instructor. There's no need to read economics at the end of the course; perhaps, despite the fact that it's at the end of the book, it should come at the front end of the course - and because it's modular enough for flexibility, that's not a problem.

I read the textbook on my desktop Kindle and on my phone. It's not super with the images or charts, and the boxed questions and exercises at the end are especially hard to take. This interface could use a little attention, at least in the Kindle applications area. It's not impossible; it just needs some work.

No errors that I saw, though a textbook without at least a few grammatical errors is a miracle.

It's hard to say whether it's culturally insensitive or offensive because, well, I'm a white woman. I note that it talks about U.S. media's places (different for advertising, PR, newspapers, etc.) in the Civil Rights Movement and to a certain extent it discusses the ways that major media have been controlled or run by men, by white men, by straight white men. But I don't think the text addresses any of these things in the depth or with the clarity of thought that one would like to see in 2017. (Yes, it's a 2010 text.) In gaming, in Twitter discussions, in talking about newspapers or online media, the book is simply behind the times, and that makes it culturally problematic if not insensitive.

I am reluctant to adopt this book with students who really need more recent examples to make sense of how things are going now, today, in 2017, though it's also relevant for them to learn the history of how we got here (if anyone can really understand that at this point). I'd love to use a newer edition if one comes out. I might use or adapt parts of it along with other readings for my media and society class in 2018, but I'll be cautious about that.

Reviewed by Shearon Roberts, Assistant Professor of Mass Communication, Xavier University of Louisiana on 6/20/17

The textbook hits the standard areas for a typical Introduction to Mass Communication course: evolution of media industries, media and society, media effects and theories, media law and ethics, the digital age, and global media. It is comprehensive in its case studies and historical events that are typically taught for an Introduction to Mass Communication course. The text is current as there is a chapter on the Internet and Social Media and several chapters look at the digital revolution as it impacts media industries. There is no glossary or index, however. Instructors will have to rely on chapter sections for lesson planning.

From Gutenberg to Apple and Google, the book provides content that is accurate on the development of media. The author thoroughly cites case studies and provides questions for critical thinking about issues affecting media industry trends and on the impact of the media on the public. Statistics, data and trends are appropriately cited for reference check on accuracy of estimates.

Case studies and citations stop at 2010. However, the author makes projections for media trends up to 2020. Since media industries are most vulnerable to yearly change, the information in the book holds for now, although the positions of some of the digital media players have changed since the book has come out. However, the author is careful to clarify dates for events that were transformative for media industry changes, at the point in which these events occurred, even if changes have occurred since the book was published in 2010. Within another 5 years, the book is likely to need some updates to digital age developments.

The language used is accessible for a first year student taking an Introduction to Mass Communication course. The theory, ethics and law chapters are broken down for a 1000-2000 level course. The case studies and critical thinking boxes are useful in helping to break down and apply a wealth of information in the text for students to conceptualize the importance of historical events and their social or cultural impacts.

The author is clear on defining media industries, digital convergence and common theories in mass communication.

Instructors can easily use the text as is, or piece together sections on history, digitization and media and society from several chapters, depending on the instructor’s preference.

The text follows the standard logic for media introduction courses moving students through print, to audio, to film to broadcasting and to the digital age. The author wisely weaves in the impact of new media in each of these phases of evolution so the student does not have to wait until the end of the text to see the impacts of the changes of the industry, as they understand media to be today.

While the interface is simple, all graphics and text boxes, as well as assignments are designed similarly throughout the text and easy to locate as an e-text for student work.

Sentences throughout the text are concisely written and the text appears thoroughly proofed.

It was important for me to see examples of race, gender and global dimensions of the media represented as case studies, assignments and critical thinking in the book. From using The Birth of a Nation and its outcry from the NAACP in the film chapter to the rice of BET, or the understanding stereotyping of African Americans in TV, this book has relevant examples that relate to minority students or for a Historically Black University. I did however see no mention of the black press, or the work of alternative media in introduction narratives left out of the mainstream media. However, most introductory media textbooks, also leave this out. If this is an interest area for diverse students, unfortunately instructors are left to source that information themselves. But the most prominent case studies for diverse groups can be found in this text.

It was surprising to discover such an open-textbook as the cost of Intro to Mass Communication textbooks are typically over $100 and students only use this textbook once. This is a valuable resource. I hope the author would consider updating in a few years for recent developments and important case studies such as the #BlackLivesMatter movement and President Donald Trump's election for an examination of media literacy.

Reviewed by Gwyneth Mellinger, Professor and Director, School of Media Arts & Design, James Madison University on 6/20/17

The book covers all of the subject areas typically touched on in a media and society survey course; however, the discussions within chapters would benefit greatly from more examples and, in some cases, greater detail in explanation. I often thought the content was pretty thin. This was particularly so in Chapter 2, where the treatment of effects theories and media studies controversies required much more supporting discussion to be relevant to undergraduates. The greatest weakness in the text, and the specific reason I would not adopt it for my own course, is that the book's engagement of social and digital media is, for the most part, woefully out of date and separated into discrete chapter segments, rather than synthesized into discussions directly. A text on media and society assigned in 2017 cannot be comprehensive if it does not engage media in a way that makes sense to the students who are reading it. There is no index or glossary.

Content Accuracy rating: 2

There is no bias in the text and historical detail appeared to be represented accurately. Again, I question whether a book written in 2010, which lacks full context for the subject matter, can accurately reflect media and society for students in 2017. For example, in 4.6, online journalism is represented as blogs and online newspapers. That is an accuracy issue for today's students.

Relevance/Longevity rating: 1

The book is out of date. Examples and context stop at 2010, and many cultural references will not resonate with current students, which is the point of examples and cultural context. The Beatlemania example early in the book and the references to 2009 in the opening paragraphs advertise the lack of currency. Significantly, the book cannot be easily updated in its current form because its approach and perspective are also out of date. By failing to integrate social media and the Internet into the central narrative, the book emphasizes legacy media in a way that is no longer relevant.

The book is clearly written, though additional examples and context would be helpful in places.

The narrative is consistent in terminology and framework.

The modularity of the text would allow use of sections of the text at different points in a course.

The content in Chapter 11 on evolution of the Internet and the impact of social media belongs near the beginning, not the end, of the text. In addition, the impact of media economics on content is downplayed by sequestering this discussion in Chapter 13. Each chapter on legacy media ends with a section on the impact of new technology on that medium. These sections feel tacked on.

There were no interface issues. That said, the book lacked the visual engagement used by many media and society texts to capture and maintain the interest of today's students.

The text is clean. Of note, the text correctly uses "media" as a plural noun. There was, however, this awkward subheading at 1.2: "What Does Media Do?"

The text is not culturally insensitive. It acknowledges cultural imperialism and the digital divides as issues. There are examples of media content that would be deemed inclusive. That is not to say, however, that today's students would find the examples culturally relevant. The book is written from their grandparents' perspective.

Without irony, the unknown author of the text includes in a media literacy checklist and discussion (1.8) the advice that students should scrutinize the identity and credentials of authors. This same section warns against anonymous online sources. This is a conceptual problem with this particular online text. It's not clear why the author wants to distance her/himself from the project, but it creates a question of credibility.

Reviewed by Elizabeth England-Kennedy, Assistant Professor, Rhode Island College on 4/11/17

The book is extremely comprehensive. Not only does it include all forms of mass media, but it intelligently and thoughtfully addresses critical concepts such as ethics and culture. Photojournalism (especially the work of muckrakers such as Jacob Riis) is not included, and investigative reporting is too briefly addressed, although including advocacy journalism was a sound choice. There is no index or glossary. The lack of a glossary is surprising since key words are already highlighted in text.

The text is accurate and information is fairly represented and free of personal bias. No errors were found.

This is the most concerning characteristic of the book: The information has long-term relevance and is written in a highly readable way that will enhance its longevity. However, the examples tend to be temporally but often not generationally up-to-date and positioned for longevity. For example, beginning the book with an example that is this far removed from today's undergraduates' world may lessen their interest in reading further, as opposed to beginning with more focus on Beatlemania and then moving to an example of an artist/group more accessible to their generation. Additional examples used later in the book are drawn from recent time frames, but may not be commonly accessed. This is the only aspect of the book that would make me hesitate to adopt it.

The text is written in lucid prose that is accessible to introductory readers, though individuals whose first language is not English could have some difficulty reading independently. However, with minimal pre-reading guidance (e.g., introducing concepts that will be included in an upcoming reading assignment, instruction on how to use the Learning Objectives and Key Takeaways to best effect), these readers should also be able to understand and effectively use the text. Context is given for jargon/technical terminology, and definitions are generally clear.

The text is consistent in format, terminology, framework, and tone.

Modularity rating: 1

The book is clearly divided into relatively short subsections that are logically sequenced. Longer sections tend to be broken up by images, all of which are relevant examples of concepts being discussed in the section. The Learning Objectives, Key Takeaways, End-of-Chapter Assessments, and Critical Thinking Questions sections for each module are useful for guiding student reading and could be easily adapted into learning exercises and assessments such as discussions, quizzes, exams, and writing assignments. The Career Connection section at the end of chapters is innovative, and could be especially useful for students considering majors in communications-related fields. Chapters and sub-sections could be used independently in reading packets or rearranged without their being weakened, making it a more flexible resource or textbook.

The organization is clear. Sections are clearly labeled and of approximately the same length. Titles of chapters and subsections are logical and clear. Topics are logical laid out: An overview of foundational concepts in the first two chapters frames the remaining chapters effectively. The remaining chapters are organized in a historically-logical order. This structure is well-designed to helps readers better understand how an increase in the number and forms of media channels impacts audiences and media effects. Chapters are also internally well-organized and could be used separately as desired.

There are no interface difficulties. Pictures are clear and free of distortion. Navigation is clear and easy to use. Because the sections are short, reader interest should be maintained despite the low level of images included. Multiple platforms can be used.

The text contains no grammatical errors. A nice touch by the author is to clarify and model the correct grammatical usage of "medium" vs "media."

No cultural insensitivity or offensiveness was found. The author acknowledges that the book is focused on US media and includes culturally diverse examples. Topics such as cultural imperialism are addressed specifically. Related topics such as cultural appropriation and marginalization are referenced, although these specific terms are not necessarily used (e.g., the latter is addressed in the chapter on music as an outcome of the oligopoly in music without using the term "marginalization"). This could have been taken further; for example, the section on "Issues and Trends in Film" does not address concerns about "whitewashing" or lack of diversity in Hollywood movies and the section on Independent films does not address movies that countered these trends (e.g., the work of Spike Lee and Robert Rodriguez). However, the book lays the groundwork necessary for a discussion of such concepts in class or for use of supplemental materials that build on this text.

The book could be used as a stand-alone for an introductory class. Sections could be used in more advanced classes as supplemental readings or in reading packets.

Reviewed by Kevin Smith, Instructor, Chemeketa Community College on 2/15/17

This text is comprehensive in its coverage of all major media platforms and key general concepts related to mass media. There are times (e.g. Chapter 2: Media Effects) when some concepts are defined vaguely, but this is not indicative of the book as a whole. There is no glossary nor index, but most terms are defined well in the context of each chapter. The review sections at the end of each chapter would also help students organize and recall relevant information as they study. There is little that I feel is missing from this textbook that would be appropriate for an introductory mass media course.

A neutral, objective tone is struck throughout, with no apparent errors or gaps in coverage of major media and concepts. To the best of my knowledge, I believe this text to be free of errors, although it needs to be updated.

While this text is outstanding in its coverage and clarity, it is now seven years out-of-date and needs to be updated. A text on mass media should reflect the most recent changes in technology and economic and political contexts.

This text appears to be written for college freshmen and sophomores. Perhaps even upper-level high school students could successfully grasp its content. Most jargon particular to the discipline is defined and illustrated thoroughly.

The text is rigorous throughout, with even weight given to all concepts. There are occasional overlaps between chapters in coverage of terms (e.g. media bias), but nothing that seems sloppy or out-of-place. The historical overview of media technologies blends seamlessly with the beginning and later chapters on media studies concepts.

The structure of the book lends itself exceptionally well to divisibility, while demonstrating the ability to maintain its own internal coherence. The text seems designed for a semester-long course, so those looking to use it for quarters or with students whose expected reading loads might be lighter will find it easy to pull only what they need from it without sacrificing clarity.

The book's content is designed expertly, with introductory chapters leading into a chronological overview of the history of media technologies (books to social media). The text concludes by expanding its scope to cover more general concepts (e.g.media ethics) that scaffold on previously discussed ideas. This framework would greatly aid students in comprehending central ideas in media studies as they relate to specific technologies and historical periods.

I did not notice any problems in this area, although a cover might be helpful in identifying the text.

I noticed some minor typos, but nothing that reflects poorly on the high level of discourse and mechanical aspects of the text.

The text employs examples that would be helpful to students as they seek to understand mass media in diverse settings. There was no inappropriate content noted. The text is respectful and inclusive in this sense.

The end of chapter summaries, takeaways, exercises and critical thinking questions are outstanding and would serve any instructor well in designing a course with relevant activities tied directly to the text, while also pointing to other sources in contemporary mass media. The book is an invaluable resource that deserves the attention of a group of scholars who can update its content in order that it be more relevant to students.

Reviewed by Amy Rawson, Professor, Century College on 2/8/17

Interestingly, this textbook was more comprehensive than I originally expected. The text covered all of the major areas to be expected in a mass communication textbook: Media, Books, Newspapers, Magazines, Radio, Movies, TV, Games, Internet & Social Media, Advertising & PR, Economics, Ethics, Media & Government and the Future of Mass Media. However, I am giving 4 stars because there is no index or glossary which I deem especially important for a mass communication textbook.

The textbook is accurate. I also like the chapter on the future of mass media. The textbook seems to be error-free and unbiased. Each chapter section includes a few learning objectives and a few "key takeaways." There are also exercise questions at the end of each chapter section. The examples in the exercise questions are dated. It would be nice to have more current examples. However, I would prefer questions about the chapter at the end of the entire chapter or at the end of each section in addition to the objectives, takeaways and exercises. Thus, I am giving 4 stars for outdated examples.

I agree with another reviewer that the examples are a bit dated (which quickly happens in a mass communication textbook). This affects the credibility of the overall text. For example, in Chapter 16.1 Changes in Media Over the Last Century the example box titled "Pay-for-it Content: Will it Work?" is from 2009! This is 2017.

The textbook is written in clear and easily understood language. It is accessible and comprehensible. It would be nice to have a glossary for students for the mass communication jargon.

The text seems to be consistent with terminology and framework. However, the textbook seems dated overall and new terminology and frameworks could be added to make it more relevant and interesting for students.

The modularity of the textbook is good. It is easily and readily divisible into smaller reading sections that can be assigned different points within the course. I like the division of the chapters into subsections.

The organization/structure/flow of the textbook is good. However, I agree with another reviewer that the textbook is too lengthy. In my opinion, 647 pages is too long. Although I have used other textbooks of similar length, there are many more vivid visuals for students and more timely information and examples.

The text is free of significant interface issues that may confuse or distract the reader.

The text contains no grammatical errors.

The textbook examples for cultural relevance could be more current.

Thank you for this opportunity. I like the idea of an open textbook and would be interested in doing more reviews in the future.

Reviewed by Tom Grier, Professor, Winona State University on 8/21/16

The book is comprehensive, covering the study of media and its intersection with culture, through an in-depth look at each of the major mediums, then content considerations, economics and ethics issues related to the mass media. read more

This text seems accurate. I didn't find glaring errors of fact in my reading. Though, as I will mention later in my review, many of the examples used in the text are now several years outdated, when more recent examples or case studies would be more relatable to a youthful college audience.

This is one area where I find some difficulty with the book -- as is the case with every text of this type. The world of media is ever-changing and fast-changing. The historical information about the invention, early adoption, and improvements to the mediums of mass communication (books, newspapers, radio, television, etc.) are fine. A few of the examples and case studies used to describe events related to the media feel outdated. This is most apparent in Chapters 1 and 2 on Media and Culture and Media Effects. Examples from 2010 and 2011, are not relative to college freshmen in 2016 who were in middle-school and probably not paying attention when these things happened. Therefore, the longevity of this text is limited, unless it is updated-revised at least every third year.

The author's writing style is informative and engaging. While the writing is clear and understandable, the chapters often get too deep and try to cover anything and everything in a particular content area-- or sub-chapter, when a couple statements and one case study would suffice.

I found the chapter formatting, writing style and narrative flow to be consistent from chapter to chapter.

Here, the text shines. First, it is broken into chapters that are easily identifiable and segment the content nicely. Within each chapter are several sub-chapters that allow readers to read and absorb material in smaller chunks. This will be helpful to the learning styles of younger people today.

For the most part, I agree with the author's organization and flow. My only thought, and it's just an opinion, is: Chapter 2 on Media Effects should be moved to Chapter 14, so it comes after the major media categories and then the economics of the media, and just before the ethics and law of media. To be fair, most mass media textbooks follow this same organization. When I teach the class, I always move the "effects" chapter to later in the semester, after I've discussed the media types, their history and development.

A second thought, I'd hold the footnoted source credits to the end of each chapter, or preferably to the end of the book. The sometimes very long list of footnoted sources between each sub-chapter stops the flow for readers that may wish to read a full chapter.

I downloaded the PDF version, and read that. I found the interface cumbersome. I wish paragraphs were indented. I wish it was easier to navigate from chapter to chapter or topic to topic without scrolling, scrolling, scrolling. I wish there was an easy way to get to a Table of Contents with one click, and then from there click topic-anchored reference points to skip to specific information sought.

I wish it had an index that had anchor links. I realize this would be a large undertaking to create and connect the links. But that would make searching and finding specific information easy and fast. If I was a college student studying for a chapter quiz or exam on the foundations of radio, I might like to scoot to the Index and click on Radio-Invention, or on Marconi and be led instantly to that content within the text.

And, probably an easy fix, I wish it was more evenly spaced. In my opinion, there should consistently be two spaces between sub-headed sections or sub-chapters. In most places in this text, a new, bolded subhead appears on the very next line under its preceding paragraph. This looks jammed and messy.

I have no problem with the grammar. It's clear, easy to follow, and written to be accessible to a college audience. I used the Gunning Fog Index to test several paragraphs throughout the text and found some of the writing aimed at an audience with 10-11 years of formal education, and in a few cases more than 15 years of education. The average of my selected readings came out at 12-13 years of education -- perfectly appropriate for a freshmen-level college course.

Other than my hope for some more recent case studies and examples, I find the text to be culturally relevant. A few of the examples mention MySpace, Napster and Kazaa as internet entities with which the audience should be familiar. In reality, today's college freshmen know almost nothing of these three internet terms. In my current Media and Society class, less than ten percent of the class had ever had a MySpace account. They had heard of MySpace, but really knew nothing. No one in the class knew about Napster or Kazaa first-hand... perhaps had heard of them in another class.

This text feels too long. This is a difficult thing. The author includes everything he feels needs to be discussed in each chapter. But it's too much for a college freshman-level class. Example: The chapter on Music is more than 50 pages long. While I agree college students should be able to read this much each week for a class, I'm confident they will not read this much. I believe the text could be condensed quite a bit while maintaining the content necessary to make it meaningful at the freshman level. It's a complete text, and would make a nice reference tool -- with better indexing and searching links within the body -- but it won't work at an entry level to the study of media. At my university, the "Media and Society" class is a 100-level course, used as a general education class that can fulfill a categorical credit-need for all students, not just Mass Communication majors. And we consider the class a "feeder" to the major, introducing students to the study of media and hopefully igniting an interest in students to consider a career in media, and therefore declare a Mass Communication major. This book, with its depth, might be more appropriate in an upper-vision media studies course.

Reviewed by Nick Marx, Assistant Professor, Colorado State University on 1/7/16

The text is a broad and comprehensive overview of all relevant forms of media today. Although this is a common organizational approach for survey textbooks of media, this particular volume utilizes it in a particularly clear and cogent manner. Instructors approaching media and culture from a mass comm/journalism standpoint are much likelier to find this text useful than are instructors who approach media and culture from a perspective emphasizing critical/cultural studies, historical poetics, and/or aesthetics.

Content is accurate and strikes appropriately diplomatic tones where contentious issues might arise that concern social and cultural power.

The text is quite relevant for the most part, but by the very nature of its subject matter will undoubtedly require updates every few years. Framing the intro of the "Future of Mass Media" chapter with a specific device--the iPad--rather than the set of cultural protocols such devices foster, for example, might prove to be one area where instructors redirect conversations after the next new device inevitably cycles through.

The text is lucid and easy to follow. The book is ideal for introductory-level courses, but is likely too survey-oriented for courses beyond that level.

The text is consistent in structure, tone, and subject matter.

Here the book really excels at guiding students through a programmatic approach to studying media. Each section of history/description is followed by useful discussion prompts and activities, easily lending itself to course adoption.

The book flows logically. Some medium-specific chapters might arguably be collapsed into others, but their separation provides instructors with a good range of options for organizing lesson plans as they wish rather than having to proceed sequentially.

The text is a cleanly organized PDF, but is quite cumbersome to navigate internally. At 700+ pages, there's no table of contents and little in the PDF that allows for quick and easy browsing without intense scrolling. I'd recommend a hyperlinked TOC and some mechanism that affords instructors/students the freedom to teach/read in a modular, not linear, fashion.

The book is very clean and free of any obvious errors.

The book appropriately qualifies and focuses on the US media context, drawing on a good diversity of examples throughout.

Reviewed by Robert Kerr, Professor, University of Oklahoma on 1/12/15

This book devotes almost 800 pages to achieving an impressive level of comprehensiveness, considering the vast subject material upon which it focuses. Moving from Gutenberg’s 15th-century invention of the movable type printing press, through the beginning of the contemporary media age launched by the introduction of the telegraph in the mid 19th century, on into the explosive era opened with the beginnings of wireless communication, and ultimately into the revolution of Internet communication that by 2008 meant that U.S. households were consuming 3.6 zettabytes of information annually, the equivalent of a seven-foot-foot tall stack of books that covered the entire nation and represented a 350 percent increase from just three decades previously. This book manages to cover that remarkable series of media developments, and actually a good bit more, while keeping it all in broader context and without getting bogged down in the tedium of too much minutia from any one topic area.

This reviewer came across no errors of fact nor any pattern of bias in presentation.

The author of any text on this subject is faced with the challenge of achieving up-to-date content on a subject that explodes with new developments faster than any static text could ever stay fully up to date on for long. This text addresses that challenge by focusing on presenting a fully, dynamic framework that is so fully developed that it provides readers with a quite useful and enduring framework for considering crucial issues of media and culture in a manner that should give it a considerable shelf life. That framework is designed to help readers understand not only today’s media landscape but to consider what may be ahead for that landscape in terms of the future of media and culture.

The text breaks down relevant concepts and terminology with lucid, accessible prose so that even readers at the most introductory level should be able to always understand the discussion. Throughout the text, it very clearly helps readers think about each concept and related elements very clearly and in context that illuminates their significance.

This book’s use of terminology and framework is remarkably consistent. The author clearly has an instinctive, unified understanding of the essential dynamics driving the media world as it has evolved, exists today, and is unfolding going forward, and consistently discusses all topics in a context that never loses connection with that broad, fluid picture.

Chapters are organized into small modules, short subsections that by and large can stand alone and could be reorganized as an instructor might find more useful for the purposes of particular courses. Each chapter and each subsection includes highly useful learning objectives, key takeaways, and exercises, links to source materials and end-of-chapter assessments.

The book begins with a thorough overview that takes the reader quickly through a multifaceted assessment of the relationship between media and culture. With that foundation established, it moves into discussion of what is understood about the complex subject of media effects. Then it moves into narrower topics within the broader view considered so far, moving on to discussions of books, newspapers, magazines, music, radio, movies, and television, and then on to more recent developments such as electronic games, the Internet and social media. Then it steps back again to consider broader media influences such as advertising/PR, the role of economics in shaping the nature of mass media, ethical considerations, and government influence, before concluding with a substantial discussion of the future of mass media. The final chapter very effectively brings together the many strands of discussion from preceding chapters and synergizes them with a forward looking discussion of what the media future may hold. A table of contents within the book pdf itself would be helpful, as would content outlines at the beginning of each chapter. However, each chapter does contain very good breakdown highlights of each subsection’s learning objectives, key takeaways, and exercises, as well as extensive links to source materials and end-of-chapter assessments.

There do not seem to be any interface problems. The book is easy to navigate and the images/charts are displayed clearly, without distortion. Display features are presented quite distinctly and effectively throughout and should present readers with not distractions or confusion. The layout is somewhat visually plain, compared to many websites and even many traditional textbooks with more graphically elaborate designs, but the simple layout is easy to negotiate. The number of images/charts is not abundant, but is sufficient.

Grammar is used correctly throughout -- including use of the term “media” as a plural noun, which even too many academics have begun to use incorrectly as a singular term. It even includes an explanation of why it is incorrect to make that term singular, despite its popular usage in such manner. The text is very well written throughout, lively and to the point, with an easy flow that should enable readers to move through it almost effortlessly.

Over the course of this 761-page book, the reader is taken through an extensive range of discussion examples that span a multitude of races, ethnicities, and backgrounds. This reviewer did not detect any instances of cultural insensitivity or offensiveness.

This book is written well enough to be of general interest as a stand-alone read, apart from the context of its use as a textbook.

Reviewed by Doug Trouten, Professor, University of Northwestern - St. Paul on 7/15/14

The text covers all of the major forms of media and significant related topics (advertising, media economics, ethics, etc.). While the text lacks a dedicated chapter for journalism, this topic is covered at length in some of the other chapters. No... read more

Content is accurate and free of glaring errors. Although written in a personal, conversational tone, the text avoids obvious personal bias.

The content is up-to-date, including discussion of social media and references to recent works of media criticism. The rapid development of new media makes it likely that some of the material in this (or any) book will quickly seem dated, but the most time-sensitive material is confined to a few chapters, which should facilitate future updates.

The book is written in clear, easy-to-understand language that should appeal to today's college-age reader.

The text shows good consistency, introducing key ideas early and using them to facilitate understanding of material covered in subsequent chapters.

The chapters are clearly divided into subsections, each with clearly stated learning objectives, key takeaways and learning exercises. Most subsections could stand on their own, and chapters focusing on specific forms of mass media could easily be rearranged or skipped if desired.

The topics are presented in a logical fashion. After introducing basic ideas about media and culture and media effects, the text moves to discussion of various forms of media in chronological orders, and ends with chapters on various mass media applications and issues, such as advertising, public relations, ethics and government regulation.

The text is a basic PDF, with fixed line breaks that limit display options. Most URLs are live links. Footnote numbers and references to chapter sections look like links but are not, which may confuse some readers. A format better-suited for e-readers would be welcome.

The text strives to be culturally neutral, and should not offend any particular group of readers. The text clearly focuses on the U.S. media context, and acknowledges this limitation early on.

This is an impressively comprehensive overview of mass communication, written in a clear and engaging manner. Discussion questions and exercises are helpful resources for classroom use. A glossary, index and more flexible e-format would make this text even more useful. This text is a welcome addition to the field, and will serve students and teachers well.

Chapter 1: Media and Culture
Chapter 2: Media Effects
Chapter 3: Books
Chapter 4: Newspapers
Chapter 5: Magazines
Chapter 6: Music
Chapter 7: Radio
Chapter 8: Movies
Chapter 9: Television
Chapter 10: Electronic Games and Entertainment
Chapter 11: The Internet and Social Media
Chapter 12: Advertising and Public Relations
Chapter 14: Ethics of Mass Media
Chapter 15: Media and Government
Chapter 16: The Future of Mass Media

Ancillary Material

University of Minnesota Libraries Publishing

About the Book

According to the author, the world did not need another introductory text in mass communication. But the world did need another kind of introductory text in mass communication, and that is how Understanding Media and Culture: An Introduction to Mass Communication was birthed.

The only question was: What would be the purpose of another introductory mass communication text?

Understanding Media and Culture: An Introduction to Mass Communication was written to squarely emphasize media technology. The author believes that an introduction to mass communication text should be a compelling, historical narrative sketching the *ongoing evolution* of media technology and how that technology shapes and is shaped by culture — and that is what he set out to deliver with his new textbook.

Today's students are immersed in media technology. They live in a world of cell phones, smart phones, video games, iPods, laptops, Facebook, Twitter, FourSquare, and more. They fully expect that new technology will be developed tomorrow. Yet students often lack an historical perspective on media technology. They lack knowledge of the social, political and economic forces that shape media technology. This is not knowledge for knowledge's sake. It is knowledge that can help them understand, comprehend, appreciate, anticipate, shape and control media technology.

With this focus, Understanding Media and Culture becomes an appropriate title. Indeed, the title has particular significance. Marshall McLuhan's Understanding Media is a key text in media studies. Written in the 1960s, Understanding Media was the subject of intense debates that continue to this day. Its central message was that the technology of media — not their content — was their most important feature. In a typically pithy phrase, McLuhan said, "The medium is the message." The title, Understanding Media and Culture: An Introduction to Mass Communication , situates the introductory text in a large, engrossing theoretical conversation.

The goal is to adopt a textbook that will support and complement your teaching of this course. Understanding Media and Culture: An Introduction to Mass Communication will support an engaging and interesting course experience for students that will not only show them the powerful social, political and economic forces will affect the future of media technology, but will challenge students to do their part in shaping that future.

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Chapter 1 Media and Culture

The lost cell phone.

A New York City woman lost her cell phone in the back of a taxi cab. Sasha Gomez, 16, of Queens, ended up with the phone. She decided to keep it and use it. She did not realize the consequences. She was humiliated, harassed, and arrested. And she became the subject of a public shaming ritual only possible by today’s media in today’s culture.

The phone was an expensive model, a T-Mobile Sidekick that sold for $350. Sasha began using the phone to take photographs and send instant messages to friends and family. The woman who lost the phone thought she would never see the phone again. She bought another Sidekick, logged onto her account and found that the old phone was being used. She saw photographs and messages by Sasha. The woman wanted her old phone back. She had a media-savvy friend, Evan Guttman. Evan was able to track down Sasha by her instant messages. He contacted Sasha and asked her to return the phone to his friend. “Basically, she told me to get lost,” Evan later told The New York Times . Nicholas Confessore, “Tale of a Lost Cellphone, and Untold Static,” The New York Times, June 21, 2006. Web. http://www.nytimes.com/2006/06/21/nyregion/21sidekick.html?_r=1&scp=1&sq=evan+guttman&st=nyt

Evan decided to fight for his friend’s phone—through the media. He put up a web page that told the story of the lost cell phone. He put up the pictures of Sasha and her family. The story spread. Evan began getting dozens and then hundreds of sympathetic emails from other people who had lost phones and understood his frustration with Sasha. Two technology blogs, Diggs and Gizmodo, linked to the story and web page. Evan then got thousands of emails, some from as far off as Africa and Asia. Lawyers and police officers contacted Evan about property law and told him how to approach the police. Some people went further than writing supportive emails. They found Sasha’s MySpace page. They sent Sasha and her friends messages demanding the return of the phone. Other people learned her home address in Queens, drove by her apartment building and shouted “thief.”

Sasha and her family were outraged and alarmed. They contacted Evan. Sasha still refused to return the phone. Her brother too communicated with Evan. He said he was a military policeman, and he warned Evan to leave Sasha alone. Evan posted those comments online. He soon heard from others in the military. They told him that the brother’s threats were a violation of military policy. They said they would report the threats to the brother’s superiors.

Armed with all this information, Evan contacted Sasha one more time. He said he and his friend would next go the police. Evan said he was threatened again. He and his friend went to the police who then arrested Sasha. The charge was possession of stolen property. Sasha’s mother came forward and said she had bought the phone for $50 on a subway platform and given it to Sasha. Police confiscated the phone for the original owner. And Evan became a minor cultural celebrity. The story appeared in The New York Times and the International Herald Tribune and was broadcast on MSNBC and other outlets. It was a modern morality tale caused by, and then made possible by, the intersection of media technology and culture.

I thought the story of the lost cell phone would be a great introduction for a text on understanding media and culture and used The New York Times story to write the previous paragraphs. Long after, when I showed the introduction to a colleague, he looked at me and said, “Are you kidding?” He showed me a then-recent book by media scholar Clay Shirky, Here Comes Everybody , a book on the power of organizing through new media. Shirky begins his book—with the same story of the lost cell phone. With some wry amusement over fate, I decided that I would keep my introduction as well. In some ways, the movement of the lost cell phone story from Evan’s website through The New York Times through MSNBC through Clay Shirky’s text through my book on understanding media and culture is symbolic, as we will see, of the multitude of flows between media and culture.

Understanding Media and Culture

This book’s title tells its intent. It is written to help you understand media and culture. The media and culture are so much a part of our days that sometimes it is difficult to step back and appreciate and apprehend their great impact on our lives.

The book’s title, and the book itself, begin with a focus squarely on media. Think of your typical day. If you are like many people, you wake to a digital alarm clock or perhaps your cell phone. Soon after waking, you likely have a routine that involves some media. Some people immediately check the cell phone for text messages. Others will turn on the computer and check Facebook, email, or websites. Some people read the newspaper. Others listen to music on an iPod or CD. Some people will turn on the television and watch a weather channel, cable news, or Sports Center. Heading to work or class, you may chat on a cell phone or listen to music. Your classes likely employ various types of media from course management software to PowerPoint presentations to DVDs to YouTube. You may return home and relax with video games, television, movies, more Facebook, or music. You connect with friends on campus and beyond with text messages or Facebook. And your day may end as you fall asleep to digital music. Media for most of us are entwined with almost every aspect of life and work. Understanding media will not only help you appreciate the role of media in your life but also help you be a more informed citizen, a more savvy consumer, and a more successful worker. Media influence all those aspects of life as well.

The book’s title also has links to a highly influential book in media studies, Understanding Media , by the social theorist and critic, Marshall McLuhan. Marshall McLuhan, Understanding Media: The Extensions of Man . New York: McGraw Hill, 1964. In the midst of the 20th century and the rise of television as a mass medium, McLuhan foresaw how profoundly media would shape human lives. His work on media spanned four decades, from the 1950s to his death in 1980. In the 1960s and 1970s, during the height of television’s popularity and the emergence of computers, he became an international celebrity. He appeared on magazine covers and television talk shows. He had a cameo appearance in the Woody Allen film, Annie Hall . Wired magazine listed him on its masthead as “patron saint.” In universities, however, McLuhan was often dismissed, perhaps because of his celebrity, his outlandish style, and his broad and sweeping declarations. Yet as media continued to develop in ways anticipated by his writings, McLuhan again found an audience in media studies.

In Understanding Media , McLuhan offered some provocative thoughts. He said that the media themselves were far more important than any content they carried. Indeed, he said, each medium, such as print or broadcast, physically affects the human central nervous system in a certain way. Media influence the way the brain works and how it processes information. They create new patterns of thought and behavior. Looking back over time, McLuhan found that people and societies were shaped by the dominant media of their time. For example, McLuhan argued, people and societies of the printing press era were shaped by that medium. And, he said, people and societies were being shaped in new ways by electronic media. Summing up, in one of his well-known phrases, he said, “The medium is the message.”

This book’s title uses McLuhan’s title—and adds culture. McLuhan well understood how media shape culture. However, one weakness in McLuhan’s work, especially his early work, is that he did not fully account for how culture shapes media. Culture can be a vague and empty term. Sometimes culture is defined in a very narrow sense as “the arts” or some sort of fashionable refinement. Another definition of culture is much more expansive, however. In this broader sense, culture is a particular way of life and how that life is acted out each day in works, practices, and activities. Thus, we can talk about Italian culture, Javanese culture, or the culture of the ancient Greeks. Another communication theorist, James Carey, elegantly captures this expansive view of culture. In “A Cultural Approach to Communication,” Carey wrote the following:

“We create, express, and convey our knowledge of and attitudes toward reality through the construction of a variety of symbol systems: art, science, journalism, religion, common sense, mythology. How do we do this? What are the differences between these forms? What are the historical and comparative variations in them? How do changes in communication technology influence what we can concretely create and apprehend? How do groups in society struggle over the definition of what is real?” James Carey, “A Cultural Approach to Communication,” in Communication as Culture: Essays on Media and Society . 2nd ed. New York: Taylor & Francis, 2006, p. 24.

That large sense of culture will be used in this book. The chapters to come will provide an in-depth look at the relationship of media and culture. We will look at many kinds of media and how those media shape and are shaped by culture. Media and culture shape each other around the globe, of course. The focus in this book primarily will be on the United States. This focus is not because U.S. media have such global reach but because understanding media and culture in one setting will allow you to think about media and culture in other settings. This intellectual journey should be interesting and fun. You live, study, work, and play with media in culture. By the book’s end, you should have a much deeper appreciation and understanding of them.

1.1 Intersection of American Media and Culture

Learning objectives.

Distinguish between mass communication and mass media.
Define culture.
Pose questions that will be explored in the rest of the text.

Mass Communication, Mass Media, and Culture

We use all kinds of terms to talk about media. It will be useful to clarify them. It will be especially important to distinguish between mass communication and mass media, and to attempt a working definition of culture. You likely are reading this book as part of a class dedicated to mass communication, so let’s start with mass communication first. Note that adjective: mass . Here is a horrible definition of mass from an online dictionary: Of, relating to, characteristic of, directed at, or attended by a large number of people. But the definition gets the point across. Communication can take place just between two people, or among a few people, or maybe even within one person who is talking to himself. Mass communication is communication of, relating to, characteristic of, directed at, or attended by a large number of people. That’s pretty ugly. Let’s try the following: Mass communication Communication transmitted to large segments of the population. refers to communication transmitted to large segments of the population.

How does that happen? The transmission of mass communication happens using one or more of many different kinds of media Means of communication and transmission; as the plural of medium, a means of communication and transmission, media refers to a number of such means, such as print, digital, and electronic media. (people sometimes forget that media is the plural of the singular, medium ). A medium is simply an instrument or means of transmission. It can be two tin cans connected by a string. It can be television. It can be the Internet. A mass medium is a means of transmission designed to reach a wide audience. It is not tin cans on a string, unless you have a lot of cans, but it can be television or the Internet. Media are more than one medium. So mass media Those means of transmission that are designed to reach a wide audience; some examples are radio, newspapers, magazines, books, and video games, as well as Internet media such as blogs, podcasts, and video sharing. refers to those means of transmission that are designed to reach a wide audience. Mass media are commonly considered to include radio, film, newspapers, magazines, books, and video games, as well as Internet blogs, podcasts, and video sharing.

Lastly, let’s define culture a bit more. All this mass communication over mass media takes place among people in a particular time and place. Those people share ideas about reality and the world and themselves. They act out those ideas daily in their lives, work, and creative expressions, and they do so in ways that are different from other people in other places and other times. We can use culture to refer to the acting out of these shared ideas.

One of the great scholars of culture, anthropologist Clifford Geertz, offered this definition. He said, culture is “an historically transmitted pattern of meanings embodied in symbols, a system of inherited conceptions expressed in symbolic forms by means of which men communicate, perpetuate, and develop their knowledge about and their attitudes toward life” (1973, 89). That’s difficult language, but you can get the idea—culture is historically transmitted knowledge and attitudes toward life expressed in symbolic form. Or perhaps more simply, culture The expressed and shared values, attitudes, beliefs, and practices of a social group, organization, or institution. is the expressed and shared values, attitudes, beliefs, and practices of a social group, organization, or institution. It is OK if that still seems broad and fluid. Scholars too wrestle with the term because it must capture so much. Culture should not be easy to define.

What this book will do is bring together media and culture in the context of the American experience. Throughout American history, evolving media technologies have changed the way we relate socially, economically, and politically. Here’s one example from long ago that is still talked about today. In 1960, the first televised presidential debates changed American history forever. The young senator, John F. Kennedy, looked wonderful on television. He appeared energetic, crisp and at ease, while Vice President Richard Nixon looked nervous and uncomfortable. His makeup was caked on. He hunched and slouched. People who listened to the debate on the radio considered it a tie. But most people who watched the debate on television believed that Kennedy crushed Nixon. Kennedy upset Nixon and won the presidency. A few months later, the newly-elected president gave credit to technology for changing public perceptions and enabling his win. He claimed that “it was TV more than anything else that turned the tide.” Louis Menand, “Masters of the Matrix,” The New Yorker , January 5, 2004. Ever since Kennedy, American presidential hopefuls have had to be increasingly television-ready and media savvy. Indeed, evolving technology has helped change what the American public wants out of its leaders.

In today’s wired world of smartphones and streaming satellite feeds, our expectations of our leaders, celebrities, teachers, and even ourselves are changing in drastic ways. This book aims to provide you with the context, tools, and theories to understand changes brought about by the commingling of media and culture. Rather than telling you what to think, this book hopes to provide you with a framework to consider some of the crucial issues affecting media and culture in today’s world. The following are some questions to consider now and to keep in mind as you move forward in this book:

The second half of the 20th century and the beginning of the 21st century saw a huge growth of media forms, including radio, cinema, television, the Internet, and cell phone. Understanding the evolution of media technology can help you understanding not only the media of today but also the media of tomorrow. What then are the roots of media in U.S. history? What were the dominant forms of media present in the United States during the Revolution? The Industrial Revolution? World Wars I and II? How did these forms of media differ from the ones we have today? How did they help shape the way people interacted with and understood the world they lived in?
Contemporary Americans have more means of getting information and entertainment than ever before. What are the major media present in the United States today? How do these forms of media interact with one another? How do they overlap? How are they distinct?
What is the role of media in American culture today? Some people argue that dramatic and controversial events help fuel the demand for 24-hour news access. In June 2011, people around the world spent hours glued to coverage of the Casey Anthony trial. More recently, in November of 2011, sports coverage moved from football scores to the Penn State football sex-abuse scandal. What are some other ways that culture affects media? Conversely, how do media affect culture? Do violent television shows and video games influence viewers to become more violent? Is the Internet making our culture more open and democratic, or more shallow and distracted?
Though we may not (yet) have space-age technology, such as time travel, hover cars, and teleportation, today’s electronic gadgets would probably stun Americans of a century ago. Will we be stunned by future media? How can today’s media landscape help us understand what might await us in years to come? What will the future of American media and culture look like?

Key Takeaways

Mass communication refers to a message transmitted to a large audience; the means of transmission is known as mass media. Many different kinds of mass media exist and have existed for centuries. Both have an effect on culture, which is a shared and expressed collection of behaviors, practices, beliefs, and values that are particular to a group, organization, or institution. Culture and media exert influence on each other in subtle, complex ways.
The 1960 election is an example of how changes in media technology have had a major impact on culture. But the influence goes both ways, and culture shapes media in important ways, even how media evolve.

Reread the previous questions about media and culture. Write down some of your initial responses or reactions, based on your prior knowledge or intuition. Keep the piece of paper somewhere secure and return to it on the last day of the course. Were your responses on target? How has your understanding of media and culture changed? How might you answer questions differently now?

1.2 How Did We Get Here? The Evolution of Media

Discuss events that impacted the adaptation of mass media.
Explain how different technological transitions have shaped media industries.
Identify four roles the media perform in our society.

“Well, how did I get here?” a baffled David Byrne sings in the Talking Heads song, “Once in a Lifetime.” The contemporary media landscape is so rich, deep, and multifaceted that it’s easy to imagine American media consumers asking themselves the same question. In 2010, Americans could turn on their television and find 24-hour news channels, as well as music videos, nature documentaries, and reality shows about everything from hoarders to fashion models. That’s not to mention movies available on-demand from cable providers, or television and video available online for streaming or downloading. Half of American households receive a daily newspaper, and the average person holds 1.9 magazine subscriptions. Journalism.org , The State of the News Media 2004 , http://www.stateofthemedia.org/2004/ (accessed July 15, 2010); Jim Bilton, “The Loyalty Challenge: How Magazine Subscriptions Work,” In Circulation , January/February 2007. A University of California San Diego study claimed that U.S. households consumed around 3.6 zettabytes of information in 2008, the digital equivalent of a 7-foot high stack of books covering the entire United States, including Alaska—a 350 percent increase since 1980. Doug Ramsey, “UC San Diego Experts Calculate How Much Information Americans Consume.” University of San Diego News Center, December 9, 2009. Americans are exposed to media in taxicabs and busses, in classrooms and doctors’ offices, on highways and in airplanes.

Later chapters will offer in-depth explorations of how particular media developed in different eras. But we can begin to orient ourselves here by briefly examining a history of media in culture, looking at the ways technological innovations have helped to bring us to where we are today, and finally considering the varied roles the media fill in our culture today.

A Brief History of Mass Media and Culture

Until Johannes Gutenberg’s 15th-century invention of the movable type printing press, books were painstakingly handwritten, and no two copies were exactly the same. The printing press made the mass production of print media possible. Not only was it much cheaper to produce written material, but new transportation technologies also made it easier for texts to reach a wide audience. It’s hard to overstate the importance of Gutenberg’s invention, which helped usher in massive cultural movements like the European Renaissance and the Protestant Reformation. In 1810, another German printer, Friedrich Koenig, pushed media production even further when he essentially hooked the steam engine up to a printing press, enabling the industrialization of printed media. In 1800, a hand-operated printing press could produce about 480 pages per hour; Koenig’s machine more than doubled this rate. (By the 1930s, many printing presses had an output of 3000 pages an hour.) This increased efficiency helped lead to the rise of the daily newspaper.

As the first Europeans settled the land that would come to be called the United States of America, the newspaper was an essential medium. At first, newspapers helped the Europeans stay connected with events back home. But as the people developed their own way of life—their own culture —newspapers helped give expression to that culture. Political scientist Benedict Anderson has argued that newspapers also helped forge a sense of national identity by treating readers across the country as part of one unified group with common goals and values. Newspapers, he said, helped create an “imagined community.”

The United States continued to develop, and the newspaper was the perfect medium for the increasingly urbanized Americans of the 19th century, who could no longer get their local news merely through gossip and word of mouth. These Americans were living in an unfamiliar world, and newspapers and other publications helped them negotiate the rapidly changing world. The Industrial Revolution meant that people had more leisure time and more money, and media helped them figure out how to spend both.

In the 1830s, the major daily newspapers faced a new threat with the rise of the penny press—newspapers that were low-priced broadsheets. These papers served as a cheaper, more sensational daily news source and privileged news of murder and adventure over the dry political news of the day. While earlier newspapers catered to a wealthier, more educated audience, the penny press attempted to reach a wide swath of readers through cheap prices and entertaining (often scandalous) stories. The penny press can be seen as the forerunner to today’s gossip-hungry tabloids.

The penny press appealed to readers’ desires for lurid tales of murder and scandal.

In the early decades of the 20th century, the first major non-print forms of mass media—film and radio—exploded in popularity. Radios, which were less expensive than telephones and widely available by the 1920s, especially had the unprecedented ability of allowing huge numbers of people to listen to the same event at the same time. In 1924, President Calvin Coolidge’s preelection speech reached more than 20 million people. Radio was a boon for advertisers, who now had access to a large and captive audience. An early advertising consultant claimed that the early days of radio were “a glorious opportunity for the advertising man to spread his sales propaganda” thanks to “a countless audience, sympathetic, pleasure seeking, enthusiastic, curious, interested, approachable in the privacy of their homes.” Asa Briggs and Peter Burke, A Social History of the Media: From Gutenberg to the Internet (Malden, MA: Polity Press, 2005).

The reach of radio also further helped forge an American culture. The medium was able to downplay regional differences and encourage a unified sense of the American lifestyle—a lifestyle that was increasingly driven and defined by consumer purchases. “Americans in the 1920s were the first to wear ready-made, exact-size clothing…to play electric phonographs, to use electric vacuum cleaners, to listen to commercial radio broadcasts, and to drink fresh orange juice year round.” Digital History, “The Formation of Modern American Mass Culture,” The Jazz Age: The American 1920s , 2007, http://www.digitalhistory.uh.edu/database/article_display.cfm?hhid=454 (accessed July 15, 2010). This boom in consumerism put its stamp on the 1920s, and, ironically, helped contribute to the Great Depression of the 1930s. Library of Congress, “Radio: A Consumer Product and a Producer of Consumption,” http://lcweb2.loc.gov:8081/ammem/amrlhtml/inradio.html (accessed July 15, 2010).

The post-World War II era in the United States was marked by prosperity, and by the introduction of a seductive new form of mass communication: television. In 1946, there were about 17,000 televisions in the entire United States. Within seven years, two-thirds of American households owned at least one set. As the United States’ gross national product (GNP) doubled in the 1950s, and again in the 1960s, the American home became firmly ensconced as a consumer unit. Along with a television, the typical U.S. family owned a car and a house in the suburbs, all of which contributed to the nation’s thriving consumer-based economy.

Broadcast television was the dominant form of mass media. There were just three major networks, and they controlled over 90 percent of the news programs, live events, and sitcoms viewed by Americans. On some nights, close to half the nation watched the same show! Some social critics argued that television was fostering a homogenous, conformist culture by reinforcing ideas about what “normal” American life looked like. But television also contributed to the counterculture of the 1960s. The Vietnam War was the nation’s first televised military conflict, and nightly images of war footage and war protestors helped intensify the nation’s internal conflicts.

Broadcast technology, including radio and television, had such a hold of the American imagination that newspapers and other print media found themselves having to adapt to the new media landscape. Print media was more durable and easily archived, and allowed users more flexibility in terms of time—once a person had purchased a magazine, he could read it whenever and wherever he’d like. Broadcast media, in contrast, usually aired programs on a fixed schedule, which allowed it to both provide a sense of immediacy but also impermanence—until the advent of digital video recorders in the 21st century, it was impossible to pause and rewind a television broadcast.

The media world faced drastic changes once again in the 1980s and 1990s with the spread of cable television. During the early decades of television, viewers had a limited number of channels from which to choose. In 1975, the three major networks accounted for 93 percent of all television viewing. By 2004, however, this share had dropped to 28.4 percent of total viewing, thanks to the spread of cable television. Cable providers allowed viewers a wide menu of choices, including channels specifically tailored to people who wanted to watch only golf, weather, classic films, sermons, or videos of sharks. Still, until the mid-1990s, television was dominated by the three large networks. The Telecommunications Act of 1996, an attempt to foster competition by deregulating the industry, actually resulted in many mergers and buyouts of small companies by large companies. The broadcast spectrum in many places was in the hands of a few large corporations. In 2003, the Federal Communications Commission (FCC) loosened regulation even further, allowing a single company to own 45 percent of a single market (up from 25 percent in 1982).

Technological Transitions Shape Media Industries

New media technologies both spring from and cause cultural change. For this reason, it can be difficult to neatly sort the evolution of media into clear causes and effects. Did radio fuel the consumerist boom of the 1920s, or did the radio become wildly popular because it appealed to a society that was already exploring consumerist tendencies? Probably a little bit of both. Technological innovations such as the steam engine, electricity, wireless communication, and the Internet have all had lasting and significant effects on American culture. As media historians Asa Briggs and Peter Burke note, every crucial invention came with “a change in historical perspectives.” Asa Briggs and Peter Burke, A Social History of the Media: From Gutenberg to the Internet (Malden, MA: Polity Press, 2005). Electricity altered the way people thought about time, since work and play were no longer dependent on the daily rhythms of sunrise and sunset. Wireless communication collapsed distance. The Internet revolutionized the way we store and retrieve information.

The contemporary media age can trace its origins back to the electrical telegraph, patented in the United States by Samuel Morse in 1837. Thanks to the telegraph, communication was no longer linked to the physical transportation of messages. Suddenly, it didn’t matter whether a message needed to travel five or five hundred miles. Suddenly, information from distant places was nearly as accessible as local news. When the first transatlantic cable was laid in 1858, allowing near-instantaneous communication from the United States to Europe, The London Times described it as “the greatest discovery since that of Columbus, a vast enlargement…given to the sphere of human activity.” Asa Briggs and Peter Burke, A Social History of the Media: From Gutenberg to the Internet (Malden, MA: Polity Press, 2005). Celebrations broke out in New York as people marveled at the new media. Telegraph lines began to stretch across the globe, making their own kind of world wide web.

Not long after the telegraph, wireless communication (which eventually led to the development of radio, television, and other broadcast media) emerged as an extension of telegraph technology. Although many 19th-century inventors, including Nikola Tesla, had a hand in early wireless experiments, it was Italian-born Guglielmo Marconi who is recognized as the developer of the first practical wireless radio system. This mysterious invention, where sounds seemed to magically travel through the air, captured the world’s imagination. Early radio was used for military communication, but soon the technology entered the home. The radio mania that swept the country inspired hundreds of applications for broadcasting licenses, some from newspapers and other news outlets, while other radio station operators included retail stores, schools, and even cities. In the 1920s, large media networks—including the National Broadcasting Company (NBC) and the Columbia Broadcasting System (CBS)—were launched, and they soon began to dominate the airwaves. In 1926, they owned 6.4 percent of U.S. broadcasting stations; by 1931, that number had risen to 30 percent. Asa Briggs and Peter Burke, A Social History of the Media: From Gutenberg to the Internet (Malden, MA: Polity Press, 2005).

The 19th-century development of photographic technologies would lead to the later innovations of cinema and television. As with wireless technology, several inventors independently came up with photography at the same time, among them the French inventors Joseph Niepce and Louis Daguerre, and British scientist William Henry Fox Talbot. In the United States, George Eastman developed the Kodak camera in 1888, banking on the hope that Americans would welcome an inexpensive, easy-to-use camera into their homes, as they had with the radio and telephone. Moving pictures were first seen around the turn of the century, with the first U.S. projection hall opening in Pittsburgh in 1905. By the 1920s, Hollywood had already created its first stars, most notably Charlie Chaplin. By the end of the 1930s, Americans were watching color films with full sound, including Gone with the Wind and The Wizard of Oz .

Television, which consists of an image being converted to electrical impulses, transmitted through wires or radio waves, and then reconverted into images, existed before World War II but really began to take off in the 1950s. In 1947, there were 178,000 television sets made in the United States; five years later, there were 15 million. Radio, cinema, and live theater all saw a decline in the face of this new medium that allowed viewers to be entertained with sound and moving pictures without having to leave their homes.

How was this powerful new medium going to be operated? After much debate, the United States opted for the market. Competing commercial stations (including the radio powerhouses of CBS and NBC) owned stations and sold advertising and commercial-driven programming dominated. Britain took another track with its government-managed British Broadcasting Corporation (BBC). Funding was driven by licensing fees instead of advertisements. In contrast to the American system, the BBC strictly regulated the length and character of commercials that could be aired. U.S. television, propelled by prosperity, advertising and increasingly powerful networks, flourished. By the beginning of 1955, there were 36 million television sets in the United States, and 4.8 million in all of Europe. Asa Briggs and Peter Burke, A Social History of the Media: From Gutenberg to the Internet (Malden, MA: Polity Press, 2005). Important national events, broadcast live for the first time, were an impetus for consumers to buy sets and participate in the spectacle—both England and Japan saw a boom in sales before important royal weddings in the 1950s.

In the 1960s, the concept of a useful portable computer was still a dream; huge mainframes were required to run a basic operating system.

For the last stage in this fast history of media technology, how’s this for a prediction? In 1969, management consultant Peter Drucker predicted that the next major technological innovation after television would be an “electronic appliance” that would be “capable of being plugged in wherever there is electricity and giving immediate access to all the information needed for school work from first grade through college.” He said it would be the equivalent of Edison’s light bulb in its ability to revolutionize how we live. He had, in effect, predicted the computer. He was prescient about the effect that computers and the Internet would have on education, social relationships, and the culture at large. The inventions of random access memory (RAM) chips and microprocessors in the 1970s were important steps along the way to the Internet age. As Briggs and Burke note, these advances meant that “hundreds of thousands of components could be carried on a microprocessor.” The reduction of many different kinds of content to digitally stored information meant that “print, film, recording, radio and television and all forms of telecommunications [were] now being thought of increasingly as part of one complex.” This process, also known as convergence, will be discussed in later chapters and is a force that’s shaping the face of media today.

Why Media? What Do Media Do for Us?

Even a brief history of media can leave one breathless. The speed, reach, and power of the technology are humbling. The evolution can seem almost natural and inevitable, but it is important to stop and ask a basic question: Why? Why do media seem to play such an important role in our lives and our culture? With reflection, we can see that media fulfill several basic roles.

One obvious role is entertainment . Media can act as a springboard for our imaginations, a source of fantasy, and an outlet for escapism. In the 19th century, Victorian readers, disillusioned by the grimness of the Industrial Revolution, found themselves drawn into books that offered fantastic worlds of fairies and other unreal beings. In the first decade of the 21st century, American television viewers could relax at the end of a day by watching singers, both wonderful and terrible, compete to be idols or watch two football teams do battle. Media entertain and distract us in the midst of busy and hard lives.

Media can also provide information and education . Information can come in many forms, and often blurs the line with entertainment. Today, newspapers and news-oriented television and radio programs make available stories from across the globe, allowing readers or viewers in London to have access to voices and videos from Baghdad, Tokyo, or Buenos Aires. Books and magazines provide a more in-depth look at a wide range of subjects. Online encyclopedias have articles on topics from presidential nicknames to child prodigies to tongue-twisters in various languages. The Massachusetts Institute of Technology (MIT) has posted free lecture notes, exams, and audio and video recordings of classes on its OpenCourseWare website, allowing anyone with an Internet connection access to world-class professors.

Another useful aspect of media is its ability to act as a public forum A social space that is open to all, and that serves as a place for discussion of important issues. A public forum is not always a physical space; for example, a newspaper can be considered a public forum. for the discussion of important issues. In newspapers or other periodicals, letters to the editor allow readers to respond to journalists, or voice their opinions on the issues of the day. These letters have been an important part of U.S. newspapers even when the nation was a British colony, and they have served as a means of public discourse ever since. Blogs, discussion boards, and online comments are modern forums. Indeed, the Internet can be seen as a fundamentally democratic medium that allows people who can get online the ability to put their voices out there—though whether anyone will hear is another question.

Media can also serve to monitor government, business, and other institutions . Upton Sinclair’s 1906 novel The Jungle exposed the miserable conditions in the turn-of-the-century meatpacking industry. In the early 1970s, Washington Post reporters Bob Woodward and Carl Bernstein uncovered evidence of the Watergate break-in and subsequent cover-up, which eventually led to the resignation of then-president Richard Nixon. Online journalists today try to uphold the “watchdog” role of the media.

Thinking more deeply, we can recognize that certain media are better at certain roles. Media have characteristics that influence how we use them. While some forms of mass media are better suited to entertainment, others make more sense as a venue for spreading information. For example, in terms of print media, books are durable and able to contain lots of information, but are relatively slow and expensive to produce. In contrast, newspapers are comparatively cheaper and quicker to create, making them a better medium for the quick turnover of daily news. Television provides vastly more visual information than radio, and is more dynamic than a static printed page; it can also be used to broadcast live events to a nationwide audience, as in the annual State of the Union addresses given by the U.S. president. However, it is also a one-way medium—that is, it allows for very little direct person-to-person communication. In contrast, the Internet encourages public discussion of issues and allows nearly everyone who wants a voice to have one. However, the Internet is also largely unmoderated and uncurated. Users may have to wade through thousands of inane comments or misinformed amateur opinions in order to find quality information.

As mentioned at the start of this chapter, the 1960s media theorist Marshall McLuhan took these ideas one step further, with the phrase “the medium is the message.” A phrase coined by media theorist Marshall McLuhan asserting that every medium delivers information in a different way, and that content is fundamentally shaped by the medium of transmission. McLuhan emphasized that each medium delivers information in a different way and that content is fundamentally shaped by that medium. For example, although television news has the advantage of offering video and live coverage, making a story come vividly alive, it is also a faster-paced medium. That means stories get reported in different ways than print. A story told on television will often be more visual, have less information, and be able to offer less history and context than the same story covered in a monthly magazine. This feature of media technology leads to interesting arguments. For example, some people claim that television presents “dumbed down” information. Others disagree. In an essay about television’s effects on contemporary fiction, writer David Foster Wallace scoffed at the “reactionaries who regard TV as some malignancy visited on an innocent populace, sapping IQs and compromising SAT scores while we all sit there on ever fatter bottoms with little mesmerized spirals revolving in our eyes…Treating television as evil is just as reductive and silly as treating it like a toaster with pictures.” David Foster Wallace, A Supposedly Fun Thing I’ll Never Do Again (New York: Little Brown, 1997).

We do not have to cast value judgments but can affirm: People who get the majority of their news from a particular medium will have a particular view of the world shaped not just by the content of what they watch but also by its medium . Or, as computer scientist Alan Kay put it, “Each medium has a special way of representing ideas that emphasize particular ways of thinking and de-emphasize others.” Alan Kay, “The Infobahn is Not the Answer,” Wired , May 1994. The Internet has made this discussion even richer because it seems to hold all other media within it—print, radio, film, television and more. If indeed the medium is the message, the Internet provides us with an extremely interesting message to consider.

Gutenberg’s invention of the printing press enabled the mass production of media, which was then industrialized by Friedrich Koenig in the early 1800s. These innovations enabled the daily newspaper, which united the urbanized, industrialized populations of the 19th century.
In the 20th century, radio allowed advertisers to reach a mass audience and helped spur the consumerism of the 1920s—and the Great Depression of the 1930s. After World War II, television boomed in the United States and abroad, though its concentration in the hands of three major networks led to accusations of conformity. The spread of cable and subsequent deregulation in the 1980s and 1990s led to more channels, but not necessarily more diverse ownership.
Technological transitions have also had great effect on the media industry, although it is difficult to say whether technology caused a cultural shift or rather resulted from it. The ability to make technology small and affordable enough to fit into the home is an important aspect of the popularization of new technologies.

Media fulfill several roles in culture, including the following:

Entertaining and providing an outlet for the imagination
Educating and informing
Serving as a public forum for the discussion of important issues
Acting as a watchdog for government, business, and other institutions

Choose two different types of mass communication—radio shows, television broadcasts, Internet sites, newspaper advertisements, and so on from two different kinds of media. Make a list of what role(s) each one fills, keeping in mind that much of what we see, hear, or read in the mass media has more than one aspect. Consider the following questions: Does the type of media suit the social role? Why did the creators of this particular message present it in the particular way, and in this particular medium?

1.3 How Did We Get Here? The Evolution of Culture

Define cultural period, and give examples of recent cultural periods.
Discuss particular characteristics of the modern era, and explain how it was shaped by the Industrial Revolution.
Explain the ways that the postmodern era differs from the modern era.

We have spoken easily of historical eras. Can we speak of cultural eras ? It can actually be a useful concept. There are many ways to divide time into cultural eras. But for our purposes, a cultural period A time marked by a particular way of understanding the world through culture and technology. is a time marked by a particular way of understanding the world through culture and technology. Changes in cultural periods are marked by fundamental changes in the way we perceive and understand the world. For example, you may have had readings about the “Middle Ages,” a marker for European history from the 5th to 15th Century. In that era, technology and communication were in the hands of authorities like the king and church who could dictate what was “true.” The Renaissance, the era that followed the Middle Ages, turned to the scientific method as a means of reaching truth through reason. This change in cultural period was galvanized by the printing press. (In 2008, Wired magazine’s editor-in-chief proclaimed that the application of Internet technology through Google was about to render the scientific method obsolete. Chris Anderson, “The End of Theory: The Data Deluge Makes the Scientific Method Obsolete,” Wired , June 23, 2008, http://www.wired.com/science/discoveries/magazine/16-07/pb_theory (accessed July 15, 2010). ) In each of these cultural eras, the nature of truth had not changed. What had changed was the way that humans used available technology to make sense of the world.

Using technology to make sense of the world? You likely can anticipate that for the purpose of studying culture and mass media, the modern and postmodern ages are some of the most exciting and relevant ones to explore, eras in which culture and technology have intersected like never before.

The Modern Age—Modernity

The Modern Age The post-Medieval era; a wide span of time marked in part by technological innovations, urbanization, scientific discoveries, and globalization. It is also referred to as modernity. is the post-Medieval era, beginning roughly after the 14th century, a wide span of time marked in part by technological innovations, urbanization, scientific discoveries, and globalization. The Modern Age is generally split into two parts: the early and the late modern periods. Scholars often talk of the Modern Age as modernity.

The early modern period began with Gutenberg’s invention of the movable type printing press in the late 15th century and ended in the late 18th century. Thanks to Gutenberg’s press, the European population of the early modern period saw rising literacy rates, which led to educational reform. As noted earlier, Gutenberg’s machine also greatly enabled the spread of knowledge, and in turn spurred the Renaissance and the Protestant Reformation. During the early modern period, transportation improved, politics became more secularized, capitalism spread, nation-states grew more powerful, and information became more widely accessible. Enlightenment ideals of reason, rationalism, and faith in scientific inquiry slowly began to replace the previously dominant authority of king and church.

Huge political, social, and economic changes marked the end of the 18th century and the beginning of the late modern period . The Industrial Revolution, which began in England around 1750, combined with the American Revolution in 1776 and the French Revolution in 1789, indicated that the world was undergoing massive changes. The Industrial Revolution had far-reaching consequences. It did not merely change the way goods were produced—it also fundamentally changed the economic, social, and cultural framework of its time.

The Industrial Revolution doesn’t have clear start or end dates. However, during the 19th century, several crucial inventions—the internal combustion engine, steam-powered ships, and railways, among others—led to other innovations across various industries. Suddenly, steam power and machine tools meant that production increased dramatically. But some of the biggest changes coming out of the Industrial Revolution were social in character. An economy based on manufacturing instead of agriculture meant that more people moved to cities, where techniques of mass production led to an emphasis on efficiency both in and out of the factory. Newly urbanized factory laborers no longer had the skill or time to produce their own food, clothing, or supplies and instead turned to consumer goods. Increased production led to increases in wealth, though income inequalities between classes also started to grow as well. Increased wealth and nonrural lifestyles led to the development of entertainment industries. Life changed rapidly.

It is no coincidence that the French and American Revolutions happened in the midst of the Industrial Revolution. The huge social changes created changes in political systems and thinking. In both France and America, the revolutions were inspired by a rejection of a monarchy in favor of national sovereignty and representative democracy. Both revolutions also heralded the rise of secular society, as opposed to church-based authority systems. Democracy was well-suited to the so-called Age of Reason, with its ideals of individual rights and its belief in progress.

Media were central to these revolutions. As we have seen, the fusing of steam power and the printing press enabled the explosive expansion of books and newspapers. Literacy rates rose, as did support for public participation in politics. More and more people lived in the city, had an education, got their news from the newspaper, spent their wages on consumer goods, and identified themselves as citizens of an industrialized nation. Urbanization, mass literacy, and new forms of mass media contributed to a sense of mass culture that united people across regional, social, and cultural boundaries.

A last note on the terminology for the cultural era of the Modern Age or modernity: A similar term—modernism—also has come into use. However, modernism is a term for an artistic, cultural movement, rather than era. Modernism An artistic movement of late-19th and early-20th centuries that arose out of the widespread changes that swept the world during that period, and that questioned the limitations of “traditional” forms of art and culture. refers to the artistic movement of late-19th and early-20th centuries that arose out of the widespread changes that swept the world during that period. Most notably, modernism questioned the limitations of “traditional” forms of art and culture. Modernist art was in part a reaction against the Enlightenment’s certainty of progress and rationality. It celebrated subjectivity through abstraction, experimentalism, surrealism, and sometimes pessimism or even nihilism. Prominent examples of modernist works include James Joyce’s stream-of-consciousness novels, cubist paintings by Picasso, atonal compositions by Debussy, and absurdist plays by Pirandello. It’s not too confusing—modernism was an artistic movement taking place during the modern age.

The Postmodern Age

If you go on to graduate study in almost any field in the humanities or social sciences, you will eventually encounter texts debating the postmodern era . While the exact definition and dates of the postmodern era A cultural period that began during the second half of the 20th century and was marked by skepticism, self-consciousness, celebration of difference, and the reappraisal of modern conventions. are still debated by cultural theorists and philosophers, the general consensus is that the postmodern era began during the second half of the 20th century, and was marked by skepticism, self-consciousness, celebration of difference, and the reappraisal of modern conventions. Modernity—the Modern Age—took for granted scientific rationalism, the autonomous self, and the inevitability of progress. The postmodern age questioned or dismissed many of these assumptions. If the modern age valued order, reason, stability, and absolute truth, the postmodern age reveled in contingency, fragmentation, and instability. The aftermath of World War II, the Holocaust, the Cold War, the digitization of culture, the rise of the Internet, and numerous other factors fed into the skepticism and self-consciousness of the postmodern era.

Modernity’s belief in objective truth is one of the major assumptions turned on its head in the postmodern era. Postmodernists instead took their cues from Schrödinger, the quantum physicist who famously devised a thought experiment in which a cat is placed inside a sealed box with a small amount of radiation that may or may not kill it. (Remember, this is a thought experiment, and is not real.) While the box remains sealed, Schrödinger proclaimed, the cat exists simultaneously in both states, dead and alive. Both potential states are equally true. Although the thought experiment was devised to explore issues in quantum physics, it appealed to postmodernists in its assertion of radical uncertainty. What is reality? Rather than being an absolute objective truth, accessible by rational procedures and experimentation, the status of reality was contingent, and depended on the observer.

“The postmodern” affected fields from philosophy to political science to literature. Novelists and poets, for example, embraced this new approach to reality. While Victorian novelists took pains to make their books seem more “real,” postmodern narratives distrusted professions of “reality” and constantly reminded readers of the artificial nature of the story they were reading. The emphasis was not on the all-knowing author but instead on the reader. For the postmodernists, meaning was not injected into a work by its creator, but depended on the reader’s subjective experience of the work.

Another way postmodernity differed from modernity was in its rejection of what philosopher Jean-Francois Lyotard deemed “ grand narratives Large-scale theories that attempt to explain the totality of human experience. .” The Modern Age was marked by different large-scale theories that attempted to explain the totality of human experience, including theories of capitalism, Marxism, rationalism, Freudianism, Darwinism, fascism, and so on. But the postmodern era called into question the sorts of theories that claimed to explain everything at once. Such thinking, postmodernists warned, led to 20th-century totalitarian regimes, such as Hitler’s Third Reich and the USSR under Stalin. The postmodern age, Lyotard theorized, was one of micro-narratives instead of grand narratives—that is, a multiplicity of small, localized understandings of the world, none of which can claim an ultimate or absolute truth. The diversity of human experience also was a marked feature of the postmodern world. As Lyotard noted, “eclecticism is the degree zero of contemporary general culture; one listens to reggae, watches a Western, eats McDonald’s food for lunch and local cuisine for dinner, wears Paris perfume in Tokyo and retro clothes in Hong Kong; knowledge is a matter for TV games.” Jean-Francois Lyotard, The Postmodern Condition: A Report on Knowledge (Minneapolis: University of Minnesota Press, 1984).

Postmodernists even mistrusted the idea of originality—the supposed arrogance of thinking one had a “new thought”—and freely borrowed across cultures and genres. William S. Burroughs gleefully proclaimed a sort of call-to-arms for his postmodern generation of writers in 1985: “Out of the closets and into the museums, libraries, architectural monuments, concert halls, bookstores, recording studios and film studios of the world. Everything belongs to the inspired and dedicated thief.…Words, colors, light, sounds, stone, wood, bronze belong to the living artist. They belong to anyone who can use them. Loot the Louvre! A bas l’originalité (down with originality), the sterile and assertive ego that imprisons us as it creates. Vive le sol (long live the sun)-pure, shameless, total. We are not responsible. Steal anything in sight.” Burroughs’s words embodied the mixed skepticism and glee that marked the postmodern era. As the new millennium began, Bob Dylan’s album, “Love and Theft,” carried on Burroughs’s tradition. Its title and many of its lyrics are taken from numerous sources across cultures, eras and fields.

A cultural period is a time marked by a particular way of understanding the world through culture and technology. Changes in cultural periods are marked by fundamental changes in the way we perceive and understand the world. The modern era began after the Middle Ages and lasted through the early decades of the 20th century, when the postmodern era began.
The modern era was marked by Enlightenment philosophy, which focused on the individual and placed a high value on rational decision making. This period saw the wide expansion of capitalism, colonialism, democracy, and science-based rationalism. The Renaissance, the Protestant Reformation, the American and French Revolutions, and World War I are all significant events that took place during the modern era. One of the most significant, however, was the Industrial Revolution; its emphasis on routinization and efficiency helped society restructure itself along those terms as well.
Postmodernity differed from modernity in its questioning of reason, rejection of grand narratives, and emphasis on subcultures. Rather than searching for one ultimate truth that could explain all of history, the postmodernists focused on contingency, context, and diversity.

Draw a Venn diagram of the two cultural periods discussed at length in this chapter. Make a list of the features, values, and events that mark each period. Is there any overlap? How do they differ?

1.4 Media Mix: Convergence

Define convergence and discuss examples of it in contemporary life.
Name the five types of convergence identified by Henry Jenkins.
Examine how convergence is affecting culture and society.

Each cultural era is marked by changes in technology. What happens to the “old” technology? When radio was invented, people predicted the end of newspapers. When television was invented, people predicted the end of radio and film. It’s important to keep in mind that the implementation of new technologies does not mean that the old ones simply vanish into dusty museums. Today’s media consumers still read newspapers, listen to radio, watch television, and get immersed in movies. The difference is that it’s now possible to do all those things and do all those things through one device—be it a personal computer or a smartphone—and through the medium of the Internet. Such actions are enabled by media convergence The process by which previously distinct technologies come to share content, tasks, and resources. , the process by which previously distinct technologies come to share content, tasks and resources. A cell phone that also takes pictures and video is an example of the convergence of digital photography, digital video, and cellular telephone technologies. A news story that originally appeared in a newspaper and now is published on a website or pushed on a mobile phone is another example of convergence.

Kinds of Convergence

Convergence isn’t just limited to technology. Media theorist Henry Jenkins has devoted a lot of time to thinking about convergence. He argues that convergence isn’t an end result but instead a process that changes how media is both consumed and produced. Jenkins breaks convergence down into five categories:

Economic convergence is the horizontal and vertical integration of the entertainment industry, in which a single company has interests across and within many kinds of media. For example, Rupert Murdoch’s News Corporation owns numerous newspapers ( The New York Post , The Wall Street Journal ) but is also involved in book publishing (HarperCollins), sports (the Colorado Rockies), broadcast television (Fox), cable television (FX, National Geographic Channel), film (20th Century Fox), Internet (Facebook), and many others.
Organic convergence is what happens when someone is watching television while chatting online and also listening to music—such multitasking seems like a natural outcome in a diverse media world.

Cultural convergence has several different aspects. One important component is stories flowing across several kinds of media platforms—for example, novels that become television series ( Dexter or Friday Night Lights ); radio dramas that become comic strips ( The Shadow ); even amusement park rides that become film franchises ( Pirates of the Caribbean ). The character Harry Potter exists in books, films, toys, amusement park rides, and candy bars. Another aspect of cultural convergence is participatory culture A culture in which media consumers are able to annotate, comment on, remix, and otherwise respond to culture. —that is, the way media consumers are able to annotate, comment on, remix, and otherwise talk back to culture in unprecedented ways.

Nigeria’s Nollywood produces more films annually than any other country besides India.

Global convergence is the process of geographically distant cultures influencing one another despite the oceans and mountains that may physically separate them. Nigeria’s “Nollywood” cinema takes its cues from India’s Bollywood, which of course stemmed from Hollywood; old Tom and Jerry cartoons and newer Oprah shows are popular on Arab satellite television channels; successful American horror movies like The Ring and The Grudge are remakes of Japanese hits; the hit television show, “American Idol” was a remake of a British show. The advantage of global convergence is worldwide access to a wealth of cultural influence. Its downside, some critics posit, is the threat of cultural imperialism The theory that certain cultures are attracted or pressured into shaping social institutions to correspond to, or even promote, the values and structures of a different culture, one that generally wields more economic power. , defined by Herbert Schiller as the way that developing countries are “attracted, pressured, forced, and sometimes bribed into shaping social institutions to correspond to, or even promote, the values and structures of the dominating centre of the system.” That is, less powerful nations lose their cultural traditions as more powerful nations spread their culture through their media and other forms. Cultural imperialism can be a formal policy or can happen more subtly, as with the spread of outside influence through television, movies, and other cultural projects.
Technological convergence is the merging of technologies. When more and more different kinds of media are transformed into digital content, as Jenkins notes, “we expand the potential relationships between them and enable them to flow across platforms.” Henry Jenkins, “Convergence? I Diverge,” Technology Review , June 2001, p. 93.

Effects of Convergence

Jenkins’ concept of “organic convergence”—particularly, multitasking—is perhaps most evident in your own lives. To many who grew up in a world dominated by so-called old media, there is nothing organic about today’s mediated world. As a New York Times editorial sniffed, “Few objects on the planet are farther removed from nature—less, say, like a rock or an insect—than a glass and stainless steel smartphone.” Editorial, “The Half-Life of Phones,” The New York Times , Week in Review section, June 18, 2010, http://www.nytimes.com/2010/06/20/opinion/20sun4.html?_r=1 (accessed July 15, 2010). But modern American culture is plugged in as never before, and many students today have never known a world where the Internet didn’t exist. Such a cultural sea change causes a significant generation gap between those who grew up with new media and those who didn’t.

A 2010 study by the Kaiser Family Foundation found that Americans aged 8 to 18 spend more than 7.5 hours with electronic devices each day—and, thanks to multitasking, they’re able to pack an average of 11 hours of media content into that 7.5 hours. Tamar Lewin, “If Your Kids Are Awake, They’re Probably Online,” The New York Times , Education section, January 20, 2010, http://www.nytimes.com/2010/01/20/education/20wired.html (accessed July 15, 2010). These statistics highlight some of the aspects of the new digital model of media consumption: participation and multitasking. Today’s teenagers aren’t passively sitting in front of screens, quietly absorbing information. Instead, they are sending text messages to friends, linking news articles on Facebook, commenting on YouTube videos, writing reviews of television episodes to post online, and generally engaging with the culture they consume. Convergence has also made multitasking much easier, as many devices allow users to surf the Internet, listen to music, watch videos, play games, and reply to emails and texts on the same machine.

However, this multitasking is still quite new and we do not know how media convergence and immersion are shaping culture, people, and individual brains. In his 2005 book Everything Bad Is Good for You , Steven Johnson argues that today’s television and video games are mentally stimulating, in that they pose a cognitive challenge and invite active engagement and problem-solving. Poking fun at alarmists who see every new technology as making children more stupid, Johnson jokingly cautions readers against the dangers of book reading: it “chronically understimulates the senses” and is “tragically isolating.” Even worse, books “follow a fixed linear path. You can’t control their narratives in any fashion—you simply sit back and have the story dictated to you.…This risks instilling a general passivity in our children, making them feel as though they’re powerless to change their circumstances. Reading is not an active, participatory process; it’s a submissive one.” Steven Johnson, Everything Bad Is Good for You (Riverhead, NY: Riverhead Books, 2005).

A 2010 book by Nicholas Carr, The Shallows: What the Internet Is Doing to Our Brains is more pessimistic. Carr worries that the vast array of interlinked information available through the Internet is eroding attention spans and making contemporary minds distracted and less capable of deep, thoughtful engagement with complex ideas and arguments. He mourns the change in his own reading habits. “Once I was a scuba diver in a sea of words,” Carr reflects ruefully. “Now I zip along the surface like a guy on a Jet Ski.” Carr cites neuroscience studies showing that when people try to do two things at once, they give less attention to each and perform the tasks less carefully. In other words, multitasking makes us do a greater number of things poorly. Whatever the ultimate cognitive, social, or technological results, though, convergence is changing the way we relate to media today.

Video Killed the Radio Star: Convergence Kills Off Obsolete Technology—Or Does It?

When was the last time you used a rotary phone? How about a payphone on a street? Or a library’s card catalog? When you need brief, factual information, when was the last time you reached for a handy volume of Encyclopedia Britannica ? Odds are, it’s been a while. Maybe never. All of these habits, formerly common parts of daily life, have been rendered essentially obsolete through the progression of convergence.

But convergence hasn’t erased old technologies; instead, it may have just altered the way we use them. Take cassette tapes and Polaroid film, for example. The underground music tastemaker Thurston Moore of Sonic Youth recently claimed that he only listens to music on cassette. Polaroid Corporation, creators of the once-popular instant film cameras, was driven out of business by digital photography in 2008, only to be revived two years later—with pop star Lady Gaga as the brand’s creative director. Several iPhone apps promise to apply effects to photos to make them look more like Polaroids.

Cassettes, Polaroids, and other seemingly obsolete technologies have been able to thrive—albeit in niche markets—both despite and because of Internet culture. Instead of being slick and digitized, cassette tapes and Polaroid photos are physical objects that are made more accessible and more human, according to enthusiasts, because of their flaws. “I think there’s a group of people—fans and artists alike—out there to whom music is more than just a file on your computer, more than just a folder of mp3s,” says Brad Rose, founder of a Tulsa-based cassette label. The distinctive Polaroid look—caused by uneven color saturation, under- or over-development, or just daily atmospheric effects on the developing photograph—is emphatically analog. In an age of high resolution, portable printers, and camera phones, the Polaroid’s appeal has something to do with ideas of nostalgia and authenticity. Convergence has transformed who uses these media and for what purposes, but it hasn’t run them out of town yet.

Twenty-first century media culture is increasingly marked by convergence, or the coming together of previously distinct technologies, as in a cell phone that also allows users to take video and check email.

Media theorist Henry Jenkins identifies the five kinds of convergence as the following:

Economic convergence, when a single company has interests across many kinds of media.
Organic convergence is multimedia multitasking, or the “natural” outcome of a diverse media world.
Cultural convergence, when stories flow across several kinds of media platforms, and when readers or viewers can comment on, alter, or otherwise talk back to culture.
Global convergence, when geographically distant cultures are able to influence one another.
Technological convergence, in which different kinds of technology merge. The most extreme example of technological convergence would be the as-yet hypothetical “black box,” one machine that controlled every media function.
The jury is still out on how these different types of convergence will affect people on an individual and cultural level. Some theorists believe that convergence and new media technologies make people smarter by requiring them to make decisions and interact with the media they’re consuming; others fear that the digital age is giving us access to more information but leaving us shallower.

Which argument do you find more compelling, Johnson’s or Carr’s? Make a list of points, examples, and facts that back up the theory that you think best explains the effects of convergence. Alternatively, come up with your own theory of how convergence is changing individual and society as a whole. Stage a mock debate with a member of the class who holds a view different from your own.

1.5 Cultural Values Shape Media; Media Shape Cultural Values

Name and discuss two limitations on free speech that are based on cultural values.
Identify examples of propaganda in mass media.
Define gatekeeper, and explain the role of the gatekeeper in mass media.

In a 1995 Wired magazine article, Jon Katz suggested that the Revolutionary War patriot Thomas Paine should be held up as “the moral father of the Internet.” The Internet, Katz wrote, “offers what Paine and his revolutionary colleagues hoped for—a vast, diverse, passionate, global means of transmitting ideas and opening minds.” In fact, according to Katz, the emerging Internet era is closer in spirit to the 18th-century media world than the 20th-century’s so-called old media (radio, television, print). “The ferociously spirited press of the late 1700s…was dominated by individuals expressing their opinions. The idea that ordinary citizens with no special resources, expertise, or political power—like Paine himself—could sound off, reach wide audiences, even spark revolutions, was brand-new to the world.” Jon Katz, “The Age of Paine,” Wired , May 1995, http://www.wired.com/wired/archive/3.05/paine.html (accessed July 15, 2010).

As we continue our introduction to understanding media and culture, Katz’s impassioned defense of Paine’s plucky independence reminds us of how cultural values shape media. Paine’s values led to his books and pamphlets that helped lead to a new nation. In all eras, cultural values shape the way media are created, used, and controlled. Keeping Katz’s words in mind, we can ask ourselves further questions about the role of cultural values in our media today. How do cultural values shape our media and mass communication? And how, in turn, do media and mass communication shape our values? We’ll start with a key American cultural value: free speech.

Free Speech as Cultural Value

The value of free speech is central to American mass communication, and has been since the nation’s revolutionary founding. The U.S. Constitution’s very first amendment guarantees the freedom of speech and of the press. Thanks to the First Amendment and subsequent statutes, the United States has some of the broadest protections on speech of any industrialized nation. We can see the value that American culture places on free speech. However, speech and the press are not always free—cultural values have placed limits and those limits, like values, have shifted over time.

Obscenity, for example, has not often been tolerated. Indeed, the very definition of obscenity Indecency that goes against public morals and exerts a corrupting influence. Obscenity is not protected by the First Amendment. has shifted over time with the nation’s changing social attitudes. James Joyce’s Ulysses , ranked by the Modern Library as the best English-language novel of the 20th century, was illegal to publish in the United States between 1922 and 1934. The 1954 Supreme Court case, Roth v. The United States , tried to lessen restrictions and defined obscenity more narrowly. It allowed for differences depending on “community standards.” Obscenity became even more of an issue during the sexual revolution of the 1960s. Cultural changes of that era made it even more difficult to pin down just what was obscene and what was meant by “community standards.” Today, obscenity continues its tug-of-war with cultural values. Sexually explicit magazines, such as Playboy , are available in nearly every U.S. airport, but pornography on the Internet is still a subject of concern.

Artist Shepard Fairey, creator of the iconic Obama HOPE image, was sued by the Associated Press for copyright infringement; Fairey argued that his work was protected by the fair use exception.

Copyright law Law that regulates the exclusive rights given to the creator of a work. also puts limits on free speech. Here we see a conflict between cultural values of free speech and the right to protect your creative rights. Intellectual property law was originally intended to protect just that—the proprietary rights, both economic and intellectual, of the originator of a creative work. Works under copyright can’t be reproduced without the authorization of the creator, nor can anyone else use them to make a profit. Inventions, novels, musical tunes, and even phrases can all be covered by copyright law. The first copyright statute in the United States set 14 years as the maximum term for copyright protection. This number has risen exponentially in the 20th century; some works are now copyright protected for up to 120 years. In recent years, an Internet culture that enables file sharing, mixing, mash-ups, and YouTube parodies has raised questions about copyright. Can you refer to a copyrighted work? What is fair use of a copyrighted work? The exact line between what expressions are protected or prohibited by law are still being set by courts; and as the changing values of the U.S. public evolve, copyright law—like obscenity law—will continue to change as well.

Persuasion and Cultural Values

Cultural values also shape mass media messages when producers of media content have vested interests in particular social goals. The producers offer media content that promotes or refutes particular viewpoints. Governments, corporations, nonprofits, colleges, indeed most organizations, all try to shape media content to promote themselves and their values. In its most heavy-handed form, at the level of government, this type of media influence can become propaganda Communication that intentionally attempts to persuade its audience for ideological, political, or commercial purposes. , communication that intentionally attempts to persuade its audience for ideological, political, or commercial purposes. Propaganda often (but not always) distorts the truth, selectively presents facts, or uses emotional appeals. In war time, propaganda often includes caricatures of the enemy.

During World War I, for example, the U.S. government created the Creel Commission to act as a sort of public relations agency for the American entry into the war. The commission used radio, movies, posters, and in-person speakers to present a positive slant on the American war effort and demonize the opposing Germans. George Creel, chairman of the commission, acknowledged the committee’s attempt at influencing the public, but he shied away from calling its work propaganda:

In no degree was the committee an agency of censorship, a machinery of concealment or repression.…In all things, from first to last, without halt or change, it was a plain publicity proposition, a vast enterprise in salesmanship, the world’s greatest adventures in advertising…We did not call it propaganda, for that word, in German hands, had come to be associated with deceit and corruption. Our effort was educational and informative throughout, for we had such confidence in our case as to feel that no other argument was needed than the simple, straightforward presentation of the facts. George Creel, How We Advertised America (New York: Harper & Brothers, 1920).

World War I propaganda posters were sometimes styled to resemble movie posters in an attempt to glamorize the war effort.

Of course, the line between the selective (but “straightforward”) presentation of the truth and the manipulation of propaganda is not an obvious or distinct one. (Another of the commission’s members was later deemed “the father of public relations” and authored a book titled Propaganda .) Advertisers craft messages so viewers want to buy their products. Some news sources, such as cable news channels or political blogs, have an explicit political slant. For our purposes, we simply want to keep in mind how cultural values shape much media content.

The Cultural Value of Gatekeepers

In 1960, journalist A. J. Liebling wryly observed that “freedom of the press is guaranteed only to those who own one.” Although he may not have put it in those terms, Liebling was talking about the role of gatekeepers in the media industry, another way in which cultural values influence mass communication. Gatekeepers The people who help determine which stories make it to the public, including reporters who decide what sources to use, and editors who pick what gets reported on, and which stories make it to the front page. are the people who help determine which stories make it to the public, including reporters who decide what sources to use, and editors who pick what gets published and which stories make it to the front page. Media gatekeepers are part of culture and thus have their own cultural values, whether consciously or unconsciously. In deciding what counts as newsworthy, entertaining, or relevant, gatekeepers use their own values to create and shape what gets presented to the wider public. Conversely, gatekeepers may decide that some events are unimportant or uninteresting to consumers. Those events may never reach the eyes or ears of a larger public.

In one striking example of how cultural values shape gatekeeping, journalist Allan Thompson points to the news media’s sluggishness in covering the Rwandan genocide in 1994. Almost one million people were killed in ferocious attacks in just 100 days. Yet, as Thompson notes, few foreign correspondents were in Africa, and the world was slow to learn of the atrocities in Rwanda. Instead, the nightly news was preoccupied by the O. J. Simpson murder trial, Tonya Harding’s attack on a fellow figure skater, or the less-bloody conflict in Bosnia (a European country, where more reporters were stationed). Thompson argues that the lack of international media attention allowed politicians to remain complacent. With little media coverage, there was little outrage about the Rwandan atrocities, which contributed to a lack of political will to invest time and troops in a faraway conflict. Richard Dowden, Africa Editor for the British newspaper The Independent during the Rwandan genocide, bluntly explained the news media’s larger reluctance to focus on African issues: “Africa was simply not important. It didn’t sell newspapers. Newspapers have to make profits. So it wasn’t important. Cultural values by gatekeepers on the individual and institutional level downplayed the genocide at a time of great crisis, and potentially contributed to the deaths of hundreds of thousands of people.” POLISMedia, “The Media and the Rwanda Genocide,” Lecture Delivered at The Crisis States Research Centre and POLIS at the London School of Economics, January 17, 2007, http://www.polismedia.org/rwandatranscript.aspx (accessed July 15, 2010).

Gatekeepers had an especially strong influence in old media, in which space and time were limited. A news broadcast could only last for its allotted half hour, 22 minutes with commercials, while a newspaper had a set number of pages to print. The Internet, in contrast, has room for infinite news reports. The interactive nature of the medium also minimizes the gatekeeper function of the media by allowing media consumers to have a voice as well. News aggregators like Digg.com allow readers to decide what makes it on to the front page. That is not to say that the wisdom or cultural values of the crowd is always wise—recent top stories on Digg have featured headlines like “Top 5 Hot Girls Playing Video Games” and “The girl who must eat every 15 minutes to stay alive.” Media expert Mark Glaser noted that the digital age hasn’t eliminated gatekeepers; it’s just shifted who they are: “the editors who pick featured artists and apps at the Apple iTunes store, who choose videos to spotlight on YouTube, and who highlight Suggested Users on Twitter,” among others. And unlike traditional media, these new gatekeepers rarely have public bylines, making it difficult to figure out who makes such decisions and on what basis. Mark Glaser, “New Gatekeepers Twitter, Apple, YouTube Need Transparent Editorial Picks,” PBS Mediashift , March 26 2009.

Observing how distinct cultures and subcultures present the same story can be indicative of those cultures’ various cultural values. Another way to look critically at today’s media messages is to examine how the media has functioned in the world and in the United States during different cultural periods.

American culture puts a high value on free speech; however, other cultural values sometimes take precedence. Shifting ideas about what constitutes obscenity, a kind of speech that is not legally protected by the First Amendment, is a good example of how cultural values impact mass communication—and of how those values change over time. Copyright law, another restriction put on free speech, has had a similar evolution over the nation’s history.
Propaganda is a message that attempts to persuade its audience for ideological, political, or social purposes. Some propaganda is obvious, explicit, and manipulative; however, advertising and public relations also are persuasive strategies that try to influence audiences.
Gatekeepers influence culture by deciding what stories are considered newsworthy. Gatekeepers can promote cultural values either consciously or unconsciously. The digital age has lessened the power of gatekeepers somewhat, as the Internet allows for nearly unlimited space to cover any number of events and stories.
Find an advertisement—either in print, broadcast, or online—that you have recently found to be memorable. Now find a non-advertisement media message. Compare and contrast the ways that the ad and the non-ad express cultural values. Are the cultural values the same for each of them? Is the influence overt or covert? Why did the message’s creators choose to present their message in this way?
Go to a popular website that uses user-uploaded content (YouTube, Flickr, Twitter, Metafilter, etc.). Look at the content on the site’s homepage. Can you tell how this particular content was selected to be featured? Does the website list a policy for featured content? What factors do you think go into the selection process?

1.6 Mass Media and Popular Culture

Define tastemakers, and give examples of their influence in traditional media.
Examine the ways the digital age is undermining the traditional role of tastemakers.
Analyze how Internet culture now allows creators to bypass gatekeepers, and discuss the potential effects of this.

Source: Used with permission from Getty Images.

In 1850, an epidemic swept America—but instead of leaving victims sick with fever or flu, this was a rabid craze for the music of Swedish soprano Jenny Lind. American showman P. T. Barnum (who would later go on to found the circus we now know as Ringling Bros. and Barnum & Bailey Circus), a shrewd marketer and self-made millionaire, is credited with spreading “Lindomania” through a series of astute show-business moves. Barnum promised Lind an unprecedented thousand-dollar-a-night fee (the equivalent of close to $30,000 in today’s dollars) for her entire 93-performance tour of the United States. Ever the savvy self-promoter, Barnum turned this huge investment to his advantage, using it to drum up publicity—and it paid off. When the Swedish soprano’s ship docked on U.S. shores, she was greeted by 40,000 ardent fans; another 20,000 swarmed her hotel. Congress was adjourned during Lind’s visit to Washington, DC, where the National Theater had to be enlarged in order to accommodate her audiences. A town in California and an island in Canada were named in her honor. Enthusiasts could purchase Jenny Lind hats, chairs, boots, opera glasses, and even pianos.

A little more than a century later, a new craze transformed American teenagers into screaming, fainting Beatle-maniacs. When the British foursome touched down at Kennedy Airport in 1964, they were met by more than 3,000 frenzied fans. Their performance on The Ed Sullivan Show was seen by 73 million people, or 40 percent of the U.S. population. The crime rate that night dropped to its lowest level in 50 years. Beatlemania was at such a fever pitch that Life magazine cautioned that “A Beatle who ventures out unguarded into the streets runs the very real peril of being dismembered or crushed to death by his fans.” Barbara Ehrenreich, Elizabeth Hess, and Gloria Jacobs, “Beatlemania: Girls Just Want to Have Fun,” In The Adoring Audience: Fan Culture and Popular Media, ed. Lisa A. Lewis (New York: Routledge, 1992). The BBC helpfully pointed out that there was plenty of paraphrenalia for true fans to spend their money on: “T-shirts, sweat shirts, turtle-neck sweaters, tight-legged trousers, night shirts, scarves, and jewellery inspired by the Beatles” were all available, as were Beatles-style moptop wigs.

In the 21st century, rabid fans could actually help decide the next pop stars through the reality television program American Idol . Derived from a British show, American Idol hit the airwaves in 2002 and became the only television program ever to earn the top spot in the Neilsen ratings for six seasons in a row, often averaging more than 30 million nightly viewers. Rival television networks quaked in fear, deeming the pop behemoth “the ultimate schoolyard bully,” “the Death Star,” or even “the most impactful show in the history of television.” Bill Carter, “For Fox’s Rivals, ‘American Idol’ Remains a ‘Schoolyard Bully,’” The New York Times , February 20, 2007, Arts Section. Newspapers put developments on the show on their front pages. New cell phone technologies allowed viewers to have a direct role in the program’s star-making enterprise through casting votes. Fans also could sign up for text alerts or play trivia games on their phones. In 2009, AT&T estimated that Idol -related text traffic amounted to 178 million messages.

An important consideration in any discussion of media and culture is the concept of popular culture . If culture is the expressed and shared values, attitudes, beliefs, and practices of a social group, organization, or institution, then what is popular culture? Popular culture The media, products, and attitudes considered to be part of the mainstream of a given culture and the everyday life of common people; it is often distinct from more formal conceptions of culture that take into account moral, social, religious beliefs and values; it ia also distinct from what some consider elite or high culture. is the media, products, and attitudes considered to be part of the mainstream of a given culture and the everyday life of common people. It is often distinct from more formal conceptions of culture that take into account moral, social, religious beliefs and values, such as our earlier definition of culture. It is also distinct from what some consider elite or high culture. For some people, American Idol is pop culture and opera is culture.

Pop culture and American media are inextricably linked—it’s no coincidence that Jenny Lind, the Beatles, and American Idol were each promoted using a then-new technology—photography for Lind; television for the Beatles; the Internet and text messaging for American Idol . For as long as mass media have existed in the United States, they have helped to create and fuel mass crazes, skyrocketing celebrities, and pop culture manias of all kinds. Whether through newspaper advertisements, live television broadcasts, or integrated Internet marketing, media industry “tastemakers” help to shape what we care about. Even in our era of seemingly limitless entertainment options, mass hits like American Idol still have the ability to dominate the public’s attention.

“The Tastemakers”

Historically, popular culture has been closely associated with mass media that introduce and encourage the adoption of certain trends. We can see these media as “tastemakers”—people or institutions that shape the way others think, eat, listen, drink, dress and more. Similar in some ways to the media gatekeepers discussed above, tastemakers People or organizations who exert a strong influence on current trends, styles, and other aspects of popular culture. can have huge influence. For example, The New York Times’ restaurant and theater reviews used to be able to make or break a restaurant or show with their opinions. Another example is Ed Sullivan’s variety show, which ran from 1948 to 1971, and is most famous for hosting the first U.S. appearance of the Beatles—a television event that was at the time the most-watched television program ever. Sullivan hosted musical acts, comedians, actors, and dancers, and had the reputation of being able to turn an unknown performer into a full-fledged star. Comedian Jackie Mason compared being on The Ed Sullivan Show to “an opera singer being at the Met. Or if a guy is an architect that makes the Empire State Building.…This was the biggest.” John Leonard, “The Ed Sullivan Age,” American Heritage , May/June, 1997. Sullivan was a classic example of an influential tastemaker of his time. American Idol ’s Simon Cowell had similar influence as his show helped turn unknown local performers into international stars. Television hosts and comics Jon Stewart and Stephen Colbert can be understood as tastemakers of progressive national politics.

Jon Stewart and Stephen Colbert at Comedy Central’s “Rally to Restore Sanity and/or Fear”.

Source: Photo by Jeff Snyder/PictureGroup via AP Images

Along with encouraging a mass audience to keep an eye out for (or skip) certain movies, television shows, video games, books, or fashion trends, tastemaking is also used to create demand for new products. Companies often turn to advertising firms to help create a public hunger for an object that may have not even existed six months previously. In the 1880s, when George Eastman developed the Kodak camera for personal use, photography was the realm of professionals. Ordinary people simply did not think about taking photographs. “Though the Kodak was relatively cheap and easy to use, most Americans didn’t see the need for a camera; they had no sense that there was any value in visually documenting their lives,” noted New Yorker writer James Surowiecki. James Surowiecki, “The Tastemakers,” The New Yorker , January 13, 2003. George Eastman’s advertising introduced the very idea of photography to everyday Americans. Kodak became a wildly successful company not because Eastman was good at selling cameras, but because he understood that what he really had to sell was photography.

Tastemakers can help keep culture vital by introducing the public to new ideas, music, programs, or products. But the ability to sway or influence the tastes of consumers can be worth millions of dollars. In the traditional media model, media companies set aside large advertising budgets to promote their most promising projects. Tastemakers are encouraged to buzz about “the next big thing.” In untraditional models, bribery and backroom deals also have helped promote performers or projects. For example, the Payola Scandal of the 1950s involved record companies paying the disc jockeys of radio stations to play certain records so those records would become hits. Payola is a combination of the words “pay” and “Victrola,” a record player. Companies today sometimes pay bloggers to promote their products.

A Changing System for the Internet Age

In retrospect, the 20th century was a tastemaker’s dream. Media choices were limited. Many cities and towns had just three television channels, one or two newspapers, and one or two dominant radio stations. Advertisers, critics, and other cultural influencers had access to huge audiences through a small number of mass communication platforms. However, by the end of the century, the rise of cable television and the Internet had begun to make tastemaking a much more complicated enterprise. While The Ed Sullivan Show regularly reached 50 million people in the 1960s, the most popular television series of 2009— American Idol —averaged around 25.5 million viewers per night, despite the fact that the 21st century United States could claim more people and more television sets than ever before. The proliferation of television channels and other, competing forms of entertainment meant that no one program or channel could dominate the attention of the American public as in Sullivan’s day.

Table 1.1 Viewings of Popular Television Broadcasts

The very concept of a “tastemaker” is undergoing a transformation. While the American Idol season five finale was reaching 36 million viewers, a low-tech home recording of a little boy acting loopy after a visit to the dentist (“David After Dentist”) garnered more than 37 million YouTube viewings in 2009 alone. The Internet appears to be eroding some of the tastemaking power of the traditional media outlets. No longer are the traditional mass media the only dominant forces in creating and promoting trends. Instead, information can spread across the globe without any involvement of traditional media. Websites made by nonprofessionals can reach more people daily than a major newspaper. Music review sites such as Pitchfork.com keep their eyes out for the next big thing, whereas review aggregators like RottenTomatoes.com allow readers to read hundreds of reviews by amateurs and professionals alike. Mobile applications like Yelp allow consumers to get individual reviews of a restaurant while they are standing outside it. Blogs make it possible for anyone with Internet access to potentially reach an audience of millions. Some popular bloggers transitioned from the traditional media world to the digital world, but others became well known without formal institutional support. The celebrity gossip chronicler Perez Hilton had no formal training in journalism when he started his blog, PerezHilton.com , in 2005; within a few years, he was reaching millions of readers a month.

Email and text messages allow for the near-instant transmission of messages across vast geographic expanses. Although personal communications continue to dominate, email and text messages are increasingly used to directly transmit information about important news events. When Barack Obama wanted to announce his selection of Joe Biden as his vice-presidential running mate in the 2008 election, he bypassed the traditional televised press conference and instead sent the news to his supporters directly via text message—2.9 million text messages, to be exact. Nic Covey, “Flying Fingers,” Nielsen, http://en-us.nielsen.com/main/insights/consumer_insight/issue_12/flying_fingers (accessed July 15, 2010). Social networking sites, such as Facebook, and microblogging services, such as Twitter, are another source of late-breaking information. When Michael Jackson died of cardiac arrest in 2009, “RIP Michael Jackson” was a top trending topic on Twitter before mainstream media first reported the news.

Thanks to these and other digital-age media, the Internet has become a pop culture force, both a source of amateur talent and a source of amateur promotion. However, traditional media outlets still maintain a large amount of control and influence over U.S. pop culture. One key indicator is the fact that many singers or writers who first make their mark on the Internet quickly transition to more traditional media—YouTube star Justin Bieber was snapped up by a mainstream record company, and blogger Perez Hilton is regularly featured on MTV and VH1. New media stars are quickly absorbed into the old media landscape.

Getting Around the Gatekeepers

Not only does the Internet allow little known individuals to potentially reach a huge audience with their art or opinions, but it also allows content-creators to reach fans directly. Projects that may have not succeeded as part of the established pop culture/mass media machine may get a chance in the digital world. For example, the media establishment has been surprised by the success of some self-published books: First-time author Daniel Suarez had his novel manuscript rejected by dozens of literary agents before he decided to self-publish in 2006. Through savvy self-promotion via influential bloggers, Suarez garnered enough attention to land a contract with a major publishing house.

Figure 1.10

E-readers offer authors a way to get around the traditional publishing industry, but their thousands of options can make choosing hard on readers.

Suarez’s story, though certainly exceptional, points to some of the questions facing creators and consumers of pop culture in the Internet age. Without the influence of an agent, editor, or public relations firm, self-published content may be able to remain closer to the creator’s intention. However, how then does the content reach the public? Does every artist have to have the public relations and marketing skills of Suarez? And with so many self-published, self-promoted works uploaded to the Internet every day, how will any work—even great work—get noticed?

It’s not impossible. Critic Laura Miller spells out some of the ways in which writers in particular are able to take control of their own publishing: Writers can upload their works to services run by Amazon, Apple, and Barnes & Noble, she notes, “transforming them into e-books that are instantly available in high-profile online stores. Or they can post them on services like Urbis.com , Quillp.com , or CompletelyNovel.com and coax reviews from other hopeful users.” Miller also points out that many of these companies can produce hard copies of books as well. While such a system may be a boon for writers who haven’t had success with the traditional media establishment, Miller notes that it may not be the best option for readers, who “rarely complain that there isn’t enough of a selection on Amazon or in their local superstore; they’re more likely to ask for help in narrowing down their choices.” Laura Miller, “When Anyone Can Be a Published Author,” Salon, June 22, 2010, http://www.salon.com/books/laura_miller/2010/06/22/slush (accessed July 15, 2010).

The commingling of the Internet and popular culture poses many intriguing questions for our future: Will the Internet era be marked by a huge and diffuse pop culture, where the power of traditional mass media declines and, along with it, the power of the universalizing blockbuster hit? Or will the Internet create a new set of tastemakers—influential bloggers or Tweeters? Or will the Internet serve as a platform for the old tastemakers to take on new forms? Or will the tastemakers become everyone?

More Reviewers=More Accurate Reviews…Right?

In 1993, The New York Times restaurant critic Ruth Reichl visited one of Manhattan’s snootiest restaurants, Le Cirque, first as herself, a fashionable New Yorker, and then, one week later, in the guise of a frumpy Midwesterner. In her shocking review, the critic lambasted the restaurant’s rude treatment of “Midwestern Molly”—an early battle in the fight for democratic reviews. Part of the point of Reichl’s experiment was to find out how ordinary people were treated in restaurants. Now ordinary people can tell their own tales. The Internet, which has turned everyone with the time and interest into a potential reviewer, allows those ordinary people to have their voices heard. In the mid-2000s, websites such as Yelp and TripAdvisor boasted hundreds of reviews of restaurants, hotels, and salons provided by users. Amazon allowed users to review any product it sells, from textbooks to fertilizer to bathing suits. The era of the democratized review was upon us, and tastemaking was now everyone’s job.

By crowd-sourcing The act of taking tasks traditionally performed by an individual, and delegating them to a (usually unpaid) crowd. the review process, the idea was, these sites would arrive at a more accurate description of the service in choice. One powerful reviewer would no longer be able to wield disproportionate power. Instead, the wisdom of the crowd would make or break restaurants, movies, and everything else. Anyone who felt treated badly or scammed now had recourse to tell the world about it. By 2008, Yelp boasted four million reviews.

However, mass tastemaking isn’t as perfect as some people had promised. One determined reviewer can overly influence a product’s overall rating by contributing multiple votes. One study found that a handful of Amazon users were casting hundreds of votes, while most rarely wrote reviews at all. Online reviews also tend to skew to extremes—more reviews are written by the ecstatic and the furious, while the moderately pleased aren’t riled up enough to post online about their experiences. And while traditional critics are supposed to uphold ethics, there’s no such standard for online reviews. Savvy authors or restaurant owners have been known to slyly insert positive reviews of themselves, or have attempted to skew ratings systems. In order to get an accurate picture, potential buyers may find themselves wading through 20 or 30 online reviews, most of them from non-professionals. Consider these Amazon user reviews of William Shakespeare’s “Hamlet”: “There is really no point and it’s really long,” “I really didn’t enjoy reading this book and I wish that our English teacher wouldn’t force my class to read this play,” and “don’t know what Willy Shakespeare was thinking when he wrote this one play tragedy, but I thought this sure was boring! Hamlet does too much talking and not enough stuff.”

Such unhelpful reviews have begun to remind people of the point of having reviews in the first place—that it’s an advantage to have certain places, products, or ideas examined and critiqued by a trusted source. In an article about Yelp, The New York Times noted that one of the site’s elite reviewers had racked up more than 300 reviews in 3 years, then snidely pointed out that “By contrast, a The New York Times restaurant critic might take six years to amass 300 reviews. The critic visits a restaurant several times, strives for anonymity and tries to sample every dish on the menu.” Donald G. McNeil, “Eat and Tell,” The New York Times , Dining & Wine section, November 4, 2008. Whatever your vantage point, it’s clear that old-style tastemaking is still around and still valuable—but the democratic review is here to stay.

Traditionally, pop culture hits were often initiated or driven by the active support of media tastemakers. When mass media are limited in number, people with access to platforms for mass communication wield quite a bit of power in what becomes well-known, popular, or even infamous. Ed Sullivan’s wildly popular variety show in the 1950s and 1960s served as a star-making vehicle and a tastemaker extraordinaire of that period.
The digital age, with its proliferation of accessible media, has undermined the traditional role of the tastemaker. In contrast to the traditional media, Internet-based mass media is not limited by time or space and allows bloggers, critics, or wannabe stars to potentially reach millions without the backing of the traditional media industry.
However, this democratization has its downsides as well. An abundance of mass communication without some form of selection can lead to information overload. Additionally, online reviews can be altered or biased.

Find a popular newspaper or magazine that discusses popular culture. Look through it to determine what pop culture movements, programs, or people it seems to be covering. What is its overall tone? What messages does it seem to be promoting, either implicitly or explicitly? Next, find a website that also deals with popular culture and ask yourself the same questions. Are there differences between the traditional media’s and the new media’s approach to popular culture? Do they focus on the same subjects? Do they take similar attitudes? Why or why not?

1.7 Media Literacy

Define media literacy, and explain why it is relevant to today’s world.
Discuss the role of individual responsibility and accountability when responding to pop culture.
List the five key questions that can be asked about any media message.

In Gutenberg’s age and the subsequent modern era, literacy—the ability to read and write—was a concern not only of educators but also of politicians, social reformers, and philosophers. A literate population, many reasoned, would be able to seek out information, stay informed about the news of the day, communicate with others, and make informed decisions in many spheres of life. Because of this, the reasoning went, literate people made better citizens, parents, and workers. In the 20th century, as literacy rates grew around the globe, there was a new sense that merely being able to read and write was not enough. In a world dominated by media, individuals needed to be able to understand, sort through and analyze the information they were bombarded with every day. In the second half of the 20th century, a name was finally put to this skill of being able to decode and process the messages and symbols transmitted via media: media literacy The skill of being able to decode and process the messages and symbols transmitted via media. . According to the nonprofit National Association for Media Literacy Education (NAMLE), a person who is media literate is able to access, analyze, evaluate, and communicate information. Put another way by John Culkin, a pioneering advocate for media literacy education, “the new mass media—film, radio, TV—are new languages, their grammar as yet unknown.” Kate Moody, “John Culkin, SJ: The Man Who Invented Media Literacy: 1928–1993,” Center for Media Literacy, http://www.medialit.org/reading_room/article408.html (accessed July 15, 2010). Media literacy seeks to give media consumers the ability to understand this new language.

Why Be Media Literate?

Culkin called the pervasiveness of media “the unnoticed fact of our present,” noting that media information was as omnipresent and easy to overlook as the air we breathe (and, he noted, “some would add that it is just as polluted”). Our exposure to media starts early—a study by the Kaiser Family Foundation found that 68 percent of children aged two and younger spend an average of two hours in front of a screen (either computer or television) each day, while children under six spend as much time in front of a screen as they do playing outside. As previously noted, U.S. teenagers are spending an average of 7.5 hours with media daily, nearly as long as they spend in school. Media literacy isn’t merely a skill for young people, however. Today, Americans of all ages get much of their information from various media sources. One crucial role of media literacy education is to enable all of us to skeptically examine the often-conflicting media messages we receive every day.

Advertising

Many of the hours people spend with media are with commercial-sponsored content. The Federal Trade Commission (FTC) estimated that children aged 2 to 11 saw, on average, 25,629 television commercials a year, or more than 10,700 minutes of ads. Adults saw 52,469 ads, or about 15.5 days worth of television advertising. Debra Holt, Pauline Ippolito, Debra Desrochers, and Christopher Kelley, “Children’s Exposure to TV Advertising in 1977 and 2004,” Federal Trade Commission Bureau of Economics Staff Report, June 1, 2007. Children (and adults) are bombarded with contradictory messages—newspaper articles about the obesity epidemic are side by side with ads touting soda, candy, and fast food. The American Academy of Pediatrics maintains that advertising directed at children under eight is “inherently deceptive” and exploitative because young children cannot tell the difference between programs and commercials. Donald Shifrin, “Perspectives on Marketing, Self-Regulation and Childhood Obesity,” Remarks given at Federal Trade Commission Workshop July 14–15, 2005, Washington, DC.

Advertising raises other issues as well. It often uses techniques of psychological pressure to influence decision making. Ads might appeal to vanity, insecurity, prejudice, fear, or the desire for adventure. This is not always a negative thing—antismoking public service announcements may rely on disgusting images of blackened lungs to shock viewers. Nonetheless, media literacy attempts to teach people to be informed and guarded consumers, and to evaluate claims with a critical eye. Do “four out of five doctors” really endorse the product?

Bias, Spin, and Misinformation

Advertisements may have the explicit goal of selling a product or idea, but they’re not the only kind of media message with an agenda. A politician may hope to persuade potential voters that she has their best interests at heart. An ostensibly objective journalist may allow his or her own political leanings to subtly slant articles. Magazine writers might avoid criticizing companies that advertise heavily in their pages. Broadcast news reporters may sensationalize stories in order to boost ratings—and advertising rates.

An important part of media literacy is remembering that mass communication messages are created by individuals, each with a set of values, assumptions, and priorities. Accepting media messages at face value could lead to head-spinning confusion, thanks to all the contradictory information that’s out there. For example, in 2010, a highly contested governor’s race in New Mexico led to conflicting ads from both candidates, Diane Denish and Susana Martinez. Each claimed that the other agreed to policies that benefited sex offenders. According to the media watchdog site Factcheck.org , the Denish team’s ad “shows a pre-teen girl—seemingly about 9 years old—going down a playground slide in slow-motion, while ominous music plays in the background and an announcer discusses two sex crime cases. It ends with an empty swing, as the announcer says: ‘Today we don’t know where these sex offenders are lurking, because Susana Martinez didn’t do her job.’” The opposing ad proclaims that “a department in Denish’s cabinet gave sanctuary to criminal illegals [ sic ], like child molester Juan Gonzalez.” Both claims are highly inflammatory, play on fear, and distort the reality behind each situation. Media literacy attempts to give people the skills to look critically at these and other media messages—to sift through various claims, and to make sense of the often-conflicting information we face every day.

The Center for Media Literacy’s Five Core Concepts

All media messages are constructed.
Media messages are constructed using a creative language with its own rules.
Different people experience the same media message differently.
Media have embedded values and points of view.
Most media messages are organized to gain profit and/or power. http://www.medialit.org

New Skills for a New World

In the past, one goal of education was to provide students with the information deemed necessary to successfully engage with the world. Students memorized multiplication tables, state capitals, famous poems, and notable dates. In today’s world, however, vast amounts of information are available at the click of a mouse. Even before the advent of the Internet, noted communications scholar David Berlo foresaw the consequences of expanding information technology: “Most of what we have called formal education has been intended to imprint on the human mind all of the information that we might need for a lifetime.” Changes in technology necessitate changes in how we learn, Berlo noted, and these days “education needs to be geared toward the handling of data rather than the accumulation of data.” David Shaw, “A Plea for Media Literacy in our Nation’s Schools,” Los Angeles Times , November 30, 2003.

Online technology surely has changed how we learn. For example, Wikipedia, a hugely popular Internet encyclopedia, is at the center of a debate on the proper use of online sources. In 2007, Middlebury College banned the use of Wikipedia as a source in history papers and exams. One of the school’s librarians noted that the online encyclopedia “symbolizes the best and worst of the Internet. It’s the best because everyone gets his/her say and can state their views. It’s the worst because people who use it uncritically take for truth what is only opinion.” Meredith Byers, “Controversy over use of Wikipedia in academic papers arrives at Smith,” Smith College Sophian , News section, March 8, 2007. Or as comedian and satirist Stephen Colbert put it, “any user can change any entry, and if enough other users agree with them, it becomes true.” In 2007, CIA computers were used to make edits on the site’s article about the President of Iran. The Vatican allegedly doctored the entry for Irish activist and Sinn Fein leader Gerry Adams. A computer registered to the U.S. Democratic Party changed the site’s page for Rush Limbaugh to proclaim that he was “racist” and a “bigot.” Jonathan Fildes, “Wikipedia ‘shows CIA page edits.’” BBC News , Science and Technology section, August 15, 2007. Media literacy teaches today’s students how to sort through the Internet’s cloud of data, ferret out reliable sources, and be aware of bias and unreliable sources.

Individual Accountability and Popular Culture

Ultimately, media literacy teaches that messages and images are constructed with various aims in mind and that each individual has the responsibility to evaluate and interpret these media messages. Mass communication may be created and disseminated by individuals, businesses, governments, or organizations, but they are always received by an individual, even if that individual is sitting in a crowded theater. Education, life experience, and a host of other factors allow each person to interpret constructed media in different ways; there is no “right answer,” or one way to read the media. But media literacy skills help us to function better in our media-rich environment, enabling us to be better democratic citizens, smarter shoppers, and more skeptical media consumers. As a means to this end, NAMLE has come up with a list of five questions to ask when analyzing media messages:

Who created this message?
What creative techniques are used to attract my attention?
How might different people understand this message differently?
What values, lifestyles, and points of view are represented in, or omitted from, this message?
Why is this message being sent? Center for Media Literacy, MediaLitKit, http://www.medialit.org/pdf/mlk/14A_CCKQposter.pdf (accessed July 15, 2010).

With these questions as a starting point, we can ensure that we’re staying informed about where our information comes from, and why—important steps in any media literacy education.

Media literacy, or the ability to decode and process media messages, is especially key in today’s media-saturated society. Media surrounds contemporary Americans to an unprecedented degree, and from an early age. Because media messages are constructed with particular aims in mind, a media literate individual will interpret them with a critical eye. Advertisements, bias, spin, and misinformation are all things to look out for.
Individual responsibility is crucial for media literacy because, while media messages may be produced by individuals, companies, governments, or organizations, they are always received and decoded by individuals.

The following are NAMLE’s five questions that can be asked about any media message:

Why is this message being sent?

Find a media message of any kind and apply NAMLE’s five questions to it. Did your impression change? How does this piece of mass communication attempt to get its message across? Do you think it’s successful? Why or why not?

End-of-Chapter Assessment

Review Questions

Questions for Section 1.1 "Intersection of American Media and Culture"

What is the difference between mass communication and mass media?
What are some ways that culture affects media?
What are some ways that media affect culture?

Questions for Section 1.2 "How Did We Get Here? The Evolution of Media"

List four roles that media plays in society.
Identify historical events that shaped the adoption of various mass communication platforms.
How have technological shifts impacted the media industry over time?

Questions for Section 1.3 "How Did We Get Here? The Evolution of Culture"

What is a cultural period?
How did events, technological advances, political changes, and philosophies help shape the modern era?
What are some of the major differences between the modern and postmodern eras?

Questions for Section 1.4 "Media Mix: Convergence"

What is convergence, and what are some examples of it in daily life?
What were the five types of convergence identified by Jenkins?
How are different kinds of convergence shaping the digital age, on both an individual and a social level?

Questions for Section 1.5 "Cultural Values Shape Media; Media Shape Cultural Values"

How does the value of free speech influence American culture and media?
What are some of the limits placed on free speech, and how do they reflect social values?
What is propaganda, and how does it reflect or influence social values?
Who are gatekeepers, and how do they influence the media landscape?

Questions for Section 1.6 "Mass Media and Popular Culture"

What is popular culture and how does it differ from traditional notions of culture?
Who are tastemakers and what are some key examples?
How have tastemakers changed with changes in technology?

Questions for Section 1.7 "Media Literacy"

What is media literacy, and why is it relevant in today’s world?
What is the role of the individual in interpreting media messages?
What are the five questions that NAMLE suggests should be asked of any media message?

Critical Thinking Questions

What does the history of media technologies have to teach us about present-day America? How might current and emerging technologies change our cultural landscape in the near future?
Are gatekeepers and tastemakers necessary for mass media? How is the Internet helping us to re-imagine these roles?
The idea of cultural periods presumes that changes in society and technology lead to dramatic shifts in the way people see the world. How has the Internet and digital technology changed how people interact with their environment, and with each other? Are we changing to a new cultural period, or is contemporary life still a continuation of the postmodern era?
U.S. law regulates free speech through laws on obscenity, copyright infringement, and other things. Why are some forms of expression protected and others aren’t? How do you think cultural values will change U.S. media law in the near future?
Does media literacy education belong in American schools? Why or why not? What might a media literacy curriculum look like?

Career Connection

In a heavily mediated world, almost every organization, from a university to a multinational corporation, employs media specialists. Many organizations also use consultants to help analyze and manage the interaction between their organizations and the media. Independent consultants develop projects, keep abreast of media trends, and provide advice based on industry reports. Or, as writer, speaker, and media consultant Merlin Mann puts it, the “primary job is to stay curious about everything, identify the points where two forces might clash, then enthusiastically share what that might mean, as well as why you might care.”

Read the blog post “So what do consultants do?” at http://www.consulting-business.com/so-what-do-consultants-do.html .

Now explore the site of Merlin Mann at http://www.merlinmann.com . Make sure to take a look at the “Bio” and “FAQs” sections. These two pages will help you answer the following questions:

Merlin Mann provides some work for free and charges a significant amount for other projects. What are some of the indications he gives in his biography about what he values? How do you think his values influence his fees?
Check out Merlin’s “Projects.” What are some of the projects that Merlin is or has been involved with? Now look at the “Speaking” page. Can you see a link between his projects and his role as a prominent writer, speaker, and consultant?
Check out Merlin’s FAQ section. What is his attitude about social networking sites? What about public relations? Why do you think he holds these opinions?
Think about niches in the Internet industry where a consultant might be helpful. Do you have expertise, theories, or reasonable advice that might make you a useful asset for a business or organization? Find an example of an organization or group with some media presence. If you were this group’s consultant, how would you recommend that they better reach their goals?

Media Culture: Definition, Effects and Examples

In cultural studies, the term “media culture” refers to the culture that resulted from American corporate consumer ideology and mass media (Thomas, 2012, p. 30).

This culture emerged and developed in the 20th century. The term points to the immense impact of the media on social norms , public opinions, tastes, and values.

Media culture plays a significant role in shaping our consumer culture, hence the alternative term “consumer culture.”

In such a culture, individuals are encouraged by capitalist-oriented media to buy more and more, regardless of their actual needs (Ritzer, 1999).

Definition of Media Culture

To understand what media culture is, we must also define the terms it often gets conflated with: mass culture and image culture.

The alternative term “mass culture” is based on the idea that media culture emerges from the masses themselves (Adorno & Rabinbach, 1963/1975).

“Media culture,” on the other hand, is based on the idea that such culture is the product of mass media. This term is often used interchangeably with “image culture” (Jansson, 2002).

Some scholars argue that popular media culture is:

“…a debased, trivial culture that voids both the deep realities (sex, death, failure, tragedy) and also the simple spontaneous pleasures… The masses, debauched by several generations of this sort of thing, in turn come to demand trivial and comfortable cultural products” (Rosenberg & White, 1957).

However, contemporaneous scholars such as John Fiske have tended to emphasize the productive features of new media culture. It enables young people to be active content creators and have influence on their world; it improves access to information; and enables people to try-on different online identities and connect with other people in their own subcultural groups .

Theoretical Approaches to Media Culture

Different theories look at the effects of media on society in different ways:

Hypodermic needle theory (aka magic bullet theory) sees media consumers as passive and easily manipulated;
Critical theory / conflict theory proposes that media attempts to entrench power structures, and encourages media literacy to challenge it (Fiske, 2011);
Postmodernism / poststructuralism believe in the power of individuals to use media messages in ways that subvert the way it was intended, and they can influence media culture by acting as media producers in the social media era.

See Also: How to Conduct a Media Analysis

Effects of Media Culture on Society

Media culture shapes the way we look at political and social issues (Altheide et al., 1991).

There is a danger that comes with this: as research shows, media are often biased (Ho et al., 2011). This means that public opinion may be subject to distortions through the influence of mass media.

1. Body Image

One of the most prominent effects of media culture is its influence on our understanding of beauty and body image.

Research has shown that exposure to images of thin, conventionally attractive actors and actresses in television and film can lead to negative body image and self-esteem issues among individuals who do not conform to these standards (Groesz et al., 2002).

Similarly, music videos and other forms of media are often characterized by sexually objectifying images of women, which can contribute to the normalization of sexism and misogyny.

2. Gender Roles

Media culture also plays a significant role in shaping our understanding of gender roles. In fact, post-structural scholars argue that media constructs gender .

Men and women are often portrayed in stereotypical ways, with men being portrayed as strong and independent while women are often depicted as submissive and dependent (Dai & Xu, 2014).

This can reinforce harmful gender stereotypes and make it more difficult for individuals to break out of these roles.

3. Race and Ethnicity

Media culture also has a significant impact on our understanding of race and ethnicity.

People of color are underrepresented in the media and when represented, they are often depicted in stereotypical ways (Entman & Rojecki, 2001), leading to the reinforcement of harmful stereotypes.

Media Culture Examples

Representations of beauty and body image in fashion and beauty advertisements: Mass media promotes and advertises specific views and standards of beauty. This can lead to self-esteem issues and problems with body image for the consumers.
Representations of consumer culture in advertisements: Advertisements often promote luxurious lifestyles that are inaccessible to most members of society. Not only can this lead to psychological problems and in extreme cases deviant behavior, but it can also induce people to buy and spend more and more, regardless of their actual needs. In other words, advertisements can “manufacture” needs that weren’t there before (for example, tobacco, soda drinks, etc.).
Representations of gender roles in television and film: Media culture often reinforces traditional gender norms through the characters and storylines in television shows and films. Men are frequently portrayed as strong and independent, while women are often depicted as submissive and dependent. This can reinforce harmful gender stereotypes and make it more difficult for individuals to break out of these roles.
Representations of politics and social issues in mass media: News media shapes our understanding of the world. As research shows, the media is often biased (Ho et al., 2011). This means that public opinion may be subject to distortions through the influence of mass media.
Representations of race and ethnicity in the media: People of color are often underrepresented in the media, and when they are represented, they are often depicted in stereotypical ways. This leads to the perpetuation of negative stereotypes .
Representations of sexuality in music videos and movies: Media culture often portrays sexuality in a highly objectifying manner. More specifically, this applies to depictions of women in mass media. This can lead to the normalization of sexism and misogyny.
Representations of technology and its impact on society: Media culture often depict technology as a panacea, capable of solving all of society’s problems. This can lead to unrealistic expectations and a lack of critical thinking about the potential negative impacts of technology on society.
Representations of the environment and climate change in the media: Media culture often underrepresents the issues related to the environment and climate change, or presents them in a way that minimizes their importance. This can lead to a lack of public engagement and political action on these critical issues.
Representations of violence in video games and movies: Media culture often portrays violence as an acceptable and even necessary means of resolving conflicts, which, some argue, can desensitize individuals to the consequences of real-life violence.
Social Media and the representation of self: Social media platforms like Instagram, Facebook, TikTok, and Twitter have created a new culture where individuals are curating their online self-representation. Social media has made it easier for people to present an idealized version of themselves, which can lead to feelings of inadequacy and low self-esteem among those who feel their online presence doesn’t match up to the curated images of their peers. (See also: pros and cons of social media )

The term “media culture” refers to the culture that developed in the 20th century as a result of American corporate consumer ideology and mass media (Thomas, 2012, p. 30).

Media culture is a multifaceted concept that encompasses a variety of issues, including representations of beauty and body image, gender roles, race and ethnicity, political and social issues, the impact of new technologies, propaganda, and consumerism. Theorists of media culture suggest that mass media increasingly influences other institutions (Altheide, 2016; Diggs-Brown, 2011).

Adorno, T. W., & Rabinbach, A. G. (1975). Culture Industry Reconsidered. New German Critique , 6 , 12–19. https://doi.org/10.2307/487650

Altheide, D. (2016). Media Logic . https://doi.org/10.1002/9781118541555.wbiepc088

Altheide, D. L., Snow, R. P., & Snow, R. (1991). Media Worlds in the Postjournalism Era . Aldine de Gruyter.

Dai, H., & Xu, X. (2014). Sexism in News: A Comparative Study on the Portray of Female and Male Politicians in The New York Times. Open Journal of Modern Linguistics , 4 (5), Article 5. https://doi.org/10.4236/ojml.2014.45061

Diggs-Brown, B. (2011). Cengage Advantage Books: Strategic Public Relations: An Audience-Focused Approach . Cengage Learning.

Entman, R. M., & Rojecki, A. (2001). The Black image in the White mind: Media and race in America (pp. xxxi, 305). University of Chicago Press. https://doi.org/10.7208/chicago/9780226210773.001.0001

Fiske, J. (2011). Television culture (2nd ed). Routledge.

Groesz, L. M., Levine, M. P., & Murnen, S. K. (2002). The effect of experimental presentation of thin media images on body satisfaction: A meta-analytic review. The International Journal of Eating Disorders , 31 (1), 1–16. https://doi.org/10.1002/eat.10005

Hall, S. (2006). Culture, media, language: Working papers in cultural studies, 1972-79 . Routledge Centre for contemporary cultural studies, University of Birmingham.

Ho, S. S., Binder, A. R., Becker, A. B., Moy, P., Scheufele, D. A., Brossard, D., & Gunther, A. C. (2011). The Role of Perceptions of Media Bias in General and Issue-Specific Political Participation. Mass Communication and Society , 14 (3), 343–374. https://doi.org/10.1080/15205436.2010.491933

Jansson, A. (2002). The Mediatization of Consumption: Towards an analytical framework of image culture. Journal of Consumer Culture , 2 (1), 5–31. https://doi.org/10.1177/146954050200200101

Ritzer, G. (1999). Enchanting a Disenchanted World: Revolutionizing the Means of Consumption . SAGE Publications.

Rosenberg, B., & White, D. M. (1957). Mass Culture: The Popular Arts in America . Free Press.

Thomas, P. L. (2012). Ignoring Poverty in the U.S.: The Corporate Takeover of Public Education . Information Age Pub., Incorporated.

Turkle, S. (2011). Alone together: Why we expect more from technology and less from each other (pp. xvii, 360). Basic Books.

Tio Gabunia (B.Arch, M.Arch)

Tio Gabunia is an academic writer and architect based in Tbilisi. He has studied architecture, design, and urban planning at the Georgian Technical University and the University of Lisbon. He has worked in these fields in Georgia, Portugal, and France. Most of Tio’s writings concern philosophy. Other writings include architecture, sociology, urban planning, and economics.

Tio Gabunia (B.Arch, M.Arch) #molongui-disabled-link 6 Types of Societies (With 21 Examples)
Tio Gabunia (B.Arch, M.Arch) #molongui-disabled-link 25 Public Health Policy Examples
Tio Gabunia (B.Arch, M.Arch) #molongui-disabled-link 15 Cultural Differences Examples
Tio Gabunia (B.Arch, M.Arch) #molongui-disabled-link Social Interaction Types & Examples (Sociology)

Chris Drew (PhD)

This article was peer-reviewed and edited by Chris Drew (PhD). The review process on Helpful Professor involves having a PhD level expert fact check, edit, and contribute to articles. Reviewers ensure all content reflects expert academic consensus and is backed up with reference to academic studies. Dr. Drew has published over 20 academic articles in scholarly journals. He is the former editor of the Journal of Learning Development in Higher Education and holds a PhD in Education from ACU.

Chris Drew (PhD) #molongui-disabled-link 25 Positive Punishment Examples
Chris Drew (PhD) #molongui-disabled-link 25 Dissociation Examples (Psychology)
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Chris Drew (PhD) #molongui-disabled-link Perception Checking: 15 Examples and Definition

The Impact of Media on Society Cause and Effect Essay

Introduction, role of media in the society, impact of media on society, works cited.

Media is one of the world’s power and force that can not be undermined. Media has a remarkable control in almost every aspect of our lives; in politics, social and cultural or economic welfares. Perhaps the best analysis of the impact that media has played in the society is through first acknowledging its role in information flow and circulation.

It is would be unjust to overlook the importance of information to the society. Information is the significant to the society in the sense that, all that happens in the society must be channeled and communicated among the society’s habitats. Without media, the habitats or else the population will be left clueless on what is happening or what is ought to happen.

From another perspective, the society benefits from the media in a number of ways and as well it derives a lot of misfortunes from the society. However, regardless of the impact that is made by media on the society, the media remains to be one of the strongest forces that influence the pillars of the society. This essay paper highlights the impacts that media has continued to assert on the society either in a positive or in a negative manner.

The most common role that media has played in the society has been; to inform people, to educate people and sometimes to offer leisure or entertainment. The role of media in the society is stretched back in the ancient traditions when, there were approaches on which media role in the society was perceived. Some of these approaches included a positive approach, critical approach, production approach, technological approach, information approach and finally a post colonial approach.

A positivist approach assumed that media’s role in the society was to achieve predetermined objectives of the society, usually from a beneficial perspective. The critical approach assumes that media is pertinent can be used in struggle for power and other issues in the society that were preceded by a spark of a new or old ideology.

The production approach is that media plays a greater role in society by providing a new experience of reality to the masses by providing an avenue of new perceptions and visions. The information approach assumes that the key role of media in the society is to provide information channels for the benefit of the society (Fourie178).

With the above roles being achieved in one of the most remarkable means over centuries, media has some solid impacts that have been imprinted on the society. Some of these impacts and effects are to remain for ever as long as media existence will remain while others require control and monitoring due to their negative effects on the society. The best approach to look at this is by first describing the positive impacts that media has had on the society (Fourie 25).

The development of media and advancement of mass media is such positive impact that media has accomplished in recent times. It has been proven that mass communication has influenced social foundation and governments to means that only can be termed pro-social (Preiss 485). An example of such can be use of mass media in campaigns to eradicate HIV and AIDS in the society.

Mass communication through media avenues such as the internet, television and radio has seen great co-operation of government, government agencies, non-government organizations, private corporations and the public in what is seen as key society players in mutual efforts towards constructing better society. In this context, media has contributed to awareness, education of the society and better governance of the society.

Were it not for media, the worlds most historical moments would probably be forgotten today especially in the manner they reshape our contemporary society in matters regarding politics, economics and culture (Fourie 58).

However, media has had its shortcomings that have negative influence on the society. These negatives if not counterchecked or controlled will continue to ruin the values and morals of a society that once treasured morality and value of information.

These negative impacts include: media has contributed to immense exposure of violence and antisocial acts from media program that are aimed at entertaining the public. Media roles in the society have been reversed by merely assuming a role of society visibility thus controlling the society rather than being controlled by society.

Media has continued to use biased tactics to attract society attention and thus having a negative impact on the society’s culture due to stereotyping of other cultures. Media has continued to target vulnerable groups in the society such as children and youths be exposing them to pornographic materials that has sexual immorality consequence on the society’s young generations.

It is through such shortcomings that the cognitive behavior’s which shape the moral fiber of the society gets threatened by media (Berger 106). However, regardless of the impacts of the media on the society, the future of the media will evolve with time and its role in the society will unlikely fade.

Berger, Arthur. Media and society: a critical perspective . Maryland: Rowman & Littlefield. 2007.

Fourie, Pieter. Media studies: media history, media and society . Cape Town: Juta and company ltd. 2008.

Preiss, Raymond. Mass media effects research: advances through meta-analysis . New York: Routledge. 2007.

Chicago (A-D)
Chicago (N-B)

IvyPanda. (2023, October 29). The Impact of Media on Society. https://ivypanda.com/essays/the-impact-of-media-on-society/

"The Impact of Media on Society." IvyPanda , 29 Oct. 2023, ivypanda.com/essays/the-impact-of-media-on-society/.

IvyPanda . (2023) 'The Impact of Media on Society'. 29 October.

IvyPanda . 2023. "The Impact of Media on Society." October 29, 2023. https://ivypanda.com/essays/the-impact-of-media-on-society/.

1. IvyPanda . "The Impact of Media on Society." October 29, 2023. https://ivypanda.com/essays/the-impact-of-media-on-society/.

Bibliography

IvyPanda . "The Impact of Media on Society." October 29, 2023. https://ivypanda.com/essays/the-impact-of-media-on-society/.

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13.6 Globalization of Media

Learning objectives.

Identify three ways that technology has helped speed globalization.
Explain how media outlets employ globalization to their advantage.
Describe some advances that can be made in foreign markets.

The media industry is, in many ways, perfect for globalization, or the spread of global trade without regard for traditional political borders. As discussed above, the low marginal costs of media mean that reaching a wider market creates much larger profit margins for media companies. Because information is not a physical good, shipping costs are generally inconsequential. Finally, the global reach of media allows it to be relevant in many different countries.

However, some have argued that media is actually a partial cause of globalization, rather than just another globalized industry. Media is largely a cultural product , and the transfer of such a product is likely to have an influence on the recipient’s culture. Increasingly, technology has also been propelling globalization. Technology allows for quick communication, fast and coordinated transport, and efficient mass marketing, all of which have allowed globalization—especially globalized media—to take hold.

Globalized Culture, Globalized Markets

Much globalized media content comes from the West, particularly from the United States. Driven by advertising, U.S. culture and media have a strong consumerist bent (meaning that the ever-increasing consumption of goods is encouraged as an economic virtue), thereby possibly causing foreign cultures to increasingly develop consumerist ideals. Therefore, the globalization of media could not only provide content to a foreign country, but may also create demand for U.S. products. Some believe that this will “contribute to a one-way transmission of ideas and values that result in the displacement of indigenous cultures (Santos, 2001).”

Globalization as a world economic trend generally refers to the lowering of economic trade borders, but it has much to do with culture as well. Just as transfer of industry and technology often encourages outside influence through the influx of foreign money into the economy, the transfer of culture opens up these same markets. As globalization takes hold and a particular community becomes more like the United States economically, this community may also come to adopt and personalize U.S. cultural values. The outcome of this spread can be homogenization (the local culture becomes more like the culture of the United States) or heterogenization (aspects of U.S. culture come to exist alongside local culture, causing the culture to become more diverse), or even both, depending on the specific situation (Rantanen, 2005).

Making sense of this range of possibilities can be difficult, but it helps to realize that a mix of many different factors is involved. Because of cultural differences, globalization of media follows a model unlike that of the globalization of other products. On the most basic level, much of media is language and culture based and, as such, does not necessarily translate well to foreign countries. Thus, media globalization often occurs on a more structural level, following broader “ways of organizing and creating media (Mirza, 2009).” In this sense, a media company can have many different culturally specific brands and still maintain an economically globalized corporate structure.

Vertical Integration and Globalization

Because globalization has as much to do with the corporate structure of a media company as with the products that a media company produces, vertical integration in multinational media companies becomes a necessary aspect of studying globalized media. Many large media companies practice vertical integration: Newspaper chains take care of their own reporting, printing, and distribution; television companies control their own production and broadcasting; and even small film studios often have parent companies that handle international distribution.

A media company often benefits greatly from vertical integration and globalization. Because of the proliferation of U.S. culture abroad, media outlets are able to use many of the same distribution structures with few changes. Because media rely on the speedy ability to react to current events and trends, a vertically integrated company can do all of this in a globalized rather than a localized marketplace; different branches of the company are readily able to handle different markets. Further, production values for single-country distribution are basically the same as those for multiple countries, so vertical integration allows, for example, a single film studio to make higher-budget movies than it may otherwise be able to produce without a distribution company that has as a global reach.

Foreign Markets and Titanic

Figure 13.5

The movie Titanic , which became the highest-grossing movie of all time, made twice as much internationally as it did domestically.

Scott Smith – Best In Film: American Film Institute Showcase – CC BY-NC-ND 2.0.

Worth considering is the reciprocal influence of foreign culture on American culture. Certainly, American culture is increasingly exported around the world thanks to globalization, and many U.S. media outlets count strongly on their ability to sell their product in foreign markets. But what Americans consider their own culture has in fact been tailored to the tastes not only of U.S. citizens but also to those of worldwide audiences. The profit potential of foreign markets is enormous: If a movie does well abroad, for example, it might make up for a weak stateside showing, and may even drive interest in the movie in the United States.

One prime example of this phenomenon of global culture and marketing is James Cameron’s 1997 film Titanic . One of the most expensive movies ever produced up to that point, with an official budget of around $200 million, Titanic was not anticipated to perform particularly well at the U.S. box office. Rather, predictions of foreign box-office receipts allowed the movie to be made. Of the total box-office receipts of Titanic , only about one-third came from the domestic market. Although Titanic became the highest-grossing film up to that point, it grossed just $140 million more domestically than Star Wars did 20 years earlier (Box Office Mojo). The difference was in the foreign market. While Star Wars made about the same amount—$300 million—in both the domestic and foreign markets, Titanic grossed $1.2 billion in foreign box-office receipts. In all, the movie came close to hitting the $2 billion mark, and now sits in the No. 2 position behind Cameron’s 2009 blockbuster, Avatar .

One reason that U.S. studios can make these kinds of arrangements is their well-developed ties with the worldwide movie industry. Hollywood studios have agreements with theaters all over the world to show their films. By contrast, the foreign market for French films is not nearly as established, as the industry tends to be partially subsidized by the French government. Theaters showing Hollywood studio films in France funnel portions of their box-office receipts to fund French films. However, Hollywood has lobbied the World Trade Organization—a largely pro-globalization group that pushes for fewer market restrictions—to rule that this French subsidy is an unfair restriction on trade (Terrill, 1999).

In many ways, globalization presents legitimate concerns about the endangerment of indigenous culture. Yet simple concerns over the transfer of culture are not the only or even the biggest worries caused by the spread of American culture and values.

Key Takeaways

Technology allows for quick communication, transport, and mass marketing, greatly contributing to a globalized marketplace.
Media economies of scale achieve much larger profit margins by using digital technology to sell information instantly over a global market.
Foreign markets offer excellent profit potential as they contribute to media companies’ economies of scale. The addition of new audiences and consumer markets may help a company build a global following in the long run.

Think of a U.S. product that is available throughout the world, such as an athletic brand like Nike or a food product like Pepsi or Coca-Cola. Now go online to the different country-specific branches of the company’s web site.

What differences are there?
How might the company be attempting to tailor its globalized product to a specific culture?
What advances into the foreign market does this use of the Internet allow the company to make?
What advantages does this globalization of its products give the company?
In what other ways has technology helped speed this globalization?

Box Office Mojo, “All Time Domestic Box Office Results,” http://boxofficemojo.com/alltime/domestic.htm .

Mirza, Jan. “Globalization of Media: Key Issues and Dimensions,” European Journal of Scientific Research 29, no. 1 (2009): 66–75.

Rantanen, Terhi. The Media and Globalization (Thousand Oaks, CA: Sage, 2005).

Santos, Josefina M. C. “Globalisation and Tradition: Paradoxes in Philippine Television and Culture,” Media Development , no. 3 (2001): 43–48.

Terrill, Roman. “Globalization in the 1990s,” University of Iowa Center for International Finance and Development , 1999, http://www.uiowa.edu/ifdebook/ebook2/contents/part3-I.shtml#B .

Understanding Media and Culture Copyright © 2016 by University of Minnesota is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Article contents

Youth and media culture.

Stuart R. Poyntz Stuart R. Poyntz Simon Fraser University
and Jennesia Pedri Jennesia Pedri Simon Fraser University
https://doi.org/10.1093/acrefore/9780190264093.013.75
Published online: 24 January 2018

Media in the 21st century are changing when, where, what, and how young people learn. Some educators, youth researchers, and parents lament this reality; but youth, media culture, and learning nevertheless remain entangled in a rich set of relationships today. These relationships and the anxieties they produce are not new; they echo worries about the consequences of young people’s media attachments that have been around for decades.

These anxieties first appeared in response to the fear that violence, vulgarity, and sexual desire in early popular culture was thought to pose to culture. Others, however, believed that media could be repurposed to have a broader educational impact. This sentiment crept into educational discourses throughout the 1960s in a way that would shift thinking about youth, media culture, and education. For example, it shaped the development of television shows such as Sesame Street as a kind of learning portal. In addition to the idea that youth can learn from the media, educators and activists have also turned to media education as a more direct intervention. Media education addresses how various media operate in and through particular institutions, technologies, texts, and audiences in an effort to affect how young people learn and engage with media culture. These developments have been enhanced by a growing interest in a broad project of literacy. By the 1990s and 2000s, media production became a common feature in media education practices because it was thought to enable young people to learn by doing , rather than just by analyzing or reading texts. This was enabled by the emergence of new digital media technologies that prioritize user participation.

As we have come to read and write media differently in a digital era, however, a new set of problems have arisen that affect how media cultures are understood in relation to learning. Among these issues is how a participatory turn in media culture allows others, including corporations, governments, and predatory individuals, to monitor, survey, coordinate, and guide our activities as never before. Critical media literacy education addresses this context and continues to provide a framework to address the future of youth, media culture and learning.

media culture
media literacy
consumer culture

Introduction

It would be absurd for teenagers today to forgo the Internet as a resource for schoolwork and learning experiences of all sorts. Whether to research an essay, acquire new skills, find an expert, watch a video clip, or contribute a blog post, the Internet is often the first source that students turn to pick up new information, to access useful networks, or to find resources that they need to accomplish whatever it is they want to learn. And why wouldn’t it be? The Internet is now a digital learning economy populated by YouTube and Vimeo channels, social media sites like Wikipedia, software and learning games, library data archives, learning television shows, documentaries, massive open online courses (MOOCs), and assorted other resources that are changing when, where, what, and how young people learn. Some educators, youth researchers, and parents lament this reality (Bakan, 2011 ; Louv, 2008 ), but today’s youth, media culture, and learning are nevertheless entangled in a rich set of relationships.

These relationships and the anxieties that they produce are not new. Since the earliest decades of the 20th century , learning dynamics have been thought to be integral to the way youth and media cultures weave together. But these relationships are vexed; the connections among youth lives, media, and education are sites of tremendous anxiety and concern around the world. Yet learning is now such a profoundly mediated experience that traditional dichotomies separating education and entertainment, work and leisure, expert and nonexpert, and pedagogy and everyday life are no longer helpful.

In this article, we examine this context and address how relations among youth, media culture, and learning have been understood since the turn of the last century. Our story begins in the Anglo-American world, but it has quickly become global as media and youth cultures expand around the world. We highlight the anxieties and panics common to thinking about media in young people’s lives and indicate where and how the mediation of youth learning has been taken up to support progressive ends through the development of novel resources, institutions, and pedagogies that nurture young people’s agency, identities, and citizenship. Our survey examines how specific media forms, including film, television, and Web design, have been calibrated to support young people’s learning through the media, and the development of media literacy education to promote critical learning about the media. To conclude, we detail three major problematics that continue to shape the relationships among youth, media culture, and learning.

Teen Screens

Teenagers graduating from high school in 2017 across the global North and much of the global South have always known smart mobile devices, social media, and YouTube, near-constant data surveillance, the ability to Google facts as needed, and texting, messaging, and posting as part of the regular rhythms of daily life. While many statistics have been collected over the years about the time that adolescents spend immersed in media, the general impression is that most children and youth are more involved than ever with media technologies and content. A new area of children’s and youth media has emerged in recent years. It is a world where the Internet, mobile devices, and “television,” now consumed across multiple platforms, compete for attention alongside older media (i.e., radio, appointment television, and movies). Various studies conducted in recent years have sought to understand these developments, with particular attention given to investigating the role of the Internet, social media, smartphones, and mobile technologies in young people’s lives. Regular television and radio continue to hold a place among teenagers’ media choices, and along with mobile phones, they are part of a primary youth media ecology in the global North and South (Common Sense Media, 2015 ; Livingstone et al., 2014 ).

Today, however, one can no longer assume that television programming is viewed on a television set via regularly scheduled broadcasting. While watching television continues to make up a significant portion of teens’ overall media usage in the United States, Canada, Europe, and other regions (Common Sense Media, 2015 ; Caron et al., 2012 ; Livingstone et al., 2014 ), smart TVs, on-demand services, mobile devices such as smartphones and tablets, and video-streaming services such as YouTube, Netflix, and Baidu have redefined what it means to “watch television.” Because the options for consuming content now exist simultaneously across many platforms, there is also a significant amount of diversity in young people’s preferences and patterns of use. Music, for example, remains the most preferred medium among teens, but among only about one-third of teens (30%). After music, video games are a favorite among 15%, reading among 10%, social media among 10%, and television among 9%. The fragmenting of tastes and preferences is notable, with no single medium standing out above all. Added to this is the diversity of ways that teens can engage in these activities, as well as differences in relation to class, gender, and race/ethnicity (Common Sense Media, 2015 ). The point to be made is that changes in how young people spend time with the media are taking place as part of longer-term trends in how media is knit into adolescents’ lives.

At the center of this trend is the fact that young people simply have more media options—both in terms of the media technology used and the content available—and these options are tightly wedded to the daily lives of children and youth. For instance, 57% of teens in the United States have a television set in their bedroom, 47% have a laptop computer, 37% have a tablet, and 31% have a portable game player (Common Sense Media, 2015 ). Sonia Livingstone ( 2009 , p. 21) identifies these technologies with “screen-rich ‘bedroom cultures,’” which have become the norm for kids in countries across the global North. Adding to and fostering media use in screen-rich bedroom cultures is the fact that two-thirds of teens (67%) now own their own smartphone, on which they talk and text, access social media (40%), and listen to music in daily patterns and rhythms (Common Sense Media, 2015 ).

With all these media options available, it is not surprising that teens are more likely than in the past to be media multitaskers, able to pack more media into an hour of consumption than was possible in previous generations. Young people in the United States spend approximately nine hours a day consuming media, for example, but they consume more than one medium at a time. In fact, 50% of teens say that they watch television while doing homework, and 51% say that they use social media some of or all the time when they do homework (Common Sense Media, 2015 ). The typical teenage user today is someone doing homework while watching Netflix, listening to music, and responding to the occasional text, Snapchat, or Instagram message. In this way, screens do not go away as much as they have become environmental in youths’ lives.

This story casts a pall over contemporary youth cultures for some. It is as though the media machine is never absent from youths’ time and space. It is attached to and formative of the worlds of young people, and it would appear to allow for no distance or time away from screens and representations in everyday life. Concerns of this sort are not new. They echo panicked worries about the consequences of young people’s media attachments that have existed for decades. To make sense of these worries, it is helpful to begin with the history of youth and youth culture, terms which are not exclusive to, but find an early emergence in, the West.

Youth as a Distinct Life Stage

The concept of youth can feel as though it has been with us for centuries. But while the age of transition between childhood and adulthood exists across societies, the idea that this period is associated with a particular group of people—youth—and the cultures that they partake in is a recent phenomenon. Andy Bennett (Bennett & Kahn-Harris, 2004 ) tells us that historical instances of what we now call “youth culture” can be traced back to the 17th and 18th centuries to a group of London apprentices whose dress, drinking, and riotous conduct set them apart from others. Early youth cultures can also be linked to stylistically distinct groups of young workers in northern England in the late 19th century , and to what Timothy Gilfoyle ( 2004 , p. 870) calls the “street rats and gutter snipes” of New York City, who developed oppositional subcultures to challenge adult authority from the mid- 19th century onward. But it wasn’t until the turn of the last century that a modern notion of youth took hold. Schooling would be key to this development.

Publicly funded or supported schooling on a mass scale was regularized in the United Kingdom by the late 19th century and had been ongoing in the United States in the post–Civil War period (i.e., after 1860–1865 ). Public schools developed around the same time in French and English Canada, and slightly later ( 1880 ) in Australia. The practice of batching students into groups by age contributed to the emergence of a new subject position linked to the teen years. If schools started this process, worries about delinquency served to consolidate the notion of youth as a stage of development. Juvenile crime in particular, initially considered primarily an affliction of poor and working-class youth, became generalized by the 1890s as juvenile delinquency and applied to all youth (Gillis, 1974 ). The fear of rising crime rates led to legislative action and the expansion of welfare provisions in the United Kingdom and the United States. The resulting system of social services addressed adolescents as a particular age cohort with specific interests and needs (Osgerby, 2004 ).

By the early 20th century , in psychology and pedagogy studies, G. Stanley Hall’s seminal text, Adolescence: Its Psychology and Its Relations to Physiology, Anthropology, Sociology, Sex, Crime, and Education (Hall, 1904 ) addressed this stage of life as a specific period of development associated with tumult and uncertainty—the sturm and drang of adolescence. Thinking of adolescence in these terms reflected the worries of legislators, educators, and reformers, but it was not until the early 1940s that the notion of youth culture was coined by the American sociologist Talcott Parsons ( 1942 ). Parsons used the phrase youth culture to name a specific generational cohort experiencing distinct processes of socialization that set them apart from others. Fears about young people’s maladjustment to war during the 1940s continued to feed worries about youth delinquency (Gilbert, 1986 ). But more significantly, a series of changes in the social, economic, and cultural lives of adolescents that began prior to World War II and consolidated during the postwar years proved essential to marking out a modern notion of youth culture.

Media and consumer markets were integral to these changes. From the start of the 20th century , mass media were among the key developments shaping youth culture and learning. This was evident in the United Kingdom and the United States, where industrialization and mass consumer markets emerged earlier than in other nations. This reveals something about the characteristics of youth culture; in many ways, youth cultures (dance, music, fashion, sports, etc.) have always been mediated and shaped by the effects of mass production, wage labor relations, and urban experience. In this way, youth and modernity are tightly connected. Modernity is linked to experiences of change driven by urbanization and migration, the expansion of mass, factory-based production, and the proliferation of images and consumerism as normative conditions of everyday life. Since the late 19th and early 20th centuries , youth have been harbingers of these developments and have often been considered the archetypical subject of modernity.

Early Mass Media and Youth Audiences

The tendency to link youth with the changes characterized by modernity has produced a history of anxieties where the relationships among youth, media culture, and education are concerned. These anxieties first appeared in response to the violence, vulgarity, and sexual desire in early popular culture (e.g., penny novels and mass sporting events, like Major League Baseball), which many educators thought posed an imminent threat to culture. The emergence of the cinema at the turn of the 20th century epitomized these fears by forever changing the nature of the intergenerational transmission of knowledge. Movies can be understood with little tuition, meaning that they can fix the attention of all age groups on the screen, a development that proved particularly attractive to children. Early cinematographers were able to stage dramas on a scale unheard of in live theater, to command an audience much greater than literature could, and hence to shape the popular imagination as never before. But because movies work through the language of images, they were thought to create highly emotional—and intellectually deceitful—effects. Images were thought to leave audiences (particularly young people) in something like a trance, a state of passivity that left adolescents open to forms of manipulation that were morally suspect and politically dangerous.

These fears were common, and yet for some, the very fact that movies could reach larger and more diverse audiences—including women and the working class—meant that the medium held a promise for learning that couldn’t be ignored. Such responses not only reflected the sentiment of early film boosters, but they also were part of a more nuanced sense of how life—including the experience of learning—was changing in the 20th century . In a remarkable series of essays, Walter Benjamin ( 1969 , 1970 ) argued thus, suggesting that movies could widen audiences’ horizons through the unique technology of the shot, the power of editing, and sound design. These tools allowed people to see and experience distant lands, other times, and new and fantastical experiences in live-action and highly structured narrative formats. Charlie Chaplin’s The Gold Rush ( 1925 ), MGM’s The Great Ziegfeld ( 1936 ), and Victor Fleming’s The Wizard of Oz ( 1939 ) exemplified film’s early appeal because they seemed capable of helping people to dream and escape vicariously from everyday experiences to imagine a different (and perhaps better) world.

Not surprisingly, Benjamin’s was a minority view in the mid- 20th century . Far more common were fears that modern media would serve to undermine how young people learn proper culture—meaning good books and the right music and stories thought to foster a vibrant and meaningful cultural life. Benjamin’s colleagues in the Frankfurt School (so-called for the city where their work began), Theodor Adorno and Max Horkheimer, were especially influential in this regard. Drawing from their experiences with the role that media (i.e., radio and film) played in the rise of fascism in Germany, as well as their disappointment with the quality of early popular music and Hollywood movies, Adorno and Horkheimer ( 1972 ) argued that the culture industries (the artifacts and experiences produced by the corporations who sold or transmitted film, popular music, magazines, and radio) threatened to undermine rich and autonomous forms of cultural life. They meant that movies, advertisements, and eventually television were signs of the commodification of culture, an indication that culture itself—epitomized by the rich European traditions of classical music, painting, and literature—was being reduced to a sellable thing, a commodity just like any other in capitalist societies.

In this context, Adorno and Horkheimer suggested that culture no longer works to promote critical and autonomous thought; rather, the culture industries promote sameness, a uniformity of experience and a standardization of life that at best serve to distract people from significant issues of the day. Through childish illusion and fantasy, the culture industries produce false consciousness, a form of thinking that misinterprets the real issues that matter in our lives, leaving young people and adults blissfully unaware of key issues of common concern that demand our attention and action. For those suspicious of these observations, they are worth considering in light of Donald Trump’s election as president of the United States in 2016 . Since the election, it has become clear that distraction (by “fake news,” for instance) and illusion (facilitated at least in part by foreign manipulation of social media) played a vital role in the campaign and Trump’s eventual election.

Youth Markets and Media Panics

The concerns of the Frankfurt School found a receptive audience in the second half of the 20th century . The postwar decades mark an especially significant period of expansion in youth markets and youth culture in the West (Osgerby, 2004 ). Increasing birth rates during the postwar baby boom fueled the expansion of youth markets, as did the extension of mass schooling, which “accentuated youth as a generational cohort” (Osgerby, 2004 , p. 16). Complicating this were the emergence of television and an intensely organized effort to shape and calibrate the spending power of young people in the service of conspicuous consumer consumption.

First introduced to the general public at the 1939 New York World’s Fair, in the postwar years, television became a new kind of hearth around which parents and children would gather. In the United States, television was initially thought potentially promising for children’s education. The small screen represented the promise and possibility of modern times. Not surprisingly, this sentiment was short lived (Goldfarb, 2002 ). By the late 1950s and 1960s, it became apparent that “most children’s programming was produced with the size of the audience rather than children’s education in mind. [As a result,] television [became] the source of anxious discourses about mesmerized children entranced by mindless cartoons, punctuated by messages from paying sponsors” (Kline, Stewart, & Murphy, 2006 , p. 132; also see Kline, 1993 ). These worries aligned with increasing concerns about the dangerous and morally compromising influence of rock ‘n’ roll, popular magazines, early celebrities, and movies in youths’ lives, and what resulted was a media panic that harkened back to the earliest days of mass media.

Most often characterized by exaggerated claims about the impact of popular commercial culture on children and youth, media panics are a special kind of moral frenzy over the influence of media on vulnerable populations (Drotner, 1999 ). Stanley Cohen’s groundbreaking study of the mods and rockers, Folk Devils and Moral Panics , suggests that emerging youth cultures became the most recurrent type of moral panic in Britain after World War II (Cohen, 1972 ). He reveals how youth are positioned in postwar industrial societies as a source of fear and often misplaced anxiety. His study has been criticized for simplifying the meaning of the term moral panics and for underestimating how complex media environments can shape them (McRobbie & Thornton, 1995 ); nonetheless, his work draws attention to the ways that overwrought fears of youth and media culture can come to act as stand-ins for larger social anxieties. In the process, youth and youth culture become scapegoats. Media panics don’t offer helpful tools for explaining social change, in other words, as much as they distract parents, educators, and others from making sense of the formative conditions shaping young lives.

Media panics continued to appear throughout the 1980s, 1990s, and 2000s. In the United Kingdom, for instance, media panics arose around “video nasties” and the risks that horror films and sexually explicit material were thought to pose for youth (Oswell, 2002 ). Related concerns arose in the 1990s regarding video games and violence, the presence of dangerous and disturbing messages buried in the lyrics of popular music, and fears about fantasy board games, including Dungeons and Dragons . More recently, anxieties have come to the fore having to do with the role of the Internet and social media in young people’s lives, including fears of “stranger danger,” cyberbullying, and the likelihood that teenagers are sharing explicit images of themselves and others online (i.e., “sexting”).

We note these fears not to dismiss them outright, but to draw attention to the history of anxieties that have characterized worries about youth and media culture. Such concerns are often underpinned by the view that young people are vulnerable and highly impressionable persons unable to manage the impact of media in their lives. Indeed, the wariness of public officials, parents, health practitioners, and educators toward media is still today often underpinned by deeper commitments to a sense that youth is a time of innocence and hope. Whether understood biologically as a period of maturation toward adulthood or as a distinct generational cohort characterized by shared processes of socialization, adolescence has long been a repository for both the greatest hopes and fears of a nation. While youth are often considered a risk to society and the reproduction of social order, they also have long been framed in connection with the future health and well-being of nations. The result is that youth often occupy a contradictory space in relation to media culture (Drotner, 1999 ).

On the one hand, popular media culture has been a vital resource through which youth communities, subcultures, and generations have defined themselves, their desires, and their hopes and dreams for decades. This continues to be reflected in the dynamic ways that youth are using and creating digital media to shape their lives and address matters of common concern in societies around the world. We take up these developments in more detail later in this article.

On the other hand, it is evident that consumerism and commercial media culture remain sources of tremendous anxiety. The media content that teenagers access—beyond the watchful eye of guardians and educators—and the way that they learn about gender, race, sexuality, the environment, and other issues continues to raise alarms. From at least the 1980s onward, the quantity of media culture has expanded around the world, meaning that more advertising, more commercial screens, more branded experiences of play, and more intensive systems of corporate surveillance and tracking have become common features of youths’ lives.

The digitization of media and the emergence of more dynamic, participatory media cultures (Jenkins, 2006 ) are crucial to this development, as we explain in the final section. But changes in media concentration and the development of vast media conglomerates—including Google, Disney, Time Warner, Viacom, Baidu, and News Corp—that produce media commodities and experiences for various national markets have been instrumental in shaping the tensions and impact of media culture on youth lives. It is just these sorts of developments that have long raised the concerns of educators and others who remain deeply ambivalent about the relationship between consumer media and young people. The consequence of this ambivalence has led some educators to argue that media, including film, television, and the Internet, can have a broader educational impact, particularly given their ability to reach large audiences. In the following sections, we take up this possibility and address how learning media and media education have been developed to create forms of public pedagogy with the potential to enrich young people’s learning.

The Media as Learning Portal

While the ties between consumer culture and media continue to raise worries, television’s reach and increasingly central role in families have drawn the attention of educators who argue that it can be repurposed to have a broader educational impact. This sentiment crept into educational discourses throughout the 1960s in a way that would shift the thinking about youth, media culture, and education. Educational media programming was not a new idea in the decade so much as it extended and contributed to an older tradition of using stories and folk tales to teach moral lessons to children (Singhal & Rogers, 1999 ). What was different in the 1960s (and today), however, is that this work wasn’t (and isn’t) being undertaken around the local hearth; it was (and is) developing through the conventions, institutions, and practices of a highly complex media system.

Using this media system to create successful learning resources has been a delicate business. The idea of using radio and documentary movies as informational (and often didactic) educational tools to teach kids social studies, geography, and history has a long tradition in national schooling systems. More dynamic forms of educational programming came online in the late 1960s, led by a then-remarkable new program called Sesame Street that came to epitomize these developments.

Created by the Children’s Television Workshop (CTW) in 1969 as part of the so-called American war on poverty (Spring, 2009 ), Sesame Street helped launch the Public Broadcasting System (PBS) in the United States as a counterweight to the influence of commercial programming in the American mediasphere. Originated by Joan Ganz Cooney and Lloyd Morrisett, Sesame Street drew lessons from early children’s television programming in countries like Canada and the United Kingdom (Coulter, 2016 ) and set out to promote peaceful multicultural societies and to provide inner-city kids with a head start in developing literacy and numeracy skills. To do this, the now well-known strategy was to adapt conventions of commercial media—muppets, music, animation, live-action film, special effects, and visits from celebrities—to deliver mass literacy to home audiences.

By the late 1990s, approximately 40% of all American children aged 2–5 watched Sesame Street weekly. From the 2000s onward, the reach of Sesame Street became global, extending to 120 countries and including many foreign-language adaptations developed with local educators in Bangladesh, China, Egypt, Germany, Israel, Palestine, Russia, South Africa, and many other places (Spring, 2009 ). With global audiences, the show’s storylines and issues addressed have also changed. Sesame Street is now engaged in raising awareness and understanding about a host of global issues. For instance, in the South African coproduction, a muppet named Kami who is HIV-positive was introduced in response to the large numbers of South African children who are HIV-positive. Through Kami and related stories, the goal of the program is “to create tolerance of HIV-positive children and disseminate information about the disease” across South Africa” (Spring, 2009 , p. 80). Meanwhile in Bangladesh, the local version of Sesame Street has been used to promote “equality between social classes, genders, castes, and religions” (Spring, 2009 , p. 80).

This success led to the development of other CTW educational programs, including The Electric Company , 3-2-1 Contact , and Square One TV . A conviction that electronic and digital media can support progressive educational goals has also fueled the development of a learning media industry over the past two decades. We are in fact witnessing a veritable explosion of educational media, including an array of educational learning software ( Math Blaster , JumpStart , Where in the World Is Carmen Sandiego , etc.) designed to improve older students’ competencies (Ito, 2008 ). Some of this media may be useful, but evidence about the learning value of many of these programs remains scant (Barbaro, 2008 ). On the other hand, at least three other forms of educational media have continued to develop, and in ways that can be beneficial to youth learning. They include public service announcements (PSAs), entertainment education, and cultural jamming.

Public Service Announcements

Public service announcements (PSAs) are now ubiquitous. They can be seen in schools, on television, online, and at commercial film screenings. They address issues ranging from the dangers of smoking, alcohol, and drugs, to concerns about youth driving habits, bullying in schools, what children are eating, and a host of other media-related social causes and health crises. At root, the strategy with PSAs isn’t altogether different from that of learning-oriented programs like Sesame Street . While the broad research and learning agenda that informs Sesame Street isn’t often replicated with PSAs, the idea that commercial media language can be repurposed to influence behavior is common to both formats.

PSAs use the language of advertising—quick, emotional, and sometimes funny messages that emphasize hard-hitting lessons—and the practices of branding to alter behavior or encourage youth to get involved with issues shaping their lives. Studies suggest these strategies can be remarkably effective for influencing young people’s behavior (Montgomery, 2007 , 2008 ; Wakefield, Flay, Nichter, & Giovino, 2003 ; Singhal & Rogers, 1999 ; DeJong & Winston, 1990 ). Wakefield et al. ( 2003 ) for instance, review a number of studies that show antismoking PSAs are useful tools for changing kids’ attitudes, especially when combined with school support programs that help youth to quit or avoid smoking.

These successes are important, of course, because they attest to the ways that learning through media can be nurtured in creative, dynamic, and effective ways, even in a time when media saturation is common in youth lives. A cautionary note is nonetheless in order. PSAs have become so common today that companies are using PSA-like formats to promote everything from cars to personal care products. The personal health products company, Unilever Inc., for instance, has been especially successful with their Dove “Campaign for Real Beauty.” Cutting across online platforms as well as television and film, the campaign has foregrounded the way that beauty ads create unrealistic notions about women’s body images. This is an important message, to be sure; however, while this campaign was underway, Unilever launched an equally provocative campaign for AXE body products for men. What stood out in the latter campaign was precisely the opposite message about women’s body images; AXE ads in fact seemed to suggest that women matter only when their appearance corresponds to a rather tired and old set of stereotypes. This doesn’t necessarily undermine the value of the Dove Campaign for Real Beauty, but it does suggest that the value of PSAs (particularly when developed as singular learning resources) may be waning as this style of communication becomes just one more strategy for channeling commercial messages to youth.

Entertainment Education

Another strategy, often called entertainment education , has a similarly long history in both the global North and South (Singhal & Rogers, 1999 ; Tufte, 2004 ). Distinct from the more explicit focus of learning TV and PSA campaigns, this strategy takes advantage of the fact that it has been clear for some time that youth negotiate their identities and values through popular media representations and celebrity identifications. Because of this, educators and youth activists have turned to network programming (e.g., Dawson’s Creek , MTV’s Real People , and Glee ), as well as teen magazines (e.g., Teen People and Seventeen ) as vehicles for developing storylines and articles that address issues in youth’s lives. Similar practices are evident around the world. In India, Mexico, Brazil, and South Africa, for instance, popular television formats like soap operas and youth dramas (e.g., Soul City and Soul Brothers in South Africa) have been used to raise awareness and change unhealthy behaviors related to a host of issues, including child poverty, community health, HIV-AIDS, and gun violence.

In a related vein, the Kaiser Foundation in the United States has been influential in the development of a multinational set of entertainment education programs on HIV-AIDS in partnership with the United Nations. Since 2004 , the Kaiser Foundation has partnered with the United Nations, the British Broadcasting Corporation (BBC), the South African Broadcasting Corporation, Russia’s Gazprom-Media, Rupert Murdoch’s Star Group Ltd. in India, and more than 10 other media companies to develop a Global AIDS initiative. This eventually led to the integration of HIV-AIDS messages into various programs watched by young people, including a reality series in India modeled on American Idol , called Indian Idol (Montgomery, 2007 ). Similarly, series like the Degrassi franchise in Canada and the United States have addressed issues such as family violence, school shootings, mental illness, and questions about sexuality (Byers, 2008 ). Other series, including Buffy the Vampire Slayer , have ventured into similar territory, and while many educators are perhaps wary of the close working partnership between commercial broadcasters and producers in entertainment education, others note that the very success of this kind of programming demonstrates that media culture can be more than entertainment; it can be a form of meaningful pedagogy that helps young people engage in real social, cultural, and political debate.

Culture Jamming

Fomenting social, cultural, and political debate has been the objective of a third strategy used by educators and progressives concerned about youth, media culture, and education. Culture jamming draws on a long tradition of using media techniques with satire and parody “to draw attention to what may otherwise go unnoticed” in society (Meikle, 2007 , p. 168). Antecedents to culture jamming include the anti-Nazi dada posters of John Heartfield (born Helmut Herzfeld) and the détournment tactics of the Situationist Movement of the mid-1950s and 1960s, which sought to dismantle the world of commercial media culture that transforms “[e]verything that [is] directly lived . . . into a representation” (Debord, 1994 , p. 1).

Culture jammers frequently argue that our lives are dominated by a vast electronic and digital field of multimodal texts (images, audio, and now hypertext and hyperlinks), and the only way to respond is to use the design methods (pastiche, bricolage, parody, and montage) and genres (advertising, journalism, and filmmaking) that characterize commercial media to challenge media power and taken-for-granted assumptions within contemporary culture (Kenway & Bullen, 2008 ). Mark Dery ( 1993 , p. 1) calls this a form of “semiological guerrilla warfare,” through which culture jammers fight the status quo by using the principles of media culture to upend the meanings and assumptions operating in this culture.

Perhaps the most common and popular form of culture jamming is the sub-vertisement that groups like Adbusters have made popular. Sub-vertisements use popular references and techniques in branding campaigns to turn the meaning of logos, branded characters, and signs (like the Absolut Vodka bottle) on their heads. (See http://adbusters.org/spoofads/index.php for a gallery of examples that target fast food culture, alcohol and fashion ads, and political communication.) Other groups, including the Yes Men , have developed another culture-jamming strategy based around highly elaborate spoofs of websites, media interviews, and public corporate communications. Reverend Billy and his Church of Stop Shopping is yet another example of culture jamming. Reverend Billy and his allies use impromptu, guerrilla theater tactics to raise awareness of the deleterious effects of consumerism (i.e., sweat shop labor, debt, climate degradation, etc.) in society. The idea behind this and similar work is to use fun yet subversive tactics to offer radical commentary about common images, brands, and ideas that circulate in our lives. These learning practices are open to all, of course, but they have been especially relevant among educators eager to address critical issues about youth media culture.

Media Education and Direct Interventions in Youth Learning

Learning media aims to educate people through various media forms, and while this continues to be a popular strategy, for more than 80 years educators and activists have also turned to more direct interventions to affect how young people learn and engage with media culture. Media literacy education addresses how media operates in and through particular institutions, technologies, texts, and audiences. In its early development, media education tended to position schools and teachers as the defenders of traditional culture and impressionable youths. Early relationships among youths, media cultures, and education were framed around a reactionary stance that implored educators to protect youth from the media. F. R. Leavis and Denys Thompson ( 1933 ) were the first to champion this protectionist phase of media education in their book Culture and Environment , which is credited as the first set of proposals for systematic teaching about mass media in schools. Leavis and Thompson’s work includes a strong prejudice against American popular culture and mass media in general and reflects the aspirations for early media education within schools to inoculate young people against media messages to protect literary (i.e., high) culture from the commoditization lamented by mass culture theorists (Hoechsmann & Poyntz, 2012 ).

These sentiments remained strong into the early 1960s, but much as learning media took a new and compelling turn in this decade, so too did media education. Fueling this trend was the belief that educators could adapt curricula and teaching practices to the increasing role of commercial television and movies in young people’s lives. In the United Kingdom, this sentiment led educators to develop a screen education movement based around the critical use of movies in classrooms. Drawing from the influential work of Richard Hoggart’s Uses of Literacy ( 1957 ) and Raymond Williams’s Culture and Society ( 1958 ), the purpose of screen education was to study the popular media that teenagers were watching so that they would be in a better position to understand their own situation in the world, including the causes of their alienation and marginalization.

A similar desire to help youth see connections between school and everyday life motivated early initiatives in media education in Australia and Canada. Pedagogically, this led to the development of film analysis and film production courses, which drew inspiration from cultural shifts in the way that movies were understood. No longer seen simply as forms of entertainment, film education focused on the way that popular Hollywood movies (e.g., Easy Rider and Medium Cool in 1969 ) reflected social and cultural values and were thus thought deserving of critical attention. This meant teaching students to understand the language of cinema and the ways that movies engage and shape prospects for social and political change.

As an outgrowth of this work, the 1980s and 1990s witnessed the first sustained period of institutionalization of media education. Key curricular documents were produced, and media education entered the school curricula in many countries in a formal way for the first time. The Canadian province of Ontario led the way, mandating the teaching of media literacy in the high school English curriculum in 1987 . Eventually K–12 students across Canada would receive some form of media education by the end of the 1990s. Meanwhile in the United Kingdom, the late 1980s witnessed the integration of media education into the curriculum as an examinable subject for students pursuing university entrance. This helped to fuel the popularity of courses in media studies, film studies, and communication studies in schools, and by the 1990s and 2000s, additional intermediate courses in media studies were added to the curriculum.

In Australia, the late 1980s and 1990s marked a period of expansion in school-based production and media education training, in part because such training was seen to be an ideal way to equip young people with the technical skills and competencies needed to compete in a globally competitive, highly mediated world (Edith, 2003 ; McMahon & Edith, 1999 ). Similarly, in various non-English-speaking countries, including Norway, Sweden, and Finland, media literacy developed and expanded throughout the 1990s (Tufte, 1999 ).

Even when not included in the formal curriculum, media education became a pedagogical practice of teachers aware of the impact of the media in the lives of their students. In particular, in those countries in the global South where the broader educational needs of the society were still focused on getting children to school and teaching basic literacy and numeracy, media education may not have emerged in the mandated curriculum, but teachers were drawing on media education strategies to help youth make sense of and affect their worlds.

In the United States, school-based media education initiatives were slower to get off the ground. In 1978 , in response to children’s increasing television consumption, the Parents-Teachers Association (PTA) convinced the U.S. Office of Education to launch a research and development initiative on the effects of commercial television on young people. In short order, this initiative led the Office of Education to recommend a national curriculum to enhance students’ understanding of commercials, their ability to distinguish fact from fiction, the recognition of competing points of view in programs, an understanding of the style and formats in public affairs programming, and the ability to understand the relationship between television and printed materials (Kline et al., 2006 ).

Ultimately, attempts to implement this curriculum were hampered in the early 1980s as President Ronald Reagan’s move to deregulate the communications industry challenged efforts to develop media education in U.S. schools. Nonetheless, these early developments proved crucial in establishing the ground from which more recent media education initiatives have grown. Robert Kubey ( 2003 ) noted that as of 2000 , all 50 states included some education about the media in core curricular areas such as English, social studies, history, civics, health, and consumer education.

Beyond schools, a number of key nongovernmental organizations (NGOs) have developed over the past two decades and have promoted dynamic forms of media education. The Alliance for a Media Literate America (AMLA), a national membership organization chartered in 2001 to organize and host the National Media Education Conference every two years and to promote professional development, is of particular note. So too are the Media Education Foundation (MEF), which produces some of the most important media education resources in North America, and the Centre for Media Literacy (CML), which offers a helpful MediaLit Kit to promote teaching and learning in a media age.

Literacy and Production

While often led by educators, parents, and young people, these developments in media education have been enhanced by interest in a broad project of literacy. The role and discussion of literacy discourse in media education go back to at least the early 1970s in the United States (Kline et al., 2006 ). As media education has internationalized, however, there has been a tendency to turn to literacy metaphors to conceptualize the kinds of media learning enabled through media education. As media education has increasingly become part of school curricula, the language of literacies also has been a familiar and useful framework to situate classroom (and out-of-school) practices. The New London Group’s ( 1996 ) “pedagaogy of multiple literacies” has been especially influential, offering a framework to address the diverse modalities of literacy (thus, multiple literacies) in complex media cultures, alongside a focus on the design and development of critical media education curricula.

While the New London Group’s work has helped to support the development of media literacy education in an era of multimodal texts, the arrival of the personal computer and the emergence of the Internet have been accompanied by the proliferation of a whole host of digital media technologies (e.g., cameras, visual and audio editing systems, distribution platforms, etc.), encouraging the integration of youth media production into the work of media education. Media production has an impressive history in the field of media literacy education going back to at least the 1960s, when experiments with 16-mm film production in community groups and schools were part of early film education initiatives in the United Kingdom, Canada, Australia, and other countries. By the 1990s and 2000s, media production became a common feature in media education practices because it was thought to enable young people to learn by doing , rather than just by analyzing or reading media texts. Newly accessible broadcasting (or narrowcasting) opportunities made available through Web 2.0 platforms (e.g., YouTube, Facebook, wiki spaces, etc.) accelerated these developments, encouraging the growth of information training programs in schools that focus on Web design, software training, and mastering camera skills in ways that emphasize technological mastery as an end in itself.

The turn to information training is perhaps not surprising, but while technical skills training can help young people to learn key competencies that may lead to job prospects, technical training on its own misrepresents the critical and civic concerns that have long animated media literacy education. How the civic and political involvement of youth are emerging inside highly engaging digital media cultures is one of three major issues examined in the next and final section of this article, where we address pressing questions about contemporary relationships among youth, media culture, and learning.

Contemporary Issues in Youth Media Culture and Education

Recent questions about youth and media culture are tangled up with the participatory condition common to network societies (Sterne, Coleman, Ross, Barney, & Tembeck, 2016 ; Castells, 1996 ). The age of mass media was preoccupied with problems of representation, atomization, homogenization, and manipulation, and these problems defined the thinking about youth consumption and commercial culture in much of the 20th century . This is reflected in the anxieties and studies noted earlier in this article. As we have come to read and write media differently in a digital era, however, a new set of problems has arisen (Chun, 2016 ). Among these is the new role of participation and a participatory turn in media culture that has enabled users (or those we used to call audiences ) to become more active and involved with brands, franchises, celebrities, technologies, and social media networks across everyday life (Jenkins, 2006 ). This turn is evidenced by the increasing amount of time that youth spend with screens, but it is also a function of the way that many of us now interact with media culture. Audiences have always been actively involved with still and moving images, celebrities, sports, and popular music, among other artifacts. Fan cultures exemplify this, as do studies of how real-life audiences talk about and use media (Buckingham, 1993 ; Williams, 2003 ; Silverstone, 2001 ; Scannell, 1989 ; Radway, 1984 ).

But today we are called on to participate in digital media culture in new ways. Participation has become a condition that is “both environmental (a state of affairs) and normative (a binding principle of right action)” (p. vii), and our digital technologies and highly concentrated media industries are woven into the fabric of this state of affairs (Sterne et al., 2016 , p. vii). “These media allow a growing number of people to access, modify, store, circulate, and share media content” in ways that have been available only to professionals or a select few in the past (Sterne et al., 2016 , p. viii). As digitalization has changed the nature of media production, we have not only become more involved and active in our media use, but our interaction with digital media has allowed others to interact with us in new and sometimes troubling ways. This is the paradox of the participatory condition, and it shapes how youth media culture and education are connected today.

Issue 1: Surveillance, Branding, and the Production of Youth

To begin with, the pointy end of the participatory paradox has to do with the way that digital media cultures allow others, including corporations, governments, and predatory individuals, to monitor, survey, coordinate, and guide our activities as never before. With our data footprint, states, political parties, media, toy, and technology companies (as well as health, insurance, and a host of other industries) become data aggregation units that map and monitor youth behavior to interact with, brand, and modify this behavior for profitable ends. Big data enables the production of complex algorithms that produce what Wendy Chun ( 2016 , p. 363) calls “a universe of dramas” that dominate our attention economies. These dramas (the stories, celebrities, associations, and products with which we interact) are “co-produced transnationally by corporations and states through intertwining databases of action and unique identifiers.” Databases and identifiers enable algorithms to target, engage, and integrate a diverse range of youth into the global imaginary of consumer celebrity cultures and the archives of surveillance states (Chun, 2016 ). The American former military contractor and dissident Edward Snowden draws our attention to this universe in the documentary CitizenFour , which tells his story, and makes clear that instead of governments and corporations being accountable to us, we are now, regularly and without knowing it, accountable to them (Snowden, 2016 ).

Compounding these concerns, strangers can now access youth in ways that magnify the potential damage done by the pointy end of the participatory paradox. Fears about stranger danger and cyberbullying have been especially acute in recent years, and while these fears are not new (Poyntz, 2013a ), they have been central to panicked reactions among parents, educators, and others wary of youth media culture. These fears are often connected to worries about online content that young people now access, including vast troves of pornography available at the click of a button, as well as worrying online sites that promote hate, terrorism, and the radicalization of youth. The actual merits of concerns about who is accessing youth and what content they are accessing are sometimes difficult to gauge; nonetheless, it remains the case that for the foreseeable future, one of the fundamental issues shaping relationships between youth, media culture, and education is how and through what means youth are produced and made ready to participate in contemporary promotional and surveillance cultures—particularly when this happens for the benefit of people and institutions that exercise immense and often dubious power in young lives.

Issue 2—Creative Media and Youth Producing Politics

On the other end of the participatory paradox is a second issue shaping youth, media culture, and learning. While network societies produce new risk conditions (like those noted previously) for teenagers, digital media undoubtedly have enabled new forms of creative participation and media production that are changing how youth agency and activism operate. Mobile phones, cameras, editing platforms, and distribution networks have become more easily accessible for young people across the global North and South in recent years, and as this has happened, youth have gained opportunities to create, circulate, collaborate, and connect with others to address civic issues and matters of broad personal and public concern in ways that simply have not been available in the past. Since the mid-1990s, online media worlds have emerged as counterenvironments that afford teenagers a rich and inviting sphere of digitally mediated experiences to explore their imaginations, hopes, and desires (Giroux, 2011 ).

The fact that young people’s online worlds are dominated by the plots and affective commodities of commercial corporations means that these worlds can foster a culture of choice and personalized goods that encourage youth to act in highly individualized ways (Livingstone, 2009 ). But the skills and networks that teens nurture online can be publicly relevant (Boyd, 2014 ; Ito et al., 2015 ). The Internet, social media, and other digital resources have in fact become central to new kinds of participatory politics and shared civic spaces that are emerging as an outgrowth and extension of young people’s cultural experiences and activities (Ito et al., 2015 ; Soep, 2014 ; Kahne, Middaugh, & Allen, 2014 ; Poyntz, 2017 ; Bennett & Segerberg, 2012 ; Bakardjieva, 2010 ).

These practices extend a history of youth actions wherein culture and cultural texts have been drawn on to contest politics and power (including issues of gender, class, race, sexuality, and ability) and matters of public concern (including climate change and the rights of indigenous communities). Youth who lack representation and recognition in formal political institutions and practices often turn to culture and cultural texts to contest politics and power (Williams, 1958 ; Dimitriadis, 2009 ; Maira & Soep, 2005 ; McRobbie, 1993 ; Hebdige, 1979 ; Hall & Jefferson, 1976 ). Recently, these tendencies have been evident in the actions of the Black Lives Matter movement , which has produced an array of cultural expressions, including a video story archive and a remarkable photo library that lays bare the experiences and hopes of a movement that aims to be “an ideological and political intervention in a world where Black lives are systematically and intentionally targeted for demise.”

Beyond North America, in Tunisia, Egypt, Israel, Chile, Spain, the United Kingdom, Turkey, and other places, a range of bottom-up communication for social change practices has been part of epochal political actions and assemblies often led by students and other young people demanding government action on social justice and economic and human rights (Dencik & Leistert, 2015 ; Tufte et al., 2013 ). The contexts for these actions are complex, but in general, they point to instances where political cultures are emerging from young people’s cultural experiences and learning, challenging the meaning, representation, and response of those in power to matters of public concern.

More generally, across a range of youth communities, peer networks, and affinity associations, participatory media cultures are enabling levels of engagement, circulation, and cultural production by young people that are altering relationships between youth creative acts and political life. Kahne et al., 2014 have described these emerging practices as part of a wave of participatory politics that include a cross-section of actions that often extend across global communities. Examples include consumer activism (e.g., product boycotting) and lifestyle politics (e.g., vegetarianism); groups like the Harry Potter Alliance (HPA), which use characters and social justice themes from the novels to encourage connections between cultural and civic life; a community gathered around the Nerdfighters , a YouTube channel and movement organized around John and Hank Green and their mission to “decrease world suck”; fascinating examples of participatory storytelling, including the use of video memes by and about undocumented immigrant youth to draw attention to lives that have largely disappeared from mainstream media culture; and youth-driven campaigns and petitions organized in conjunction with groups like Change.org and Openmedia.ca to challenge public policy and focus attention on major injustices by institutions and officials using memes, videos, and mobile phone recordings of violence, inequity, and exploitation (Ito et al., 2015 ).

In addition to politically mobilized youth and youth drawn into mediated politics through cultural pastimes, there is evidence that youth connections to politics are being nurtured further by a diverse range of community youth media initiatives and groups that have emerged in cities across the global North and South over the past 20 years (Poyntz, 2013b , 2017 ; Asthana, 2015 ; Tufte et al., 2013 ; Tyner, 2009 ). Such community groups are part of a response to the risk conditions that shape contemporary life. They are crucial to negotiating citizenship in highly mediated cultures and for addressing digital divides to equip young people with the resources and networks necessary to manage and respond to experiences of change, injustice, violence, and possibility.

Community youth media production groups are part of an informal cultural learning sector that is an increasingly significant part of the work of provision for socially excluded youth. These groups are of many types, but they are symptomatic of a participatory media culture in which new possibilities and new opportunities have arisen to nurture youth creativity and political action. How to foster these developments through media education and the challenges confronting these efforts represents the third major issue shaping connections between youth, media culture, and learning today.

Issue 3—Youth, Media Learning, and Media Education

Media literacy education refers to learning “a set of competencies that enable one to interpret media texts and institutions, to make media of [one’s] own, and to recognize and engage with the social and political influence of media in everyday life” (Hoechsmann & Poyntz, 2012 , p. 1). We might debate this definition, but the larger point is that since at least the mid-1990s, media literacy education has made many gains in school curricula and among community groups and social movements, as noted previously (Skinner, Hackett, & Poyntz, 2015 ). At the same time, the challenges facing media literacy education are significant. For instance, the massive and relentless turn to instrumental forms of technical and creative learning in the service of job markets and competitive global positioning in formal schooling has mitigated the impact of critical media education.

Over the past two decades, a broad set of changes in schooling environments around the world have increasingly put a premium on preparing teenagers to be globally competitive, employable subjects (McDougal, 2014 ). In this context, the lure of media training in the service of work initiatives and labor market preparation is strong; thus, there has been a tendency in school and community-based media projects and organizations to focus on questions of culture and industry know-how (i.e., knowing and making media for the culture industries), as opposed to the work of public engagement and media reform. This orientation has been further encouraged by a return to basics and standardized testing across educational policy and practice, which has encouraged a move away from citizen-learning curricula (Westheimer, 2011 ; Westheimer & Kahne, 2004 ). These developments have led to efforts to redefine media education in the English curriculum in the United Kingdom, in ways that discourage critical media analysis and production (Buckingham, 2014 ).

In like fashion, the pressure to return to more traditional forms of learning has led to education policies in the United States, Australia, and parts of Canada that are intended to dissuade critical and/or citizen-oriented learning practices in schools (Poyntz, 2015 ; Hoechsmann & DeWaard, 2015 ). Poyntz ( 2013 ) has indicated elsewhere how this orientation shapes the projects of some community media groups working with young people, but the upshot is that instrumental media learning has come to complicate and sometimes frustrate how media literacy education is used to intervene in relationships among youth, media culture, and learning (Livingstone, 2009 ; Sefton-Screen, 2006 ).

This situation has been complicated further as the field of media literacy education has evolved to become a global discourse composed of a range of sometimes contradictory practices, modalities, objectives, and traditions (McDougall, 2014 ). The globalization of media literacy education has been a welcome development and is no doubt a consequence of the globalization of communication systems and the intensification of consumerism among young people around the world. But if the result of this development has been an outpouring of policy discussions, policy papers, and pilot studies across Europe, North America, Asia, and other regions (Frau-Meigs & Torrent, 2009 ), this has at the same time also produced a complex field of media literacy practices and models that have led to a generalization (and even one suspects a depoliticization) of the field. This has happened as efforts have emerged to weave media literacy education into disparate education systems and media institutions (Poyntz, 2015 ).

As the proliferation of media literacies has been underway, a raft of new media forms and practices—including cross-media, transmedia, and spreadable media (Jenkins, Ford, & Green, 2013 ) have also encouraged the production of a myriad of discourses about “ digital literacy, new media literacy [and] transmedia literacy” (McDougall, 2014 , p. 6). These and similar developments have ensured that media literacy education remains a contested field of objectives and meanings. While this can be interesting for academics, it may be less than encouraging for young people, educators, and others eager to draw on media education to affect contemporary relationships between youth, media culture, and learning. And let it be noted that the impact of these developments is not only relevant to the ways that youth negotiate media culture, but also to the future of democracy itself.

Concluding Thoughts

Media cultures have come to play a significant role in the way that young people go about making meaning in the world; this is especially true of how knowledge is shared and acquired. As a result, media are part of the continual shaping and reshaping of what learning resources look like. Both inside and outside the classroom, young people are increasingly able, even expected, to utilize the vast number of resources now available to them. Yet, many of these resources now foster worry rather than learning. The fact that “Google it,” for instance is now a common phrase referring to the act of information seeking is in itself telling; a distinct culture of learning has emerged from the development of the Internet and other media technologies. In fact, many young people today have never experienced learning without the ability to “Google it.” Yet this very culture of learning is indistinguishable from an American multinational technology company that is not beholden to the idea of a “public good.” If the project of education is not just to be for the benefit of a select few, but for society and a healthy democracy as a whole, however, then these contradictions must be engaged. So while media cultures are a significant feature of young people’s lives, it is becoming clear that media cultures have augured complicated relationships between youth and education in ways that are not easily reconciled.

The project of media education is not without its own set of challenges and contradictions, including those highlighted in this article. But it remains indispensable if educators, parents, and researchers are to support young people in navigating learning environments and imagining democratic futures.

Acknowledgments

Parts of this article have been adapted from Hoechsmann et al. ( 2012 ).

Social Media: Influences and Impacts on Culture

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Mui Joo Tang 17 &
Eang Teng Chan 17

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Advanced technologies of communication have brought influences and impacts on cultures. There are views that the influences and impacts are brought forward by social media which has been a powerful tool that can affect and form human behaviors as well as culture. Social media may have crossed the boundaries of culture due to the concept of borderless. Facebook may have been the social media that connects people around the world with massive cultural backgrounds to meet at the platform. The media content uploaded may spark the invasion of culture. There are many other social media which come with influencers that may shout about different values and practices around. Local cultures had therefore slowly lost their identities and replaced with a cross-cultural phenomenon. The cultural values invaded may include human behaviors, beliefs, values or even fashion and lifestyle. This research is to examine the factors of cross cultural communication, the reasons of culture being influenced by foreign countries through social media and the possibility of cultural invasion through social media. Social Influence theory is used in this research. Social influence occurs when a person’s emotions, opinions or behaviors are affected by others intentionally or unintentionally. Online survey Google Form is used at the target of 150 respondents aged between 18 to 25 years old. There is a contradicting view that people will lose their own culture after viewing too much of online content. The online activities and actions will slowly lead them to the change without their realization.

The authors acknowledged the raw material provided by Khoo Rose Lyn and Yong Zheng Wai.

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Section B – Culture

In your opinion, how has the local culture been influenced?

□ Overseas media/social media content through internet

□ Foreign culture is better than local culture

□ Did not practice own culture well

□ Other than the above: _______________________

Section C – Social Media and Culture

What is your view if local culture is influenced?

(If POSITIVE , proceed to 7a ; NEGATIVE , proceed to 7b )

If positive, why?

□ It is good if we accept other culture

□ It is more educational

□ Other cultures are better

□ Others: ________________________________________________________

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□ Culture makes us who we are in identity

□ Culture is important

Section D – Effects of Social Media on Culture

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Tang, M.J., Chan, E.T. (2020). Social Media: Influences and Impacts on Culture. In: Arai, K., Kapoor, S., Bhatia, R. (eds) Intelligent Computing. SAI 2020. Advances in Intelligent Systems and Computing, vol 1228. Springer, Cham. https://doi.org/10.1007/978-3-030-52249-0_33

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Media And Culture (Essay Sample) 2023

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Media And Culture

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Media and Culture

Introduction.

Media is the joint communication tools or outlets that are used for storing and delivering data or information. It is either related to communication media, or the established mass media businesses like broadcasting (television and radio), cinema, advertising, photography, the press, publishing, and print media. The word media is defined as “as one of the channels or means of common communication in the community, as television, radio, and newspapers. Culture on the other hand is the norms and social behavior that are found in human communities. Culture is a common subject in anthropology that encompasses the span of phenomena that are conveyed through social education in human communities. Some characteristic of social practices, like human behavior and culture conveying forms like rituals, music, religion, dance, and advancement such as shelter, clothing, cooking, and tool usage are referred to be cultural universals, that are found in all human communities. The subject of material culture is covering the physical assertions of culture like architecture, art, and technology, whereas the immaterial features of culture such as essentials of social organizations (includes practices of social institution and political organizations), literature (both oral and written), mythology, philosophy, and science comprising the untouchable cultural heritage of a community. In the liberal arts, one perception of culture as a trait of the individual has been the level to which they have improved a specific degree of sophistication in the education, sciences, manners, or arts. This paper seeks to describe media and culture and the significance of each in the modern society.

History of Media and Culture

The origin of human communication through outlined channels such as not gesture or vocalization, traces back to ancient drawn maps, writing, and cave paintings. The Persian Empire (focused on modern day Iraq) was playing a crucial role in the area of communication. It possesses the real postal system or mail, which is regarded to have been made by the Persian Emperor Cyrus after his subjugation of media. The work of the system as an intelligence gathering device is well recorded and the resource was later called angariae, a word that in time had been turned for indicating a tax system. The term communication is rooted from the Latin term communicare because the Roman Emperor had also devised what might be said to be a postal system or mail in order for central control of the territory from Rome. This postal system enabled for personal mails and for Rome to be gathering the information about events in its many extensive provinces. The present day term of culture is founded on a word that was used by Cicero, an ancient Roman when he was writing about the cultivation of soul or better known cultura animi, by using an agricultural symbol for developing a philosophical soul, acknowledged teleologically as the highest attainable model for human development. The term culture is stated by the Cambridge English wordbook as “the manner of life” especially the common beliefs and customs, of a certain group of individuals at a certain time.

Impacts of Media in the Modern Society

Media advancements have become an important feature of modern society. Each and every day, individuals are interacting with media of various kinds. Media advancement has established viewing progressively easier as time goes by throughout the history. For instance, children today are inspired to be using media devices in schools and are required to be having a general knowhow of the different advancements availed. The internet is probably one of the most effectual devices in media for disclosure, such as e-mail, skype, Facebook, and so forth, has caused individuals to draw closer simultaneously and creating new online societies (Berger, 2012). However, some individuals may debate that certain forms of media can be hindering face to face interaction and therefore can produce problems like identity theft. In a huge user driven community, print media such newspaper and electronic media such as television, are crucial for the distribution of the advertised media. More technologically developed communities are accessing goods and services through up to date media than less technologically developed communities. Additionally, the role of advertising media is nowadays a channel of sharing knowledge all across the globe. Because of media, the society can know what conflicting views are through press freedom and this is opens the space for debating and discussing, all of which help robust functioning of a democratic community (Geber, Scherer, & Hefner, 2016).

Impact of Culture in Modern Society

Technically, culture is consistently in the news and not only in the entrainment page of the newspapers and arts. It is like air one breathes or habitat water for fish. Yet lately culture has been a plain subject of debating. No matter what one is doing, culture is and will always be part of the community one lives in, whether it is one’s culture of the new nation one is residing or one’s culture by birth. One is born with a special fingerprint that comprises of ethnicity of that individual which contains the DNA of either parents, the next is the culture of both parents and finally, the kindness which is inborn in humanity at birth. Culture is a place or country that is having its own way of life and beliefs. One of the fascinating things in this modern society is connectivity where individuals of various cultures are intertwined by technology such as the World Wide Web. Technology and media have brought people of different cultures together and this evident on social media, online forums, and discussions. Culture is also one way of entertainment where people come to learn and appreciate the cultures of other societies and country in general. When culture is used as a lens in explaining the failures and successes, it is also obscuring extensive biological and socioeconomic factors. Understanding culture’s part in shaping one, one must comprehend that culture is not only the unmoving deposit of customs and ideas one lives with but it as well is shaped by diverse aspects like behavior (innate and learned), and circumstance (Van, 2017).

In conclusion, Media is the joint communication tools or outlets that are used for storing and delivering data or information and culture is the norms and social behavior that are found in human communities. Media and culture has become an important feature of modern society. One of the fascinating things in this modern society is connectivity where individuals of various cultures are intertwined by media technology. The media is a tool that is used to advertise various cultures and culture is one way of entertainment where people come to learn and appreciate diverse beliefs, customs, and artistry of other societies.

Geber S. Scherer H. Hefner D. (2016). Social Capital in Media Societies: The Impact of Media Use and Media Structures on Social Capital. International Communication Gazette, 78(6), p493-513.
Berger A. (2012). Media and Society: A Critical Perspective.
Van G. (2017). Part 1: What Is Culture and How Does It Affect Our Daily Lives? HUFFPOST. Retrieved from http://www.huffingtonpost.com/gabriella-van-rij/part-1-what-is-culture-and-how-does-it-affect-our-daily-lives_b_9607312.html

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How Harmful Is Social Media?

By Gideon Lewis-Kraus

In April, the social psychologist Jonathan Haidt published an essay in The Atlantic in which he sought to explain, as the piece’s title had it, “Why the Past 10 Years of American Life Have Been Uniquely Stupid.” Anyone familiar with Haidt’s work in the past half decade could have anticipated his answer: social media. Although Haidt concedes that political polarization and factional enmity long predate the rise of the platforms, and that there are plenty of other factors involved, he believes that the tools of virality—Facebook’s Like and Share buttons, Twitter’s Retweet function—have algorithmically and irrevocably corroded public life. He has determined that a great historical discontinuity can be dated with some precision to the period between 2010 and 2014, when these features became widely available on phones.

“What changed in the 2010s?” Haidt asks, reminding his audience that a former Twitter developer had once compared the Retweet button to the provision of a four-year-old with a loaded weapon. “A mean tweet doesn’t kill anyone; it is an attempt to shame or punish someone publicly while broadcasting one’s own virtue, brilliance, or tribal loyalties. It’s more a dart than a bullet, causing pain but no fatalities. Even so, from 2009 to 2012, Facebook and Twitter passed out roughly a billion dart guns globally. We’ve been shooting one another ever since.” While the right has thrived on conspiracy-mongering and misinformation, the left has turned punitive: “When everyone was issued a dart gun in the early 2010s, many left-leaning institutions began shooting themselves in the brain. And, unfortunately, those were the brains that inform, instruct, and entertain most of the country.” Haidt’s prevailing metaphor of thoroughgoing fragmentation is the story of the Tower of Babel: the rise of social media has “unwittingly dissolved the mortar of trust, belief in institutions, and shared stories that had held a large and diverse secular democracy together.”

These are, needless to say, common concerns. Chief among Haidt’s worries is that use of social media has left us particularly vulnerable to confirmation bias, or the propensity to fix upon evidence that shores up our prior beliefs. Haidt acknowledges that the extant literature on social media’s effects is large and complex, and that there is something in it for everyone. On January 6, 2021, he was on the phone with Chris Bail, a sociologist at Duke and the author of the recent book “ Breaking the Social Media Prism ,” when Bail urged him to turn on the television. Two weeks later, Haidt wrote to Bail, expressing his frustration at the way Facebook officials consistently cited the same handful of studies in their defense. He suggested that the two of them collaborate on a comprehensive literature review that they could share, as a Google Doc, with other researchers. (Haidt had experimented with such a model before.) Bail was cautious. He told me, “What I said to him was, ‘Well, you know, I’m not sure the research is going to bear out your version of the story,’ and he said, ‘Why don’t we see?’ ”

Bail emphasized that he is not a “platform-basher.” He added, “In my book, my main take is, Yes, the platforms play a role, but we are greatly exaggerating what it’s possible for them to do—how much they could change things no matter who’s at the helm at these companies—and we’re profoundly underestimating the human element, the motivation of users.” He found Haidt’s idea of a Google Doc appealing, in the way that it would produce a kind of living document that existed “somewhere between scholarship and public writing.” Haidt was eager for a forum to test his ideas. “I decided that if I was going to be writing about this—what changed in the universe, around 2014, when things got weird on campus and elsewhere—once again, I’d better be confident I’m right,” he said. “I can’t just go off my feelings and my readings of the biased literature. We all suffer from confirmation bias, and the only cure is other people who don’t share your own.”

Haidt and Bail, along with a research assistant, populated the document over the course of several weeks last year, and in November they invited about two dozen scholars to contribute. Haidt told me, of the difficulties of social-scientific methodology, “When you first approach a question, you don’t even know what it is. ‘Is social media destroying democracy, yes or no?’ That’s not a good question. You can’t answer that question. So what can you ask and answer?” As the document took on a life of its own, tractable rubrics emerged—Does social media make people angrier or more affectively polarized? Does it create political echo chambers? Does it increase the probability of violence? Does it enable foreign governments to increase political dysfunction in the United States and other democracies? Haidt continued, “It’s only after you break it up into lots of answerable questions that you see where the complexity lies.”

Haidt came away with the sense, on balance, that social media was in fact pretty bad. He was disappointed, but not surprised, that Facebook’s response to his article relied on the same three studies they’ve been reciting for years. “This is something you see with breakfast cereals,” he said, noting that a cereal company “might say, ‘Did you know we have twenty-five per cent more riboflavin than the leading brand?’ They’ll point to features where the evidence is in their favor, which distracts you from the over-all fact that your cereal tastes worse and is less healthy.”

After Haidt’s piece was published, the Google Doc—“Social Media and Political Dysfunction: A Collaborative Review”—was made available to the public . Comments piled up, and a new section was added, at the end, to include a miscellany of Twitter threads and Substack essays that appeared in response to Haidt’s interpretation of the evidence. Some colleagues and kibbitzers agreed with Haidt. But others, though they might have shared his basic intuition that something in our experience of social media was amiss, drew upon the same data set to reach less definitive conclusions, or even mildly contradictory ones. Even after the initial flurry of responses to Haidt’s article disappeared into social-media memory, the document, insofar as it captured the state of the social-media debate, remained a lively artifact.

Near the end of the collaborative project’s introduction, the authors warn, “We caution readers not to simply add up the number of studies on each side and declare one side the winner.” The document runs to more than a hundred and fifty pages, and for each question there are affirmative and dissenting studies, as well as some that indicate mixed results. According to one paper, “Political expressions on social media and the online forum were found to (a) reinforce the expressers’ partisan thought process and (b) harden their pre-existing political preferences,” but, according to another, which used data collected during the 2016 election, “Over the course of the campaign, we found media use and attitudes remained relatively stable. Our results also showed that Facebook news use was related to modest over-time spiral of depolarization. Furthermore, we found that people who use Facebook for news were more likely to view both pro- and counter-attitudinal news in each wave. Our results indicated that counter-attitudinal exposure increased over time, which resulted in depolarization.” If results like these seem incompatible, a perplexed reader is given recourse to a study that says, “Our findings indicate that political polarization on social media cannot be conceptualized as a unified phenomenon, as there are significant cross-platform differences.”

Interested in echo chambers? “Our results show that the aggregation of users in homophilic clusters dominate online interactions on Facebook and Twitter,” which seems convincing—except that, as another team has it, “We do not find evidence supporting a strong characterization of ‘echo chambers’ in which the majority of people’s sources of news are mutually exclusive and from opposite poles.” By the end of the file, the vaguely patronizing top-line recommendation against simple summation begins to make more sense. A document that originated as a bulwark against confirmation bias could, as it turned out, just as easily function as a kind of generative device to support anybody’s pet conviction. The only sane response, it seemed, was simply to throw one’s hands in the air.

When I spoke to some of the researchers whose work had been included, I found a combination of broad, visceral unease with the current situation—with the banefulness of harassment and trolling; with the opacity of the platforms; with, well, the widespread presentiment that of course social media is in many ways bad—and a contrastive sense that it might not be catastrophically bad in some of the specific ways that many of us have come to take for granted as true. This was not mere contrarianism, and there was no trace of gleeful mythbusting; the issue was important enough to get right. When I told Bail that the upshot seemed to me to be that exactly nothing was unambiguously clear, he suggested that there was at least some firm ground. He sounded a bit less apocalyptic than Haidt.

“A lot of the stories out there are just wrong,” he told me. “The political echo chamber has been massively overstated. Maybe it’s three to five per cent of people who are properly in an echo chamber.” Echo chambers, as hotboxes of confirmation bias, are counterproductive for democracy. But research indicates that most of us are actually exposed to a wider range of views on social media than we are in real life, where our social networks—in the original use of the term—are rarely heterogeneous. (Haidt told me that this was an issue on which the Google Doc changed his mind; he became convinced that echo chambers probably aren’t as widespread a problem as he’d once imagined.) And too much of a focus on our intuitions about social media’s echo-chamber effect could obscure the relevant counterfactual: a conservative might abandon Twitter only to watch more Fox News. “Stepping outside your echo chamber is supposed to make you moderate, but maybe it makes you more extreme,” Bail said. The research is inchoate and ongoing, and it’s difficult to say anything on the topic with absolute certainty. But this was, in part, Bail’s point: we ought to be less sure about the particular impacts of social media.

Bail went on, “The second story is foreign misinformation.” It’s not that misinformation doesn’t exist, or that it hasn’t had indirect effects, especially when it creates perverse incentives for the mainstream media to cover stories circulating online. Haidt also draws convincingly upon the work of Renée DiResta, the research manager at the Stanford Internet Observatory, to sketch out a potential future in which the work of shitposting has been outsourced to artificial intelligence, further polluting the informational environment. But, at least so far, very few Americans seem to suffer from consistent exposure to fake news—“probably less than two per cent of Twitter users, maybe fewer now, and for those who were it didn’t change their opinions,” Bail said. This was probably because the people likeliest to consume such spectacles were the sort of people primed to believe them in the first place. “In fact,” he said, “echo chambers might have done something to quarantine that misinformation.”

The final story that Bail wanted to discuss was the “proverbial rabbit hole, the path to algorithmic radicalization,” by which YouTube might serve a viewer increasingly extreme videos. There is some anecdotal evidence to suggest that this does happen, at least on occasion, and such anecdotes are alarming to hear. But a new working paper led by Brendan Nyhan, a political scientist at Dartmouth, found that almost all extremist content is either consumed by subscribers to the relevant channels—a sign of actual demand rather than manipulation or preference falsification—or encountered via links from external sites. It’s easy to see why we might prefer if this were not the case: algorithmic radicalization is presumably a simpler problem to solve than the fact that there are people who deliberately seek out vile content. “These are the three stories—echo chambers, foreign influence campaigns, and radicalizing recommendation algorithms—but, when you look at the literature, they’ve all been overstated.” He thought that these findings were crucial for us to assimilate, if only to help us understand that our problems may lie beyond technocratic tinkering. He explained, “Part of my interest in getting this research out there is to demonstrate that everybody is waiting for an Elon Musk to ride in and save us with an algorithm”—or, presumably, the reverse—“and it’s just not going to happen.”

When I spoke with Nyhan, he told me much the same thing: “The most credible research is way out of line with the takes.” He noted, of extremist content and misinformation, that reliable research that “measures exposure to these things finds that the people consuming this content are small minorities who have extreme views already.” The problem with the bulk of the earlier research, Nyhan told me, is that it’s almost all correlational. “Many of these studies will find polarization on social media,” he said. “But that might just be the society we live in reflected on social media!” He hastened to add, “Not that this is untroubling, and none of this is to let these companies, which are exercising a lot of power with very little scrutiny, off the hook. But a lot of the criticisms of them are very poorly founded. . . . The expansion of Internet access coincides with fifteen other trends over time, and separating them is very difficult. The lack of good data is a huge problem insofar as it lets people project their own fears into this area.” He told me, “It’s hard to weigh in on the side of ‘We don’t know, the evidence is weak,’ because those points are always going to be drowned out in our discourse. But these arguments are systematically underprovided in the public domain.”

In his Atlantic article, Haidt leans on a working paper by two social scientists, Philipp Lorenz-Spreen and Lisa Oswald, who took on a comprehensive meta-analysis of about five hundred papers and concluded that “the large majority of reported associations between digital media use and trust appear to be detrimental for democracy.” Haidt writes, “The literature is complex—some studies show benefits, particularly in less developed democracies—but the review found that, on balance, social media amplifies political polarization; foments populism, especially right-wing populism; and is associated with the spread of misinformation.” Nyhan was less convinced that the meta-analysis supported such categorical verdicts, especially once you bracketed the kinds of correlational findings that might simply mirror social and political dynamics. He told me, “If you look at their summary of studies that allow for causal inferences—it’s very mixed.”

As for the studies Nyhan considered most methodologically sound, he pointed to a 2020 article called “The Welfare Effects of Social Media,” by Hunt Allcott, Luca Braghieri, Sarah Eichmeyer, and Matthew Gentzkow. For four weeks prior to the 2018 midterm elections, the authors randomly divided a group of volunteers into two cohorts—one that continued to use Facebook as usual, and another that was paid to deactivate their accounts for that period. They found that deactivation “(i) reduced online activity, while increasing offline activities such as watching TV alone and socializing with family and friends; (ii) reduced both factual news knowledge and political polarization; (iii) increased subjective well-being; and (iv) caused a large persistent reduction in post-experiment Facebook use.” But Gentzkow reminded me that his conclusions, including that Facebook may slightly increase polarization, had to be heavily qualified: “From other kinds of evidence, I think there’s reason to think social media is not the main driver of increasing polarization over the long haul in the United States.”

In the book “ Why We’re Polarized ,” for example, Ezra Klein invokes the work of such scholars as Lilliana Mason to argue that the roots of polarization might be found in, among other factors, the political realignment and nationalization that began in the sixties, and were then sacralized, on the right, by the rise of talk radio and cable news. These dynamics have served to flatten our political identities, weakening our ability or inclination to find compromise. Insofar as some forms of social media encourage the hardening of connections between our identities and a narrow set of opinions, we might increasingly self-select into mutually incomprehensible and hostile groups; Haidt plausibly suggests that these processes are accelerated by the coalescence of social-media tribes around figures of fearful online charisma. “Social media might be more of an amplifier of other things going on rather than a major driver independently,” Gentzkow argued. “I think it takes some gymnastics to tell a story where it’s all primarily driven by social media, especially when you’re looking at different countries, and across different groups.”

Another study, led by Nejla Asimovic and Joshua Tucker, replicated Gentzkow’s approach in Bosnia and Herzegovina, and they found almost precisely the opposite results: the people who stayed on Facebook were, by the end of the study, more positively disposed to their historic out-groups. The authors’ interpretation was that ethnic groups have so little contact in Bosnia that, for some people, social media is essentially the only place where they can form positive images of one another. “To have a replication and have the signs flip like that, it’s pretty stunning,” Bail told me. “It’s a different conversation in every part of the world.”

Nyhan argued that, at least in wealthy Western countries, we might be too heavily discounting the degree to which platforms have responded to criticism: “Everyone is still operating under the view that algorithms simply maximize engagement in a short-term way” with minimal attention to potential externalities. “That might’ve been true when Zuckerberg had seven people working for him, but there are a lot of considerations that go into these rankings now.” He added, “There’s some evidence that, with reverse-chronological feeds”—streams of unwashed content, which some critics argue are less manipulative than algorithmic curation—“people get exposed to more low-quality content, so it’s another case where a very simple notion of ‘algorithms are bad’ doesn’t stand up to scrutiny. It doesn’t mean they’re good, it’s just that we don’t know.”

Bail told me that, over all, he was less confident than Haidt that the available evidence lines up clearly against the platforms. “Maybe there’s a slight majority of studies that say that social media is a net negative, at least in the West, and maybe it’s doing some good in the rest of the world.” But, he noted, “Jon will say that science has this expectation of rigor that can’t keep up with the need in the real world—that even if we don’t have the definitive study that creates the historical counterfactual that Facebook is largely responsible for polarization in the U.S., there’s still a lot pointing in that direction, and I think that’s a fair point.” He paused. “It can’t all be randomized control trials.”

Haidt comes across in conversation as searching and sincere, and, during our exchange, he paused several times to suggest that I include a quote from John Stuart Mill on the importance of good-faith debate to moral progress. In that spirit, I asked him what he thought of the argument, elaborated by some of Haidt’s critics, that the problems he described are fundamentally political, social, and economic, and that to blame social media is to search for lost keys under the streetlamp, where the light is better. He agreed that this was the steelman opponent: there were predecessors for cancel culture in de Tocqueville, and anxiety about new media that went back to the time of the printing press. “This is a perfectly reasonable hypothesis, and it’s absolutely up to the prosecution—people like me—to argue that, no, this time it’s different. But it’s a civil case! The evidential standard is not ‘beyond a reasonable doubt,’ as in a criminal case. It’s just a preponderance of the evidence.”

The way scholars weigh the testimony is subject to their disciplinary orientations. Economists and political scientists tend to believe that you can’t even begin to talk about causal dynamics without a randomized controlled trial, whereas sociologists and psychologists are more comfortable drawing inferences on a correlational basis. Haidt believes that conditions are too dire to take the hardheaded, no-reasonable-doubt view. “The preponderance of the evidence is what we use in public health. If there’s an epidemic—when COVID started, suppose all the scientists had said, ‘No, we gotta be so certain before you do anything’? We have to think about what’s actually happening, what’s likeliest to pay off.” He continued, “We have the largest epidemic ever of teen mental health, and there is no other explanation,” he said. “It is a raging public-health epidemic, and the kids themselves say Instagram did it, and we have some evidence, so is it appropriate to say, ‘Nah, you haven’t proven it’?”

This was his attitude across the board. He argued that social media seemed to aggrandize inflammatory posts and to be correlated with a rise in violence; even if only small groups were exposed to fake news, such beliefs might still proliferate in ways that were hard to measure. “In the post-Babel era, what matters is not the average but the dynamics, the contagion, the exponential amplification,” he said. “Small things can grow very quickly, so arguments that Russian disinformation didn’t matter are like COVID arguments that people coming in from China didn’t have contact with a lot of people.” Given the transformative effects of social media, Haidt insisted, it was important to act now, even in the absence of dispositive evidence. “Academic debates play out over decades and are often never resolved, whereas the social-media environment changes year by year,” he said. “We don’t have the luxury of waiting around five or ten years for literature reviews.”

Haidt could be accused of question-begging—of assuming the existence of a crisis that the research might or might not ultimately underwrite. Still, the gap between the two sides in this case might not be quite as wide as Haidt thinks. Skeptics of his strongest claims are not saying that there’s no there there. Just because the average YouTube user is unlikely to be led to Stormfront videos, Nyhan told me, doesn’t mean we shouldn’t worry that some people are watching Stormfront videos; just because echo chambers and foreign misinformation seem to have had effects only at the margins, Gentzkow said, doesn’t mean they’re entirely irrelevant. “There are many questions here where the thing we as researchers are interested in is how social media affects the average person,” Gentzkow told me. “There’s a different set of questions where all you need is a small number of people to change—questions about ethnic violence in Bangladesh or Sri Lanka, people on YouTube mobilized to do mass shootings. Much of the evidence broadly makes me skeptical that the average effects are as big as the public discussion thinks they are, but I also think there are cases where a small number of people with very extreme views are able to find each other and connect and act.” He added, “That’s where many of the things I’d be most concerned about lie.”

The same might be said about any phenomenon where the base rate is very low but the stakes are very high, such as teen suicide. “It’s another case where those rare edge cases in terms of total social harm may be enormous. You don’t need many teen-age kids to decide to kill themselves or have serious mental-health outcomes in order for the social harm to be really big.” He added, “Almost none of this work is able to get at those edge-case effects, and we have to be careful that if we do establish that the average effect of something is zero, or small, that it doesn’t mean we shouldn’t be worried about it—because we might be missing those extremes.” Jaime Settle, a scholar of political behavior at the College of William & Mary and the author of the book “ Frenemies: How Social Media Polarizes America ,” noted that Haidt is “farther along the spectrum of what most academics who study this stuff are going to say we have strong evidence for.” But she understood his impulse: “We do have serious problems, and I’m glad Jon wrote the piece, and down the road I wouldn’t be surprised if we got a fuller handle on the role of social media in all of this—there are definitely ways in which social media has changed our politics for the worse.”

It’s tempting to sidestep the question of diagnosis entirely, and to evaluate Haidt’s essay not on the basis of predictive accuracy—whether social media will lead to the destruction of American democracy—but as a set of proposals for what we might do better. If he is wrong, how much damage are his prescriptions likely to do? Haidt, to his great credit, does not indulge in any wishful thinking, and if his diagnosis is largely technological his prescriptions are sociopolitical. Two of his three major suggestions seem useful and have nothing to do with social media: he thinks that we should end closed primaries and that children should be given wide latitude for unsupervised play. His recommendations for social-media reform are, for the most part, uncontroversial: he believes that preteens shouldn’t be on Instagram and that platforms should share their data with outside researchers—proposals that are both likely to be beneficial and not very costly.

It remains possible, however, that the true costs of social-media anxieties are harder to tabulate. Gentzkow told me that, for the period between 2016 and 2020, the direct effects of misinformation were difficult to discern. “But it might have had a much larger effect because we got so worried about it—a broader impact on trust,” he said. “Even if not that many people were exposed, the narrative that the world is full of fake news, and you can’t trust anything, and other people are being misled about it—well, that might have had a bigger impact than the content itself.” Nyhan had a similar reaction. “There are genuine questions that are really important, but there’s a kind of opportunity cost that is missed here. There’s so much focus on sweeping claims that aren’t actionable, or unfounded claims we can contradict with data, that are crowding out the harms we can demonstrate, and the things we can test, that could make social media better.” He added, “We’re years into this, and we’re still having an uninformed conversation about social media. It’s totally wild.”

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Essay on Media

The Relationship Between Media And Culture Essay

Type of paper: Essay

Topic: Media , Entertainment , Video Games , Violence , Games , Family , Children , Culture

Published: 11/13/2019

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Culture is frequently reflected in movies, television and electronic games, and has been throughout modern history.

The influence of The Cold War, for example, had a deep and enduring influence on the American film industry. Over the years following the Cold War, a string of films were made, echoing various related themes. Walk East on Beacon, for example, is based on an article by J. Edgar Hoover. It depicts the struggles of Soviet spies to foil a top-secret scientific project (Landon).

Just as culture can affect media, media can equally affect culture. As computer games have become more popular they have had a considerable impact upon popular culture. Video games encourage players to self-produce their own media. For example, In 1999, Doom gave out a code that allowed gamers to modify and lengthen their game. Pro-sumers such as this one have unified gamers and have given them a medium through which they can discuss game experiences and tactics. Within recent years, many influential games have been released. Goldeneye 64 is well-known as being one of the most influential items in gaming history. It introduced the video game world to console based games that contained a story, weapons, secrets, unlockable characters and multi-player, among other attractive features. The FPS genre is now the most popularly used genre of game in the western world, mostly as a result of the impact of Goldeneye 64 (Hent, 2010). This game has been so influential that in 2010 it was released, thirteen years after its original release. The Grand Theft Auto series is a further example. It has influenced games such as Fallout 3 and Fallout: New Vegas. The concept of an ever-changing world has drawn in many game developers. Crime genre games such as Kane and Lynch have been designed and produced as a result of Grand Theft Auto (Hent, 2010). Resident Evil marked the start of Survival Horror (Hent, 2010). The game has produced several sequels and a prequel. Some games that are based on Resident Evil include Dino Crisis and Parasite Eve. Video gaming has become a common hobby for individuals of all different ages. Many children and young people spend a great deal of their time engaging in the activity. Some games could be deemed as educational, but many of the more popular games, however, positively feature acts such as killing, abusing drugs, committing crime, using bad language and acting according to stereotypes based on race, sex and gender (Children, 2006). There is increasing research begin carried out regarding the impact that videogames can have on children. There are worries about how children are effected by playing violent video games when they spend excessive amounts of time playing them (Children, 2006). Studies of children open to game violence have revealed that they can become: “immune or numb to the horror of violence, imitate the violence they see, and show more aggressive behavior with greater exposure to violence” (Children, 2006). Some children take on the view that violence is a method of dealing with problems. Research has also suggested that the more realistic and regular the violence is, the higher the effect on the child. Furthermore, children with learning, emotional and behavioral difficulties are likely to be more susceptible to violence in gaming. Children and young people can become obsessed and even addicted to videogames. Spending vast quantities of time playing such games can result in inadequate social skills, time away from friends, school-work and other leisure activities, poor school grades, partaking in less exercise and gaining weight, and violent thoughts and conducts (Children, 2006). Movies, television and video games are closely linked to culture. Culture can influence the media, but the media can also affect culture. As television and gaming become ever more popular, it is likely that the relationship between media and culture will tighten even further in the future.

Children and Video Games: Playing with Violence. (2006). American Academy of Child and Adolescent Psychiatry. Retrieved from

http://www.aacap.org/cs/root/facts_for_families/children_and_video_games_playing_ with_violence Hent, K. (2010). The Top Ten Most Influential Games. Bukisa. Retrieved from

http://www.bukisa.com/articles/346987_the-top-10-most-influential-video-games Landon, P.J. Films of the Cold War. User Pages. Retrieved from

http://userpages.umbc.edu/~landon/Local_Information_Files/Films%20of%20the%20 Cold%20War.htm Nicolosi, B. Video Game Culture: A Harmless Addiction? Catholic Education Resource Centre. Retrieved from http://www.catholiceducation.org/articles/media/me0031.html

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Essay On Media

Keeping up with the most recent developments is critical in today's society. People can get the most recent and important news through the media. The media is the most commonly used medium for receiving information from north to south or east to west. Here are a few sample essays on the topic ‘Media’.

100 Words Essay On Media

200 word essay on media, 500 word essay on media.

The media has an impact on the reputation of a political party, organisation, or individual. Media keeps people informed about current happenings in politics, culture, art, academia, communication, and commerce. Different forms of media help modern civilization in remaining in touch with the world in the shortest amount of time.

The media is all around us; we are immersed in it even when we are not aware of it. It is seen in newspapers, television, and technological gadgets such as cell phones. We perceive it as a tool for speeding time or distancing ourselves from what is going on in other people's lives.

Social media is a tool that has become immensely popular among all ages due to its user-friendly interface. The youth are the most prevalent social media user demographics, which is both remarkable and concerning.

Imagery from the media abounds in today's culture. We know this since we may see posters advertising well-known brands and the latest products almost anywhere we go, such as while driving on the highway. When we are drawn to advertisements, we may begin to imagine or visualise ourselves using them.

The media can tell us about a product, service, or message. Today, media influence is so powerful that it may easily influence public opinion both positively and negatively. We also live in a society that is heavily reliant on the media for entertainment and information. Indeed, pictures in the media have an effect on both people and society, especially women, men, teenagers, and young children.

Simultaneously, media such as television, broadens our perspective by providing us with access to facts from all around the world. Television may also provide us with a wide range of news and current happenings. It can also be a useful learning tool, guiding future generations in the proper direction.

The media has a large influence on our lives. We educate ourselves on a regular basis by staying up with the latest events. The news serves a crucial role in keeping us informed about current affairs and global happenings. For example, because of globalization, you can read about current happenings in the United States of America even if you live in India.

The media is the most significant communication tool. It aids in the delivery or dissemination of news. Although the media is also associated with spreading fake news, it also plays an important role in informing us about reality. We cannot deny that this world is filled with so many social problems that we require the media to spotlight these concerns so that the government or other individuals can take action to resolve these social issues.

Role Of Media

When it comes to the media, it is regarded as the fourth element of democracy. It's the most comprehensive repository of information on the globe. Everyone hope and expects the media to provide us with the most complete and accurate news in any situation. As a result, the media plays an important role in balancing all areas of our society.

It is crucial for teaching and informing global citizens about what is happening around the world. As a result, supplying readers with truthful and authentic news is vital for societal growth. The case of Aayushi Talvaar is a good illustration of how the media works.

Advantages Of Media

Education | The media educates the public. The mob learns about health issues, environmental preservation, and a variety of other relevant topics through television or radio programming.

Keeps Us Informed | People obtain the most recent news in a timely manner. Distance is not a barrier to providing knowledge to people from anywhere on the planet. People receive the daily latest news from media sites, which keep them current on the latest trends and happenings throughout the world.

Knowledge | The media can help you learn more about a variety of topics.

Amusement | It is a great source of entertainment. People are amused by music and television shows.

Disadvantages Of Media

Individualism | People spend far too much time watching or binge-watching stuff on the internet. As a result, their relationships with friends, family, and neighbours may suffer as a result.

Fraud and Cybercrime | The Internet is lurking with imposters, fraudsters, hackers, and other predators with the opportunity to commit criminal acts without the victims' knowledge.

Addiction | For most children and adults, some television shows and internet media can be quite addictive, resulting in a decrease in productivity.

Health Issues | Prolonged television viewing or internet bingeing can cause visual difficulties, and prolonged exposure to loud noises via headphones or earphones can cause hearing impairments.

Malware and Fake Profiles | Anyone can set up an anonymous account and pretend to be someone else. Anyone with access to such profiles might use them for malevolent purposes, such as spreading misinformation, which can harm the image of any targeted people or company.

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Frequently Asked Questions

Phd, media, culture, and communication, am i a good fit for this program is my proposed research topic suitable for your department.

Our approach to media and culture is interdisciplinary. As a result, we are interested in a wide variety of topics, which you can see by reviewing profiles of our PhD students and faculty . Given the sheer number of applicants, we are unable to comment on any student's admissibility without seeing all materials in the context of the application process. Students do not decide which faculty they will work with until their second or third year in the program. Faculty will not commit to supervising a research project prior to admission.

Can I talk with someone in the Department?

If you have questions about the admissions process or the program, you should start by contacting a graduate advisor via email at [email protected] or via phone at 212-998-5191.

Our Director of Graduate Studies, Mara Mills , can address questions about the philosophy of the Department and the program's focus. Due to time constraints, it is rare for faculty members to respond to prospective student inquiries.

If you do contact faculty, please note the following:

Students are not expected to have the commitment of a faculty advisor prior to admission. In speaking with prospective students, faculty can answer questions about the program and their own research interests but they will not commit to a project nor to advising/supervision.
Please do not send CVs, personal statements, and other documents unless requested. We review these materials during the application process.
If you email faculty with questions about the admissions process or general questions about the program, your email will likely be forwarded to our graduate advisor.
One of the best opportunities to meet faculty is at departmental events. View our calendar for a list of upcoming events , including our annual Neil Postman Graduate Conference .

I am visiting New York and want to see the campus. Can I do a tour?

NYU offers general tours for prospective students. While we would certainly like to meet you, we are unable to meet with all prospective students interested in our program. The graduate advisor is often available. You should contact the Director of Graduate Studies and other faculty directly if you would like to request a meeting with them. Please understand that faculty are often busy with current students and may not be available when you are in town.

Are there any special requirements for international applicants?

See the admissions office's website for Special Instructions for International Applicants . Applicants whose first language is not English are required to take one of the following English proficiency exams and submit the scores: TOEFL, IELTS, or PTE Academic. See more information on English proficiency testing.

Can I be considered for the MA program if I am not admitted to the PhD program?

Yes. If you are not admitted to the PhD program and want to be considered for the MA, send an email to [email protected] . Please note that the master's program is not funded. All US citizens and permanent residents who wish to be considered for MA scholarship funding must submit a FAFSA by February 1. NYU Steinhardt offers partial tuition scholarships, fellowships, and assistantships that are based on merit and financial need. View a selection of internal and external funding .

Can I be admitted to the PhD program without a master's degree?

We do admit students to the PhD program without an MA, but it is not common. Of the last 20 students we admitted, 17 had master's degrees.

Is my application strong enough for the PhD program?

We are unable to comment on the admissibility of a prospective student without seeing a full application in the context of the application process. Current or past faculty, and others who know your academic work, are best able to comment on your admissibility before you apply. Please note that our PhD program is quite competitive; last year we accepted 5 students from approximately 232 applications. Thus, even if you think that NYU is the best program for you, the chances of being accepted are such that we encourage you to apply widely to as many strong departments as possible.

What is the "MCC Essay" that is required as part of the application?

In lieu of a statement of purpose, you will be asked to upload a brief essay on the research area/topic you expect to pursue, your background preparation for advanced work in that area/topic, and some of the scholars whose work in that area has shaped your thinking. The essay should be 2-3 pages single-spaced or 4-5 pages double-spaced.

How do I learn more about the PhD in Media, Culture, and Communication?

The best way to learn about our program is to read the work of our faculty and review our website to learn about required coursework , information about our current students and sample dissertation abstracts .

Media, Culture, and Communication

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COMMENTS

How Does Media Influence Culture and Society?
By educating people about different cultures and emphasizing the positive aspects, the media can play an important role in constructing the cultures of different societies across the world and, in the process, avoiding prejudice and stereotyping. The mass media has got a large audience that gives a lot of power to influence many societal issues ...
Understanding Media and Culture: An Introduction to Mass Communication
The author believes that an introduction to mass communication text should be a compelling, historical narrative sketching the *ongoing evolution* of media technology and how that technology shapes and is shaped by culture — and that is what he set out to deliver with his new textbook. Today's students are immersed in media technology.
1.3 The Evolution of Media
Key Takeaways. Media fulfills several roles in society, including the following: entertaining and providing an outlet for the imagination, educating and informing, serving as a public forum for the discussion of important issues, and. acting as a watchdog for government, business, and other institutions.
Media and Culture
Culture and media exert influence on each other in subtle, complex ways. The 1960 election is an example of how changes in media technology have had a major impact on culture. But the influence goes both ways, and culture shapes media in important ways, even how media evolve.
Media Culture: Definition, Effects and Examples (2024)
The term "media culture" refers to the culture that developed in the 20th century as a result of American corporate consumer ideology and mass media (Thomas, 2012, p. 30). Media culture is a multifaceted concept that encompasses a variety of issues, including representations of beauty and body image, gender roles, race and ethnicity ...
The Impact of Media on Society
Media has a remarkable control in almost every aspect of our lives; in politics, social and cultural or economic welfares. Perhaps the best analysis of the impact that media has played in the society is through first acknowledging its role in information flow and circulation. It is would be unjust to overlook the importance of information to ...
13.6 Globalization of Media
Media is largely a cultural product, and the transfer of such a product is likely to have an influence on the recipient's culture. Increasingly, technology has also been propelling globalization. Technology allows for quick communication, fast and coordinated transport, and efficient mass marketing, all of which have allowed globalization ...
Youth and Media Culture
"Youth and Media Culture" published on by Oxford University Press. "Youth and Media Culture" published on by Oxford University Press. Media in the 21st century are changing when, where, what, and how young people learn. ... Whether to research an essay, acquire new skills, find an expert, watch a video clip, or contribute a blog post, the ...
Social Media: Influences and Impacts on Culture
2.1 Social Media Influences Human Behavior. The internet is shaping the users' culture, whereas social media has strongly influenced our shopping pattern, relationships, and education. This can alter the behaviours, beliefs, and even the basic health of people [ 6 ]. Social media affects lifestyles especially in fashion.
PDF SOC 7: Media, Culture and Society 2019-20 2
SOC 7: Media, Culture and Society 2019-20 4 • A. C. Mendes, Salman Rushdie in the Cultural Marketplace (Routledge, 2016) [Chapter 4: Music and the Brown Culture Industry] • J. Raundalen, 'Tech Support: How Technological Utopianism in the Media Is Driving Consumption,' in Media and the Ecological Crisis (Routledge, 2014) • A. Saha, '"Curry Tales": The production of "race ...
Media and culture Essay Example [1850 Words]
Moral behaviors of the society also get deteriorated and improved in various ways. Media exposes certain acts of the people in the world to the society (Lemert, 2006). These acts seem to bringing pleasure and consequently cause great behavioral changes in the people's cultures. This paper, therefore, shows the various aspects of culture.
Media And Culture, Essay Sample 2023
The word media is defined as "as one of the channels or means of common communication in the community, as television, radio, and newspapers. Culture on the other hand is the norms and social behavior that are found in human communities. Culture is a common subject in anthropology that encompasses the span of phenomena that are conveyed ...
How Harmful Is Social Media?
Haidt's prevailing metaphor of thoroughgoing fragmentation is the story of the Tower of Babel: the rise of social media has "unwittingly dissolved the mortar of trust, belief in institutions ...
Social Media and Consumer Culture: Addicted to the Idealized Consumer
In fact, a 2018 study by the Pew Research Center revealed that 88% of 18 to 29 year. olds and 78% among those ages 30 to 49 use some form of social media. 74% of Facebook users. say they visit daily and just over half (51%) saying they visit several times a day. 60% of. Instagram users frequent the site daily.
media and culture Essay examples
Better Essays. 2246 Words. 9 Pages. Open Document. media and culture A sign system is representation through communication which in turn leads to a shared meaning or understanding. We hold mental representations that classify and organise the world (whether fact or fiction), people, objects and events into meaningful categories so that we can ...
Social Media and its Impact on Culture Essay
Social Media and its Impact on Culture Essay ANTH2010-Clemson University In recent years, social media has become an integral part of our lives. Social media has brought about a cultural shift that has revolutionized the way we interact with each other. The impact of social media on culture has been both positive and negative.
The Relationship Between Media And Culture Essay
Just as culture can affect media, media can equally affect culture. As computer games have become more popular they have had a considerable impact upon popular culture. Video games encourage players to self-produce their own media. For example, In 1999, Doom gave out a code that allowed gamers to modify and lengthen their game.
Essay On Media
100 Words Essay On Media. The media has an impact on the reputation of a political party, organisation, or individual. Media keeps people informed about current happenings in politics, culture, art, academia, communication, and commerce. Different forms of media help modern civilization in remaining in touch with the world in the shortest ...
Media, Culture, and Communication PhD Program Frequently Asked
The essay should be 2-3 pages single-spaced or 4-5 pages double-spaced. How do I learn more about the PhD in Media, Culture, and Communication? The best way to learn about our program is to read the work of our faculty and review our website to learn about required coursework, information about our current students and sample dissertation ...
Global Media Culture
essay cnn very popular media network in the united states captured in live broadcast the death of george floyd which ignited social unrest and led towards. ... Global Media Culture - essay. essay. Course. Contemporary World (CONWORLD103) 245 Documents. Students shared 245 documents in this course.
The Importance of Global Media Culture
The Importance of Global Media Culture. In my thoughts, global media culture has a significant impact in my everyday life. Personally, media culture molds me as an individual and as a human. From the moment that I woke up in the morning, the exchange of conversation between me and my family is already a personal effect of global media culture ...
Culture media essay
Note: All culture media are heat-sensitive therefore do not heat them longer than necessary with constant agitation. Culture media without agar require gentle heating. a) Tube agar medium can be dispensed or divided into smaller portions, ideally 5 mL. flame-sterilized the mouth of the tube before and after pouring in the sterilized medium.

Understanding Media and Culture: An Introduction to Mass Communication

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Table of Contents

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Chapter 1 Media and Culture

Understanding Media and Culture

1.1 Intersection of American Media and Culture

Mass Communication, Mass Media, and Culture

Key Takeaways

1.2 How Did We Get Here? The Evolution of Media

A Brief History of Mass Media and Culture

Technological Transitions Shape Media Industries

Why Media? What Do Media Do for Us?

1.3 How Did We Get Here? The Evolution of Culture

The Modern Age—Modernity

The Postmodern Age

1.4 Media Mix: Convergence

Kinds of Convergence

Effects of Convergence

Video Killed the Radio Star: Convergence Kills Off Obsolete Technology—Or Does It?

1.5 Cultural Values Shape Media; Media Shape Cultural Values

Free Speech as Cultural Value

Persuasion and Cultural Values

The Cultural Value of Gatekeepers

1.6 Mass Media and Popular Culture

“The Tastemakers”

A Changing System for the Internet Age

Getting Around the Gatekeepers

More Reviewers=More Accurate Reviews…Right?

1.7 Media Literacy

Why Be Media Literate?

Advertising

Bias, Spin, and Misinformation

The Center for Media Literacy’s Five Core Concepts

New Skills for a New World

Individual Accountability and Popular Culture

End-of-Chapter Assessment

Critical Thinking Questions

Career Connection

Media Culture: Definition, Effects and Examples

Definition of Media Culture

Theoretical Approaches to Media Culture

Effects of Media Culture on Society

1. Body Image

2. Gender Roles

3. Race and Ethnicity

Media Culture Examples

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The Impact of Media on Society Cause and Effect Essay

13.6 Globalization of Media

Globalized Culture, Globalized Markets

Vertical Integration and Globalization

Foreign Markets and Titanic

Key Takeaways

Article contents

Introduction

Teen Screens

Youth as a Distinct Life Stage

Early Mass Media and Youth Audiences

Youth Markets and Media Panics

The Media as Learning Portal

Public Service Announcements

Entertainment Education

Culture Jamming

Media Education and Direct Interventions in Youth Learning

Literacy and Production

Contemporary Issues in Youth Media Culture and Education

Issue 1: Surveillance, Branding, and the Production of Youth

Issue 2—Creative Media and Youth Producing Politics

Issue 3—Youth, Media Learning, and Media Education

Concluding Thoughts

Acknowledgments

Further Reading

Related Articles

Social Media: Influences and Impacts on Culture

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